Saint Patrick’s Day will soon be upon us once again. Last year, marked the beginning of the pandemic and the cancellation of all the parades. While there will be some virtual celebrations this year we can still only hold out hope for the future. So to try and mark the day this year I have designed this Triquetra Claddagh Pattern. The hands of friendship are holding the heart, which shows love to form the central part of the design. The crown for loyalty sits above the heart and a circle intertwined with shamrock and Triquetra knots frames the picture. Click the link to view more Stained Glass Patterns
Claddagh A Brief History
The Claddagh is one of Ireland’s most recognized international symbols. Originating from the small County Galway fishing village of the same name in Ireland. Countless myths and legends surrounding the origins of the first ring dating as far back as 1700. Credit for the design generally goes to Richard Joyce, a local silversmith. Sometimes used for friendship, “Claddagh” rings are more popular as engagement and wedding rings. Generally, these are the modern meanings of how to wear the ring.
Right-handed with the point of the heart toward the fingertips shows the wearer is “single”. If the heart is pointing to the wrist of the right-hand the meaning is “in a relationship”.
Left-handed with the point of the heart toward the fingertips shows the wearer to be “engaged”. If the heart is pointing to the wrist of the left hand the meaning is “marriage”.
Stained glass Pattern Information
A 540 mm ( approx 21.25 inches) square pattern with a circular option and border pieces if required.
Downloadable PDF pattern prints actual size 21.25 inches x 21.25 inches, ( 540 mm x 540 mm ) across six pages. Instructions supplied for enlarging the pattern to your required size when printing. You will need “Adobe Acrobat Reader” to print this pattern.
Finishing up this Slade Poppies panel now after adding more blooms on both sides the picture is starting to emerge, really feels like it is coming together now. I still have the seed pods and some flower centres to do but for now, I am concentrating on the remaining flowers.
Nearly there now, just have the last three flowers to do.Once every piece is cut I will then commence foiling, making any further adjustments as I proceed. The next process would be the first solder on the front of the panel. Panel is then very carefully turned over and the first solder repeated on the rear. I would then add the 12 mm zinc framing before doing the final bead soldering of all the seams. The panel would then have to be thoroughly cleaned before the patina can be applied. Acetone can be very useful in preparing the Zinc prior to application.
Here is the completed panel, lit from behind by daylight. I am really pleased with the way this has turned out, it is so nice to be able to bring a project to fruition so long after the initial idea.
Slade Poppies pattern prints full size 34.5″ x 23″ ( 880 mm x 590 mm ) on twelve sheets of A4 paper. Alternatively, you can take the PDF file to a print shop and have it printed on one sheet of paper. I can provide custom sizes and adjustments if required. Thank you for your time and interest in my work.
For those of you that are interested in the symbolism and meanings of poppies click here
I have called this post ” Slade Poppies Part 2 ” as it is about bringing the top and bottom section together. The second row of flowers have now been added and at this point, I am quite happy with the way things are progressing. Even so one can never be sure exactly how it’s going to look once the backlighting is introduced. The method I use is to hold the glass up to the light and make my selection before cutting and proceed that way. It’s the same system I use for all my work, something I have developed over many years. A lot of glass artists like to mount their pieces on a sheet of clear glass using Blu Tack which is then held up to the light. This provides a comprehensive preview of the panel, although it would be fairly time-consuming.
With the top and bottom sections progressing so well I have now decided to build the two sides. This will help connect the two sections together. Starting out with the right-hand side which worked out well I then moved onto the left. I have also added a couple of blooms just above the leaves. Feeling pretty good about the way it’s going now and looking forward to filling in the middle section.
There is never a particular place for starting to cut out the glass for a project. With this panel, I began by first cutting the leaves and soil pieces at the bottom of the panel. I was fairly confident with my glass choices here, using a Youghiogheny stipple glass 4117 SP green, ice white, bluish-grey was for the leaves and a granite backed Uroboros 65 – 17 light & dark browns for the soil pieces. The spaces for the seed pods have been left empty at this stage as I will add them later when I have a better idea of the finished panel.
The top and bottom background pieces were then cut from the whole sheet of Uroboros 10 – 16 light & dark browns, turquoise with mini fractures. This is can be tricky even with the use of a band saw so worth taking your time over. The two sides have worked out fine but the middle piece has broken off in slightly the wrong place. These things happen which means I will have to adjust the pattern slightly by moving a couple of flowers.
Slade Poppies ( Initial Stage ) Adding The Flowers
With the first of the flowers cut I am able to position them on top of the background glass. I then mark around them using a fine permanent marker. The background can now be cut away using the band saw, leaving a perfect fit for the flower. This can be a slow process but the advantage is I am able to build up the image as I go. The glass used for the poppies is Uroboros 60 – 25 red & orange with white.
Here I have managed to re-position the two flowers in the middle of the panel. This completes the top and bottom sections leaving the central part to do. However, now everything is back on track I am feeling confident of a successful outcome.
The story of this Poppies at Slade panel began around five years ago. While in the UK on a family holiday I was fortunate enough to visit Kansa Stained Glass in Yorkshire where I purchased these two fantastic sheets of Uroboros art glass. This glass has become very hard to obtain in Europe so to find two whole sheets definitely made my day. I have created many poppy panels over the years as the grow wild down here in Slade and are a constant inspiration so my first thoughts were of a large poppy panel. it has however taken this long to bring it to fruition.
This sheet was where I created the basic structure of the panel. Using fairly transparent tracing paper I sketched out the flowers and then adjusted them to suit the background. This way I was able to select the background glass I wanted to show. I also wanted to add a soil layer at the bottom of the panel which gave me a bit to play within my glass selection. The code for this sheet is Uroboros – 10 – 16 Light and dark browns, turquoise with mini fractures.
The code for this sheet is Uroboros 60 – 25 Red and orange with white. This sheet I would use for my poppies. Once again I would need another glass for some foliage. I wanted to try and weave these two sheets together just using the color within the glass to create the panel. The background glass in particular made me think of a Liberty/Art Nouveau feel. I started a design but for one reason or another, I had to put it aside. Eventually, in October of 2018, I managed to get back to it and produce three patterns, one full size ( 23 x 34.5 inches ) one reduced size ( 15.75 x 36 inches ) and a pair of door panels ( 10.25 x 36.75 inches ) each panel with an optional border.
The Apple Blossom with its beautiful pink and white flowers is in fact a member of the rose family. Appearing from early May apple blossoms are larger and more robust than similar cherry blossoms. They produce a sweet scent that attracts bees and other insects. Flowering between 3 to 10 days when pollination occurs, after which time they lose their petals. They are also said to represent good fortune, hope and preference which make them a perfect subject for stained glass.
I have decided to stay with the ” Tiny Tiffany ” format of a 12-inch round panel for this Apple Blossom design. The background glass is a Uroboros fracture glass code 10-55 Cobalt Blue, White and Green. Gold pink and white, plus gold pink and purple make up the flowers and the leaves are light green with spring green highlights. This is a great project if you have lots of scrap art glass and makes a beautiful Mothers Day gift. You can display the panel in a window or placed it on a stand as shown here. The original panel size is 12 inches, ( 305 mm ) in diameter.
Downloadable PDF pattern prints actual size 12-inch diameter, ( 305 mm x 305 mm ) across four pages. Instructions provided for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern.
So here is the completed Round Clematis Panel in the window. Lit from behind with natural daylight the background pink is picked up as hues in the flowers. The strip of waterglass emphasises the bottom of the panel, so it would have to be installed this way up. On the right-hand side, the fracture and streamer glass breaks up the background and creates a different light effect. I am happy with the way this has turned out as it has a contemporary feel to it. Also, it looks a lot different from the original smaller pattern but still works. This is particularly satisfying as it’s a primary aim I have when designing patterns. I try to make them as adaptable as possible as far as enlargement and re-sizing go. There is a link at the bottom to download the free pattern. The original pattern is 12″ (305mm) in diameter with instructions for enlarging supplied.
Stained Glass Pattern Information
Downloadable PDF pattern prints actual size 12 inch x 12 inch, ( 305 mm x 305 mm ) across six pages. Instructions provided for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern, available free at https://get.adobe.com/reader/.
For those of you who have followed this blog and would like to try a similar piece the original pattern is available here as a free download: Click here to download PDF pattern
Round Clematis Tutorial 3, in which I cover steps 11 – 14 including foiling, flat soldering, outer lead attachment, final soldering and applying the patina.
I am now starting to foil the pieces, I do this by removing them one at a time and then replacing them as I proceed. I find this method works very well as you are able to make minor adjustments as you work across the panel. It is important during this process to make sure you burnish the foil onto the edge of the glass. I always use a putty knife for this process.
Here is the panel with all the foiling complete. I will now proceed to flat solder the panel on the front side. I use 50/50 solder to do this if I have any, if not 60/40 will do. Once the front face has been flat soldered, remove the template and repeat the process on the reverse. I use a “U” shaped lead came to provide a nice neat finish to the outside edge of the panel.
First soldering completed on both sides and the perimeter lead in place. You can see the two pieces of black tape securing the ends to the panel. It’s always good practice to place the join on a seam for neatness. The final bead solder can now take place to finish the panel.
Once the bead soldering is complete all flux and solder residue should be removed. I would use hot water and a little detergent for this, then clean with” 0000 ” steel wool. This will make the patina take a lot better. Finally, I use a little black stove polish on a brush to buff up the finished panel.
This post will cover steps 7 to 10 in this Round Clematis Tutorial.
I am now adding some Uroboros fracture and streamer glass code 11-296 down the right-hand side. This will introduce a different more broken translucent light effect. Also, I still want to include a small strip of water glass at the bottom of the panel. Although I will now leave this until last as I am happy with the way everything else is progressing.
The remaining fracture and streamer background glass is now in place. I’ve added the last two flowers and the rest of the leaves as well. Now I have to make a decision on how to introduce the strip of water glass into the composition. I am thinking of a simple straight line, this will help to give the panel a base. Also to put it behind the flower and leaf petals so it appears in the distance.
With the water glass added and all the pieces now cut, I can see the complete picture and am quite happy with the result. The next step in the process will be to place the cut pieces on a lightbox. This involves putting all the pieces on a clear sheet of glass and placing it over a light source. This will give me a good idea of how the finished panel will appear and flag up any obvious mistakes. These can then resolved before foiling begins.
On the light-box now and although it’s difficult to see I’m quite happy with the way everything looks. Of course, I have the benefit of years of experience here. If you are new to stained glass it’s all about developing your own process or way of working. The best advice I could give to you is to make small projects. That way you will repeat the process every time. Pattern preparation, cutting and fitting pieces, foiling, soldering, cleaning and polishing.