HOW ARTISTIC STAINED GLASS IS MADE
Drafting and marking
The artist outlines the idea of the stained glass in a drawing on paper (draft) with the required forms and colours. Once the drafts are approved by the principal, the draft is enlarged to life-size using scenery paper; afterwards, an outline is prepared on tracing paper and then on card/board, marking the lines to define the exact form and dimensions of the details. The cardboard is then cut with specific scissors (with three blades) in the points matching the outline of the leading, thereby producing templates previously numbered by position and colour.
Glass selection
Glass selection is extremely important for the optimal outcome of the project; the artist carefully selects colours and shades to highlight multi-colour details.
Glass cutting
The craftsman glass-maker begins the cutting stage by placing the cardboard template over the glass. Cuts are made entirely by hand and requires great precision and skill. After cutting, there are still live edges that are very dangerous for the craftsman - they are eliminated by special honing operations.
Preparation of the painting
This is an extremely delicate stage. It involves preparation for painting, in which - after cutting - the individual pieces are aligned by numbers on a transparent glass base strictly in keeping with the outline of the previous life-size draft; each one is affixed to the glass base using fresh beeswax so that the artist can work in a vertical position and thus observe the entire multi-colour mosaic in overall terms. In this way, the artist can see the entire work in transparency and paint all the shades required.
Painting
For decorated stained glass, all the colours are in the blown glass used to make up the composition. Important details have to be finalised for the successful outcome of the project - such as faces, hands, symbols and letters - as well as subtle shades that ensure harmony in the transparent portions. Painting on glass involves colours based on metal oxides known as "grisaille".
Curing
This is another very delicate and important stage. It involves baking the glass in a numerical control oven, at a temperature of about 620°C. This process bonds the "grisailles" and the glass together.
Leading and soldering
The leading operation is the completion of a mosaic finalised by placing strips of leads in the pre-marked positions and then fitting - piece after piece - the stained glass into the specific grooves. Only after years of experience does a craftsman acquire the skill and dexterity needed to "set" decorated stained glass. The completion of leading work requires planishing the lead portions so that they adhere to the glass parts; work is completed by 60% tin soldering on both sides.
Cleaning
Another very important stage is cleaning. This involves eliminating the oxide released by the acid used in soldering, followed by burnishing to harmonise the leading. Careful cleaning of the glass parts is completed by implementing the safety standards required for stained glass installations in various countries.
Materials
Stebo stocks more than 200 colours of blown glass used in its artistic stained glass products. The company only uses the best blown glass available on the market (Lambert and Saint- Just). The leading is produced by a craftsman workshop to ensure the malleability needed for every type of project.
References
 | Parish Church - Montenàrs - UD |
 | Istituto Opera della Provvidenza Sant'Antonio, Sarmeola di Rubano - PD |
 | Parish Church - Salt di Povoletto - UD |
 | Parish Church of San Giacomo di Albignasego - PD |
 | Parish Church of San Giacomo di Albignasego - PD |
 | Parish Church - Treviglio - BG |
 | Parish Church - Treviglio - BG |
 | Parish Church of Montenàrs - UD |
 | Cappella dei Missionari Verbiti. Riva del Garda - TN |
 | Parish Church of Solesino - PD |
 | Parish Church of San Giacomo di Albignasego - PD |
 | Parish Church of Giacomo di Albignasego - PD |
The artist outlines the idea of the stained glass in a drawing on paper (draft) with the required forms and colours. Once the drafts are approved by the principal, the draft is enlarged to life-size using scenery paper; afterwards, an outline is prepared on tracing paper and then on card/board, marking the lines to define the exact form and dimensions of the details. The cardboard is then cut with specific scissors (with three blades) in the points matching the outline of the leading, thereby producing templates previously numbered by position and colour.
Glass selection is extremely important for the optimal outcome of the project; the artist carefully selects colours and shades to highlight multi-colour details.
The craftsman glass-maker begins the cutting stage by placing the cardboard template over the glass. Cuts are made entirely by hand and requires great precision and skill. After cutting, there are still live edges that are very dangerous for the craftsman - they are eliminated by special honing operations.
This is an extremely delicate stage. It involves preparation for painting, in which - after cutting - the individual pieces are aligned by numbers on a transparent glass base strictly in keeping with the outline of the previous life-size draft; each one is affixed to the glass base using fresh beeswax so that the artist can work in a vertical position and thus observe the entire multi-colour mosaic in overall terms. In this way, the artist can see the entire work in transparency and paint all the shades required.
For decorated stained glass, all the colours are in the blown glass used to make up the composition. Important details have to be finalised for the successful outcome of the project - such as faces, hands, symbols and letters - as well as subtle shades that ensure harmony in the transparent portions. Painting on glass involves colours based on metal oxides known as "grisaille".
This is another very delicate and important stage. It involves baking the glass in a numerical control oven, at a temperature of about 620°C. This process bonds the "grisailles" and the glass together.
The leading operation is the completion of a mosaic finalised by placing strips of leads in the pre-marked positions and then fitting - piece after piece - the stained glass into the specific grooves. Only after years of experience does a craftsman acquire the skill and dexterity needed to "set" decorated stained glass. The completion of leading work requires planishing the lead portions so that they adhere to the glass parts; work is completed by 60% tin soldering on both sides.
Another very important stage is cleaning. This involves eliminating the oxide released by the acid used in soldering, followed by burnishing to harmonise the leading. Careful cleaning of the glass parts is completed by implementing the safety standards required for stained glass installations in various countries.
Stebo stocks more than 200 colours of blown glass used in its artistic stained glass products. The company only uses the best blown glass available on the market (Lambert and Saint- Just). The leading is produced by a craftsman workshop to ensure the malleability needed for every type of project.