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FA: $5.00The Technique of Stained Glass
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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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