Finishing up this Slade Poppies panel now after adding more blooms on both sides the picture is starting to emerge, really feels like it is coming together now. I still have the seed pods and some flower centres to do but for now, I am concentrating on the remaining flowers.
Nearly there now, just have the last three flowers to do. Once every piece is cut I will then commence foiling, making any further adjustments as I proceed. The next process would be the first solder on the front of the panel. The panel is then very carefully turned over and the first solder is repeated on the rear. I would then add the 12 mm zinc framing before doing the final bead soldering of all the seams. The panel would then have to be thoroughly cleaned before the patina can be applied. Acetone can be very useful in preparing the Zinc prior to application.
Here is the completed panel, lit from behind by daylight. I am really pleased with the way this has turned out, it is so nice to be able to bring a project to fruition so long after the initial idea. Slade Poppies pattern prints full size 34.5″ x 23″ ( 880 mm x 590 mm ) on twelve sheets of A4 paper. Alternatively, you can take the PDF file to a print shop and have it printed on one sheet of paper. I can provide custom sizes and adjustments if required. Thank you for your time and interest in my work. David Kennedy
For those of you that are interested in the symbolism and meanings of poppies click here
I have called this post ” Slade Poppies Part 2 ” as it is about bringing the top and bottom section together. The second row of flowers have now been added and at this point, I am quite happy with the way things are progressing. Even so one can never be sure exactly how it’s going to look once the backlighting is introduced. The method I use is to hold the glass up to the light and make my selection before cutting and proceed that way. It’s the same system I use for all my work, something I have developed over many years. A lot of glass artists like to mount their pieces on a sheet of clear glass using Blu Tack which is then held up to the light. This provides a comprehensive preview of the panel, although it would be fairly time-consuming.
With the top and bottom sections progressing so well I have now decided to build the two sides. This will help connect the two sections together. Starting out with the right-hand side which worked out well I then moved onto the left. I have also added a couple of blooms just above the leaves. Feeling pretty good about the way it’s going now and looking forward to filling in the middle section.
The story of this Poppies at Slade panel began around five years ago. While in the UK on a family holiday I was fortunate enough to visit Kansa Stained Glass in Yorkshire where I purchased these two fantastic sheets of Uroboros art glass. This glass has become very hard to obtain in Europe so to find two whole sheets definitely made my day. I have created many poppy panels over the years as they grow wild down here in Slade and are a constant inspiration so my first thoughts were of a large poppy panel. it has however taken this long to bring it to fruition.
This sheet was where I created the basic structure of the panel. Using fairly transparent tracing paper I sketched out the flowers and then adjusted them to suit the background. This way I was able to select the background glass I wanted to show. I also wanted to add a soil layer at the bottom of the panel which gave me a bit to play within my glass selection. The code for this sheet is Uroboros – 10 – 16 Light and dark browns, turquoise with mini fractures.
The code for this sheet is Uroboros 60 – 25 Red and orange with white. This sheet I would use for my poppies. Once again I would need another glass for some foliage. I wanted to try and weave these two sheets together just using the color within the glass to create the panel. The background glass in particular made me think of a Liberty/Art Nouveau feel. I started a design but for one reason or another, I had to put it aside. Eventually, in October of 2018, I managed to get back to it and produce three patterns, one full size ( 23 x 34.5 inches ) one reduced size ( 15.75 x 36 inches ) and a pair of door panels ( 10.25 x 36.75 inches ) each panel with an optional border.
If ever there was a flower most suited to stained glass art it must be the Iris. They work so well together I am inspired beyond words whenever I see them. The starting point for this Moody Iris PDF Pattern design came from a sheet of Youghiogheny Stipple Glass. The beauty of this glass is that it contains variations of color and hues right across the sheet. Looking at this I decided that the best way to capture this was by using Irises.
Drawing the flowers first then arranging them in order, before adding the leaves and background. I used the darker tones for the flowers in the rear, keeping the lighter glass for the flowers in the foreground. It’s best to try and create the composition in layers I find. For example, background, centre-ground and foreground. This would be a simple way of looking at it. This adds depth and perspective to the picture and engages the viewer. The design took me a day to produce which is pretty good for me.
Stained Glass Pattern Information
Downloadable PDF pattern prints actual size 36 inch x 14 inch, ( 916 mm x 356 mm ) across eight pages. Instructions provided for enlarging the pattern to your required size when printing. You will need Adobe Acrobat Reader to print this pattern.
The starting point for this Two Irises panel was the upper background piece of glass. I had this leftover from a previous commission and wanted to make full use of its beautiful colors. The original panel is 15-inch diameter and I had enough for the area above the flowers. The purple glass looked so good against it making the Two Irises an obvious choice. For the lower background, behind the leaves, I found another leftover piece that fitted the space. I sketched out my design idea and spent a little time making sure of the position of the flowers. It was important to me to get as much of the upper background in as possible. After all, this was the whole point of making this panel. Having settled on my finished pattern I set about cutting out the glass pieces, 59 in total.
The Story Behind The Border
The finished panel looked superb even if I say so myself, I couldn’t believe how well it turned out. But there was one thing I wasn’t happy about. At the centre of the panel between the Two Irises, I have a central leave that runs from the top to the bottom of the panel. This was an integral part of my design but it creates a slight weakness in the structure of the panel. This is what is known as a “hinge Joint” and is something you want to avoid if at all possible. Now I wasn’t going to take my panel apart so my only option was to strengthen the perimeter. One of the best ways to add strength to any panel is by adding a border.
So here it is my completed panel hanging in a window.