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Are you looking for some inside information on Stained Glass? Here’s an up-to-date report from Stained Glass experts who should know.

The lead came method of stained glass construction gives an appearance of uniform lines and an antique look. The lead channel is wrapped around the glass and then joined at the “seams” or joints by a bead of solder.

Lead came, used for joining pieces of stained glass, comes in one channel, called “U came,” or two channel, “H came,” strips about six feet long. “U” lead strips are used to frame the outside edges of stained glass, especially on small suncatchers or ornaments with only two or three glass pieces. In larger stained glass projects, the “H” lead strips are used to join two pieces of glass together, placed inside the grooves.

Stretching the lead strips before fitting it around the stained glass makes the lead more rigid and stronger. Some lead is pre-stretched, but might have acquired some kinks or bends in packaging, so you may want to stretch it a little to get the kinks out. Do not over-stretch as it will narrow the grooves in the channel, making it too narrow to fit around the stained glass. Lead that is stretched too much will break.

The lead is soft enough that after fitting it on the stained glass and making sure that you have good connections, you can easily cut it with lead nippers, a lead knife or even scissors. Be careful to make sure the joints you have cut butt so that it will be strong throughout the stained glass piece. Filling gaps between the joints takes a lot of solder and makes the joints look sloppy and unprofessional.

Your stained glass work will be laid on a pine board, beginning at two strips of wood nailed at right angles to each other. These wood strips will act as a support for your project. Your alternating pieces of lead and stained glass will be temporarily held in place by horseshoe nails as you progress across your stained glass pattern.

I trust that what you’ve read so far has been informative. The following section should go a long way toward clearing up any uncertainty that may remain.

Each piece of stained glass and the lead strip around it has to fit within the pattern lines before you move on to the next piece. If one piece is too large and crosses over the pattern line, then every other piece will be off and your entire stained glass piece will be off.

Before you begin soldering the lead joints on your stained glass project, you should practice on some scrap pieces of lead first. Lead melts so you want to check your soldering iron’s temperature on the lead scraps first. If it is too hot, a rheostat can lower the temperature enough to prevent unwanted melting of the lead. A 40 watt soldering iron is hot enough.

Before you solder the lead joints, prepare the metal with flux, then move your soldering iron tip quickly over the lead, creating a pool of the 60/40 solder. The pool of lead should smoothly flow over the seams and lie flat. It is not necessary to raise a big ball of solder at the joints.

Solder all joints on both sides of your stained glass panel. Clean the flux away with warm, soapy water. Reinforce the stained glass panel by forcing a glazing compound or putty into the lead channels. Clean away all excess putty with whiting or sawdust, and then a soft cloth.

Another method of joining stained glass, created by Louis C. Tiffany, is the copper foil method of stained glass construction. The glass crafter can choose which method he/she prefers based on each individual stained glass project. Both methods of stained glass construction generally work equally well.

The day will come when you can use something you read about here to have a beneficial impact. Then you’ll be glad you took the time to learn more about Stained Glass.

About the Author
By Anders Eriksson, proud owner of this top ranked web hosting reseller site: GVO Hosting

Have you ever wondered if what you know about Stained Glass is accurate? Consider the following paragraphs and compare what you know to the latest info on Stained Glass.

Many centuries ago stained glass windows were used almost exclusively in grandiose cathedrals. The installation was easily achieved as on opening was made in the stone and concrete structure to the window specifications (or the window was made to the size of the opening) and metal loops and bars were cemented into the window opening during construction specifically to be soldered to the metal bars and loops that are attached to the stained glass window. Stained glass in no longer limited to places of religious worship or even to just the rich and famous, so how does one go about installing a stained glass window in a modern day structure?

You have a several options available to you, assuming that you do not live in a grand cathedral and that your home was not specifically constructed with stained glass windows in mind.

One of the easiest ways to install your stained glass window is over the existing window. Your stained glass window overlay should measure about 1/8″ smaller around each edge than the original window. First make sure the existing window and inside window frame is clean and dry, you don’t want any dirt or moisture permanently pressed between the pieces of glass. First, check to see that the stained glass panel will fit into your window. You can place 1/8″ cardboard or wood spacers around the bottom of the window and run a small bead of caulk around the inside edge of the window frame.

If you find yourself confused by what you’ve read to this point, don’t despair. Everything should be crystal clear by the time you finish.

You may use either clear caulk or a colored caulk that matches your window frame. Now, press the stained glass panel into place and fill in carefully with additional caulk. Be sure to smooth the caulk carefully with your fingers, wiping the excess unto clean tissue and discarding immediately. It is important not to get the caulk on the stained glass panel (if you do simply wipe it away with clean fingers and wipe them with clean tissue). Once the window is caulked in place you will need to secure it there for 24 hours to allow the caulk to set properly.

Using wood blocks or stacked pieces of cardboard brace the window in place and tape across the bracing for the next day. At this point, you may consider the job complete or you could add some wood trim around the inside for a more finished look and added stability. Another easy solution would be to use your stained glass panel as a window hanging and simply solder hooks to the rebar on your stained glass panel secure a chain into the window frame and hang the stained glass panel. This option allows you to take your stained glass with you if you move.

The next option may require some professional help. You may want to have your stained glass panel put into a wood, aluminum, or vinyl window frame. The stained glass window can be protected on either side with tempered glass which will provide better insulation to your home as well. At this point the window can be installed in the same way as a normal new or replacement window, by screwing it into the window frame. Whatever method you choose, your new stained glass window is sure to add beauty, value and enjoyment to your home.

About the Author
By Anders Eriksson, proud owner of this top ranked web hosting reseller site: GVO Hosting

Copper foil is a stained glass leading technique that has a more delicate or intricate look to it than the lead came technique. Louis C. Tiffany created the copper foil technique in the early 1900′s. Tiffany didn’t have the adhesive-backed copper foil that we have today. When he built his copper foil stained glass projects, he painstakingly cut the copper strips and applied wax to them to secure it to the stained glass.

Copper foil is often used for decorative glass boxes, stained glass lamps, and other stained glass projects with intricate curves. The copper foil is flexible and when the solder bead is applied correctly, it is strong enough for just about any stained glass project.

Deciding whether to use copper foil or lead came on a project is mostly a personal choice; yet, some areas may have building restrictions or codes that you might want to check. Some people believe that the copper foil method of stained glass construction is not strong enough for large stained glass windows.

There are methods of reinforcing stained glass windows whether they are constructed by the copper foil method or the came method. Rebar is used to reinforce large stained glass windows. There is a copper flat wire called “Strong Line” that is also used as reinforcement by placing it between the pieces of stained glass before soldering.

The copper color of Tiffany’s thin strips of copper for his stained glass window construction would have shown in, for instance, clear glass. Today’s copper foil comes in various backing colors like copper, black, silver and brass. This gives the stained glass artisan choices of backing that will show up less through clear glass; and for instance, if you use silver backing on white stained glass, there will not be a line of shadow on the white stained glass near the solder lines.

The information about Stained Glass presented here will do one of two things: either it will reinforce what you know about Stained Glass or it will teach you something new. Both are good outcomes.

Also, if you plan to leave the solder lines silver and not use a patina to color the solder, then silver back will look better wherever there is clear glass. The same works for using a copper patina on the lead; you would want copper backed foil on your stained glass. Black-backed foil would look best on that clear glass if you are using black patina.

Copper foil tape is a “dead soft copper” which, when burnished onto the stained glass, sticks closely to the glass. It comes in various widths with popular sizes being: 1/8″, 3/16″, 1/4″, 7/32″ 3/8″ and 1/2″. Most copper foil tapes are in 36 yard rolls.

When working with larger stained glass projects, 3-dimensional articles or windows, a wider copper foil like 3/8″ or 1/2″ will be stronger. Thicker stained glass requires a wider tape. When you are doing very intricate or delicate stained glass work, you might prefer to use the narrower 3/16″ copper foil tape.

When you wrap stained glass in copper foil tape, be sure that the edges of the glass are ground and then cleaned very well; otherwise, the foil will not stick to the stained glass. Wrapping the glass edges carefully and being sure equal amounts of foil are folded up onto either side of the stained glass will ensure a smooth, even solder line. Be sure to rub or burnish the foil until it is smooth and secure.

Copper foil for stained glass construction is available through wholesale distributors all over the world. A very popular and reliable copper foil is manufactured by Edco Supply Corporation in Brooklyn, New York. Stained glass retail stores, craft stores, and online stores carry copper foil for stained glass.

About the Author
By Anders Eriksson, proud owner of this top ranked web hosting reseller site: GVO Hosting

Light is truly the inspiration for stained glass in both the physical and literal senses. During the Gothic Era from about 1150 – 1500 A.D. there was no electricity so alternate ways of lighting Cathedrals was necessary. Immense and exquisite stained glass windows were created and intended to provide physical light by allowing in much needed sunlight, but they were also intended to provide spiritual light. The King James Version of the Bible in John 8:12 says “Then spake Jesus again unto them, saying, I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life.” Jesus was the inspiration for and his life, gruesome death and subsequent resurrection were the subject of the majority of stained glass windows created during that period in history.

Grand and magnificent cathedrals carved up gigantic stones and supported by immense pillars and flying buttresses reaching up towards the Heavens in worship of God and His son were crowned with beautiful jewels known as stained glass. In some Cathedrals, stained glass panels covered entire walls and the supporting pillars go almost entirely unnoticed. The pillars alone could not have supported the weight of the structure, which is the purpose of the flying buttresses (they braced the structure from the outside).

The art of making stained glass has been poetically referred to as “painting with light” taking the analogy even further. This term was coined due to the fact that rather than reflecting light off of it, a stained glass window allows light to be transmitted through it. It is a unique partnership, as neither the light nor the window is as magnificent without the other.

Sometimes the most important aspects of a subject are not immediately obvious. Keep reading to get the complete picture.

Abbot Suger of the Cathedral at St. Denis in France was among the first to employ the Gothic form of architecture in an attempt to glorify God and Jesus Christ. The following quote is taken from a writing of Suger, included as a part of a transcription on the doors to the Cathedral. That gives insight into his motivations for using large amounts of stained glass and the relationship of the physical light to the spiritual, “…The noble work is bright, but, being nobly bright, the work should brighten the minds, allowing them to travel through the lights to the true light, where Christ is the true door.”

He later gave a detailed explanation as to what the purpose of the exemplary works of stained glass window art were in the church; “Thus sometimes when, because of my delight in the beauty of the house of God, the multicolor loveliness of the gems has called me away from external cares, and worthy meditation, transporting me from material to immaterial things, has persuaded me to examine the diversity of holy virtues, then I seem to see myself existing on some level, as it were, beyond our earthly one, neither completely in the slime of earth nor completely in the purity of heaven.

By the gift of God I can be transported in an anagogical manner from this inferior level to that superior one.” Walking into a mighty cathedral such as St. Denis, even today, one can feel the influence this passion for light had on the development of the art of stained glass making and the worship of God during the Gothic Era.

Of course, it’s impossible to put everything about Stained Glass into just one article. But you can’t deny that you’ve just added to your understanding about Stained Glass, and that’s time well spent.

About the Author
By Anders Eriksson, proud owner of this top ranked web hosting reseller site: GVO Hosting

American stained glass artist, John La Farge was born in New York City on March 31, 1835 to french immigrant parents. Upon completion of his formal education in law he ventured to Europe to study art. After his return to the United States he made a brief attempt at practicing law, but soon gave it up to follow his passion for artistic expression. Initially, he painted landscapes later moving on to figures and stills and eventually caught a break doing drawings for a magazine. His first prominent assignment, however, was in 1876 when he was commissioned to handle the d├ęcor for the entire interior of the Trinity Church in Boston.

That accomplishment represents a milestone in American art as it was the first real mural painted here. Many art historians consider his painting on the end wall above the altar in the Church of the Ascension in New York his greatest masterpiece.

He became intrigued with glass making after becoming aware of certain inadequacies in the industry which limited the ability of an artist to create brilliant designs with varying transparencies without losing the polished finish. He then developed techniques in overlays (plating) and opalescent glass which has come to be known as American Stained Glass. Initially he used these new methods on privately owned homes despite the fact he had previously designed the old style stained glass window for the Trinity Church. The “Battle Window” in Memorial Hall at Harvard University, commissioned to commemorate Harvard’s Civil War dead, is considered to be one of his most significant works in stained glass. Other notable stained glass achievements include Watson Memorial in Trinity Church, Buffalo and the Church of the Ascension, New York.

See how much you can learn about Stained Glass when you take a little time to read a well-researched article? Don’t miss out on the rest of this great information.

While his leading competitor in the business, namely Louis C. Tiffany, chose to employ a staff and develop a factory, John continued to do his projects one at a time and mainly by himself. He began to perfect a technique of making jewel-like flower panels which were installed in the mansions of many of the wealthiest members of turn-of-the-century American aristocrats such as Cornelius Vanderbilt. La Farge is believed to have created several thousand stained glass windows over the course of his career some of grand and immense artistic and historical importance and others just a minute decorative touch in a private home. His last work of the jewel-like flower type is said to have been “The Peacock” which was purchased by the Worcester Museum.

La Farge won many awards including one from the Legion of Honor, which was given him for the stained glass window exhibited at the French Exposition in 1889. He was awarded a gold medal at the Pan- American Exposition at Buffalo in 1901 and three years later in St. Louis he was awarded a diploma and medal of honor for distinguished service in art. He was the initiatory recipient of the Medal of Honor from the Architectural League of New York’s. He was elected an Associate of the National Academy of Design in 1863 and became a full fledged Academician in 1869.

He presided as president of the Society of American Artists among other notable achievements before his death in 1910. La Farge will long be remembered for his contributions to American art and most especially his innovations and artistic expression in stained glass.

About the Author
By Kenneth Allan Crosby jr,feel free to visit his top ranked recycling site: recycling, tips, history

The only way to keep up with the latest about Stained Glass is to constantly stay on the lookout for new information. If you read everything you find about Stained Glass, it won’t take long for you to become an influential authority.

Stained glass isn’t just for windows any more. The beauty of your garden can be enhanced by capturing the beauty of the sun’s natural light through stained glass art. Stained glass ornaments in your garden will capture the sun’s natural light and the stained glass will sparkle as the light dances off its surface.

A stained glass stepping stone or garden stone path provides a wonderful mixture of color and design leading to the entry to your flower garden. Stained glass mosaic garden stone designs are fun to do and can be placed throughout your garden. You can make them yourself with regular concrete mix or special colored DiamondCRETE(tm)Garden Stone Concrete. You can make your own wooden molds or purchase molds from your retailers or wholesalers.

With Tiffany Garden Borders patterns you can build a 4-foot concrete and stained glass circular garden border around your flowerbed, tree, birdbath, backyard pond, sundial or herb garden.

If you aren’t experienced at scoring, breaking and grinding stained glass, just break random scraps of stained glass and arrange them in a design, or in no particular design, in your concrete form.

You can buy easy-to-make stepping stone kits in craft stores, like Hobby Lobby, or in the craft aisles of Wal-Mart or online. Stained glass shops and suppliers have hundreds of patterns and instructional books on stained glass garden stones and other stained glass garden ornaments.

Whimsical frogs, fish and turtle stained glass designs on concrete rain spout deflectors are more attractive than the ordinary plastic ones you see under everyone’s gutter drains.

Picture beautiful stained glass and beveled or prism glass wind chimes flashing brilliant colors. The sound of the stained glass shapes bouncing off each other is pleasing when they are moved by a gentle breeze.

See how much you can learn about Stained Glass when you take a little time to read a well-researched article? Don’t miss out on the rest of this great information.

Iron garden stakes frame colorful stained glass designs which are interchangeable. You can change the design to fit any season or special occasion. The stained glass garden stakes can be placed throughout the garden or by your front door. Guests will enjoy the warm, welcoming feeling they get when they see the warm colorful stained glass garden stakes and stepping stones.

Another gardeners’ favorite is stained glass wire stake designs for flowerpots and smaller garden beds. Three-dimensional stained glass hummingbirds, butterflies, ladybugs, dragonflies and other creatures are favorite colorful additions to any patio flowerpot.

A popular stained glass garden project is a resting bench. This is a larger and heavier stained glass project but is worth the effort. The beautiful designs in the many available patterns for stained glass benches fit so well in a beautiful, colorful garden, or under a shade tree. Many have been used in cemeteries and church yards as a lovely, restful place to pause and reflect.

There are iron frames for patio tables to be done in stained glass mosaics. They can be purchased though stained glass suppliers, shops and online. There are many stained glass patterns and books available for the patio tables; or, as always, you can be creative and come up with your own stained glass mosaic table design.

What about a cozy looking stained glass fireplace screen in front of your patio fireplace, or stained glass patio lanterns or porch light fixtures?

You can make any stained glass garden decoration yourself or have a stained glass artisan design and make it for you. You can decorate garden walls or patio floors with stained glass mosaic designs. When it comes to decorating your garden, deck, or patio with stained glass, you are limited only by your own imagination.

About the Author
By Kenneth Allan Crosby jr,feel free to visit his top ranked recycling site: recycling, tips, history

This list is meant to help create a shopping list for the beginning stained glass art student. Not all of the items will be needed for every project, for instance you will use either lead cames OR copper foil and their corresponding accessories depending on the stained glass style you will be working with. Other tools listed may be very helpful, but not entirely necessary, one pair of pliers may be enough to do several jobs for example.

Glass Cutters- One of the most important tools you will use in stained glass making, good glass cuts will make or break your project. These range from very inexpensive carbide steel wheel cutters (you will need to add cutting oil as you go along) to slightly more expensive self-oiling tungsten carbide or pistol grip wheel cutters.

Cutting Oil- This helps to reduce friction allowing a smoother cut and also keeps glass debris from encumbering the cutting wheel’s progress.

Soldering Iron- (pronounced like soddering) This is used to melt lead solder which in turn is used to join pieces of metal, such as the lead cames or copper foil that will hold your stained glass pieces together.

Solder- The type you will be using in stained glass making should be an alloy (mixture) of tin and lead. This usually comes in a spool of either a 50/50 or 60/40 blend. The 60/40 is slightly more expensive, flows more smoothly and is therefore preferable for making a stained glass project.

Sal Ammoniac- This is soldering iron tip cleaner made from a naturally occurring mineral that reacts to the heat of the soldering iron and removes debris when the iron is gently rubbed on it.

Flux- Helps remove oxidation and other dirt and debris from the metal surfaces so that the solder can adhere to it. This is an absolute necessity to keep your stained glass pieces together; the solder just won’t “stick” without it!

Flux Brush- A very inexpensive brush used to apply the flux.

Flux Remover- Can be used to neutralize flux or patina and is often used at the end of projects to clean up small errors and over-flow.

Cutting Square- Helpful when drawing squares or other designs requiring a right angle.

Ruler- Used for measuring project dimensions as well as for drawing or cutting a straight line. A non-skid backing such as cork or rubber will help keep it from sliding on the glass.

Pattern Shears- These are special scissors that automatically cut the proper size strip of paper between pattern pieces to allow room for the lead cames or copper foils to be placed between the various stained glass pieces of the design.

Grozing Pliers- These pliers have narrow, serrated jaws for picking up small chucks of glass and can be used to remove uneven or jagged pieces of stained glass after cutting.

Running Pliers- These thick pliers help to carefully break stained glass pieces that have been scored on the design lines.

Needle Nose Pliers- A good all around tool to keep handy, can be used for small detail work.

Wire Cutters- These can be used to cut reinforcing wire or the picture hanging wire to hang your finished stained glass art project.

Hammer or Mallet- A good rubber headed mallet can be used to gently tap stained glass pieces into place.

Carborundum Stone- A trademarked name for a grinding tool used to smooth the edges of cut pieces of stained glass. Should be wetted periodically to make smoothing easier.

Electric Glass Grinder- A bit more luxurious way to smooth the glass edges; this is a machine that will do the job faster and more efficiently. This is definitely nice, but optional.

Copper Foil- One of the choices of material to hold the pieces of stained glass together. Comes in various widths depending on the look of your project-make sure your pattern shears are the same width as your foil or came.

Copper Foil Dispenser- Another nicety, this makes handling the copper foil easier, much the way a tape dispenser makes tape easier to handle.

Lead Cames- The original choice in stained glass support systems. These come as long strips of lead with grooves or channels on either one side or both, depending on whether it is to be used as an inside or outer edge piece of the stained glass.

Lead Vise- Holds the lead came in place to allow it to be stretched before use.

Lead Cutters- Also known as lead pliers these snips are especially helpful when cutting cames for use in the corners of your stained glass project.

You can see that there’s practical value in learning more about Stained Glass. Can you think of ways to apply what’s been covered so far?

Lead Knife- Can be used to make clean straight cuts on lead cames.

Horseshoe Nails- Great for holding frames in place when assembling your stained glass project.

Dustpan and Brush- Helps to keep your workplace clean which is important in making stained glass projects because debris will prevent things from sticking properly.

Safety Goggles- Keeps pieces of lead or glass from damaging the eyes during cutting, always remember “safety first”!

Wooden Block Holder- Can be helpful for holding pieces of stained glass.

Masking Tape- Always handy in the workshop; may be used to hold pattern pieces together or many other uses.

Picture Hanging Wire or Other Fasteners- For hanging your completed stained glass project.

Lead Board with Right Angle Support- Useful in holding a lead stained glass project in place during assembly while keeping the edges clean and straight.

Wood or Plastic Fid- Great as a burnishing or spreading tool when applying foil to stained glass.

Glazing Cement- Seals and strengthens the joint areas of the lead cames.

Whiting- Helps to dry and set the glazing cement. Can also be used to remove excess putty from the stained glass.

Stiff Bristle Brush- Used for applying glazing cement.

Patina- Liquid solution that changes the appearance of solder, can give a more antiqued appearance.

Rubber Gloves- Absolutely necessary when applying patina or any other solvents to the project; you do not want these penetrating your skin!

Mirror Sealer- This aerosol spray is used on the back of mirrors to keep the reflective coating from being scratched or damaged.

Finishing Compound- Provides the finishing touch to your stained glass project, adding polish and shine while providing a protective finish to help prevent oxidation and tarnish buildup.

Pushpins, Tacks and Jig Material- Items that may be helpful in holding certain pieces together while assembling your stained glass project.

Craft Knife- Perfect for correcting small errors in copper foiling and other small tasks.

Steel Wool- May remove oxidized material from solder and other metal parts.

Plastic Basin and Sponge- With warm soapy water to clean glass and metal debris from your stained glass workspace.

Carbon Paper- For making pattern copies.

Tracing Paper- For tracing the original design unto a clean copy.

Rubber Cement- For holding pattern pieces on glass to make cutting them out easier.

Pens, Pencils, Markers and Colored Pencils- Needed for drawing and coloring in pattern pieces.

There you have it, a not-so-condensed shopping list to get you on your way to a new hobby in stained glass art making!

So now you know a little bit about Stained Glass. Even if you don’t know everything, you’ve done something worthwhile: you’ve expanded your knowledge.

About the Author
By Kenneth Allan Crosby jr,feel free to visit his top ranked recycling site: recycling, tips, history

Accounts vary on the earliest use of stained glass mainly because it was invented before recorded history. Some historians claim it was first used as a domestic luxury in the homes of wealthy Romans in the first century. Stained glass eventually gained recognition as an art form sometime in the fourth century as Christians began to worship openly and built elaborate churches to celebrate their religion. Other historians point to evidence in ancient ruins that implicate the use of stained glass in pagan traditions and decor. While we may never know the exact origin of the medium of stained glass it is clear that the spread of Christianity is directly related to the expansion of stained glass across the globe.

The twelfth century began what is known as the Gothic Era and stained glass windows took center stage in elaborate and monumental cathedral designs. Beginning with the innovative designs on the St. Denis, stained glass windows were used to bring light, both literally and metaphorically, into cathedrals to enhance the worship experience. Most of the stained glass from the St. Denis Cathedral was destroyed during the French Revolution but a few select fragments and even some entire windows can be found on display in varying locations throughout Europe.

The bold lines and strong figures of Gothic style stained glass were eventually phased out as Renaissance artisans leaned toward greater detail, more delicate coloring and increased realism. Stained glass windows evolved into something more like a painting on glass than an architectural element and some of the notable elements such as lead lines disappeared. Although there were numerous pieces created and even some masterpieces, due to the difficulties in expressing the great detail of requisite to the Renaissance era, true stained glass became somewhat of a lost art.

Now that we’ve covered those aspects of Stained Glass, let’s turn to some of the other factors that need to be considered.

Stained glass had been primarily used by the Catholic Church and much of the precious art form was destroyed during the 1600′s by order of King Henry VIII after his break with the Church. Not only were cherished stained glass windows recklessly destroyed, but many of the glass making facilities were ruined as well. Religious unrest was not the only factor in the decline of stained glass. During the Baroque period the fashion leaned toward more intricately detailed interiors and elaborate wall painting which necessitated the use of clear glass in the architecture. Many of the remaining stained glass windows were left unmaintained and allowed to decay during this period and very few new stained glass windows were created.

During the late seventeenth century the hearts and imaginations of the people returned once again to the Gothic style of architecture. This revival was apparently motivated by the need to escape the harsh realities of “modern” life including the daily grind of factories. With the return of Gothic architecture emerged a newfound interest in stained glass. Artists initially continued to use the technique of painting on glass, but eventually realized the superiority of the old pot metal glasses used in medieval times. Since the old techniques had not been used for such a long time, the technique used for making the lead lines had been lost and the artisans of the period floundered when trying to recreate the dynamics of the Gothic stained glass. This coupled with a reluctance to give up the newer more detailed “modern” depictions of scenes and figures lead to windows with an interesting design with the old architecture and an unusual blend of the old and new stained glass styles.

During the nineteenth century, artisans La Farge and Tiffany created new variations of opalescent stained glass. La Farge tended towards architecture and window designs with a small private studio, while Tiffany boasted a larger studio that branched out into other areas, like the Tiffany Lamp which has become a household name. Today’s stained glass artists are bound by no particular style or religious themes. Much of the work they do involves restoration, but can also be seen in both small and large decorative touches in homes of people from almost any economic background. New and innovative techniques are constantly being discovered and stained glass continues to add interest to our lives.

About the Author
By Kenneth Allan Crosby jr,feel free to visit his top ranked recycling site: recycling, tips, history

When most people think of Stained Glass, what comes to mind is usually basic information that’s not particularly interesting or beneficial. But there’s a lot more to Stained Glass than just the basics.

There are many techniques that can be used to create beautiful and interesting works of art in stained glass. This article deals with stained glass painting. This technique has been used for centuries and was the most popular form of stained glass during the Renaissance era due to their keen aspiration for intricate details in artwork. Painting of stained glass became so popular, in fact, that the earlier stained glass arts of using “pot metal glass” almost disappeared entirely.

You will need several items handy to do stained glass painting. Obviously you will need paint and paintbrushes, if you cannot afford the specialized stained glass type you may be able to improvise with regular artist’s paintbrushes. You will also need access to a kiln to set your work. Many professional studios will allow you to use their kiln for an hourly rate. Next, you will need a palette for mixing your paint. A piece of sandblasted glass is the most suitable choice for mixing you stained glass paints. A palette knife is a helpful tool in mixing the paint. The paints are made from a mixture of powdered oxides, gum arabic and water.

As with other forms of stained glass art, you will want to start with your design on paper. Make sure there is some definition to your design and that the differently colored areas are outlined in a darker color. You may tape your design to the bottom of your glass so that it will remain in place during painting. Begin painting the dark outlines of your design with a tracer or rigger (long brush with a slender point). You will want your trace paint to be dark enough to block out light and provide contrast with your lighter colors. You must apply the outlines in long, smooth, continuous strokes. Do not try to “go over” your lines once they have dried (which does not take long!).

If you find yourself confused by what you’ve read to this point, don’t despair. Everything should be crystal clear by the time you finish.

If you do you will cause the paint to bubble and separate (fry) when the glass is fired in the kiln. You should not touch the line at all once it has been painted, although you may correct some mistakes and overages by gently scraping the paint off with a toothpick AFTER it has dried completely. Next, your stained glass trace paint is fired in the kiln at approximately 1150? F.

After your trace paint has been fired, you are ready to apply your shading colors. The shading color may be dropped into a particular area of the stained glass and then brushed or “mopped” over the entire area where that color is desired. You may then use various brushes with different strokes or techniques to create a stippled or otherwise textured look. Keep in mind that the color of the shaded area will appear lighter in your finished stained glass project after it has been fired in the kiln.

You may also wish to enhance the look of your project with silver stain. Silver stain will be applied to the back side of your stained glass project (the opposite side from your painting) and will actually change the color of the glass rather than simply cover it. Silver stain can be corrosive as it contains silver nitrate so use with caution and please use clean brushes for this portion of the project. The effect of silver stain is a lovely yellow to amber-colored hue to the stained glass and provides a lovely background to your stained glass artwork.

Your skill and technique in painting stained glass will improve over time, as with any new endeavor. Be patient and allow yourself to enjoy the process. Painting stained glass can be a rewarding hobby and with a little practice you may even create a masterpiece someday!

About the Author
By Anders Eriksson, now offering the best guide on movie downloads over at free movie downloads

The only way to keep up with the latest about Stained Glass is to constantly stay on the lookout for new information. If you read everything you find about Stained Glass, it won’t take long for you to become an influential authority.

When you go to a stained glass artisan, don’t expect to walk in and tell him/her you want a window put in your front door and then ask, “How much will it cost?” The stained glass artisan cannot give you a quote off the top of his/her head. There is a process to arriving at a price for a stained glass window.

When you know that you want a custom stained glass window, you should arrive at the stained glass studio with some facts and ideas before you ask a stained glass artisan for a price quote. The first thing you need to know is the exact measurement of the opening. The base price of a custom built stained glass piece begins with pricing based on square footage, and then per piece. Therefore, the more intricate the piece is, the more costly.

Each stained glass artisan has his/her own pricing scale. An example of just the basis of the quote would be: $125 per square foot plus $1.50 per piece in the pattern for a stained glass window constructed with lead came. A lower charge of $110 per square foot plus $1.50 per piece might be given for a stained glass window constructed with copper foil. But that’s just the beginning.

If you don’t know what design to settle on and you request full-size cartoons (patterns) to look at on your opening, the stained glass artisan might charge $50 or more per cartoon to cover his/her extra time – especially if you decide not to have the stained glass window made.

The type of glass used in a stained glass window has bearing on the cost. For instance, red glass is more expensive than some other colors because gold is a metal used in making red glass. The brand Kokomo glass is generally more expensive than Spectrum glass. Some of the “art” glass is more expensive than other glass.

Is everything making sense so far? If not, I’m sure that with just a little more reading, all the facts will fall into place.

Beveled glass and bevel clusters (especially if they have to be custom made) are often far more expensive than stained glass. For an individual stained glass artisan to custom make bevel clusters, it requires a lengthy process. This would increase the quoted price for your custom stained glass window.

If you decide to have gems, glass globs or faceted jewels or rondels added to the design, these will increase the price of your custom stained glass window. Some gems are more expensive than others, and these add to the intricacy of the work to be done.

Other considerations in the overall cost of your stained glass window are installation and how it will be framed and whether or not the artisan will be responsible for framing and installation. The stained glass artisan may refer you to a framer or a carpenter if the artisan does not do the installation. Other costs include things like whether or not a storm window is included or if the stained glass piece will be sandwiched and weather-sealed between two pieces of glass.

It will help the stained glass artisan to know what type of glass to choose if you know whether or not you need glass that will provide total privacy. Is there anything that you would like to bring into the stained glass design like nature or flowers? Do you want colors or just clear textures? Do you like Prairie style or Art Nouvea?

When you have a design and the glass chosen and the finished size, your stained glass artisan will be able to give you a price on your beautiful custom stained glass window.

There’s no doubt that the topic of Stained Glass can be fascinating. If you still have unanswered questions about Stained Glass, you may find what you’re looking for in the next article.

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By Kenneth Allan Crosby jr,feel free to visit his top ranked recycling site: recycling, tips, history