Sink

The big aperture drop for the Willow Tea Rooms has been good experience for smaller projects.

I am in the process of helping to create an oval sink with a specific height, and dimensions at the top.  Rather than creating a custom mould, it was decided to do a free drop to the desired height with a flat bottom to the sink.

View from above of the slumped blank

An aperture in the desired shape was cut from a 25mm thick board and suspended on bricks at the correct height.  

The set up for the glass

It was set to fire and the person came in the evening to check on progress and advanced to the cooling when the desired amount of glass had touched down to the shelf.

Sink from the end

The flat excess glass was cut away with a tile saw. and then the polishing began.

trimmed and roughed edge

There is quite a bit more grinding to be done to get to the polish stage and then there will be the drilling of the drain for the plumbing fittings.  Only a few weeks until completion.

Bedroom Panels

This commission was for a boy's bedroom in an old building which has been completely refurbished while keeping as much of the original as possible.

The brief was to provide a lighting feature that would form part of the partition between the bedroom and the bathroom.  It needed to reflect sporting life, especially including tennis and football.  Other than that, we were given freedom to choose colours and specific figures, once the design concept was agreed.

This is the set of five panels installed over an almost 5 metre span.  The design was a collaboration between Dorte Pape and me.  It consists of football players, cyclists, swimmers, runners, tennis players and gymnasts.  The forms and shapes they make while playing are graphically represented.  We were pleased to note the blue of the glass was complimentary with the blue chosen for the walls.

This view from the window shows how the LED lighting throws colour onto the ceiling adding a third colour to the scheme of the room.

The figures are sandblasted onto both sides of the fused glass panels.  This gives some depth and variation in appearance depending on which side the light shines.  These panels show gymnasts, tennis players, runners and some swimmers.

These panels show more of the swimmers, cyclists and footballers.  Both these bathroom side panels show the different effect of where the light falls as to which side is emphasised.

New York, New York

This piece is going on its travels to its new home.

"Pregnant"  40x20x80cm wood and glass

The client came to the studio earlier this week and selected this piece for her New York City home.  I now need to pack it well and get the freight forwarder to deliver it safely.  I intend to use a lot of firm packing and a wooden box to help ensure its safe arrival.

This is a strip constructed piece.  The strips were cut and then formed.  These were then assembled and fused together.  Finally the piece was slumped over a special ceramic form created from a plow share.  This makes a connection for me between the growing of seed and the curves of a pregnant woman.  Both contain the developing form which will later appear.

Studio views

I have been asked to put some photos on the blog of my studio.  These are three general views of the studio today.

This is the East end of the studio.  Today the concentration is mainly on leaded glass.

This shows the North and part of the East of the studio.

This shows the South West portion of the studio during a sunny spell.

Float Glass Experiments

I have been conducting some recent experiments with float glass strips.  The intention was to play with devitrification.  

I placed the strips randomly tin or air side down.  In the first they were shingled, and then fused. In the second, they were shaped first then fused.  The first went into a self-made ceramic mould.  

Assembled strips fused and formed

Strips bent and assembled before fusing and forming

The second I decided to make into a large tray.  The mould for this, as I had no suitable mould of the correct size, became cut kiln shelves arranged in a parallogram and covered with thinfire.  

"Free form" mould assembled on sand bed

I fired at 100C per hour and watched periodically from 600C top 720C.  I decided to stop the firing after 10 minutes at 720C.  This was not an entirely successful experiment, as only a little devitrification shows on the first and none on the second tray.  Still, I obtained two interesting vessels, which encourages me to continue the experimentation.

Web Site and Nursery

The last few weeks I have been working almost exclusively on the new website.  It is still in development, but the main structure is now visible.

Most of the work has been done on filling the shop with information about glass.  There still is a lot to enter, but I feel that I am now over the most intense part of the work.

One interesting thing (to me) about the process of testing the site was my list of comments and queries.  On the first day I completed a page and a half of material.  On the second day, I almost filled one page. But the next three days I completed only half a page.  At the first the comments were about details of how to do things and the consequences of doing them.  Recently, the questions have become much more about the experience of the site both for me at the back of the site and for the user.  My viewpoint has moved from the detailed to the much broader view.  This is interesting to me because, I have thought my general approach was from the broad brush to the detail.

But now I need to think about other things.

I have had a nursery class come to the studio - not all at once - to see the way glass will be put together for their fused windows for Hagred's House in their playground.  They each also talked about the picture they had made for me to translate into the glass.

Verrier

Verrier specialises in the design and making of architectural and decorative glass for domestic, and commercial settings. Leaded and kiln formed techniques are used to provide windows, wall hangings and decorative features.

Verrier uses the traditional values of high quality craftsmanship, attention to detail and fitting the work to the requirements of the client. It is preferred to visit the site to ensure the glass is suitable for the situation. Clients are also encouraged to visit the studio to confirm the work practices and ability of Verrier to meet their requirements.

Restoration of existing windows is done to high standards whether for simple or historically important windows. Verrier has worked with the Glasgow City Heritage Trust on several projects and with various architects and builders on larger projects.

Verrier also conducts weekend workshops and some evening classes, as well as supplying glass and tools to other workers and enthusiasts.

Verrier is run by Stephen Richard who has had art training at the University of Kansas and Glasgow Metropolitan, and in master classes with Paul San Casciani and Klaus Moje. He is involved with various professional bodies: Past Chairman of the Scottish Glass Society, Past Chairman of the International Guild of Glass Artists (currently on the advisory board), Past Chair of craftscotland, member of British Society of Master Glass Painters, and the Contemporary Glass Society. He established Architectural Glass Artists in 1998, which has grown into the largest collaborative glass studio in Scotland.

More information is available in my cv (link at the top of the page) which links to various projects.
You can also contact Verrier:

email at stephen.richard43@gmail.com

telephone at 0141 556 5700

mobile 0771 883 1117

or drop into the studio:

Studio 8 WASPS Studios, 77 Hanson Street, Glasgow G31 2HF

Fusing and Bowls

This workshop combines two of the most popular forms of kiln working - fusing and slumping. You will prepare a number of tests on the first day, using a variety of materials - metals, frits, confetti, mica, stringers and even cut glass. Discussions of kiln forming basics – glass, mould materials, firings, etc – will be interspersed with demonstrations and actual making. This is an intermediate level workshop integrating the fundamentals of kiln processes with exercises. You will use clear and coloured glass to illustrate the principles of design and colour. You will make numerous studies beginning with basic materials and methods, and building on them to create pieces to integrate them into your bowls. A few bowls will be produced during the workshop.

You will need glass cutting experience, or Cutting with Confidence

This workshop is held in a large, bright and airy (but warm) working studio. The workshop is limited to a maximum of six people to give you individual attention. All kiln-forming classes are taught using Bullseye glass - the première fusing glass. All tools and materials (and where relevant, the kiln firings) are provided in the workshop fees.

Date: 21 - 22 November

Time: 10:00 to at least 4:30pm

Price: £185

Booking: A deposit of £50 is required to book your place which must be received one week in advance. For further information contact: Steve Richard at Verrier, Studio 8, 77 Hanson Street, Glasgow G312HF. Telephone: 0771 883 1117, e-mail: s.richard@verrier-scotland.demon.co.uk

Fusing and Kiln Carving Workshop

This three-day intermediate level workshop develops the fundamentals of kiln processes with exercises. It will enable you to make wall hangings with an extra dimension. You will use clear and coloured glass to develop the principles of design and colour. You will make numerous studies beginning with basic materials and methods, and building on them to create pieces to integrate them into a project.

You will move on through the creation of maquettes to shaped panels in relief using ceramic fibres, sand and found objects. Ceramic fibres can give sharply defined images and, by tearing, much more free form images. Working directly into sand provides an additional mode of expression. Found objects can be used to create other forms. This method of kiln forming gives added dimension to your work, from hints of form to full bas relief forms.

You will need glass cutting experience, or Cutting with Confidence

This workshop is held in a large, bright and airy (but warm) working studio. The workshop is limited to a maximum of six people to give you individual attention. All kiln-forming classes are taught using Bullseye glass - the première fusing glass. All tools and materials (and where relevant, the kiln firings) are provided in the workshop fees.

Date: May 23 - 25

Time: 10:00am to at least 4:30pm

Price: £225

Booking: A deposit of £50 is required to book your place which must be received one week in advance. For further information contact: Steve Richard at Verrier, Studio 8, 77 Hanson Street, Glasgow G312HF. Telephone: 0771 883 1117, e-mail: s.richard@verrier-scotland.demon.co.uk

Making Glass Bowls Workshop

This workshop introduces you to the most popular form of kiln working. You will prepare a number of tests on the first day, using a variety of materials - metals, frits, confetti, mica, stringers and even cut glass! Discussions of kiln forming basics – glass, mould materials, firings, etc – will be interspersed with demonstrations and actual making. A few bowls will be produced over the two days. You will need glass cutting experience, or Cutting with Confidence

This workshop is held in a large, bright and airy (but warm) working studio. The workshop is limited to a maximum of six people to give you individual attention. All kiln-forming classes are taught using Bullseye glass - the première fusing glass. All tools and materials (and where relevant, the kiln firings) are provided in the workshop fees.


Date: 19 - 20 September

Time: 10:00am to at least 4:30pm

Price: £150

Booking: A deposit of £50 is required to book your place which must be received one week in advance. For further information contact: Steve Richard at Verrier, Studio 8, 77 Hanson Street, Glasgow G312HF. Telephone: 0771 883 1117, e-mail: s.richard@verrier-scotland.demon.co.uk

Absence and Return

I haven't been very consistent in posting about my activities. Apologies.

I have had several weeks of doing no glass at all! The first of these weeks I spent on a life drawing course with 7 other people. Five days for only £100. This included meals and all the paper you could use. Oh yes. And a model and an instructor. Although I was only able to do the first 4 days, it was a great experience. I normally think I can do only two hours at a time before my concentration falls. Well with an instructor, I find I can concentrate longer. It was a great group of people from all kinds of backgrounds and experience.

The last day I had to go to chair the craftscotland Board meeting. We have appointed a new chief executive, and I didn't think I could leave her to cope on her own, nor my vice-chairman. One good outcome of the post meeting discussion was that I think we have convinced the vice-chairman to take on the post of chairman soon.

Then off to London for a week to see my daughter and go to some exhibitions. I got to see the Royal Academy show that included a number of my favourite artists - Braque, Calder, Miro, and Giocometti. It was a great show with lots of big stuff. There also were a number of charming small studies in pencil, charcoal and some pastels that showed the working up of ideas to the final pieces.

I also got in the last week of the BSMGP 40cm2 (Forty centimeters squared) show at the Cochrane Theatre. This required each of the selected artists to use a square format of 40cm. This provided a variegated wall of glass against the windows of the Cochrane Theatre bar area. I was there on a bright day which allowed lots of light through all the windows. A feature of the street scape outside the Theatre is a number of relatively young trees, giving a dappled light for the panels. Lots of variety, but not many surprises. But there was enough to occupy me for a couple of hours.

I went to the Sir John Soan Museum in Lincoln's Inn Fields. This is a great museum for those interested in architectural details. The attraction was the invitation to find the pieces of glass, ceramics and a few other materials that were created by students in response to the space. Well some of them were so well hidden that even with a crib sheet they were not easy to find. My favourite though was a "poured" piece of glass falling from a tap in the dressing room.

Good dinners, good conversations, and nice wines.

Then I came back to reality - work.

As you know, I have had difficulty with my large kiln over the past few months. I am now getting more confident about the results that I can get from it. The three pieces below are a screen between a bedroom and the stair up to the loft. It is more about decoration that privacy it seems to me.

The three pieces as shown are for a space 990mm by 860mm

The actual colour is somewhere between these two photographs. The upper one is as it was taken by the camera (me). the lower one is as colour corrected by Adobe. The colours are warmer than the bottom one, but not so yellow as the top. I suspect that I should take an evening class in photography.

Public installations 2

There has been a gap in my postings as several events have occurred. First my niece had a big wedding at which I got to wear a complete highland outfit, using the Flower of Scotland tartan. Next day was my birthday, so our side of the wedding party came to the house - hungover or not - and we had food and drinks. Third and I am sure it was nothing to do with all this, I got flu and spent several days in bed. Those are my excuses and I'm sticking to it.

To continue with some of the public installations I have designed.

The Scottish Football Association constructed a new stand round Hampden Park, the national football (soccer for the USA people). I was asked to design and install a ceiling for the reception offices of the SFA. Below are some pictures of it. Although I had asked for and was assured that a 1 metre high light box would be constructed, it in the end was only 300mm high. This means the light is not diffused as well as it should be, leading to a stripey effect.

The first photo shows the piece as installed on Christmas eve minus one day. Only the last panel remains to be installed. The lighting has no chance to diffuse round the whole of the installation.

This second photo shows the ceiling as it exists today. Extra lighting was put in place, but still the striped effect is visible. Still, I am happy with the images of the shapes made by footballers in action. I did sneak in one female footballer.

SFA Offices. Fused glass in steel frame 4m x 3m

Earlier that year I finished another ceiling panel. This time it was a skylight. It is installed in Miller's Bistro, North Berwick. The theme relates to the hills and rocks around the area, and to the sea and the birds of the area.

Miller's Bistro upon completion, daylight. Fused glass and steel frame, 3m square

Another restaurant installation is at Rococo, an excellent Glasgow restaurant. This is based on Australian Aboriginal sand paintings. It is set out 100mm from the wall on bolts with copper spacers and illuminated with overhead spotlights.

Dream Time 1. Fused glass applied to sandblasted safety sheet glass, 1500mm x 800mm