This is my Queen Bee PDF Pattern. Bees are a fascinating subject so I am going to share a few facts I discovered whilst researching them with you.
Although there are 98 different species of bees in Ireland there is only one native honey bee. It is a subspecies called Apis mellifera mellifera or the Northern dark bee. There are three rare bumblebees in Ireland all threatened with extinction. The Great yellow bumblebee, the Shrill carder bee and the Red-shanked carder bee. Bumblebees would have between 50-200 workers in a nest whereas in honey bee hives it would be 50,000. In Spring a queen Bumblebee would visit up to 6,000 flowers a day to generate the heat and energy to hatch her first eggs. Bees can see primary colors blue, green and ultraviolet. They can identify orange, yellow, blue/green violet and purple but they can’t see red. To bees, the ultraviolet radiation patterns on flowers are as important as the colors. One last thing only female bees can sting. Click the link to view more Stained Glass Patterns
Stained glass PDF Pattern Information
Downloadable PDF pattern prints actual size 15 3/4 inches x 15 3/4 inches, ( 400 mm x 400 mm ) across six pages. Instructions are included for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern.
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.
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.
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.
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.
I love creating skull patterns so a Halloween Skull PDF is too much to resist. The colors of course are simple enough, orange and black which I have used here for the border and top hat. The skull is a white ring mottle glass, to give him a spooky look. Iridized crackle glass and iridized waterglass make up the cobwebs in the background. There are also a few glass globs thrown in for good effect. Once I had him drawn up I thought he’s going to need a name so that’s where Cobweb Eddy came from, suits him too. 136 pieces and four glass globs in this pattern if you are brave enough to tackle this bad boy in time for Halloween.
Halloween is now a modern-day global feast day. But it’s origins lie in Ireland in the Celtic feast of “Samhain” pronounced “Sow-in”. This was a celebration of the harvest, the end of summer and the start of the Celtic new year. It is still marked to this day with the Puca festival, three days of fire, feasting and music. Here is a link if you are brave enough to visit: https://www.pucafestival.com/
Stained Glass Pattern Information
Downloadable PDF pattern prints actual size 17 inches x 17 inches, ( 440 mm x 440 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 free at https://get.adobe.com/reader/.
The pattern for this panel is now available to purchase as a PDF download in the pattern store
This Large Lantern was a commission piece for a girl’s second-level school in Co Waterford Ireland. The school was a new building replacing a much older construction and did not have a chapel. The board had designated a room within the school to use as a place for prayer and contemplation. This is where the lantern would provide a focal point and create a pastoral atmosphere.
The Design Elements
A lantern this large wasn’t something I had made before but I would always tackle anything that comes along. That to me is the whole point of doing commission work. It takes you out of your comfort zone and stretches your skillset. The first idea I had was for a cross design which I would place on opposite sides. As for the other two sides, one was to house an opening for a candle, so I created a simple frame top and bottom. Leaving the final panel in which I placed the oak leaf. This was one of the school’s symbols and worked well with the other elements so completed the design.
I made cardboard templates of the four sides and top and bottom sections and drew out my designs. Using 1/4 inch lead came I put together the two cross-sections and the oak leaf section. I then cut out the top and bottom pieces and attached 1/4 inch “U” came to the sides of all the sections. All the lead came was then cleaned with “0000” steel wool before soldering. The red and amber are WaterGlass, the blue glass on the top is Rough Rolled and the oak leaf is a piece of Kokomo. A small brass finial finishes off the top.