The story of this panel began a few years ago whilst I was visiting family in the UK. I managed a visit to Kansa Stained Glass where I was fortunate enough to purchase two sheets of Uroboros art glass which is hard enough to find at the best of times. The first sheet I pulled out of the rack was this one, code 10-16-5 Light & dark browns, turquoise with mini fractures.My first thoughts were I loved the colors and it would make a great background glass.
The next sheet I pulled out was this one 60-25-5 Red,orange & white at this point I thought “Poppy panel “. Over the next few years I made a few attempts at a pattern, which for various reasons I had to shelve. However in October 2018 a window of time opened up so I went for it. The colors of the two sheets gave me a feel of Liberty/Art Nouveau which strongly influenced the final design.
I have cut the top and bottom background here.The leaves ( Youghiogheny stipple 4117 Green, ice white & bluish grey ) and the soil ( Uroboros granite backed 65-17 Light & dark browns ). Ready to add the flowers now so hoping I’ve got it right.
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.
Here is the panel with all of the foiling complete and I will now proceed with the first soldering. Once this has been completed the template can be removed and the first solder can be repeated on the reverse side. It is important to be very careful with the panel during these stages.
First soldering completed on both sides and the perimeter lead added, you can see the two pieces of black tape securing it to the panel until it is soldered into place.
The final bead solder can now be added to finish the panel. Bead soldering completed and patina added and you can clearly see the difference the bead solder makes to the panel, gives it a nice finish.
One is never sure how a color scheme is going to pan out so I have started this panel by cutting a flower, some background and leaves.After having tried a few different colored centers for the flowers I have settled on Youghiogheny ” Laburnum ” glass. This may yet change as the panel develops.
I have added more of the background glass now which is Youghiogheny stipple glass, code NO 57 ” Neodymium Pink with Peach Gold & Bubblegum “.
More background, and leaves now in this picture. Flower glass is Youghiogheny code N367 ” Neodymium Pink, Dark Purple and Blue”. Leaves are also Youghiogheny code 1431 ” Lime and Emerald Green “.
I have taken the background glass down the left hand side of the panel here and am thinking of introducing some fracture and streamer glass on the right hand side.
Clann Credo recently celebrated their 20th anniversary as Irelands leading provider of community finance, Since 1996 they have supported over 800 projects with almost €80 million of social finance.
We were approached by the CEO to create a panel based on their logo for presentation to Sister Magdalen Fogarty, one of the founder members.
The panel was to be small enough to hang in a window and framed in wood, this was the first draft of the pattern which was the CEO’s idea.
The idea was agreed and the I made the templates and proceeded to cut the glass, the outside of the panel has been constructed using lead came. This seemed to work better with the design, the lettering will be wrapped in copper foil as it is fairly intricate.
Panel is now ready for soldering and framing.
Panel framed and finished, I used Wissmach glass for this project, finished size is 400 mm x 520 mm.
Back in January we posted a small panel ” Scene with Poppies ” Shortly after we were contacted by GPQ , and as a result this design has been published in the current issue, along with a pattern and tutorial on how to construct this small panel.
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.
When using art glass you invariably end up with lots of different pieces of odd glasses that you simply don’t want to dispose of. After a while these start to mount up and take up space so some thing has to be done with them which leads to this panel. I have taken the idea from a ” Tiffany ” window, I’m not sure how large the original window is but my small panel is 12 inches in diameter, a Tiny Tiffany if you like.
I wasn’t sure how this would work out but I thought I would give it a go anyway, having seen the end result I may well try another one so watch this space.
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