3/8 inch, which is field tile thickness
Every piece here is 3/8 of an inch, against the quarter inch and under that most glass mosaic runs at.
That figure is what makes it behave like ordinary field tile. It sits flush against a ceramic or stone tile, it takes an ordinary joint, and it does not need the difference in height resolved underneath the way a thin glass sheet does. Glass mosaic is the sheet half of the material.
The cut edge is visible
This is the consequence of laying glass loose rather than on a sheet. Where a run of glass subway stops in mid wall, the end of the last tile is a cut edge of solid glass.
A sheet hides that because the perimeter gets trimmed around chips. A solid piece does not, so a run of glass subway usually finishes against a metal profile, into a reveal, or at a corner where the edge is turned away from view. It is worth settling before the quantity is fixed.
Metallic is the largest finish here
Metallic leads this range, then satin, glossy and a little matte, which is a different order from any other glass page in the catalog.
A metallic glass carries a reflective layer behind the body, so light enters the glass, meets the metal and comes back out through the thickness. It gives a depth and a shift with the viewing angle that a surface coating cannot, and at 3/8 of an inch there is enough glass for the effect to register.
3x9 carries the range
3x9 is where most of the range sits, with a smaller 2x6 group behind it, and both are elongated against the classic subway proportion.
Three inches is the useful figure. The standard gap from counter to wall cabinets is around 18 inches, so a three inch tile lays six courses into it and finishes level under the cabinets with nothing cut. On a reflective material an interrupted top course is more visible than it would be on a matte one.
Satin, and the frosted middle ground
Satin sits second here, between the metallics and the plain glossy pieces, and on glass it is a treatment rather than a state.
A glass surface comes out of the process smooth and reflective; a satin face has been etched or blasted afterwards to scatter the light. It keeps the depth of the body while losing the mirror, which on a kitchen wall means the tile still has color running through it without returning the downlights straight back at anybody at the counter.
The names are all Aegean
Grecianisle, Santorini, Ege, Aegean and Delos run through this range alongside the plainer color words.
That is not decoration. The colors here are the grays, greens and blues of shallow Mediterranean water, and glass is the only tile material that can carry those convincingly, because the color sits in the body and light travels through it rather than bouncing off a painted surface.
Where glass subway goes
A kitchen backsplash, a bath surround, a bar, a shower wall and a band inside another material.
It is chosen where a wall has to be bright and have depth at the same time, which is a combination a glaze cannot manage. Glass tile holds the material in its other formats, and backsplash tile the same wall in other materials.
