Great tutorial, thank you! I have a question: Here you work on two sides of the glass. Don't you get into trouble with firing in the kiln if you paint on both sides? In other words, doesn't paint soften when you heat it up again and won't it stick to the kiln stone on which the glass piece rests?
Hi! I enjoyed the work a lot! The lines at 1:03 is my fav. Your drawing is similar to Oli Mueller. His work reminds me of Sarah Tepes mixed with a blend of Andy Warhol. He is the most insane painter from America and he legitly goes off every time on RU-vid! You should definitely check out his page out and give the painter a like! 👉 #PaintingsByOliMueller
HELP!! Your work is beautiful .That's why I'm asking you this. I'm new to the art of glass and trying to learn what oxides make what colours. Are you able to tell me how I could make my own black liner and brown shading? I was wondering if I could use iron oxide with fine frit and gum arabic to make liner for laying out my cartoons and would it fire like stains. Thankyou for the inspiration.
Hi Joe, Thanks for your kind words. I highly recommend you buy your vitreous glass paint from a supplier like Bendheim or Reusche if you are in the US, Pearsons or Kansa Craft in the UK. Or simply search for a stained glass maker near you and ask if they will sell you a small amount of paint. Many have tried to make their own glass paint, which often does not fire properly, and then all your hard work is for nothing.
@@cathedralstory Hi Thank you for your reply. For me the want to know how to produce the ancient co;ours is more a need to know than the availability of paints. Learning how the old artists applied their craft is part of my love for this art. This seems to be one of those arts where the more I know the more there is to learn.
Could you please provide some information about the chant used in the video please. For example, the name of the song and when it was recorded..Thanks in advance
+THEakexco It's 'A Hymn to the Mother of God' by John Tavener, sung by the choir of Canterbury Cathedral under the direction of David Flood. The organist is Timothy Noon. It was recorded only a few years ago, and you can get the CD 'A Canterbury Christmas' in the cathedral's online shop.
+laiosto The pins hold the panels in place, but there is putty between the metal frame and the stained glass panels to make it weather tight. We remove the putty by scraping it away carefully with knives and scalpels, and then gently ease the panels away from the frames. You are clearly eagle-eyed, because what you see here is a little staged; all the scraping and easing was done before I started the camera, so it looks as if there was no putty.
I'm in the trade and have smashed many a piece of glass de-glazing panels from steel frames,masonry and the worst has been aluminium frames where mastic has been used.Not hard enough to hack out with a putty knife but too solid to use a Stanley knife to cut them out.It is good watching how others work.
+laiosto We are lucky in that the putty used here is traditional linseed oil putty, which is soft enough to be scraped out with thin blades (thankfully, since the glass we are talking about can be over 800 years old).Have you tried a Fein saw o similar tool? It has an oscillating blade (comes in toothed steel and also in diamond-coated), and it may help with your hard mastic.
***** I haven't tried that.Should give it a go.We do use small angle grinders with masonry discs for masonry but that is about it.I take it that the putty you are removing is not the steel frame linseed oil stuff.Here in Australia,handily containing asbestos,the wonder product with no health issues whatsover! Just out of interest,was the lead the original medieval product or was there evidence of later rebuilds? I've worked on French built panels from around 1890 where the lead was still very strong,In comparison some modern panels less than 20 years old that just fell to pieces.
+laiosto The lead in the windows of Canterbury Cathedral is not the original medieval lead - we only have small remnants of the original lead matrices that were 'saved' in the 1950s when some panels were restored. During the 19th and 20th century all of the medieval lead was replaced with modern lead (but it may in fact still be the medieval lead, just re-cast and milled). We now do not find any reason to take the panels apart - the 19th century lead is in perfect condition, and the 20th century lead is, too. There is, however, a problem that seems to affect panels that were releaded after WWII - many of them are warped and bowing, and we suspect that it is caused by replacement lead that is thicker and 'stronger' than the 19th century lead, and certainly much thicker than the medieval lead. I have seen this is other places: windows that were in thin-walled flat profile 19th century lead, and were deemed to be a little too floppy to be safe (but were perfectly flat), were taken apart and releaded with much sturdier round profile lead. 20 years later they could be used as salad bowls - they are tight as drums and bowing so much that the glass is braking. The window right next to it was not releaded, is still floppy, but is still perfectly flat. All that was really needed was re-cementing (or if you have fragile surfaces, protective glazing) and making sure that the panels are properly attached to the glazing bars. Long story short: strong is not always good.
a fascinating glimpse of how the eighteenth century interpreted motifs for what seems to me to be an essentially medieval medium. A smashing window (sorry) and a very lively bit of action film. Many thanks
Hi, I am currently working on the development of a new television series for Discovery. We would be interested in including an extract of the above video in our programme and I wonder if you can tell me whether this might be possible? Check your inbox for Details, thanks
