This is the first post for some time because of some issues I have had with my website over the last six months. I won’t bore you with the details as I am confident that they are now ironed out. As with many other businesses during this pandemic commissions and other work have dried up. Trying to take the positive out of this situation has given me the opportunity to produce some new pattern designs. This has involved learning how to use digital software, which has been interesting to say the very least.
Snowdrops are one of the first flowers to show in late January, early February time and are a favourite among Irish gardeners. If you would like to view the largest collection of snowdrops in Ireland then Bellefield House, Co Offaly is the place to visit. This Snowdrops PDF pattern, which seems apt for this time of year contains 216 pieces. It measures 400 mm square and has a circular option if required. 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.
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 they 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.
At 38.25″ x 18.75″ (972mm x 476mm) this Clematis Stained Glass Pattern is ideal for a larger panel or window. The glass used for the flowers came from a single sheet of Youghiogheny Stipple Glass. The blend of colors throughout the sheet was so stunning that I wanted to capture the effect in a single panel. The upper background glass is a pink and white fracture and streamer glass. This complements the flowers and keeps them in the foreground. I have to confess here that I did not have enough of this glass to do all the background. So I came up with the idea of adding some ripple effect water glass for the lower background. The simple leaves pull the composition together and I was very pleased with the end result.
Stained Glass Pattern Information
Downloadable PDF pattern prints actual size 38.25-inch x 18.75-inch, ( 972 mm x 476 mm ) across ten pages. Instructions provided for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern.
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.
Hydrangeas grow everywhere in Ireland in almost every color. Some years ago my parents bought a small cottage with a view to retirement. Blue and pink hydrangea’s surrounded the property on all sides. They grew in front of whitewashed walls which enhanced the colors even more. These images stayed with me and when I was buying Art Glass I saw these colors again. So I had my glass all ready to go, I had my subject in my head and now all I needed was my design.
The panel started as a thumbnail sketch which I did whilst my son was having a half-hour piano lesson. These rough drawings I find are a great way of getting an idea down on paper. This was then developed into a full-size pattern which took me about four or five days to get right. Figuring out how best to represent the big mop heads was very time-consuming. I left a small amount of space in the upper right-hand corner for some white background glass to represent my wall. This didn’t work out as it was too opaque which sometimes happens with stained glass. So I ended up using a bluey-green Youghiogheny Stipple to give the panel some depth.
Stained Glass Pattern Information
The pattern for this Blue Hydrangea’s panel is available in the pattern store as a PDF file. The original panel size is 36 x 18 inches which can be scaled up or down using the printing instructions included in the PDF download.
Downloadable PDF pattern prints actual size 36 x 18 inches ( 916 mm x 457mm ) across ten pages. Instructions are provided for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern.
Holles Street Maple panel is an adaptation of the framed ” Japanese Maple ” pattern. Commissioned by the National Maternity Hospital at Holles Street in Dublin. Youghiogheny Stipple Glass forms the background and the leaves are Uroboros Granite Glass. The Granite glass has a rough surface texture which helps the leaves to sit in front of the background. This gives the viewer the feeling of looking through the trees and adds depth to the composition. The finished panel was encased in a sealed double – glazed unit size 1320mm x 470mm and installed in June 2014.
These Maple patterns are well suited to art glass as they come in so many different shapes and colors. I have also completed an “Autumn Maple” panel with red, gold and russet colors. The trees grow best in a sheltered environment, protecting them from wind and frost. They like neutral/acidic soil that does not dry out. This is important as they are quite shallow rooting trees. The Japanese Maples are the most decorative but they don’t like direct sunlight.
Holles Street Hospital, first established in 1894 through charitable donations. Was then granted a royal charter in 1903, along with other maternity hospitals in Dublin. It’s part of the history of the Irish Free State thanks to Elizabeth O’Farrell. Elizabeth trained and worked at the hospital as a midwife in the early 20th Century. Also a member of Cumann na mBan she carried the white flag to deliver the surrender at the Easter Rising in 1916. In 1930 the hospital was one of the first to benefit from “The Irish Hospitals Sweepstake”. This enabled expansion and redevelopment followed by a new charter in 1936. Fast forward to the present day and the hospital is due to move to new facility in 2024.
Irises at Slade Upper section showing the flower detail
About the Panel
I loved making this panel right from the initial idea through to applying the final patina. It started off as a bold sketch, I wanted to get movement into the flowers and leaves. At the same time, I had to leave room for the background glass to shine through. This is what I find with stained glass design, the composition is so important to the finished piece. I like doing pieces with lots of flowers in them but too many can be as bad as too few. It’s also important to leave space for the background glass to achieve a balanced look.
The size of this panel is 34.5 inches x 23 inches (880mm x 590mm)
which at the time was the largest copper foil panel I had attempted. Framed with 12mm zinc came which adds strength all around the perimeter it is quite robust.
A Little Piece of History
There are no known drawings for Van Gogh’s original “Irises painting as he considered it more of a study than a masterpiece. It was the first work he produced during his stay at the Saint Paul-de-Mausole in Saint-Remy, France. He painted four studies of Irises in all out of a total of 130 artworks. The other famous picture in this collection is “Starry Night”. Both pictures were exhibited in the Salon des Independants in September of that year. Unfortunately the final year before Van Gogh’s death.