Create a unique sense of light and space in any interior.

What I love most about stained glass

It’s jewel-like quality, that only really comes alive in natural-light

The practical aspect of building a traditional leaded-light with a traditional lead ‘came’ matrix. It is heavy manual work, and a problem-solving exercise to put together. Not only does it have to look good, but it has to function as a rigid weather-proof barrier when fitted in an external location.

The craft of stained glass has a long history. It is a medieval technique that cannot be bettered with modern materials. It has changed very little since medieval times, including many of the tools we use to make it. I feel connected to the medieval craftsmen. If we met today, we would have so much in common!

What inspires me

I am strongly influenced by colour and pattern, giving out vibrance and positivity.

I am aware and appreciate all facets of historic building crafts and techniques, and marvel at how beautiful they are, how much care was taken to incorporate good balanced design, and how historic architecture, be it grand country houses, parish churches or cathedrals, or traditional vernacular construction, showcase all these things. I would love to see a widespread re-emergence of this attention to detail in modern construction, which would in turn give out more positive vibes and a sense of well-being to the general population.

Our built environment can be very powerful. Let’s use it for good!

An often-over-looked element of stained glass

The beautiful qualities of ‘imperfect’ traditional hand-made sheet glass, a wonderful alternative to the ubiquitous and ‘perfect’ modern day float-glass

How painted detail is applied to a traditional stained-glass panel

Traditionally the colour comes from the base glass, which was and still is, made separately, by a skilled glass-blower. The painted detail is applied to the glass surface using multiple layers of black paint pigment, which contains crushed glass and metal oxides. This is then fired in the kiln to fix it permanently onto the surface of the glass. The only early use of colour, introduced c. 1300, and which was a major breakthrough, was the application of silver-stain/silver nitrate. Once applied to the glass surface and fired in the kiln, the entire body of the glass becomes stained yellow/amber throughout. This is believed to be where the term ‘stained glass’ comes from.

The correct term for a stained-glass window

Therefore, based on the above paragraph, the correct term for a stained-glass window that has paint on it, and has been constructed with lead came, is a ‘painted, stained, and leaded glass panel’.   One without paint, but leaded with coloured glass, is technically a ‘leaded and coloured glass panel’, or simply a ‘plain glazed panel’ if it has no coloured glass.