Jersey Art SGS  gold hued glass

An Imagination Explorarium

We will be showing you a large number and range of pictures, we hope you find them inspiring, interesting, and helpful in developing your ideas, picking styles, and choosing techniques.

All of the pictures are from original Jersey Art designs, except where specifically noted.

Because of the number of photos, they are smaller than others elsewhere in the site. Sometimes this causes artifacts from the digitizing process, as seen at left. artifactThe image on the left shows a lead came that looks somewhat like rope, even though it is a normal straight came. (We've made the images small to encourage easy exploration, with the intention of simply feeding your imagination)

 

Let's start with some examples of mostly clear glass...
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Fig. 1

Bevelled glass sure is pretty! Bevelled glass bends light like a prism, sometimes breaking it into the colors of the rainbow, sometimes warping the view. Bevels are very lively, constantly presenting something different as you move. This example uses custom-made bevels, against a background of textured glass.

Fig. 2 Fig. 3 Fig. 4 Fig. 5

Clear glass is deceptive. It is elegantly simple -- but -- it is also visually complex! There is an undeniable purity to clear glass leaded windows.

Here we see examples ranging from contemporary to ornate. The glass used includes flat window glass, textured glass, rippled glass, and bevelled glass. The beautiful all bevelled-glass window above right is not a JAS original.

       
 

Now we’ll get just a little fancier...
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Fig. 6

The client chose to enjoy the view of the woods, and add a touch of the woods to the sky! Simple stylized colorful leaded glass branches in the two triangular areas bring the feeling of nature into the home. A functional benefit is a reduction in heat gain from the south-facing exposure during the summer, combined with shades in the center skylight section.

Fig. 7 Fig. 8 Fig. 9

Windows that present a simple aesthetic can be very pleasing. Here we see the subtle beauty of glass portrayed in the expanse of background glass, set off by the designs’ focal points. Notice how the borders frame each window with stronger visual elements, and help bring your eye back and forth from the central focus, across the background, to the edges. This encourages appreciation of the subtlety in the background glass.

Simple windows are very relaxing and thoughtful, restful to contemplate. Pause and look at these for a moment, and compare your feeling with what you see when you look at the windows in the above section. Art glass has the power to evoke moods -- as you can see if you make the comparision.

     
 

Glass can be further decorated with the technique of painting and firing...
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Fig. 10

The above example is NOT LEADED GLASS. The whole photo is one piece of painted and fired glass! Hmmm... lots of possibilities here -- painted sections can imitate leaded glass, can provide added detail, can look real or abstract, can add color and/or texture, can add emphasis, can... (fill in some more yourself!)

The paint used in this technique is fired in a kiln at high temperature to fuse the pigments permanently to the glass. It is similar to glazes on ceramics -- think how permanent they are!

Fig. 11
Fig. 12 Fig. 13
Fig. 14 Fig. 15

Here are some samples of painted and fired faces for your contemplation. Styles can vary considerably, to match the expression of the rest of the window.

Fig. 16 Fig. 17

This kitchen window uses just two types of glass, a semi-transparent flowing background glass, and painted and fired white glass.

More examples of painted glass can be seen in Commercial Commissioned Original Work.

Here we see a window that is a thorough exploration of leaded glass, in a wonderful balance of techniques. The sky and hills showcase the color variations in the glass. Next we come to a beautifully detailed view of the waterfront buildings. The painted detail hangs together very nicely, to give you a real sense of the town perched on the edge of the water. In the lower section the leading itself is on display, reaching a high point in the square-rigged ship in the lower right.

Fig. 18 Fig. 19

These two examples of painted and fired glass also provide an idea for your own residential window -- your family coat of arms. The technique of acid-etching was used for the red lions on the left. This technique used red-flashed on clear glass (a thin layer of red glass over clear glass) where the red is etched away where it isn’t wanted. The intensity of color is stronger than that available with glass paints. The armor used blue-flashed on clear glass which was etched, and silver stained (for the gold). Silver stain is where the term “stained glass” comes from.

Fig. 20 Fig. 21

The painterly quality of this piece is notable -- one example of why stained glass can be fine art.

A final example of painted decoration, this time various pieces of glass are leaded together in the panel. Most of the foreground pieces have paint decoration added.

   
 

Probably the most common use of art glass after windows is in doors and entries...
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Fig. 22

Fig. 23This magnificent entrance is (unfortunately) not an example of our studio’s work. These are interior doors to the James Library (now the Museum of Early Trades and Crafts where we did extensive restoration) in Madison, NJ. The photo at right shows one panel in detail.

Notice the beautifully intricate leading, the wonderful shapes, and the rich patina of the oak frame. Also interesting is the very narrow border glass, and the combination of thick and thin cames.

Fig. 24 Fig. 25

Here’s a striking massive oak door, with a small leaded glass window that adds even more character. The leading is puddled with solder for an older, more wrought look.

Fig. 26 Fig. 27

Another example of smallish windows in a massive door. Art glass transformed the door from something so-so to an entrance with character and impact.

Fig. 28 Fig. 29 Fig. 30

Three views of the same entrance, in a contemporary style, with prairie school roots.

Fig. 31 Fig. 32 Fig. 33

Nine more doors for your viewing pleasure...

Fig. 34 Fig. 35 Fig. 36
Fig. 37 Fig. 38 Fig. 39

If you are considering a new door, note that our studio can fulfill your needs completely (both wood and glass, design to installation).

       
     

And now for something completely different (well really just somewhat different) in uses of art glass...
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Fig. 40

Mirror, mirror, on the wall, isn’t this a neat install?

Lack of windows in the wall? How ’bout a divider tall?

Fig. 41
Fig. 42

Leaded transom in the corner --

Leaded transom transomed!

(left window not JAS original)

Fig. 43
Fig. 44

The two windows on either side of the pulpit aren’t windows at all, they're backlit panels.

Here's an interior window between the kitchen and the entrance hall.

Fig. 45
     
 

Finally, let’s delve more specifically into style...
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Fig. 46 Fig. 47 Fig. 48 Fig. 49

These are four of eight windows we restored in Port Ewen, NY. They are not Jersey Art original designs, but are presented because of the interesting range of styles, all in one church.

Fig. 50 Fig. 51 Fig. 52

Let’s look at sketches. The finished window is on the left, its sketch in the middle. The sketch on the right was done at a later time for the same church, and although the sketch looks like a substantially different style, it really is only a different way of depicting the lead cames, and the finished window is very much the same style.

A sketch can be done in a variety of mediums, such as watercolor, pencils, or on the computer. Each will have a different look. Remember, a sketch can only be an approximation of the finished window.

Fig. 53 Fig. 54

These two sketches show an interesting style of window. It is reminiscent of the effect of bevelled glass -- it appears prismatic and refracting. If you think of a play on words, this is sort of a play on glass.

and a few more styles we haven’t seen elsewhere in the site...

Fig. 55

An elaborate sidelight on the left...

and a classic Victorian design on the right
(not a JAS original)

Fig. 56
Fig. 57 Fig. 58

A window that looks almost Aztec, and a window with striking geometrical patterns, contrasted with more natural plants.

This window was designed in the Tiffany style, showing architectural elements and plants in a landscape view using American opalescent glass.

Fig. 59
Fig. 60

We’ll finish with this John La Farge window. He was a contemporary of Tiffany, and is a well-known stained glass artist. This window is approximately 3 1/2' wide x 1 1/2' high, and is very heavily leaded indeed!

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