Stained glass portrait

Continuing with the stained glass portrait, today I bonded all the green background pieces to the base glass. It can be really tricky with the big pieces, so I temporarily fix them face down to a piece of wood, this allows me to hold it firmly whilst applying bonding agent, which is very viscose and sticky. The wood also allows me to accurately place them onto the pattern without smearing any glass, which saves hours of cleaning up. 

Whilst the bond cures, I crack on cutting more glass. First the piece I am preparing is cut with a pair of scissors from one of the pattern copies, this is then placed onto the glass where the colour and texture best meet the needs, and very carefully drawn around. 

Then using a glass cutter I make as many cuts as is necessary to get as close as possible to the final shape. 

Then a bit of nifty work with the grozing pliers is followed by some very careful finishing on one of the grinding machines and hey presto; a perfect glass copy of the original paper shape. 

It doesn't look like any part of a face, not until it takes it's correct place on the pattern. Then slowly, but surely a picture begins to emerge. Again please forgive my photography, it really doesn't do it justice. 

Stained glass portrait.

Started work today in on the stained glass portrait. It is to be an appliqué project, with the cut and intricately shaped coloured glass bonded to a sheet of plain float glass to form the image. 

We saw in a previous post how to turn a photograph into a workable cartoon, I have made several copies of this. The first is fixed underneath the float glass and is centralised to balance the picture (the original was off centre with the top part missing). I then cut a thin border from a beautiful dark brown glass and bonded it to the picture glass. The next copy is waterproofed and placed on an assembly board. This is used to fit and check fit all the glass pieces before they are bonded, this prevents scratches, chips and spreading the bonding agent. The next couple of copies are used to cut the pattern blanks which are then traced around onto the glass so an accurate shape can be cut; I'll cover that in another post. 

In the picture, the image on the left is the actual glass sheet with the border bonded to it, and on the right is a check image with all the green pieces (the tree background) in place; for anyone interested, that is a full days work. 

Fanlight fitted

After much ado, the Victorian fanlight finally has pride of place in Shepton Mallett. The lead was nicely blacked and aged with graphite paste and much elbow grease, then fitted to its mounting/transit board. This holds it flat face down and provides almost bombproof protection whilst moving and handling it, then by simply unscrewing the bottom bar and braces it allows me to lift and fit the panel with ease and in safety. 

Removing the previous piece of glass was straightforward, I wrap it in gaffer tape on both sides to contain any splinters, scrape out the old putty and remove any pins. With a bit of persuasion it pops out. A bit more elbow grease to clean the frame out, then offer the panel up. A perfect fit. I the apply a bead of clear bonding agent to the lead, this forms a tough, permanent but flexible bond, but will absorb a lot of the shock of the door slamming shut. The panel is then fitted and secured with a few pawl pins (belt and braces). Final act a really good quality fame sealant inside and out (I really don't like putty, it sets solid and cracks, letting water in). 

The effect on the door is pure magic, it looks like it been there forever. I just wish I could take a decent photograph. 

Stained glass Fanlight

Continuing with the reproduction Victorian Fanlight, a concerted effort this weekend has just about finished it. All soldering complete and puttied on both sides, leaving just the mess to clean up; putty and chalk dust can cover an amazing area. 

I am leaving it lying flat in the studio for four days to give the putty time to set and form a reliable bond. All that is left to do is polish both sides with graphite paste to darken and preserve the lead, and then the hard part; fitting it. 

 

Victorian fan light

Continuing with the reproduction Victorian fan light, after a couple of days with the lead knife it's all assembled. This was a tricky design to lead up, if the lines are to flow as intended then long uninterrupted strips of lead came are needed to wrap several pieces at the same time. The sub assemblies are then fitted together and other pieces added. Each time another piece of glass is added, it needs disassembling so the next strip of lead can be cut, shaped and fitted. It would have been much easier just to cut short bits of came and assemble it like a lead light, but is am sure you will agree, the long way yields a stunning result. 

All that is left to do now is to solder, cement and polish