This was the design I came up with and I would have to say it involved quite a lot of work. There are sixty- nine pieces of glass here and quite fiddly keeping them together while I soldered them into place.
All the glass used here is Uroboros which I thinks works quite well. The body is 00-74 Emerald, Yellow Green and Light Green, the eyes are 00-21 Ruby, Golden Yellow, Red on White, I cut the centers and surrounds from the same sheet. The inner wings are 00-78 Light Green with Spring Green, one of my favorite glasses. Finally the red tips are 60-25-5 Red,Orange and white.
At this point I’m not sure if I will make another as time was a big factor here. It was a good way of using up small pieces of glass though, those pieces that are just to good to throw away. I used a 14 swg tinned copper wire to make the stamens which also serve as hooks from which to hang the chain.
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.
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.
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.
This piece has been cut and sitting on the workbench for the past two months so I am delighted to have it complete and able to post pictures. Staying with the ” Tiny Tiffany ” theme this time I have gone for an Apple Blossom Pendant design. The background glass here is a Uroboros fracture glass code 10-55 Cobalt Blue, White and Green, this is the reverse side and you can clearly see the fractures in the glass.
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 is a small panel of a hummingbird made with Youghiogheny glass, these are all the pieces cut. I prefer to cut all the pieces before I start foiling as it provides some room for further slight adjustment should it be required.
Once all the pieces are foiled they are then flat soldered using 50/50 enabling me to remove the template. I then attach the perimeter lead and bead solder the piece using 60/40. The finish patina is then applied and a final polish completes the project.