Stained glass portrait

Time marches on, unlike my knees which are now locked solid; must acquire some kind of bar stool on wheels. After numerous attempts to get the first eye right, I think we just about have it. I had to change several of the pieces around it for slightly different shades to get the accents looking better. This is a theme which continues as the picture progresses and I can see another couple of pieces which will need changing as well. Coming on nicely though. 

Another day in the studio

After another day in the studio, I wasn't going to post an update because there doesn't appear to be much progress. So to cheer myself up I thought I would pop a couple of different new bits in. We have the most beautiful baroque glass, which consists of black, white and clear glass swirled together. It is perfect for the shirt and I have been looking forward to adding it to the portrait, but not to cutting it; it's a real nightmare. True to form, a long and unbelievably sharp edge sliced right through my thumb whilst manipulating it on the grinder. It's so sharp I didn't feel a thing, just wondered why the water was running red when it was actually black and white glass. 

Wasn't it worth it though, the shirt is absolutely perfect; really pleased. 

Continuing the stained glass portrait

Continuing with our portrait, a full day in the studio doesn't seem to have progressed very far, but there is a subtle change. As the picture was developing, one piece in particular was beginning to grate on me a bit. The large piece on the very crown was too white it was blurring the line between the hair and was too much of a contrast with the lower browns. Although it is very true to the original photograph, it was just a bit too much for the stained glass picture. 

So I spent a couple of hours cutting a new piece in a slightly darker glass. It hardly notices, but the subtle difference works much better, leaving a big smile on my face. The highlights on the head and cheek also work really well, but took an inordinate amount of time to cut; they are just a couple of millimetres wide in places. 

It's very rewarding to see a familiar face slowly begin to appear. Again my photo doesn't do it justice, but you get the idea. 

Stained glass course

Today we ran our second stained glass course of 2016, two lovely ladies keen to learn the ancient art of making stained glass windows. Our courses are designed to give the basic knowledge and hone the basic skills, building the confidence try more and more ambitious projects. 

Our two fantastic students worked tirelessly all day with great enthusiasm, producing their own very personal designs and making them to a very high standard indeed. Sadly we ran out of time and didn't get to polish them, but they still look awesome. Well done ladies.

 

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.