Techniques

Modern panes are vary stable in the chemical sense – however, they can be etched with hydrofluoric acid.
Especially in authentic antique panes flashed with several layers of paint, highly brilliant structures can be created with this technique.
However, only for the matting of panes do we mostly use the sand-blasting technique because it is more eco-friendly.

Here, you will find more information on the etching technique.

Leaded glass is, in a manner of speaking, the design-related "bracket" which underlies many techniques.
With the lead profiles, the most diverse of panes can be fused, i.e.:

• Ornamental panes
• Cast panes
• Authentic antique panes
• Drawn panes
• Sand-blasted panes
• Painted panes
• Incl. screen printing
• etched panes
• fused Panes
• deformed panes
• mirrors
• also sand-blasted or "door-viewer mirrors"
• ...

Here, you will find more information on lead and brass glazing.

Facings, lenses and glass rods offer the possibility of achieving particularly appealing effects in the interplay with light.
In this case, however, the result does not always have to be traditional.
Here, for instance, you see a glass rod built in between the two red panes.

Here, you will find more information on facings

With the Fusing technique, one can smelt and form coloured panes without separators such as leads.
The panes can then be processed to make insulated glass or laminated safety glass with PVB film.
Kilns with a working space of up to 2100 x 3500 mm enable you here, too, quick and spacious work.

Here, you will find more information on Fusing glass."

The cast-resin technique is not only applicable to soundproofing or the manufacture of composite panes with safety properties, i.e. for Fusing panes.
With the cast-resin technique, also glass can be designed in various ways, i.e. by:

• The use of coloured cast resin (s. image at left); also with runs and various colours.
• Incorporation of:
• suitable components
• printed templates (if these should be well-legible, they should only be printed on one side)
• suitable materials (s. image at left), etc.

Here, too, however, the exact moisture load (along with the desired durability) should be clarified in advance.

Here, you will find further examples.

With the aid of modern, partially dual-component glass adhesives, particularly coloured-glass applications adhere well to safety-glass panes.
Here, too, however, the exact moisture load (along with the desired durability) should be clarified in advance. Although modern adhesives work very well, one should not over-estimate their capacity.

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Another possibility for glass design in our kilns.

Above, you see a "little man" in Fusing style – below, two fruits made of glass. Both were displayed at the glasstec 2000 according to the design and shapes by Sabine Wiedemann.

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With the aid of the screen-printing technique, particularly fine structures – even photos – can be integrated into the glass design.
In this process, glass paint does not always have to be applied. By way of screen printing, also cover materials can be used to apply designs to glass – in order to process it further (i.e. by sand-blasting or etching).

Here, you will find more information on screen printing.

In the course of many years, concrete glazing was a popular technique.
In the last several years, however, it has lost significance due also to new development such as i.e. Fusing.

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Also digital printing on glass can, particularly in the profane domain, be an option for design.
In this process, photos, surface structures - i.e. of stones or wood, but also graphics and texts – can be reproduced. Depending on their weight, surfaces of up to 2150 mm width x 6000 mm (limitation due to the e max. length of the pane) can be printed.
Printing can be combined with i.e. sand-blasting or other glass-design techniques. Of course, also background lighting can be applies to the printed surface.

Also, other materials (such as i.e., metal) can be printed with this technique.

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With float-glass painting, significantly larger glass formats can be processes than with glass painting on hand-blown panes (pane size of up to - max. - approx. 90 x 120 cm and/or approx. 60 x 90 cm for authentic antique panes) or machine-drawn panes (max. pane size approx. 160 x 180 or 240 ).
Float-glass paintings can also be further processed to make toughened safety glass or laminated safety glass, as well as for sand-blasting.

Here, you will find more information on float-glass painting.

Above and in the corresponding moulds, also glass objects can be manufactured in our kilns -
whether in this illustration featuring a bare back, bowls or fountains.

Here, you will find an exemplar by Ina Kriegelstein

As shown in the image at left (smelting of gold), these are another interesting variation in the design of smelted panes.
In addition to gold, also copper and silver can be smelted as sheet metal or wires.

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As classic or modern glass painting often associated with hand-blown authentic antique panes or machine-drawn coloured panes, some with simple or multiple colour flashes.
In addition to a comprehensive selection of panes and glass paints, our kilns (with a useful space of to 2100 x 3500 mm) are a significant factor in the implementation of you ideas in the area of glass painting.

Here, you will find more Information on glass painting.

With the sand-blasting technique, in addition to soft structures, also truly three-dimensional shapes can be derived from glass.
In principle, all panes are suitable for sand-blasting, even fireproof panes.
The depth of the sand-blasting, however, depends on the type and structure of the glass.
A particular depth effect is enabled by staggered sand-blasting of the front and rear sides.

Here, you will find more information on the sand-blasting technique.

are mostly further processed with the Fusing technique.
Particularly if complex motifs are already available in digital format, the water-cut panes are not as expensive as one would expect.

Here, you will find another water-cut motif