Good Stained-Glass Design vs. Bad Stained-Glass Design

This is one thing you particularly need

And it’s going to get full

Since your window lasts for centuries, you mustn’t fail on glass.

And that’s the point of paper.

But paper has its limitations

In particular, paper reflects light (whereas glass transmits it).

So for me it’s a bad sign when a client falls in love with a design:

  • I don’t want a design that’s beautiful-in-itself …
  • I do want a design that’s adequate for the journey.

This often means a lot of waste.

A lot of wasted paper

So, again for me, this is one sight which helps me understand whether someone is likely – in the end, after a lot of hard work and heartache – to prepare a good design.

This is it:

A full paper-bin

A full paper-bin

The Preparation You Must Do Before You Do The Work


57 sheets of glass delivered to the studio since January: 33 from Germany, 8 sheets from France, 10 from Poland.

And – in 4th place – 6 (just six sheets: the pity of it!) from our own dear England.

Let’s say: 16 square metres in all.

And now, two months later, only a handful of the 57 sheets remains intact:

Antique stained glass

… while most of it is cut.

The Business of Glass Painting

Here’s an article about working with clients which Stephen wrote a while back.

Various reasons for citing it here:

  1. It’s good.
  2. Lots of great comments.
  3. It was only sent to our subscribers.
  4. With so many newsletters out there, people sometimes wonder what they’re getting when they sign up to get  our newsletter.

So have a look here. I promise it’s worth your time.

Dead Mouse

Just about to start cutting glass for 4 tall lancets for a 19th century chapel. (Painting starts next month, and continues through till June.) About two-thirds of the windows we’ll cut from brightly coloured glass (vigour, energy, glow). The rest is clear glass.

And some of it is seedy.

Seedy glass – which reminded me …