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FA: $5.00The Technique of Stained Glass



 
 
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Old July 30th 03, 03:53 AM
Elric of Imrryr
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Default FA: $5.00The Technique of Stained Glass

--
For sale by auction ending at:
ul-31-03 18:44:10 PDT
To bid go to:
http://cgi.ebay.com/ws/eBayISAPI.dll...tem=3540573766

The Technique of Stained Glass
By Patrick Reyntiens

Hard Cover, batsford Books, 1968, 192 pages, 232 black and
white illustrations 3 pages full colour
Book is very good, except for dust jacket whic is creased and
worn at edges.


As a medium for architectural decoration, stained glass is
unmatched for its brilliant colour and dramatic impact.
Contemporary artists have rediscovered this ancient medium
and architects have spearheaded a revival in stained glass,
calling upon leading British, American, and European artists
to create stained glass for churches and other public
buildings.

The Technique of Stained Glass answers the need for an
authoritative new technical handbook on the subject for
today's artists, designers, and craftsmen. The subject, of
course, is a visual one and Patrick Reyntiens has wisely used
visual means, wherever possible, to convey his meaning. 232
illustrations from colour transparencies, photographs and
line drawings, elaborate on and clarify individual sections.
Particular chapters are on: The Studio; Cutting Glass;
Technique and Methods of Painting, Staining, Aciding, Plating
and Enamelling; Firing; The Technique of Glazing; Fixing;
Exhibition; The Extended Use of Antique and Thin Commercial
Glass; Epoxy Resin; Dalle-de-verre. In addition, a Glossary
of Terms, Bibliography, and lists of Sources of Supply in
Great Britain and in the U.S.A. complete the usefulness of
this, the first comprehensive book on the technique of
stained glass.

Unmatched in scope and technical detail, The Technique of
Stained Glass has won high praise from practitioners in the
field; Stephen Bridges, Chairman, Committee of Apprenticeship
Training, Stained Glass Association of America, and former
Editor of the Stained GlassQuarterly comments: `This is a
thoroughly professional book . . . many an owner of a studio
would benefit from reading it. Young people beginning their
training should know it. It is full of detailed directions
carefully and clearly described.'

Patrick Reyntiens is a stained glass artist who has been
associated intimately with the major achievements in the
medium in England since, 1951. He studied at the Edinburgh
College of Art and his own work includes the complete Leyland
Priory, the RIBA award winning, church at Woodthorpe,
Nottingham, and two churches in Waterford, in the Republic of
Ireland. He has collaborated with artists such as John Piper
(with whom he is joint designer of the glass in Liverpool
Roman Catholic Cathedral), and their work includes Oundle
School Chapel, Coventry Cathedral and Eton College Chapel. He
has also worked with Ceri Richards at Derby and Liverpool
Cathedrals.

CONTENTS
ACKNOWLEDGMENT
INTRODUCTION
THE STUDIO
Personal side
Setting up the studio
Kiln room
Glazing room
Cementing room
Aciding compound
Packing shed
Drawing room
Business room
Telephone
Studio furniture
The easel
Mullions
Tracery technique
Storage of glass panels
The cartoon wall
Table
Glass racks
Additional racks
Lighting
Office discipline
Insurance


CHOICE AND STORAGE OF GLASS
I Crown glass
2 Norman slab
3 Crossed slab or pressed slab
4 Antique glass
5 Streaky or reamy glass
6 Sanded glass
7 Curious
8 Commercial sheet
Packing
Unpacking
Colour chart
CARTOONING AND DESIGNING
Photographic cartoons
CUTLINES AND SETTING UP THE GLASS
Setting out the cutline
Lead lining
Continental method
CUTTING GLASS
The cutting bench
Permanent cutting bench
Portable light-box
Continental method of cutting
Tools used in cutting
Cutting

Cutting large pieces
Choice of glass
Temper of glass
Flashed glass
Medium-sized cutting
Breaking
Cutting difficult shapes
Extra difficult cutting
Special cutting
I Glass too dark to see through
2 Very thick dark glass
3 Flashed glass
¢ Double-flash cutting
5 White commercial flashed glass and
opalescent glass
6 Exceptionally hard glass
General discipline of cutting
Policy of cutting
PAINTING, STAINING, ACIDING, PLATING,
ENAMELLING AND FUSING
I Painting
Equipment
I Broad hog or other stiff
haired brushes
2 Oil colour brushes
3 Soft oil colour brushes
4 Water colour brushes
5 Broad-headed flat soft

haired brushes
6 Riggers, liners, pencils
7 Small, long quill brushes
8 Chinese brushes
9 Other brushes
I o Badger brushes
Miscellaneous equipment
Special effects
Mixing the paint
Water container
Different palettes
Methods
Two positions of painting
Techniques
Tracing
Matting
Whipping

Matting without the use of the
badger
Painting
I Masking and lift-ground
technique
2 Oil and water techniques
3 Oil-ground paint
Firing out
II Staining
Samples
Different stains
Grinding stain
Tools
Technique
Staining on flashed glass
III Aciding
Equipment
Materials
Technique
IV Plating
Painting on aciding and plating
V Enamelling
Equipment
Technique
V I Fused glass techniques
FIRING
The stained glass kiln
Method of heating
Advantages of gas
Electric kilns
Siting of kilns
Materials of trays
Levelling the plaster
Placing the glass on the plaster
Handling of trays
Closed kiln firing
Open kiln firing
Temperature of the kiln and visual
appearance
The art of firing
Timing
Faults in firing
Breakages
Blistered paint
Disappearance of paintwork
Behaviour of glass in the kiln


STAINING GLASS
Mixing the stain
Firing stain
Faults in staining
Additional technique
ENAMELLING
GENERAL THOUGHTS ON FIRING AND
KILNS
THE TECHNIQUE OF GLAZING
The glazing bench
Tools
Glazing
Stretching the lead
Mitring corners
The lathekin
`Full' and `slack'
Glazing plating
Glazier's pie
Soldering
Types of soldering iron
Technique
Soldering that can go wrong
Sequence of soldering
Turning over the panel
Specialised glazing techniques
Glazing of traceries
Division leads
T-Bar glazing
French glazing
Sub-soldering
Solder
Pre-cementing technique
Cementing
Banding
Saddle-bars
Placing
Method of making copper ties
Method of making division copper ties
Attachment
Placing
Lead calmes
Melting the lead
PACKING
Materials
Method


Final packing drill
Delivery of glass to site
FIXING
Pointing
PRESENTATION IN EXHIBITION
Method of mounting
Artificially lit panels
EXTENDED USE OF ANTIQUE AND THIN
COMMERCIAL GLASS
The question of interval
Fused glass
Method of laying out
Cutting
Attaching the glass
Behaviour of glass
Fused glass in polyester resin
Glass overlaid by polyester resin
Method
The mould
Safety precautions
Fibreglass and polyester resin
Tools
Materials
Method
Cutting the fibreglass
Mixing resin
Making the panel
Epoxy RESIN
Antique glass used in clear epoxy
ALTERNATIVE TECHNIQUES
Gemmaux
Glass and metal windows
Grilles outside windows
DALLE-DE-VERRE
The glass
The studio
Ordering, unpacking and storing
Cartooning
The cutline
The cutting bench
The cutting area
The cutting anvil
Tools
Method of cutting
Angle of chip

Side hitting or knapping
Armatures
Mould making
Packing under the glass
Casting
Colouring of the concrete
Action of casting
French method of dalle-de-verre in concrete

Epoxy resin bonding
Mixing the resin
Completion of the panel
Discipline in casting
Final cleaning and curing
Epoxy and concrete
GLOSSARY
BIBLIOGRAPHY
SUPPLIERS IN GREAT BRITAIN
SUPPLIERS IN THE U.S.A.
INDEX
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