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.

Intern

This Summer I have had an intern.  As is usual with these things, I was approached by a person.  In this case it was Aimee McCulloch who is a student at Dundee University - Duncan of Jordanstone College of Art and Design.   She found me, it is told, via an Australian aunt who she rarely sees, and who knows a person who knows my daughter.!  How many degrees of separation is that?

Aimee contacted me and showed such enthusiasm, that I could not say "no."

In fact Aimee has been a hard working and enthusiastic worker and helper.  Her enthusiasm is shown by her daily commuting from outside Edinburgh or from Dundee, and occasionally at the weekend too.

She has participated in the various activities of the studio even when they are a bit taxing, as cementing on one of the hotter days of the year so far.

But then, like all good interns, she gets to make the tea as a break from her exertions.

Really, I do try to keep her tea making to a minimum.  It would be too easy to give her all the boring jobs because she always seems willing.

Have a look at her blog for her view of her experiences while being in the studio.  Another three weeks for her and then she can have a holiday - but only if she participates in another weekend course - on painting this time.

Strachan Windows in Kilbrandon Church

During my Easter holidays south of Oban, I stayed at the Loch Melfort Hotel and toured around the area.  Great hotel with good views, excellent food and staff, by the way.  In addition to the views shown on the hotel website, this was my evening view every day.

Sunset looking down Loch Melfort toward Jura on the horizon

I indulged myself visiting friends, the cup and ring stones and henges of Kilmartin Glen generally taking in the spring sunshine and scenery.

On my final day after a bit of pampering in the hotel treatment room, a few glasses of wine and a birthday cake, I was told about the windows of Kilbrandon Church.  So of course, the next day I had to go to see them.

To get there you have to cross the "Bridge across the Atlantic" to get to Seil Island.

Officially Seil Island is in the Atlantic Ocean, but separated at its closest part by this stretch of water.  The bridge was rumoured to have been built by General Wade (as many Highland roads were) after the '45.  As you will see from the website, it was built toward the end of the 18th century with one of the Stevenson family being the architect.  In any case it is a suitably dramatic bridge toward the Kilbrandon Church and its windows.

This was the view from the entrance to the Church on the day I visited.

The church is simple inside with natural stone walls, timber roof, raked seating and a red carpet leading to and from the pulpit.  It gives a comfortable feeling to the visitor, and I suspect to the worshiper too.

Of course it was the windows of Douglas Strachan that I came to see.  As the website for the church will tell you, the windows were installed in 1938 as a memorial to the Marchioness of Bredalbane.  Some windows have been restored several times, and all of them last restored in 1999 - 2000 by Phoenix Glass.


Most of the windows seem to have water as a recurring theme.  However, the north window is one of the two that don't.

North Window

The general view of this window shows (especially on the left) the structure to hold the stained glass within the opening and behind the external glazing.  It is a clever and strong design.  But it also shows the difficulty of making the divisions in the external glazing "read" sympathetically with the divisions internally.  More thought needs to be given by the conservators on how to improve the way the external glazing interferes with the whole window.  Clearly, simply repeating the division intervals of the original window does not work very well.

This window carries a number of disparate themes.  At the top Christ as the shepherd is depicted.  The strong stylised features of the males is characteristic of Strachan's work. The text of verses 7 - 11 of Psalm 148 flows around the window giving a context for the images.

I included a portion of the central image to show how the images in the window flow from one into the other.  In this central part of the window the four seasons are represented both by colour and what the figures hold.  I wonder if the serpent at the centre represents temptations within each season.

At the bottom of the window the risen Christ is being invited in at Emmaus - "Abide with us for the day is far spent."

At the foot of the window are two entwined figures, said to show a figure bearing the body of Christ.

At the east of the church are two windows surrounding the main east window.  The north east window is like the other two windows concerned with the sea - not so surprising when you remember this church is on an island where both agriculture and fishing are important, and of course the main transport to the mainland had been by boat in the past.

This window has the theme "Do not be afraid."  At the top an angel is lifting a person from the stormy sea.  Here you can see the lozenge shapes with leaf forms that dominate the backgrounds of all the windows.  In some cases they are decorated and become part of the imagery.

The central part of the window relates to Christ walking on the sea and calming the water and the fishermen.

The east window is the main window and is also the strongest of the five windows.  The breadth of the window allows a single theme to be used.

In this case, Christ has awakened and is in the process of calming the storm that arose in crossing the Lake of Galilee.  There are strong diagonals and almost no vertical or horizontal arrangement to reduce the tension within the image.  At centre left stands Christ, his left side almost vertical, with his arm raised in a curve that acts against the strong diagonals of the boat and its rigging.  The almost ghostly figure of Christ contrasts with the straining of two of the men and the beseeching of the third.  A champion of a window.

The window to the right continues the water theme with images from the flood of Noah's time, teaching from a boat and with a seabird of some kind at the bottom.

This window is brighter and gentler than the previous two. The colour pallet is lighter and subject matter calmer.

 The top of the window has the great flood as its theme and the covenant made between man and God. It leads on to the scene of Christ teaching the parables, using the scroll with the words "He that has ears to hear, let him hear" to divide the themes.

The people gather around listening to the teaching, making a crescent shape of figures around Christ at the right.  The window is finished at the bottom by stylised sea birds diving.

The final, south, window has in some ways the grandest themes of all of these windows.  

At the top of the window is Christ in his glory in the kingdom of heaven, possibly with references from the Book of Revelations - seven churches, seven seals, seven candle sticks, seven doves.  Also included are Alpha and Omega, and two pelicans.

Slightly below two angels hold a crown of glory and one of thorns - references to the death and resurrection.

Between the angels there is a creation scene with the sun earth and moon, the division of water and land, creation of animals and birds, and at the lower centre the figures of Adam and Eve.


A nativity scene fills the lower part of the window. This includes all the traditional elements, but arranged to give some perspective and a feeling of movement.

At the foot of the window a figure lies, possibly weeping.  It echos the entwined figure at the bottom of the opposite, north, window.

These are windows of quality that have artistic merit beyond their adjunct to the worship of the congregation.  In addition, the congregation know the artistic treasure in their trust.

If you have the chance, these are windows worth visiting.

Glass Storage

During the holiday period, I decided to build a new glass storage unit to segregate my Bullseye stock from the rest of the glass, as it had been getting mixed up some times.

This is a view of my result.  The transparents are stored on the top row, and the tints, cut down clear, and opalescents on the lower row. The full sheets of tekta stand in a Bullseye crate at the side.  The cullet is stored over a section for segregating glass and some smaller finished projects.

The ladder leans against the bottles of powder that I have in a shop display unit that twirls around so you can get to the things at the back.

You can also see a corner of my cutting bench, with the knee of some one having a coffee with me at the time of taking the photo.

Now to get back to work.

Christmas Show

Parade Artists completed its (now) annual Christmas Show in the Wasps Hanson St studio building last weekend.  We used the same kind of set up as last year since it  worked well then.  

The ceramics section ready for the show

The various media - Ceramics, Glass, Painting and Textiles were each set up in a group.  There were also plinths and display sections throughout the show area where the various forms were in mixed displays.

Glass section at the end of the day

Some of the paintings displayed

We were fortunate to have sponsorship from Kopparberg and also to have Supper in the Suburbs provide a  pop-up cafe

Some of the Kopparberg and some of the baking from Supper in the Suburbs

Some visitors enjoying the drink and baking

Although the weather was bad on some days, people still came to the show.  The numbers of visitors and exhibitors were down on last year, but we were not down hearted as can be seen from the faces of these three artists.

You can follow Parade Artists on Facebook through out the year.  Plans for other shows will be announced there.

50 Plus Show

Last Weekend I was involved in the 50+ Show to help promote Craft Scotland.  This was a last minute effort as the promoters only offered the space to Craft Scotland about 6 weeks before the show.  Selection was a hurried affair and with some being selected dropping out before the three people were selected.

When we arrived, I was surprised to find that we did not have a shell stand, just a space.  However we all set up with the materials we had.  This was the set up prior to opening on Friday.

The three crafts represented were paper making (Pulp), jewellery (Lauracet Designs) and glass (Verrier).  We all offered some hands on making of a basic kind.

The first day for me was a blur from about 11:30 when people began taking up my offer of a free basic introduction to stained glass through making copper foiled angels or Christmas trees.  The degree of activity can be noted by the fact that I got to start my lunch after the close of the show at 5:00.  I was better organised on Saturday, but still finished my lunch at 5:00.

I am not sure how much Craft Scotland got out of the show, as we all were busy and not really able to promote the sponsoring organisation as much as we should have.  The staff of Craft Scotland were in Philadelphia at a show promoting Scottish craft and the Board member who was to have come on Saturday was ill.

It was gratifying to hear some of the workshop participants say to one another that "this was the best part of the show."  I am not sure how many people will be coming to my classes and workshops as a result, but I enjoyed the process, although very busy.

Guild of Master Craftsmen (and women)

I have just received a letter to say that I have been elected to membership of the Guild of Master Craftsmen. This is a long established organisation which provides quality assurance for the client and a range of services to ensure the client receives an excellent service and product and has a means to seek redress if anything were to go wrong. To be accepted my premises were inspected, the quality of work in progress was assessed, and a number of recent clients were contacted to provide information on my customer service, and their opinion of my work for them. The application then goes to the Council of the Guild for consideration.

It of course provides access to insurances and other business backup for the craftsperson.

Mostly, for me it provides an assurance for the potential client that my work is up to standard even though I not have the best website or advertisement.

Acid Etched Panel

In Glasgow and throughout Scotland - and possibly many other areas - etched glass front doors and stair windows were very popular in the mid nineteenth century. These were made on plate glass of around 8 mm thick which have proved to be pretty strong, as many of them still exist. However accidents occur, or as in this case someone threw an object which hit the glass with enough force to break it.

When it came into my hands - because I use traditional techniques rather than sandblasting - it had already been removed by a firm of glaziers who did more damage to it in getting it out. They were not aware initially of the screws that held the mouldings to the door and so damaged the moulding and more of the glass. Such is life.

This image shows the front door with the glass installed. If you wish to find out about the process you can go to this section of the blog.

The smooth reflective nature of the glass from the outside is shown in this picture. It also shows the privacy generated, as it is not possible to see what is happening inside, even at this close an approach. The apparently clear portions are subtly textured by the acid process that you can only see colours through those areas.

From the inside you notice the amount of light that is transmitted. You can see how the glass reacts to the colours outside with the view against the sky at the top having little contrast, the centre against the houses opposite having strong contrast, and at the bottom showing the green of the grass outside. The etched parts become the dark positive on the grey/white of the ground glass.

The following two images show the detail of the centre and bottom of the door panel.

central detail

bottom detail

This has been prepared on laminated glass which is a security glass. If in the future there is an accident, the interlayer will hold the glass together and prevent any entry through the glass or injury to anyone from falling or protruding glass.

Porch Door

Having previously completed the complete rebuild of a window for a sagging frame, I was asked to provide a reproduction front door. This involved removing the dark timber cladding of the door to reveal the original opening in the door.

This is the completed panel installed.

General view, outside

Inside view

Detail of the painting

Former Dental Practice

By coincidence only a week after seeing my dentist I was called out to a house that was the former dental practice. It was designed and built as the dental surgery for the area. Now that dentistry has advanced so much since the 1930's, It was remodelled as a private residence some years ago.

I does have a definite arts deco appearance. It makes use of simple materials, and has simple lines with a few elements picked out.

The dominating feature of the frontage is the tall window that lights the stairs behind.

At the top of the window is the only place on the frontage where the brick is revealed. Otherwise the walls are of a uniform texture painted white.

On the inside the window soars above the half landing and the floor above. It is remarkable how just a few textures of clear glass can provide an elegant feature to a building.

This is the reason I was called out. It is quite a distance from the street, but the stone made its mark with enough force to break the pane.

The large Flemish glass used in this window is no longer made. There is a deep Flemish that is much less soft than this currently in production, but it would be a poor match and stand out obviously from the rest. I have put out questions to various people who I think might have some of this glass that ceased production in the 1970's or 80's.

Just a few days ago when I was looking for some other glass, I came across a large Flemish with soft edges that might just do. It is a little larger than this window uses, but I think it will be a good match for the repair. So if I don't hear from other workers and suppliers, I think I will go ahead with my newly found large Flemish glass. Shame that it is the last that I have.

A complete rebuild came into the studio recently which had the right glass, but unfortunately, of too small a width. So the search goes on.

Testing Fibre Paper

A new product has come to my attention courtesy of my glass supplier. I was given a quantity of 1mm and 3mm fibre paper to test, so I have been combining a range of fusing activities with the testing of this product. I think it is worth knowing about and so include my report to the supplier here.

Eco Fibre Papers


Performance

The appearance of the Eco fibre paper is the same as standard ceramic fibre paper. The feel is less fibrous with fewer sharp “prickles”. The fibre paper cuts easily and cleanly with scissors or knives. There is much less tearing than with ceramic fibre paper.

The burnout of the binders creates a “chemical” odour, a faint smell similar to finger nail polish. The odour starts at about the same temperatures as ceramic fibre paper, but continues to higher temperatures – up to ca. 600C.

The unfired strength is as good as ceramic fibre paper. But after firing the fibres have little strength, becoming “fluffy” without changing shape. The effect is that the paper comes off the shelf with the glass at all forming temperatures. Spreading powdered batt/kiln wash over the fibre paper reduces this grabbing of the glass, but does not eliminate it.

The texture imparted by Eco fibre paper is indistinguishable from ceramic fibre paper. This can be reduced by smoothing batt/kiln wash over the fibre paper.

The fluffy nature of the Eco fibre paper means there is almost no dust. The cleanup is easy as the fibre paper can be pulled or wiped off and the final clean with water is simple.

This is a one use paper. Trying to fire a second time leaves a heat mark and fires fibres into the bottom surface of the glass at temperatures above 700C.

I have not yet tried to use this in a rigidised form, or as a mould material with colloidal silica, but it would appear to be well suited for this.

The Testing Conditions were for kiln carving (830C), fusing (804C) tack fusing (770C), and painting (580-650C) in gas and electric kilns. The fibre paper tested was of 1mm and 3mm thicknesses.

Benefits

The amount of ceramic fibre in the Eco fibre paper is very much smaller than standard ceramic fibre paper making it more healthy to use. There is less dust with the Eco fibre paper, meaning less dust in the studio atmosphere, and easier disposal.

The cost of Eco fibre paper is about 1/3 less than the equivalent thicknesses of standard fibre paper.

Disadvantages

The Eco fibre papers stick to the glass very easilly and requires sprinkling of powder over the paper to reduce (although not eliminate) the sticking.

It is a one use fibre paper because of this sticking, whereas the standard papers did not stick to the glass, allowing more than one firing with careful use.

Availability

Eco fibre paper is available from Pearsons Glass.


I have yet to test the fibre board made by the same company, but look forward to obtaining some for testing.

Stephen Richard

Verrier, 4.6.10

Addendum 17.6.11

The performance of the Eco fibre paper in a rigidised form is much more fragile than the "standard" fibre paper. It is not recommended for rigidising, as there is much less strength in the fired out rigidised form.

Demonstration

At the same time I was participating in the Parade Artists show, I was also demonstrating the construction of stained glass windows at panel scale. This was part of a whole range of activities being done in the church during the day on Saturday. Junko Eager was demonstrating glass engraving, Alistair Gray was doing quick portraits for donations to the church, there was a photographer giving information on improving photography, children were painting faces on gas filled balloons and releasing them to fly across Glasgow. There were other things going on too - too many to mention really.

So you get to see me in action soldering a simple art deco style panel that I cut, leaded and soldered through the day.

I also continued work on cutting a second panel during the afternoon as things began to get more busy.

Sometimes I worked in isolation and other times with people looking closely at what I was doing. As you can see the altar was just the right height to work upon - no sacrilege meant or taken.

Near the end of the day one person I was talking to insisted on buying the art deco panel. It made my day in an odd way.