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.
In this Round Clematis Tutorial 1 I will cover the next four steps. They mainly cover the background on the left-hand side of the panel.
Round Clematis Tutorial Step 3
You can never be quite sure how a color scheme is going to turn out. So I have started this panel by cutting two flowers, some background and leaves. This is the color scheme in my mind at this point so laying it out will help future glass choices. I have settled on a Youghiogheny ” Laburnham ” glass for the flower centres. This may yet change as the panel develops. I find it’s best to keep ideas fluid in the early stages.
Continuing to build up the picture I have now added more of the background glass. This is a Youghiogheny stipple glass, code NO 57 ” Neodymium Pink with Peach Gold and Bubblegum. The background glass has a rather nice natural effect which I am trying to work into the panel. This means cutting the pieces very carefully using a band-saw.
Now with more background, flowers and leaves added. Flower glass is Youghiogheny code N367 ” Neodymium Pink, Dark Purple and Blue”. Leaves are also Youghiogheny code 1431 ” Lime and Emerald Green “. You can now see the natural effect starting to appear in the background. I have used this to create some interest and balance the flowers on the opposite side.
I have taken the background glass down the left-hand side of the panel. I am now thinking of introducing some pink fracture and streamer glass on the right-hand-side. This is to create more interest and texture behind the lower flowers. I would also like to introduce some water effect along the bottom of the panel. For this, I will use a ripple effect glass.
I am going to do a step by step tutorial over the next few posts. These will show the methods and various processes that I go through in the creation of a stained glass panel. For those of you who would like to participate, I have put in a link to download this Round Clematis Pattern for free. So the client I have wants a Clematis design in a circular panel. To fit the brief I have taken a pattern I designed for a 305 mm diameter clematis pattern and enlarged it to 474 mm. I am also going to adapt it slightly to incorporate a water glass effect, here is the original panel.
The client really likes this design but would prefer the color scheme used in the “Blue Clematis” panel below. This is a large rectangular shape measuring 38.25 x 18.75 inches so unsuitable for their requirements. We have agreed on enlarging the smaller circular panel and that I will incorporate the colors and composition elements from the “Blue Clematis” panel into the new design.
So I have enlarged my PDF pattern and printed it out, making two copies. One for my template and one for cutting the glass pieces out. I use a pair of foil shears to cut out the separate pieces, these have a three-blade design to leave space for foil and solder. I will adapt the pattern slightly at the bottom to include some water glass but have decided to do this later in the process.
Round Clematis Step 1
To create a nice neat circular edge I have cut a round template at 464 mm diameter using a router and 4mm MDF board. This will be fixed to a baseboard using horseshoe nails. I have allowed for the width of the perimeter lead which will frame the finished panel at 474 mm. These calculations have to be quite exact and are well worth spending your time on.
Owls are steeped in symbolism and folklore throughout many different cultures. From the ancient Egyptians, Chinese and Native American Indians to name but a few. The Celts believed it was the wisdom of the Owl that gave it the knowledge of the underworld path. So a fascinating subject and also quite popular in the world of stained glass design. Here is my contribution an “Owl in the Moonlight” stained glass panel. This piece now takes pride of place in a Reiki Healing Studio in County Wexford Ireland.
I have used a dark blue Spectrum Waterglass for the sky and an ice white Youghiogheny Stipple Glass for the moon. These two glasses work so well together, the blue reflects the light whereas the white is very opaque. I have picked the branches out with a solid black glass to complete the upper background. The Owl sits in the foreground atop a tree stump at the centre of the composition. It took me a few days to produce this pattern and I am very happy with the end result.
Stained Glass Pattern Information
Downloadable PDF pattern prints actual size 18 inch x 24 inch, ( 457 mm x 610 mm ) across eight pages. Instructions provided for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern.
This Apple Blossom Panel has been sitting on my workbench for the past two months. As you can see from this picture I have all the pieces cut out ready for foiling and soldering. The next step I take at this stage is to place the cut pieces on a light-box. I am pretty confident in myself that it will look good when complete. But its always worth a preview if possible.
Here it is on the light-box and now you can see the fractures in the background glass. I have positioned this on the right-hand side in the two largest pieces. This is to create some interest and add to the composition, balancing the flowers on the left.
Happy enough with the way things are looking on the lightbox I have now completed foiling and soldering. The panel is flat soldered first on the front side, the panel is then turned over and process repeated on the rear. The outer lead “U” came is then fitted, final bead soldering takes place next before attaching hooks.
This is the rear of the panel with the fractures in the background glass clearly visible. These are small fragments of glass embedded in the surface of the sheet. When viewed from the front they create shadows and a fragmented light, adding atmosphere to the subject. This glass is made by Uroboros, code 10-55 Cobalt Blue, White and Green,
Completed Apple Blossom Panel with chain attached and hanging in front of a window. Its only now that the effect of the background fractures are visible. The ring mottles in the flower petals also add shadows and light variations to the piece.
12″ Diameter Tiny Tiffany Two. This time I have sorted out some glass pieces that I would like to use. These would be offcuts that I have left over after previous commissions. I’ve gone for a clematis design this time, the same size as the previous Scene with Poppies post.
About The Panel
There are three different glasses in the background. Blue, purple and a small piece of grey glass which has fractures on the reverse side. These are small flakes of glass fused into the surface creating shadows. I have arranged for the flowers to flow down through the panel and act as a bridge between these colors. The small leaves are an ideal way to introduce some green into the composition and balance the other colors. Bearing in mind this is only 12″ in diameter I have tried to create the feeling of a much larger panel.
I have been working with glass for close to forty years and as a medium, it has no equal. Drawing and painting are very much two dimensional but with glass, you get to work with the light. Of course, it’s quite unforgiving as well so you have to be very precise with everything. Having made two of these Tiny Tiffany panels now I find it amazing how much detail I can get into them. The moral is that it’s always worth trying something new, learning for me is the real essence of life. We forget what we actually know because were only interested in learning what we don’t know.