The post Art Deco style with leaves first appeared on La couleur du verre.

Used in geometric or Art Deco compositions, these textures create an effect of tension and contrast that animates the whole. On the other hand, designed to cover the entire glazed surface, they become the contemporary expression of an abstract and timeless stained-glass window.

The post Exploration on glass: bespoke textures first appeared on La couleur du verre.

Glass painting is therefore rarely used to color glass. On the contrary, it is more often found to draw motifs and patterns, to depict people, flowers or other ornamental elements. The result is often a window depicting a picture as would a painting on canvas. Through my research, I propose a different interpretation of glass painting that transforms the color of glass. It is no longer a question of painting a pattern but of transforming the entire surface of the glass to create a new tint or enhance the original color of the glass. The application of paint then makes it possible to obtain a surface effect rather than an ornament.

The post Exploration on glass: color gradients first appeared on La couleur du verre.

The post Abstract shapes first appeared on La couleur du verre.

In my Art Déco creations, I put the emphasis on a minimal use of lines, and try to avoid entangled shapes. Thus the lead work plays a large role in the graphic composition of the panels. I use various sizes of lead to create rhythm and structure.

Stepping outside most traditional Art Déco codes, I like to use colored, mouthblown glass in my panels and to combine it with industrial glass. This gives my creations a more contemporary look, and often surprises the eye.

The post Art Deco Style first appeared on La couleur du verre.

This research around textiles can lead to various paths, from wax to oriental and Japanese damask, passing through the designs of William Morris…

The post Exploration on glass: textile first appeared on La couleur du verre.

Recently, however, the desire to explore a different expression of the line, freed from lead, has given rise to new artistic proposals. By engraving or painting the lines directly on the glass, outside of any network of lead, I can combine these rhythms with a light, soft graphic design, displayed by the surface of the glass and not by the black outline of the lead. The result lies in the creation of stained-glass windows where lead, painted lines and carved designs mingle, intersect and merge to create elegant and refined atmospheres.

The post Exploration on glass: graphic designs first appeared on La couleur du verre.

In stained glass, the modern period tended to favor grey and white hues, but I often choose to select a color and work its tonal variations into the creation of a modern panel, thus deepening the richness of the reflections on its surface.

In modern windows, I also give importance to the negative spaces in the composition, where a lightness can be achieved by calling attention to the glass itself.

The post Modern style first appeared on La couleur du verre.

My own view of contemporary stained glass is focused on movement and freedom. My personal work is usually abstract and expressive. I am inspired by organic forms, and draw inspiration form nature.

Almost all my contemporary panels employ sandblasted glass onto which I carve my patterns and designs. I like to incorporate the matte aspect that sandblasting gives to the glass, and contrast it with shiny, smooth glass to diversify the effects of the light.

The post Contemporary Style first appeared on La couleur du verre.

The post Free exploration first appeared on La couleur du verre.