Inspiration often comes from architecture - like the arch in the vaulted ceiling of an ancient Saxon cathedral

- or perhaps an odd corner of a botanical garden where I might spot an unusually gorgeous panorama of plants, foliage, birds or insects, something that’s never quite seen in normal daily life

- or I capture some odd striking features of a place I’ve never studied cloesly before - like this amazing structure, which is the ceiling of the British Museum

After reviewing all the research material, I start by pencil-sketching on a drawing pad until I get a strong feeling for the powerful lines, shapes and possibilities I’m imagining.

I’m ready now to move to the computer screen to develop the Initial Line Design, the concept.

This takes many hours, as not only do I want it to look perfect, but I must be able to physically cut each piece in glass.

Once I’m really comfortable with the black and white line structure and overall shapes, I’ll add colours until the whole piece feels incredibly unified and exciting to me.

This is important as it’s this excitement that sustains me through the coming weeks of detailed glass cutting and grinding.

Having a solid set of visuals, I print out the initial design full size on paper.

If it’s a client commission I always work closely with them, sending these designs for their approval.

I want them to feel happy at each stage and love what they see.

Next I lay little chips of actual art glass on the paper so I can get an idea how it will look for real, rather than just referring to artificial computer colours on a screen.

This also helps me see the balance of opaque to clear glass in the overall context, and check the colour contrasts are powerful and striking enough to align with my vision.
I like bold contrasts, always have.

To achieve this I’m told I’ve taken glass cutting to a new level of precision.

"You are truly amazing. I love all your work. I totally appreciate how much work goes into a piece like this. I so wish my cutting skills were as good as yours."

Yes, it's painstaking but essential, as it’s the only way to get the Hard Edge effect I’m looking for, and avoid any fuzzy fused look, painterly look, or the need to physically brush paint on the glass.

That's not my style!

'Cobalt Cathedral'
Glass Art by Linda 2025

An example of frit glass painting from Angela's Art Glass

Before the now-assembled work can go in the kiln for firing, every piece must be scrupulously cleaned.
I use an ultrasonic cleaner for this, as anything less than spotless cleaning can lead to an imperfection in the final result - and this might jeopardise the whole effort.

As you can imagine, I had to learn this the hard way!

Laying 100-200 pieces on the kiln shelf can’t be rushed, as the project has now become a giant jigsaw that must fit absolutely flush, piece-to-piece, to get the perfect Hard Edge effect.

Further sanding and polishing is still needed, before a final Fire Polish.

If the plan calls for it, I may add stringers and extra glass highlights to enhance the surface and strengthen certain key architectural lines, and also improve how the work catches the light.

If it’s a bowl or 3D form, it’ll also need an extra kiln session to slump it into shape.

All these final touches give the work its maximum impact.