|
It also has to work with other windows and be acceptable to the client and, if in a public building, to the people who will use it. If it's going in a church, add another few months to go the round of the committees! Approvals need to be sought - often a lengthy and irritating process.
Take accurate measurements and templates.
If the window doesn't fit, you're in trouble!
Make cut-line to size.
The cut-line is a full-size drawing showing all the individual pieces of glass. The glass is placed on this and cut out, so it needs to be drawn up allowing for the width of the lead. - and again, accuracy is essential
Choose and cut glass.
Mouth-blown glass comes in large sheets with a huge range of colours, textures and with varying ease of
cutting. The colour is permanent and will last as long as the glass. As each piece of glass is cut, it is stuck to a glass easel with Plasticene; this allows the artist to see how the colours work together.
Paint/ stain/ acid-etch,.
The stained glass artist adds depth and richness with paint (usually brown) and stain (yellow or orange). This is fired on in a kiln so the glass will keep its detail for centuries. Further embellishments to the glass can be achieved by using acid to etch the glass; this is particularly effective with "flashed" glass, made of two
colours fused permanently together.
Lead.
A framework of channelled lead is gradually built up round the pieces of glass until large panels are produced; the joints are then soldered together. The panel is flipped over and all joints soldered on the second side.
Putty.
Also known as Leaded Light Cement, it's a wonderful gooey mix of whiting and plaster, oil and turps - every glazier has his/her own favourite recipe - which is forced between the glass and the leads. When hard, this will stop the glass from rattling and will keep out the rain.
Install.
This may necessitate scaffolding and stonemasons, or wood frames and hammers. Either way, this is when you're really glad you took accurate measurements!
|
|
