With the top four panels completed I can move onto the next four. Once again I have started with the largest panel which contains most of the detail of the lighthouse.
For the triangular sections in the lighthouse I have managed to incorporate four plain bevels, three of which I have had to cut. These are the only pieces of clear glass in the whole installation. They appear white here due to the paper pattern underneath the glass, this also effects the other colors in the panel and at times can be a little disconcerting.
Here is a close up of the bevel pieces, I have used Spectrum Water Glass on either side to add to the effect of shining light. English muffle and other textured glass were also used extensively throughout the window to give it some ” sparkle ” if you will.
Here is a large image of the panel with the light coming through and you can clearly see the effects of the different glass textures, its also worth noting how the light changes the colors of the glass. With this panel complete I then move onto the three smaller side panels.
With this panel complete I then move onto the three smaller side panels. Here they are in the process of being cemented and you can clearly see the different glass textures, after the cement is dry they will receive a thorough cleaning and polish before installation. With these eight panels finished that now completes the top section of the window.
After discussions with the board of management we submitted a number of designs and ideas for their consideration, the above design was eventually agreed upon. As this was based on a square shape we then had to make a working drawing of the whole window incorporating the design into the available space.A secondary frame would also be needed to house the glass panels.
This proved to be a fairly lengthy process and definitely worth taking some time over. Once we had the working drawing complete the full size patterns could then be drawn. We then had all the measurements to complete the secondary frame and templates could be cut for all individual panels.
Top Panel no 3
At this point I had a rough idea of the colors and glass types I was going to use so I figured it would be best to start at the top of the installation, it would then be easier to make any adjustments as I worked down the design. I prefer to work this way as it keeps everything fluid and fresh. I’m never quite sure how it’s going to look until it’s finished and I often get little ideas as I am progressing which I can then add. This was also the largest panel, the top section being 6 inches taller than the bottom section.
Having completed this panel I then moved on to the side panels, making some slight adjustments as I now had the benefit of being able to view them placed next to the large panel
Panel no 4
There is only one panel on the right-hand side so I have made this next. It is also important to remember that the frame between these two panels is 6 inches wide which is fairly substantial.
The inner panel on the left is about 2 inches thinner than the outside panel and of course there are two 6 inch frame pieces on this side of the window, all these different size panels had to be taken into account at the design stage.
Here are the three smaller panels together, two left and one on the right. It’s also important to note that the glass will completely change color once it is placed in front of the light.
Here are the two left-hand panels with the light behind them spaced 6 inches apart to replicate the frame. As you can see from the previous photo some of the glass now looks clear, that’s because it is very pale. When all of the window is done everything will blend seamlessly together ( hopefully ). This completes the top four panels of the upper section.
Earlier this year we were commissioned to supply and fit a stained glass window in the new national school in Poulfur under the % for art scheme. This installation was to be placed above the entrance doors at the front of the building and would be visible from both the upstairs and downstairs, the space comprised of an upper and lower section overall size approx.12 ft high by 9 ft 3ins wide.
This panel is featured as a full size pattern in the latest issue of Glass Patterns Quarterly along with a step by step tutorial, we are very proud to be able to contribute patterns to this excellent publication, here is the link https://www.glasspatterns.com/current-issue.html should you wish to purchase.
Effort number three in my ” Tiny Tiffany ” series is another scene, this time using irises which just work so well in stained glass. Getting some small pieces of yellow in here was a bit of a challenge but like to think I managed it ok. I find using the water glass really adds another dimension even though the piece is so small. This design is now available in the Patterns Store as a downloadable PDF pattern.
In this ” Tiny Tiffany Two “I’ve gone for a clematis design same size diameter as the ” scene with poppies “.I figure this will work best given the glass pieces I am trying to use up. The background here was quite tricky but it really brings the color in the flowers forward and gives some movement to the composition, turned out quite well I’m thinking..
On to the next one, I am keen to explore what other ” Tiffany’s ” will work in this design format.
This stunningly illustrated, exhaustively researched and engagingly written book is clever and beautiful enough to spark a revival of appreciation,’ Cristín Leach Hughes, Sunday Times (November 2015). ‘As this marvellous book demonstrates, Wilhelmina Geddes was a forceful, original, modern artist of internationally important stature. Beautifully written and sumptuously illustrated, the book not only celebrate the achievements of – arguably – Ireland’s greatest 20th-century artist, but also reveals the epic potential of stained glass as an art form, one that can be equally powerful on the most monumental or miniature scales’, Peter Cormack, author of Arts & Crafts Stained Glass (2015). ‘What a monument of a book! So well-made and well-printed it shows [Geddes’] vast oeuvre … excellent photos … A book to read in one shot for all interested in or studying stained glass, as Geddes is a serious inspiration for future generations’, Angela van der Burght, Glass is More (November 2015). ‘An excellent new book … Gordon Bowe’s meticulous recovery of original material parallels her rewriting into history of this dazzlingly talented artist who was always an outsider’, Medb Ruane, Irish Arts Review (Dec. 2015/Feb. 2016). ‘An immense work, richly illustrated and deeply researched … it is a revelatory work, a beautifully produced showcase of an artist’s work … the images in this book, often of strong saints and prophets, forceful and determined characters such as Ulster still produces, provide more than enough for the reader at home to realise that here indeed was a truly great religious artist’, Peter Costello, Irish Catholic (November