Brining You Up to Speed for the Large Chapel Window Unit

Let me refresh you where this project begins.

With drawing that I will use continually as references throughout the construction.

There are portrait drawings that are used for staining the faces for the final window.  As well as reference for cutting the garments that will go in place.

First the faces need to be completed before the unit can begin final stages of construction.

In the first staining the reference marks are laid on the glass.  The stain is crushed glass powder that is fired at high temperatures in a kiln that melts the crushed glass into the substrate glass leaving the design.

successive firings doing the same thing will darken the image.

The process is continued through several firings getting the face darker.

And darker.

 

 

And darker.

 

Where the piece rests at this time.  On the light box, I can judge how the sun might come through and if the shading is too light still, or right.

He will need another stain treatment and kiln firing but, I can begin to add more character to his features as, he is almost dark enough.

I am working on the other two faces and the dove getting them to the finished stage and then we begin cutting glass for the rest of the unit.

Thank you for following along.

♥

Our Special Couple

Our special couple is sister to who is giving the surprise gift treasure box.

Let me take you through their steps, as she is making them a booklet of the process.  This post is just for them.

Beginning with a reference photo, I take from this what will be the best once I have adapted to the size of the box that will be made.

Everything about the treasure box is glass and metal.  There is zero paint involved.
The paint is staining and the stain is comprised of fine ground glass mixed with minerals and ores that strike the intended color onto the substrate (clear) glass used as the "canvas".

Beginning with a reference outline, that is fired in the kiln to 1300 degrees melting the chips down into the clear glass and permanent.

I begin to slowly build up the composition

This last picture might be a tad blurry from the reflection of the lights.  See the two tones of the jacket the yellow and whites of the sweater, the build up in the hair and finally some skin.

Next additions are the lower firing minerals that will add colors.

Everything about using this method that dates back to the Egyptian era, is planning out mineral and ore strikes that color our project but fire at different kiln temperatures.  If you fire a mineral that strikes at 1000 degrees to 1300 degrees, then the color will evaporate.  The glass stays but without color.

Stay tuned we are adding blues next!!!

If you wish to be better notified about blog posts then please follow or at times I do post a newsletter.  You can sign up for that on the main website.
www.stagecoachplatte.com

Thank you for visiting!

Moving Forward with the Other Tables Project

When you look at the pieces I am creating on glass, I am using powder glass mixed with oil that strikes the color and design once it is fired in the kiln to melt it down into the substrate glass.

This is not paint although it looks as if it might be.

It is properly referred to as, staining.

Minerals and ores mixed with powdered/crushed glass, create the color.  The color surfaces from different temperatures.
A kiln is used to reach the desired temperature.


The growth of QT is a bit more advanced than the couple, as she is mostly the white color.

The colors as I mentioned are chopped and mixed with oils.  Each artists prefers their brand of oil to use and that become determined through their own experimentation.
The style for application has a specific method, however that can also become interpreted to each artist depending on their style and taste.

I explain this because I break from the pack and have a different style than most for applying my stains to the glass.

What I will show you is again, not "painted" but applied.
Chip by chip, drip by drip.
I use different brushes to move the elixir around until I am satisfied, then the oil evaporates off and I fire the powder residue left.

The technical stuff and chemistry and schedules I will leave off the explanation but, know there is more to this process than meets the eye.

A very labor intensive process but worth the results.

In the previous post we saw QT in her first fire in the kiln.
Here she is after many hours of application but, not yet ready for the next kiln visit.

Here she is ready for the next kiln visit.

I hope you are enjoying the process.

Thank you for visiting.

If you feel inclined, please share the link.
♥

On the Other Table

In addition to working on the chapel Window Unit, I am working on 2 other special order pieces.

1.  Celebrating life.  A special gift from her sister.

The first application of glass in the first kiln visit.

Using the reference I am given, I adapt what information will fit the size of the box ordered.

The second project is QT.

A favored doggie who is going to make a very special surprise gift for his wife.
This project is going to be a panel that will hang in their window.
The part I am working on now will be the center of the panel.

Her first firing went in like this.
Using this reference.

 

 

They are ready now for another kiln visit.

 

Come on back to see their progress!

 

Thank you