Early Designs
My early designs for the stained glass piece were inspired by an ammonite. I intended to create four different shaped panes that would be hung in a line, and when viewed from the end would reveal the ammonite. I would use clear glass, and the pressed seaweed would provide the colour in the piece, similar to Damien Hirst’s butterfly works that had formed part of my initial inspiration.
I drew my early designs for the piece onto tracing paper to get a sense of how the panes would look when layered in a row
This would have been the 4th and smallest pane. The glass pieces would be cut to the shapes outlined in black, seaweed would be placed between the layers, and the red lines would be painted onto the glass
The third pane design. Zinc came would be fixed to the semicircular bottom edge of the pane and hanging fixtures placed at the far left and right
The second pane- this would have been problematic because it would be top-heavy, and the irregularity of the lower edge would make it difficult to apply zinc came
The first pane that would be closest to the viewer. It would have had a gap in the centre of it
This would have been the view from the end of the row, looking through all four panes
Each layer would include some of the pressed seaweed, and when overlapped, the edges would form the linework of the ammonite. One practical issue with this design was the weight; since the seaweed would need to be pressed between two panes of glass, the pieces would be relatively heavy, and to hang them would require reinforcement.
I considered using U-shaped zinc came to reinforce the underside of the panes, and the hanging fixtures could be attached to this, however one of the designs had an irregular edge underneath, on which it would be difficult to attach the came; and the pane would be top heavy, so there would be still be a risk of it flipping over and possibly detaching itself. This would pose a health and safety risk to exhibition visitors. Some people I spoke with suggested I use acrylic instead of glass, which would have probably made this design possible, however I didn’t wish to do so because I wanted to make the piece as environmentally sustainable as possible, and I couldn’t in good conscience use a material that is a common pollutant to the sea.
It was also difficult when designing a series of panes that hang in a row, to consider the linear perspective from the position of the viewer. The panes would appear different sizes depending on distance from the viewer, and so if I wanted the ammonite design to be visible from the end of the row, I would have to adjust the sizes of the panes accordingly, and hang them at specific distances from each other. I didn’t yet know exactly which space would be available to exhibit the piece, and so this made it uncertain whether the piece would work in the available space.
I also felt that the design was too pedestrian and didn’t leave enough room for interpretation of the piece. In considering the experience of the viewer, they might look at the individual panes, look at the seaweed and view the ammonite shape, but I didn’t think they would necessarily see the relationship between the piece and the themes I was hoping to convey- the ocean as a supporter of life, and our personal and spiritual connections to it. I felt that the ammonite didn’t communicate the sea as a living thing, and that its design might distract from the message I was intending.
Second Design
When reconsidering the design, I thought back to my experience on the beach collecting the seaweed. I had walked along the shoreline and the waves just gently brought in the seaweed to my feet. It struck me the relationship between the ocean and land, in that it provides for us. I felt like this should be reflected within my work, and therefore decided to focus on this aspect in my design going forward particularly around the image of the wave meeting the shore.
I started the new design based upon the below images of the shoreline.
I liked the fractal nature of the waters surface and I felt this would translate well into glass. I wanted to stick to the idea of using the seaweed as colour, so I decided to keep the colour scheme for the glass as clear and white. Practically, this also made it cheaper to produce, which was good as it required a lot of glass to create.
sketch of the shoreline wave
Based around my research of altarpieces and the consideration of the human spiritual connection with nature and the sea, I decided that the piece would be designed to resemble an altarpiece or a reredos. For this reason I designed it as a hinged triptych, allowing the piece to stand independently and allowing the viewer a more intimate experience as the piece would seem more surrounding. I also felt it was important that the piece was standing to allow viewers to get a view of the seaweed from all angles.
design for hinged triptych
outlining the new design
I laid out the pressed seaweed on paper to make choices on the design
Stained glass needs to be designed in a particular way- specifically, the angles of any inward curves of pieces cannot be too acute, or it will be impossible to cut them without breaking where it’s not wanted (glass wants to break in a straight line). This means that the shapes need to be carefully considered, striking a balance between what is practical and what is aesthetically pleasing.
I first laid out the white areas before adding the necessary connecting lines to them, and then divided up the rest of the space into pieces that would be an appropriate size to both contain the fairly large pieces of seaweed but also restricted by the size of the glass sheets I was able to obtain. I tried to keep lines in the same direction as the flow of the water would have been. Since the copper foiling method is not as strong as leading (I decided that I did not wish to use lead), this can result in glass panes sagging or even breaking, so I had to think at each step about what I could do to ensure the structural integrity of the piece. I kept in mind where most of the glass’ weight would sit and tried to design it in a strong formation.
I drew and revised the design until I was satisfied it was strong, practical and aesthetically pleasing
Final design with seaweed layout
Cutting the glass
Part of the glass that broke as I was cutting it. Parts of the design had to be adjusted as I worked.
Cutting and grinding the glass
Cutting and grinding the glass pieces to the pattern was the longest part of the process. It’s important to use a safe method when cutting glass including making sure to wear gloves and eye protection as well as having a safe, usable work space. I cut mine in the ceramics workshop so that it was easy to clean up and ensure there were no glass splinters left afterward.
To get a clean cut on the glass you need to hold your glass cutter at 90 degrees to the glass and apply the correct amount of pressure – not too much or you’ll splinter your glass – as you score it. If you’re right handed you should use your left hand to steady it and keep a controlled line. Once scored it’s as simple as tapping along the score line with the metal end of the cutter to fracture the glass at the correct points before using the running pliers to break the piece apart. You also need to keep an eye that your cutter is well oiled. This saves a lot of time while grinding as it reduces excess glass.
When using the grinder it’s essential to wear eye protection and make sure you keep the grinder topped up with water as this will ensure you’re not inhaling glass dust. You should wear a dust mask as well. When pushing the glass into the grinder head be careful to not cut yourself on the raw edge of the glass. You can use a set of glass pushers if needed.
Cut and ground pieces for the left hand ‘wing’. I laid out the pieces as I worked so I could make adjustments to ensure they fit together. There were between 30-50 pieces for each side so I labelled them
Copper Foiling
Copper foiling is a method of stained glass making that involves wrapping the glass pieces in a copper foil tape before soldering them together at the front and back. The solder adheres to the copper as you apply it, and once it sets, it forms a kind of frame that keeps the glass pieces in place.
The glass that I used was 3mm thick, so I used foil tape that was 6mm to give it a 1.5mm border on either side. For the seaweed pieces, I used 9.5mm tape applied around two pieces of glass with the seaweed piece in between. It required care when wrapping, especially when the seaweed was thicker, so that the glass did not crack if too much pressure was applied to the wrong place- thankfully this didn’t happen.
I used a wooden pencil to burnish the foil tape strongly to the glass piece to prevent it from coming away from the glass while soldering.
copper foiled glass pieces containing seaweed
Miscellaneous pieces. I love how the glass looks when its foiled
seaweed pieces from the middle section
Left ‘wing’ of the piece foiled and ready to be soldered
The right ‘wing’. Copper foiling takes a long time so I completed it in batches in the evenings, working on cutting and grinding during the day
Adapting the design
Whilst working on the piece, it became apparent that I wasn’t going to complete it within the timescale. I wasn’t going to have time to cut all of the required pieces for the middle section so I would need to adapt my design. I thought of several options for this, including laser-cutting wooden board, or making a painted wooden panel (possibly including some glass pieces).
My tutor suggested making a 3d glass support that the two panels could join to, and I liked the idea of still using glass, but just simplifying the design down. I felt it was important that the piece still resemble a triptych, so I made a new design for the panel that was simpler but would still unify the two ‘wings’.
I had still not figured out how I would attach the panels together- I had planned to make hinges/latches but not yet learnt how to do this, and I was running short on time. I searched online and came up with the idea of purchasing clamps for glass shelves, but fixing them into the plinth rather than a wall, for the glass panes to sit in. This would be a simpler solution to display the panes in a manner that still resembles a triptych.
my new simplified design for the middle panel
the panel would contain some seaweed and reference the design of the other pieces
Soldering
Soldering the glass is another process that can’t be rushed. Safety is a priority since there are several hazards:
- Flux – brushed onto the copper to allow the molten solder to flow. It produces fumes, so ventilation and a mask are needed. You also need to wear gloves
- Heat – the soldering iron needs to be 500 degrees to melt the lead-free solder I used. You need to keep an organized space that will be safe from accidents and others walking by. Despite best efforts, molten solder droplets can fall from the piece, so long sleeves are needed as well as gloves
- Patina – a chemical used to ‘age’ the solder. It is highly corrosive and produces fumes. Gloves and a mask are needed.
The glass pieces need to be put into position. You can them ‘tack’ solder them into place before running the solder over each seam
I aimed for smooth, thick solder lines to hold the glass as strongly as possible
The patina should be applied soon after soldering. I liked the silver, but I felt that it was distracting from the glass. I chose to turn the solder black so that the seaweed would stand out more
The final step was to apply wax to the solder to prevent it from oxidising
the completed panes