Next Generation ColourLite Technology

Cardboard CathedralG.James Glass & Aluminium has recently enhanced its ColourLite ceramic printed glass range and capability with investment in the next generation ceramic on-glass printing technology. This process is renowned internationally as one of the world’s leading digital on-glass printing systems.

Australian architects and designers now have access to a new world of high-definition, full colour glass printing capabilities, including photo-realistic images that will redefine the role of printed glass as a design showpiece for façades, feature walls, interior fit outs, signage and other architectural highlights.

On-glass digital ceramic printing differs from other printed glass technologies in its vivid richness, hardiness and imaging flexibility. The digital ceramic inks are made from microscopic glass particles and inorganic pigments that are fused to the surface of glass through the glass furnacing process. The result is an extremely durable product that is highly resistant to fading. ColourLite ceramic printed glass is a truly robust imaging system with the capacity to handle the most expressive, forceful design ideas.

Lewis Saragossi, Managing Director and Chairman of G.James, says as a local manufacturer, he and his team are delighted to introduce new ColourLite capabilities to Australian architects and designers.

“We are very excited to add this new technology to our extensive product line and offerings,” he says. “We have spent a great deal of time evaluating the various technology options to find the one that would best match the needs and demands of the Australian market as well as current and future design trends. Our customers are impressed with the short lead time, available from our three local manufacturing facilities in Melbourne, Sydney and Brisbane.”

ColourLite Examples

This new imaging software allows designers to accurately portray single images over multiple glass panels, and there is flexibility to present different designs. For example, the printing system allows for a continuous design to cover the full extent of a building façade for maximum impact. This includes the possible use of full perforated imaging to the vision panels. The unique digital system caters for either individual or multiple panel printing without the excessive cost and limitations of a silk screen.


Whats New?

  • High definition 720dpi printing
  • Glass thickness from 4mm to 19mm
  • Automatic inline pre mix colour range
  • Sizes from 300 x200mm to 4000 x 2300mm

1. Cardboard Cathedral Christchurch New Zealand Image supplied by Dip-Tech Photography by Bridgit Anderson 2. Fletcher Hotel Amsterdam, Holland Image supplied by Dip-Tech 3. G.James Glass & Aluminium Cairns, Australia Photography by Mark McCormack

Interactive Map: Building Brisbane

Brisbane construction projects by G.James Glass & Aluminium

Brisbane, being the location of our Head Office, sees many fine examples of G.James workmanship.   Here, we outline some of the biggest and best projects undertaken to showcase our capabilities in recent times.

The interactive map is designed so you can take a tour of some of our most recent and notable works.  Either at your desk looking out a CBD window, taking a stroll around town, and driving past a building or through an area you have always wanted to know more about.


G.James has contributed widely to what Brisbane looks like today.   There are buildings that have added to Brisbane’s sky line and to the diversity of looks and uses that are designed for the various parts of this fair city.  On some buildings, there are unique features that make them distinctive.  For example –

  • the ribbons of M&A,
  • the splash of red across the Australian Federal Police building,
  • the glass wall of Sir Samuel Griffith Centre,
  • the towering Aurora and Riparian plaza.

There are many buildings that have achieved the coveted green star energy efficient design,  some interesting artwork on glass designed by local artists – its worth a visit to the Anthropology Museum at UQ to see the ceramic printed window alone. Some of the buildings have specialised glass systems to suit the works being done, like the Translational Research Institute and the ABC headquarters.

There are projects that have altered the face of a tired old façade, so if you look at an old image of QIMR, you won’t recognize it.  And then theres the Suncorp Stadium which gives you a glimpse inside a place where state pride and competition is on the line.

The Interactive Map

The map is aimed to give you a glimpse into the depth the G.James knowledge base and provide an overview of the types of works that G.James is capable of.  It highlights projects done by various departments in the company, including:

  • Commercial departments
  • Residential departments
  • Gossi park and street furniture
  • Glass department

You can have a look at the map and plan out a scenic drive, or target specific jobs, or just get an idea of what we have produced, in your area.  As you can imagine, there are too many jobs to make this an all-inclusive list, but we aimed to include a range of jobs reflecting different styles and features.

A brief dossier on the project is included – a photo of what to look for, basic job data and links to further information on the project.  G.James can help you with any further information required for the jobs represented.

Explore Here…

Enjoy the exploration, and keep an eye on this space. Other areas will be released as our database of projects rolls out – Sydney, Melbourne, the Gold Coast, as well as other areas to be where you can find G.James fingerprints…

Until then, enjoy this insight into the River City.


 G.James Projects

 Gossi Designs

Guest post: In depth analysis of ceramic digital printing on glass

This month’s guest post is by Bernd Hoffmann of Hoffmann GTD Glas-Technik-Design, and discusses in-depth the process and intricacies of ceramic, digital glassjet printing.

If you haven’t already, you can also read last month’s introduction to digital printing on glass.

The Rockheim Museum in norway has a large illuminated feature which uses digital glass printing to great effect.

Ceramic Digital Printing-customizing Glass Façade Design

Modern digital printing technologies using ceramic inks are providing new interesting opportunities for long-lasting decorations and optical effects on glass.

This way even multicoloured very large format images and decors can be printed and fired on glass providing reflective high-resolution prints, turning the functional glass skin of a building into a more or less translucent artistic screen. After a short introduction into the basic principles of the Ceramic Digital Printing technology and the world of Glass Façade Design the presentation will give an overview about the advantages and limitations of the Ceramic Digital Printing for architectural applications. Different design intentions, challenges and achievements will be presented and discussed. TOPAZ – a helpful concept of preceding considerations for the design process of glass facades will be introduced.

Continue reading

St. Leo’s College Entry Feature Awarded


Art in Architecture Prize, Australian Institute of Architects State Awards 2012

Ferrier Baudet Architects with Artist Lincoln Austin were this year’s winner in the Art and Architecture Category in the Australian Institute of Architects State Architecture Awards, announced on the 22nd of June in Brisbane. The work consists of a refurbished covered entry and entry foyer and the art work called “Correlate”.  The original aluminium framed glass wall and doors were replaced with an art work created by Lincoln Austin, and frameless glass entry doors. The commission brief for the art work asked that the artist come up with something that would ‘fit in’ with the existing architecture rather than compete with the architecture. The result is a three dimensional grid of cubes made up of glass and mirror in a stainless steel frame.

The work’s theme is ‘Relationship and Celebration’, being a celebration of the relationship which has bound the University and College over 93 years, a celebration of UQ’s Centenary year 2010 and symbolic of the healthy relationships which bind the St Leo’s community, giving it vitality and strength.


The work is an assemblage of individual units that together form a cohesive fabric. As the primary entrance into the college, the artist felt it was important to obstruct the view both into and out of the foyer as little as possible. Glass was the obvious choice of material that could provide the necessary protection from the weather and an uninterrupted view.

Frameless glass entry doors have been installed which virtually disappear, leaving the artwork to dominate the boundary between the outside and the inside.

The architects approached several glass manufacturers for this project, but the only company prepared to work on this unique installation was G.James Glass & Aluminium. The work was a true collaboration of architect, client, artist and fabricators and resulted in landmark artwork which will be enjoyed by many now and in the future.

The work received a $50,000.00 Art and Place Grant from the Queensland Arts Council – a Queensland Government initiative.

The Creative Process

The original concept by the artist Lincoln Austin did not specify how to implement the idea. Lincoln produced a small three dimensional model made from cardboard and plastic to demonstrate what was desired. From there, several meetings with the artist, architects and G.James arrived at a design based on 25mm stainless steel square tube with glass and back-to-back mirrors. G.James then produced a full sized sample of half a cube with a number of options for the alignment of the glass panels. The artist elected to have the glass centred in the stainless steel frame, so it would look the same from both faces.

Calculating the dimensions of the cubes, to ensure there would be even spacing in both horizontal and vertical dimensions was a particularly difficult process – this was only achieved with the addition of stainless steel plinths on the top and bottom of the structure.

The artist was a pleasure to work with, he had strong ideas and concepts, but readily accepted advice from G.James – particularly regarding the structural integrity and safety concerns we identified. The original concept was a frameless installation, utilising UV glue to hold the structure together. Unfortunately this concept posed a significant financial risk, as any damage that occurred to the glass would not be repairable – the whole structure would need to be scrapped and started again, as individual panels  in this configuration could not be replaced.

Installation Details

The construction of the stainless steel frame was contracted out to a third party. The stainless steel was welded in each corner, and then carefully polished so the welds would not be visible. This was a time consuming and costly process, so it had to be done right first time.

St Leo's College

The vision glass used in the cubes was 12.38mm clear laminate, while the mirrored faces were two pieces of 6mm annealed silver back-to-back. The combination of mirrors and clear glass gives a changing appearance as the entry is approached. From a distance most of the panels seen are the clear laminate allowing visibility through the structure. On closer approach, the viewing angle increases, and only the mirrored panels are seen – thus changing the view to a reflection of the outside.

Creating panels that were mirrored on both faces was one of the more challenging aspects of this project. This was achieved by cutting and edgeworking 6mm mirrors to the exact same size and then manually gluing the mirrors together. The mirrors and clear glass panels then had to be structurally glazed on all four edges to the stainless steel frame. Custom designed brackets were made to hold the glass in place until the silicone cured, the brackets were then removed and the silicone completed.

Due to the size, weight and fragility of the artwork, it was glazed onsite.

The frameless entry door was typical of many seen in shopfronts. It was made difficult however as the floor sloped up on the inside of the building (approximately 25mm over the length of each door). As the doors are opened in, this results in larger than normal gaps under the doors. The two doors also have a large sandblasted pattern on them with the logo of St Leo’s College.