So one of the projects on the bench right now is a Victorian lancet window whose memorial inscription is “Not lost but gone before” …
Stained glass rose window - the techniques we used
No, I haven’t forgotten how, a while ago, I promised you the low-down on the techniques we used to silver stain this gorgeous window on the left.
OK, maybe it’s more than a while, but good things come to those who wait …
The client’s brief was, his window had to have the ‘”Wow!” effect’.
And the ‘”Wow!” effect’ was what our client got.
If you’re interested in the story of its design, then see here now – and just be sure to come back afterwards to learn how it was done.
Here now are the techniques. There’s nothing magical. But the effects you can achieve are extraordinary.
OK, your stained glass design - what must it show?
Which is not the best question … -
Rather, who is the design for?
Who must the design instruct, guide or persuade?
A committee? A patron? A priest? A businesswoman or man? Their secretary?
A journalist maybe?
Or is it “just” for you, the glass painter?
Yes, the design must be “fit for purpose”, we can all agree on that.
But this means you must first decide which purpose – or purposes – it must be fit for.
So if you have several important purposes which can’t all be met by one version of the design, then you maybe will need several different versions of the design.
Don’t get upset at this – don’t “shoot the messenger” …
I’m just telling you how things are.
Anyway, here’s what we often do. And even if you decide to do things differently yourself, I’ve got a really useful tip for you – just read through to the end. And enjoy the pictures along the way!
Last words before the summer holiday
I must be brief today because I must pack our bags and head off with my family for a week’s holiday on the rugged and dramatic coast of southern Wales.
All the same, I see from many comments on my last post how one particular question needs more attention.
Therefore even here, where we focus on glass painting techniques – even here, I won’t apologize for returning to the topic of price.
Price is one way of standing behind the value of your work. That’s why it’s so important we also discuss it here.
The life and times of a 21st century glass painting studio
Not an easy way to make a living, but ...
In 2004 I set up a studio with one partner, David. This was a design and glass painting studio, which, having run through more embarrassing names than we can remember, we called “Williams” (after David first, because he could paint) “& Byrne” (after me, because I could copy).
Glass painting: it’s not an easy way to make a living.
But it is a great way.
I don’t mean women, cigars in bathtubs full of champagne, and private jets.
Though the last time I flew to see our client on the shores of Lake Geneva, I tried to board the airplane with a glass cutter in my pocket.
That was … fun.
By way of saying “thank you” for all your helpful comments on our last post, we’ve made you a new, exclusive video demonstration.
Stained glass tracing: here’s how to think about it in a very different, useful way …
Today a selection of topics. Two of them are provocative (me and my big mouth). So let’s start where the seas are calm.
Use the power of stained glass silhouettes
Today you’ll see the power of stained glass silhouettes.
Yes, this is our glass you’ll see here.
But remember this is not so much about us as about what you can do with a bold and talented design, some very good glass, plus a careful use of silhouettes.
Note: there are a lot of gorgeous photos coming up, so please give this page the time it needs to load. [click to continue…]
