Carved Table

This is a tabletop I carved in 1987 and posted last Friday.

One can see how easy it would be to lose the whole project by simply over-carving or having the resist come loose.

There are two motivations when working on a project like this. One is to create a beautiful object, the other is fear of losing my independence.

Beveled Glass Entry

I created the beveled glass door on the left for a gentleman who was starting his own real estate investment company 30 years ago. He has recently moved into a much larger office with a larger door. One of our projects this month was to modify the original glass with our 1915 Henry Lang beveling equipment and install it in the new opening.
The office staff had become quite fond of their entry door. Many consider it their signature piece.

Glass Carving

Carving glass is very tedious.
This was a 3/4″ thick tabletop that I carved an Art Deco design into. Getting into the right frame of mind, and maintaining it, in order to create such a large, intricate piece is a large part of the project that one rarely hears about.

Visiting Blenko Glass Co.

The relationships we develop along the way are a large part of the richness of our lives.
I wish I could remember this gentleman’s name, at the Blenko Glass Company in West Virginia, but I do remember his genuineness and kindness.


Turning a strip of glass into a 3-dimensional leaf took me years to perfect. I would often show guests baskets of hundreds of tries that I rejected before I was satisfied with something we could use.

I’m not sure what possesses me to go through this journey, but I am thankful to teach my fellow artist/craftsmen how to carry on and expand on this technique.

Carved Glass Shadows

This is a fireplace screen we created around 40 years ago for a couple who had a room dedicated to art deco.
When we delivered it, all of us were so taken by the light and shadow casting from the carved and clear glass, that we ended up finding another place for it.


Nearing the completion of our window with the extended branches.
Critical decisions will be made today. Much discussion, one can just feel the excitement.
I wish I could say we break out into the Electric Slide to break the tension, but that’s not quite true.

Wayne Cain

I feel fortunate to head up an organization that is so sensitive to the needs of the elderly.

I explained to my fellow artist/craftsmen last summer that we will probably keep on doing this up until the time I’m setting over in a corner looking like the late Stephen Hawkins did in his final years.

Embellishing a Traditional-Styled Transom

I have always enjoyed the challenge of embellishing a traditional design.

By slightly varying the widths of this fan transom, I believe it contributes to the inviting charm of this entryway into a well-appointed sun porch.

Richmond, Virginia, where I grew up and began my career as an artist/craftsman, was an excellent place to study the details of architecture. I am fortunate that my work has taken me into many of the historical homes where craftsmanship was highly regarded.

Flameworking and Ideas

Today, once again, we are pushing the boundaries of our art. Just the beginning, but it lets us know that our idea will work and we can move forward.

This is a transom over a stairwell, with one side at normal height and the other side a 1/2 story lower. There is a skylight above the transom.

We thought it would be interesting to create wire “branches” to extend the leaves and petals beyond the surface of the window so the light from the skylight would filter down through our dogwood tree top.

Fused Glass Doors

I created these two, double panel doors for a third-floor kitchen in a beachfront home in Duck, North Carolina.
Being high up, I thought it would be nice to have a feeling of being in the clouds while cooking and dining.

This was around 1985 when some of the glass factories began offering glass that made it possible to fuse different colors together. By cutting the glass slightly larger than the patterns, overlapping the edges and firing to the melting point, I was able to make these panels without lead lines. This allowed the sunlight to “hang” on the fused joints, moving from joint to joint as the day progressed. An unexpected and surprising discovery from this new process.

“Parts” Windows

This is what we call a “parts window.”
The biggest challenge on the restoration of an older church, in this case, 1906, is finding glass that matches the original glass. One of the first things we look for is a window that is visually isolated from the main windows in the sanctuary. This window was in the vestibule. If we’re fortunate to have one, we’ll dismantle it and use the “parts” to match the original glass in the sanctuary windows.
Then we will rebuild the window with new glass that comes as close as possible to the original glass.

Stone and Glass

I created this wall hanging around 1985, back when I was using a simple point-and-shoot camera.
I made the structure out of bronze, cut various stones for the inserts, and silvered and solder sculptured the tree area.
This was a rare attempt for me to create something different for a hallway, where I only had reflective light to work with.

Glass Jewels

Glue chipping is a process where hot animal glue is poured onto the sandblasted surface of clear float glass. As it dries, the glue shrinks, removing flakes of glass from the surface.

This is one of six sheets we are currently making that has been chipped three times to achieve its beautiful character. In a few weeks, it will be cut to pattern, beveled and provide the background glass for the entryway in an 1880’s home in Richmond, Virginia.

Triple Glue-Chip

Glue chipping is a process where hot animal glue is poured onto the sandblasted surface of clear float glass. As it dries, the glue shrinks, removing flakes of glass from the surface.

This is one of six sheets we are currently making that has been chipped three times to achieve its beautiful character. In a few weeks, it will be cut to pattern, beveled and provide the background glass for the entryway in an 1880’s home in Richmond, Virginia.

Carved Bevels

I appreciate how the vanishing line brings depth and perspective to a work of art.

I am especially fond of how it engages the imagination of the viewer, providing them with their own unique view of the object.

Carving in glass, with its delicate technique, is one of the best ways glass artist can express this concept. With the changing of light, the effect is even more striking.

Skylight Restoration

This was a skylight from the stairwell of a three-story townhouse in Baltimore, Maryland. There is a general rule in color, that if one can not match it, choose another that works but is different. The idea is that it’s better to look like the choice was intentional and not a “missed hit.”
Fortunately, the centerpiece was missing which gave us the opportunity to practice this theory.

Beveled Glass Design

I created this design about 25 years ago for my own enjoyment.
My thought was to bevel various angles on 3 different thicknesses of clear glass for the accent pieces. Then surround them with the beautiful striations and bubbles of blown glass.
I also find it interesting, the symbolism one can read into one’s work when drawing in a “free association” state of mind.

Beveled Glass Window

Traveling through the Church Hill section of Richmond Virginia last week, I came across a beveled glass window I created for an entryway around 1982.
If you look close, you will notice the variable bevels, wider at the larger end and tapering to the narrow. In order to create this effect, I needed to work with 3/8″ glass. It takes considerable skill to cut glass that thick and bevel it so it fits into a relatively narrow zinc came.
It was quite gratifying to see how beautifully my work fits into this historical neighborhood 37 years later.

Wild Honey – The Beach Boys

It’s not often a client comes to our studio with an album cover in hand, requesting that we use the background from the Beach Boys, Wild Honey album as inspiration in creating a transom window for his listening room.

For us, it was a wonderful opportunity to be playful with color, our flameworking, and the push-pull effect of opaque and translucent glass in the same window.

Flameworked White Lilies

Here is a beautiful example of what some of us glass artists call, “the moodiness of glass.” This particular effect was enhanced by the inner-city street lights.
Ever since we started flameworking 6 years ago, in our pursuit of recreating the translucency of nature in glass, we have had many surprises. This window was a giant step in the evolution of our work.
This white lily window is one of our favorite. It is now in the home of two professors in Germantown, Ohio.

Huguenot Society Restoration

Last Friday, we spent the day performing light restoration on the stained glass window at the Manakin Church, just west of Richmond, Virginia. The church was built in 1895 for $129.00, using mostly materials from the previous church that burned.
The only stained glass window, the “Parable of the Sower” depicts the sower scattering seed, a symbol of the Word of God. Some seed has fallen along the wayside and is being devoured by birds, while another seed has fallen on stony ground where it will die. The seed that fell on fertile soil will flourish, symbolizing the virtuous life.
When I first started my career in stained glass, it was very difficult obtaining commissions. I ended up performing a lot of restoration work, mostly on churches in impoverished areas that were heavily damaged.
It was hard, dusty work but a wonderful learning experience.

Silvered Mirror

This is a mirror I created around 25 years ago.
The only request my client had was to use some tiles that she was quite fond of.
After designing and beveling the glass, I silvered the outer pieces darker by contaminating the silver solution. Then silvered the large centerpiece lighter so it would draw the user into the mirror.
Sculpturing the solder to hold everything together and applying a patina completed the piece. I am especially fond of the way the roots are squeezing through the tiles.

Lead Rosettes

Over the years we have restored quite a few leaded glass entryways. Many of them had little rosettes used to embellish the joints between simple lead lines.

Whenever we found a rosette, we would always make a mold so the design could be reproduced.

Wild Honey Stained Glass Window

One of our current projects is recreating the design for The Beach Boys album, “Wild Honey” cover with stained glass.
Our first goal was to create a jewel-like effect for the centers of the flowers. By experimenting with many different colors of glass and how they reacted to flameworking, we were able to find ones that would reconfigure themselves into the jewel-like quality we were seeking.
Now that we have our focal points, we will begin creating the rest of the window around them.

Newcastle Stones for Beveling

The smoothing stone on our 1915 Henry Lang beveling machine was mined by the Newcastle Stone Company in England. This was the only mine known that had the consistency of sandstone, free of any imperfection that would scratch the glass being smoothed.
The company is no longer producing these stones, they are being replaced by modern, man-made stones. So far, I have worn one out, but have 3 in reserve that I found over the years.
A finely adjusted stream of water “lubricates” the surface, from there, the quality of the bevel is up to the skills of the craftsman.
Starting with firm pressure and finishing with a light touch gives the finished piece a smooth surface but leaves the slight facets of a hand-made bevel. This is what gives the finished window the desired prismatic effect.
What I have found most interesting is how the process requires constant focus and attention, leaving little room for the mind to wander.

Monterey Presbyterian Church

We installed a window we’ve been working on for the last 6 months, a restoration project of a 100-year-old window.

The challenge in these projects is finding matching glass. We visited The Paul Wissmach Glass Company (1904) in West Virginia and found some of the border colors. For the background, we worked with Kokomo Opalescent Glass Co. (1888) in Kokomo, Indiana, who found matching glass in their storage.

Beveled Glass Window

I created this window for an elevator door in a home around 30 years ago. I believe it is the first time I started using extended lines in my work.

Traditionally, the lines in art glass stop when they connect to another line. I believe the extensions developed in my design process of drawing lines on paper, erasing, redrawing and finally realizing in seeing the new lines overlaying the shadows of erased lines, the possibility of a new design element.

Value in Developing Art

One of the reasons I was so drawn to becoming an artist/craftsman was that I saw the value in being able to develop a piece of art from start to finish.
Starting with a piece of paper, a pencil, one’s imagination, an idea, and then seeing how the materials interact completes the design process.
Being able to make a living through creativity has given me enormous satisfaction throughout my life.

Sculpted Tree

Introducing sculpture into our work around 25 years ago opened up so many new design possibilities.
Traditionally, we were limited to designing with lead cames of consistent widths.
I have no idea how long I spent sketching this idea, trying to build character. Nor, how long it took Daniel to bring it to life.

Painted Grapes on Glass

In February 2013, we completed 2 rose windows for the Priory at St. Thomas Aquinas Church in Charlottesville.

This is one of the sections that shows the highly developed painting skills of artist, Daniel White.

The surrounding glass framing the painted piece was carefully chosen to compliment the painting, while at the same time not distracting from it.

My First Wife

Next month, I will celebrate the beginning of my 48th year of working in art glass.

Fresh out of college with a degree in sociology, I knew that I wanted to be self-employed, have my own product, and be compensated in relation to the effort I put into my career. My philosophy was that one should work and make the money needed to live the life one desires, balanced with the freedom to enjoy life’s other pleasures. I also knew I would never be happy in a structured work environment, following someone else’s direction.

In June of 1972, I drove my 1962 VW bus to Whittemore-Durgin Stained Glass Supplies, in Rockland, Massachusetts to purchase some sheets of stained glass, foil, lead came and solder to begin my journey. I remember sleeping in my bus to save every penny I could to buy my first supplies. Those of you who know me, know I’m a rather “thrifty” fellow.

Literally starting on the kitchen table, I made hanging apples, pears, cherries and chickens that stood on one leg, selling them at craft fairs and gift shops by the dozens. I was one happy fellow, finally free of what everyone else wanted me to do and heading down my own self-directed path.

This is Sue, my first wife, showing off my creations. The most tolerant and supportive woman a fellow could ever hope for.

Behind the Bevels

Some of the magic we’ve discovered over the years, working glass over our 1915 beveling machinery.

Cutting 3/8″ and 1/2″ glass to a pattern, and free-handing them over large steel, stone, cork, and felt wheels that are rotating around 200 RPM, one is able to create various angles that bring character to the overall project.

We achieve the gold by using an old mirror we found that still had some of the tarnished silver. By carefully cutting and going through the beveling processes, we were able to preserve enough to give the pieces a special antique sparkle. Under the round bevel, we placed a piece of iridized glass to reflect light.

Over the years, we have discovered many little techniques such as this through our constant “thinking and doing, doing and thinking.” Thank you, Goethe.

Preparations for Projects

A lot of thought goes into the preparation of our art.
Communication with our client, often visiting the site, designing and design approval, creating patterns, color selection, and pulling together the materials are all necessary for a successful project.
We estimate that we are halfway through a project before we even cut the first piece of glass.

Design Evolution

These two drawings show the evolution of my traditional beveling designs to my contemporary style over the last 40 years.
When one views symmetrical windows, the mind remembers the design quickly and it soon becomes another object in the room. By beveling various angles and thicknesses of glass, blown glass from Germany in the background, in an asymmetrical arrangement, I was able to create windows that would challenge one’s mind by breaking the spell of consistency.

Beveled Sidelight

A couple of sidelights we beveled on our 1915 machinery. By holding the glass over rotating iron, stone, cork, and felt, one achieves many small facets that give our bevel glass windows their sparkle.

Glass Kew Roses

Close-up photographs of our recently completed The Four Seasons of The Kew Rose

Flameworked Kew Rose Windows

We were commissioned to express the 4 different seasons of the kew rose in two different transom windows.

Cain Lampshade

I created this lamp in 1982 for a couple in Richmond, Virginia. We picked up the carving design from an oriental rug that was below it, beveled the glass on our 1915 machinery, and assembled with zinc came.

Beveled Glass Design

This is a drawing I did around 30 years ago. I was getting bored with doing traditional bevel glass designs and wanted to expand my ideas into a more creative and contemporary style.

The Craftsmen’s Signatures

One of the reasons I enjoy my work so much is that I like the people I work with. It gives me great pleasure to see their signatures alongside mine.

Kew Rose Comparison

Here we overlaid the branch of a kew rose onto our glass interpretation for one of our current stained glass window projects.
Please visit our Instagram and website to see the many projects we’ve created over the past 46 years.

Stained Glass Craftsmen

In our studio, we strive to maintain a very upbeat attitude towards our work. It is important that we share ideas in a positive way. Negativity dulls our senses and stifles our creativity.

Flameworked Kew Roses

The beginning of our current project, the 4 seasons of the kew rose.

Colored Bevels

Around 1990, I started experimenting with beveling 1/4″ colored glass on our 1915 machinery. In some openings, it created a very subtle jewel-like quality for the architecture.

Working with My Children

During the summer of 2003, our 5 children and I created this window for their school, Tandem Friends School, Charlottesville, VA.
We wanted to express the energy and excitement this wonderful environment provided for it’s students.
Over the years they have often commented on the value and influence they received while there.

Career Day

Me, showing off at Career Day.
April 2013.

Solder Sculpted & Beveled Sidelights

A couple of sidelights I created, around 20 years ago, for a couple who owns a vineyard in Whitehall, VA.
I wanted to create the illusion of ice on the early morning vine. To achieve this, I beveled short, steep bevels around some of the design.
By sculpturing the vine with solder, I was able to compete a realistic winter scene.

Wayne Cain & John Williams

When I moved from Richmond to Bremo Bluff, 36 years ago, my first helper was John Williams, who was 17 at the time.
I suppose by the duct tape on our aprons and the smiles on our faces, you can tell we were two happy fellows.
John had many other occupations over the years, as well as serving in the navy. He is now back working with us with a new apron and a bigger smile.

Contemporary Beveled Door

I created this window for a couple in Richmond, VA around 30 years ago.
They contacted me about a week later saying they ordered a pizza last night and when they opened the door, the pizza delivery fellow said, “Oh, you have a Wayne Cain window!” I consider this one of my greatest compliments.

Flameworked Wisteria

Our recently completed Wisteria window, for a home in Chicago. Each petal and leaf was created individually to create an original window, never to be reproduced.

Working with Fire

Working a strip of stained glass over a flame has advanced our goal of emulating the translucency of nature into our work.

Asymmetrical Design

I created this drawing 30 years ago when I was going through my rebellious period concerning symmetry. Of course, it went over like a lead balloon, so I thought I would revive it in my “mature years” to see how it’s received.

Painted Holy Bible

I’m always amazed by the effort that goes into our symbols. The contour of the pages, the positioning of the text, and the look of age takes considerable study. By waxing the glass to a clear background glass, we are able to study the effects of natural light before assembly. Painting by Daniel White.

2007 Wood Badge

For the past 15 years or so, we have been honored to make the annual stained glass award for the T. Brady Saunders branch of the Boy Scouts of America.

Applying Patina

This photo requires close inspection. Here we are sculpturing tree branches on copper wire so they intertwine with the zinc structure of the window, and then applying patina for a lifelike effect.

Living with our Work

We always enjoy living with our work before installation.

Flameworked Dogwood

We are so pleased with how our flameworking continues to improve.

Painted Dove

Sometimes the background and symbols just seem to work together so beautifully. Painting by Daniel White.

Contemporary Bevel Sculpture

Look closely for the clear glass sculpture that we incorporated into this stained glass window. A nice balance of subtlety and drama with the background blown glass from Germany.

Stained Glass Restoration

We learn so much from the restoration of historic windows. This is one of our favorites.

Flameworked Close-Up

This is one of our favorite selections from our flameworking, highlighting the translucency of nature.

Stained Glass Design

This is a design that evolved while I was playing around on the drawing table one day. My hunch is, I was influenced by the vines that grow up the VDOT signs this time of year.

Art Glass Holy Cross

By moving around the sanctuary, the lights reflecting off of the colored mirror created an interesting focal point in the sanctuary.
We worked in collaboration with the wonderful people at St. John’s Lutheran Church in Emporia, VA to create this beautiful visual addition to their church.

Last Light of the Day

This was one of the most pleasant surprises we’ve had in a while. Our newly installed window capturing the final light of the day.

Stained Glass Craftsmen

Went to Richmond yesterday and had our studio portrait made by @tintype_rva. If you ever want to be in the presence of a true artist and walk away with a piece of art, you may want to visit Emily.

Flameworking Station

No excuses, it’s up to the artist now!

Stained Glass Design

This is a design that kinda got away from me on the drawing table. It reminds me of a window from a deserted building.

Wayne Cain’s Finishing Touches

Wayne checks and re-checks details all along the way.

Silver Stain

By using silver stain, we transformed the background glass from simple clear glass to gold. This transformed this private chapel into a warm glow. Painting by Daniel White.

Daniel White

My stepson, Daniel White, is the painter on all of our projects.

Billy Ireland Museum

A painted section from our Bily Ireland Museum project. Painting by Daniel White.


A restoration we completed several years ago at the historic Hotel Richmond. The skylights spanned over 12 feet wide and were hidden under over a hundred years of filth.

Living with Color

One of the best parts of our job is living with beautiful colors.

Norman Rockwell


This is not Norman Rockwell.

Shop Tools

Starting a new series of projects so someone did a clean sweep of the shop and put all the tools back. When I walked by, seeing this, it startled me to the point I had to take a picture.

St. Thomas Aquinas Priory Window

A window we created for St. Thomas Aquinas Chapel in Charlottesville, VA. Painting by Sean Flaherty.

Color Selection

We take color selection very seriously for each project that we undertake.

Stained Glass Restoration

A window from one of our restoration projects. This required touch up painting that was performed by Daniel White.

Grace and Glory Lutheran Church

The altar window at Grace and Glory Lutheran Church in Palmyra, VA.

Painted Monarch

A detail from one of our windows at Grace and Glory Lutheran in Palmyra, VA. Painting by Daniel White.

Working by the Woodstove

Working by the wood stove on a cold rainy morning.

Chapel Window

One of our restoration projects completed several years ago.

Jacuzzi Window

A window we created to go over a jacuzzi.

Moon Cycles

A window we created for the foyer of a new home.

Painted Vines

A section from one of our painted windows.


Concentration and focusing play a large role in our work.

North Facing Window

Our north-facing window that we use to study the glass for one of our current projects.

Embellishing with Chickadees

Embellishing one of our windows with chickadees.
Painting by Daniel White.

Solder Sculpted Winter Tree

This window was made using Uroboros 65-95. By pulling from different areas of several sheets, we were able to get the variation we wanted to create this window.

Flameworked Wisteria Close-Up

A section from one of our flameworking projects.

Current Restoration Project

One of our current restoration projects.

Hand Painted Carriage Medallion

A medallion for some windows we created for a carriage museum, painted by Daniel White.

Beveled Glass Window

A beveled glass window I made over 25 years ago, using our 1915 Henry Lang machinery.

Flameworked Gift


A flameworking study that I gifted to my wife.

Dogwood Close-Up

An example of our flameworking.

Delivering Our Window


Delivering our window to the Unitarian Universalist Church of Arlington in Arlington, Virginia.

White Lilies Flameworked Stained Glass

This window is a combination of many of the techniques we have developed over the years. It is a reflection of the sharing of ideas and processes that are a part of our everyday life in our studio.

The Shop

One corner of our shop. (If you can’t find it, you can’t use it)

Contemporary Window

The finished window.

Assembling Windows

Beginning to assemble one of our contemporary windows.

Drawing Stained Glass


Drawing Stained Glass - ©Cain INC

We’ve been finalizing designs for a few different projects currently in the shop, and are excited to have the chance to explore and express our art.

Beveled Glass Door

The other day I did some minor repairs to a door Geraldine Powers and I created 35 years ago. We were partners back then. Jerry did the designing and I was the craftsman.

Stained Glass Window in Lake Monticello


A recent piece we crafted for a private residence.

Amelia Presbyterian Church Stained Glass Windows

This photograph shows a third of the windows in this sanctuary. By using a hand blown translucent glass from West Germany, we were able to blend the trees and bushes on the exterior into our concept. The striations in the glass give movement to the windows as one walks through the sanctuary. This was my first complete church project, over 30 years ago.

Painted Stained Glass Vine

This wonderful window was commissioned for a historic home in Crewe Virginia, to complement the finished renovations. Coming forth from a hill, the briar vine weaves up and through the geometric window, giving this piece a light, airy feel. Painted on completely transparent German mouth-blown glass, this window allows the room to remain light while creating a jewel in this home.

Autumn Stained Glass Tree


A solder sculpted and flameworked Autumn tree stained glass window we created for a home in Boston, MA.

Flameworked Stained Glass – Dogwood Tree

This wonderful window is a lovely example of how glass is uniquely able to capture the movement and beauty of nature. The dogwood blossoms and leaves against the interweaving sculpted solder branches bring this piece to life. The flameworked blossoms and leaves free us from traditional lead lines, allowing us to explore the playfulness and spontaneity of a natural tree.