Stained Glass Vegetable Kitchen Panel - Design, Pattern-making, Glass cutting

This commission posed a fun challenge, to come up with a 5-vegetable design to coordinate with an existing fruit-themed window in the adjoining room.  I collaborated with our customers, a husband and wife team, to create an original design.

She told me they'd like to have a green pepper, an eggplant, a tomato, an onion and a bulb of garlic in the design.  I went to the supermarket, bought a nice representation of each of those vegetables, and photographed them in about 25 different arrangements.  She chose one and after some tweaking by her artistically-trained husband, we finalized the design!  The panel is  37" wide and 21-1/2" high. Here's what the project looks like as of yesterday.

Here is the existing fruit themed window which was the starting point.  Its located in an adjoining room.  (Click on any photo to enlarge).

Here's one of my photos, the choice for the design.

And below is the computer rendition of the design.  Note that the background, which appears gray, will actually be clear glass with some texture in it. 

Using a combination of glass I had in inventory, plus more that I special ordered for this project, below is the palette of colors for the vegetables, ranging from orangey-reds to greens to ambers and purples.

 

After sizing and numbering the vegetable grouping in my computer, my husband Eric measured and drew in the diamonds for the background.  Then I placed the pattern or "cartoon" on top of the taped side-by-side manila folders and carbon paper.  I've added several push pins to the work surface to be sure that the papers and carbon paper don't shift as I'm tracing the design.

Using a color rendition of the design as a guide, here I'm numbering and writing the colors onto each piece of the pattern. 

A view of the manila folder pattern. 

The outer border of the pattern is cut with standard scissors.  All of the pieces themselves though, must be cut with specialized stained glass pattern shears.  These shears are double-bladed.  They cut out a small amount of manila folder, as shown. That space will be taken up later by copper foil.

Its always a goal to cut as many pieces of glass as possible from each sheet of glass.  Here, I've laid down three pieces of glass which share a cut.  This saves some time, as well.

Another grouping of pieces which I cut together.  This is a good technique for a project such as this where there is a repeated pattern of identically-sized glass.

After scoring each piece with the pistol grip cutter, I use the brass end of it to tap on the glass repeatedly until the glass "loosens" enough to be snapped apart.  In many cases, the glass will separate itself as it lays on the work surface.

The blue tool below is a pair of "running pliers".  By lining up the score line with the line on the pliers and applying gentle pressure, a straight line will snap evenly .. most of the time.  The glass is always the boss.

Below, scoring glass at a 90 degree angle.  The cutter makes a crunching sound as it moves along the glass.  Its not shown here, but I always rest the cutter against a ruler to be sure the straight lines are cut straight.

Wearing Staples rubber fingers and grinding a piece of the glass. 

Using cool water, I'm rinsing the glass.  I then towel dry each piece and place it onto the appropriate spot on the pattern.  I always try not to wash off the number on the glass.  For a project such as this, with so many similar pieces, placing the correct piece of glass in the correct place is essential.

I do my cutting production style, color by color.  I cut a batch, then grind a batch. Since I started with all the clear Artique glass, I have a stack of cut pieces on the upper right, separated by their patterns.  To prevent re-cutting, I always add a check mark to each pattern piece I've cut.  Then I place it into a separate envelope.

And here's another example of fitting pieces of glass together to maximize the glass usage.  There will always be pieces left over, most of which I keep.  Sometimes a small piece of glass is exactly what's needed.

Now all the clear Artique glass has been cut!  Notice that I've added a metal "fence" or "jig" around the perimeter of the pattern.  This will assure that the piece will be "square" and that the glass won't shift.  This photo represents about 1/3 of the glass already cut.  Most of the pieces were a perfect fit.  There is still some tweaking to be done, but I generally wait until adjoining pieces are in place before doing so.  (Click on the photo for a better view).

Next, I'll be cutting the glass to create some very realistic vegetables.  Stay tuned ..

Please visit my website to see my custom windows and repairs (click here).  And if you are on FaceBook, become a fan and I'll keep you up to date on all my stained glass projects.  Call me any time at 201-600-1616 or email with your questions. Thanks!

Dale Tiffany Waterlily Lamp Repair

Every broken lamp has a story and many of them involve children or pets.  In this case, my customer's two Maine Coon kittens had a go at the lamp and it came crashing to the floor, sustaining damage to both sides of the dome. 

Inside the dome was soldered a small brass tag with "Dale Tiffany Inc", shown below. Here's a quote from the Dale Tiffany Inc. website .. "More than thirty years ago Dale Tiffany began reproducing the work of Louis Comfort Tiffany. Our craftsmanship and attention to detail recreate these timeless heirlooms and make them available to the public. The opalescent colors in this hand-rolled art glass is exquisitely highlighted using ring-mottled glass."  It was a pleasure working on such a finely crafted lamp. Here's how I went about repairing it.  (Click on any photo to enlarge for a closer look).

The rectangular pieces of blue tape are marking all the cracked glass.  Here I'm using a flashlight to check the glass for opacity so that I can make a good match for the replacement glass.

And here's he other side of the lamp, which also sustained several cracked pieces.

From my inventory, I gathered together a palette of glass pieces for possible use on the repair.  Its always my goal to find the exact glass or something very close in terms of texture, opacity and color.

After I've assessed the damage, I'm starting the process by cracking out the glass and then picking out the shards with needle nose pliers as shown below.  The order of removal is important.  Two adjacent pieces generally shouldn't be removed at the same time.  It makes it more difficult to prepare a pattern, and it could affect the stability of the lamp.

Here I've cleaned out the borders of the cracked piece and slid a piece of manila folder under the dome.  I traced the manila folder to make a pattern for the new glass.

Here's the new piece of glass as traced by the pattern.  Since opalescent glass generally has different colors on each side, I've marked the pattern "inside" so I can be sure to get the best color match for the side which faces out.

Next, a trip to the grinder.  The sponge wicks up conditioned water from the reservoir beneath the grinding surface.  It keeps the grinding wheel wet and prevents it from wear.  I'm protecting my fingers with Staples rubber fingers, available in several sizes and essential when grinding sharp glass.

Here's a different section of the repair.  The green-blue piece has been copper foiled around the edges. I've also traced the oblong shape pattern to the left of it to prepare for the replacement of the next piece.

Though it may not look like it (which is good), seven pieces of glass have been replaced on this side.  There are two pieces remaining to fill this open segment.  Notice the wire across the top.  All stained glass windows are edged with this wire which serves to strengthen the edge of the lamp and add structure to it.  I always leave that wire in place.  I solder it to the edge piece to make it secure again, just as it was originally.

An oval shaped piece of opalescsent glass resting in place, ready for soldering.  I've taped it from behind with wide blue painter's tape.  The tape serves to keep the glass on the same plane as the rest of the dome.  It also catches any excess solder and makes for a cleaner interior.  At this point in the process, I've moved the lamp into a large box of packing peanuts so that the area to be soldered is facing up.

Below, I'm using a hot soldering iron to melt off the old solder and copper foil.  This will prepare the opening for the replacement pieces of glass. 

Here I've soldered some of the outer wire to the center of the border glass.  After its been fully soldered and patina-ed, it blends into the solder and can't be seen.

Now all of the cracked glass on both sides has been replaced.  I'm spraying the dome with Kwik-Clean Flux and Patina Remover.  It neutralizes the chemicals and prepares the solder for patina.

Below, I'm brushing on Novacan Black Patina which reacts instantly with the silver colored solder.  I let it set for several minutes.  Then I wash it off with the Kwik-Clean, towel dry and then let it dry thoroughly.  The final step is to towel off the entire lamp, inside and out, and apply Clarity Stained Glass Finishing Compound which is a light carnauba wax.  It serves to protect the patina and gives the glass a nice shine.  After the wax dries, I buff it out and then go into the corners of each piece of glass with Q-Tips to remove any excess wax.

This lamp is such a beauty, I wanted to show it from two sides.

Thank you John for bringing your beautiful Tiffany lamp to me for repairs.  It was a pleasure hearing that you could not tell which pieces had been repaired.  I wish you many more years of enjoyment with it!

Please visit my website to see my custom windows and repairs (click here).  And if you are on FaceBook, become a fan and I'll keep you up to date on all my stained glass projects.  Call me any time at 201-600-1616 or email with your questions. Thanks!

Panel with Bevel Clusters and Blue Gems - Installed

Over the weekend, Eric installed the panel with the bevels and blue gems.  A wonderful asset of stained glass panels is that even when they are newly made, they already look old.  This one is no exception.  Once it was in place, it looked like it had been there for many years already.  Click on any photo to enlarge.  Here's the installation ..

Eric is installed primed quarter round molding to the front side of where the panel will be installed.  Thisi panel is high on the wall and Eric is on a step ladder.

Here's he's making adjustments to be sure the corners are at the correct angle and the molding is secured.  He's using nails on this side of the molding and screws on the opposite side.  This way, the homeowners can readily remove the panel should they move or wish to place it elsewhere in their home. Notice the top of the back door to the left for perspective on the placement of the opening.

Eric cuts all the molding on site with our compound radial arm saw.  Here he is in our customers'  backyard, cutting another piece for installation.

And here is the installed panel, as seen from the kitchen side.

 

 And here's the view from the powder room side.  You'll notice the beveled mirror on the right hand wall.  This was my inspiration for choosing the bevel clusters used in the panel.  The overall design was a good compliment to the shape of the mirror.

 Thanks so much, Geoff and Roberta!  We know this panel was a long time coming for you, and we're so pleased that you called it "spectacular".  Your compliments means so much to us.  May you enjoy your new stained glass for many years to come!

Please visit my website to see my custom windows and repairs (click here).  And if you are on FaceBook, become a fan and I'll keep you up to date on all my stained glass projects.  Call me any time at 201-600-1616 or email with your questions. Thanks!

Panel with Bevel Clusters and Blue Gems - Soldered and Framed

As of the last posting, each piece of glass had been copper foiled.  My next step is to add my signature. Below, I've etched my name and the month and date inconspicuously to the lower right hand corner glass.

Notice that I have not applied copper foil to the entire outer edge.  This is to make it easier for my husband Eric to install the metal channel frame later on.  There is no need to apply foil to the outer edge of a panel unless it is to be tinned instead of framed..

At random joints throughout the panel, I've inserted some flat, braided copper reinforcement wire.  Its visible in the seam between the glass pieces, below.  Once that seam is soldered, the wire virtually disappears. This reinforcement adds extra strength to the piece, and contributes to its longevity.

The next step is to prepare the panel for tack soldering.  Here I'm brushing on Canfield Blu-Glass Flux along all the seams.  On the left is my breathing mask which i use when I'm soldering.

Shown below is the joints tack-soldered.  This is a preliminary step to ensure that the glass stays in place when the "fence" or "jig" is removed from the border.

Since the pieces of glass are secured, I'm now sliding out the pattern or "cartoon".  This is to protect the paper pattern from the chemicals and the soldering process.

Below, the front of the panel has been soldered.

Here I'm spraying on Kwik-Clean Flux and Patina remover which I dry off with a towel.

The two blue gems in the center of the panel are dimensional and protrude a bit from the front.  Therefore, when I turned the panel over to solder the back, I rested it on two magazines so that the panel will lay flat and the solder will flow evenly.

Here, I'm soldering each of the seams.  I turn the panel frequently as I work so I can get the best angle for nice soldering lines.

I sprayed and dried the back side of the panel.  After both sides of the panel have been soldered and cleaned, my husband Eric measures and saws lengths of metal channel and installs them around the outer edge of the panel.  Then I solder the corners, and on the back only, I solder the lead lines to the frame for added strength.

After another cleaning, I begin applying the Novacan Black Patina to both sides.  I always work from the bottle cap to avoid risking contaminating the bottle.  It works instantly.  I let it sit for 15 minutes or so, then I spray and wash off the residue.

 

And here is the finished panel!  I usually photograph completed pieces outdoors to catch the natural light, but it is raining and I didn't want to wait for the "big reveal".

Here is a view from the side, lit so that the textures of the glass and bevels can readily be seen.  Click on the photo to enlarge for a better look. Around the outer border is classic glue chip glass.  The small medium blue corner squares are rough rolled glass.  And the clear glass around the bevel clusters in the center is called Artique.  My customer and i worked together to create a simple, yet classic pattern with appropriate glass for his older home.

Thank you Geoff .. It was a pleasure working with you!  Eric and I look forward to installing your new stained glass panel tom'w night!  (Photos to follow)

Please visit my website to see my custom windows and repairs (click here).  And if you are on FaceBook, become a fan and I'll keep you up to date on all my stained glass projects.  Call me any time at 201-600-1616 or email with your questions. Thanks!

Panel with Bevel Clusters and Blue Gems - Glass Cutting and Copper Foiling

In the previous posting, I had just begun the glass cutting process. After delays due to temporary glass unavailability and Labor Day Weekend, and Eric and I going away, I'm back with the near-final steps of the process.  Here they are ...  (Click on any photo to enlarge for a closer look).

Cutting curves such as those in this panel require a bit more expertise than a straight line.  Here's one way to cut a curve .. Below, notice the outer curve on the left.  This curve follows the line of the pattern.  You'll notice that I scored several adjacent curves next to it.  Here I'm "chunking" out each piece using grozier pliers.  By removing sections of the curve in this way, there is far less likelihood that it will break badly.  Its no guarantee .. Glass can be very unpredictable.  But its a reliable way to get a nice curve.

Since my inventory of clear Artique glass was low, I decided to fit as many pieces as possible onto a single sheet of glass and then cut them using my Gryphon Omni Wire Saw, as seen in the earlier post.  The saw pours water onto the glass as its cutting, in order to keep the blade cool.  Below I'm applying lip balm to my Sharpie lines to prevent them from washing off as I cut out the pieces.

The saw is messy and loud but it does the job.  Below, I started cutting in between the pieces, first from one side, then the other.  I left about 1-1/2" of glass attached in the middle.  I carefully extricated the sheet of glass from the blade, scored that small segment of glass with a pistol grip cutter, and snapped it.  Voila!  Two pieces of glass with lines I could easily cut by hand, and a big savings in the amount of glass used.

Whenever I cut a large number of rectangular pieces, I lay the patterns side by side and do them production line style.  Here I've cut all the border pieces.  As I cut each piece, I mark each pattern with an "X".  When pieces are similar, its easy to accidentally re-cut the same pattern.  Marking them with an "X" avoids re-cutting.  Next, I grind each piece in the Glastar Grinder, rinse them under the faucet, and place them onto the pattern.

Now all of the bevels are laid in place and all the glass around it has been cut.  To get each piece to fit exactly, some tweaking is almost always needed.  Even though the patterns have been cut accurately, glass can sometimes be too large or too small for the space.  Since glass is not flexible like fabric or other creative media, it has to be trimmed or ground down if its too large.  A handful of pieces required extra care to fit.

Below, I'm applying the adhesive copper foil to the edges of each piece of bevel and each piece of glass.  I'm using "black back" 7/32" foil.  It takes some dexterity for this step because the foil has to be placed dead center on the glass in order for the sides to be even.

The next step is to use a "fid" or flexible plastic wand to press the copper foil onto the glass.   This smooths it out and prevents chemicals from making their way under the foil.

Copper foil comes in a few different styles .. The sticky side can be copper colored, black or silver.  The choice of interior color is made based on what color patina will be used.  Since I'll be using black patina on this panel, I'm using black back foil.  Notice in the photo below that you can see the interior black through the glass.  When using opal (or non see-through) glass, this is not an issue.  But when using clear glass, as in this panel, using black back copper foil is essential.

And here's the latest .. Each piece of the panel has been cut to fit and then foiled.  Notice that the "fence" or "jig" is still in place.  It will remain there until the next step to follow shortly, tack soldering.

Almost done!  Stay tuned for the final steps and the installation this week!

Please visit my website to see my custom windows and repairs (click here).  And if you are on FaceBook, become a fan and I'll keep you up to date on all my stained glass projects.  Call me any time at 201-600-1616 or email with your questions. Thanks!