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The glass floats on the tin, and levels out as it spreads along the bath, giving a smooth face to both sides. The glass cools and slowly solidifies as it travels over the molten tin and leaves the tin bath in a continuous ribbon. The glass is then annealed by cooling in an oven called a lehr. The finished product has near-perfect parallel surfaces.
Blenko Glass Company used this method to make flat glass during the 20th century, but it used a process patented by William Blenko that used molds for the cylinder to enable consistency in the size of the glass. In Blenko's case, slight imperfections were desired for the purpose of giving the flat glass the appearance of antique glass. [1]
Came glasswork includes assembling pieces of cut and possibly painted glass using came sections. The joints where the came meet are soldered to bind the sections. When all of the glass pieces have been put within came and a border put around the entire work, pieces are cemented and supported as needed. [1]
The technique is first seen in ancient Roman art of about 30 BC, where it was an alternative to the more luxurious engraved gem vessels in cameo style that used naturally layered semi-precious gemstones such as onyx and agate. [1] Glass allowed consistent and predictable colored layers, even for round objects. [2]
However, glass was being produced in Roman contexts using primarily Hellenistic techniques and styles (see glass, history) by the late Republican period. The majority of manufacturing techniques were time-consuming, and the initial product was a thick-walled vessel which required considerable finishing.
Claw beaker from an Anglo-Saxon site.. Anglo-Saxon glass has been found across England during archaeological excavations of both settlement and cemetery sites. Glass in the Anglo-Saxon period was used in the manufacture of a range of objects including vessels, beads, windows and was even used in jewellery. [1]
The Gennadios medallion in New York, illustrated above, is a fine example of an Alexandrian portrait on blue glass, using a rather more complex technique and naturalistic style than most Roman examples, including painting onto the gold to create shading, and with the Greek inscription showing local dialect features.
One of the largest and last examples of Art Nouveau decorative glass in Paris is the cupola of the Galeries Lafayette Department store (1912). Early Art Nouveau stained glass generally used traditional techniques and subjects, but usually featured floral themes and women as the central figures.