Process

All the glasswork on this website is both handcrafted and designed by myself. When starting a project on my own, the initial process can be quite varied. Sometimes — as with pieces like An Bradán Feasa — I begin with nothing but an impression in a dream, and try to figure out how to make that image real upon waking. Other times, I’ll find myself captivated by a story I’ve come across, a picture I’ve seen, or a book I’ve read. Many times, my initial patterns come from time spent pouring over books of decorative design or traditional art, and my desire to use and add to that tradition. I’ll find interesting little elements, sketch them down, and see what my mind feels like building within and around them. I am endlessly inspired by the more ‘primitive’ styles; from Insular illumination and Coptic icons to Māori tā moko and Neolithic stone-carvings. Any of these things might become the seed that I’ll develop into a larger piece (or series).

With commissioned work, the process is much more predictable. I generally prefer more freedom than less with my work, as it allows a piece to grow and become something unique of its own accord. That sounds spacey — believe me, I know — but it consistently produces engaging design from perceived disasters. Both the pieces Tine Chnámh and Transom Shield were commissions where I was given nothing more than the desired colors, the intent and dimensions of the finished piece, and how much the client was willing to spend. These are all required for me to get started, as every one of those elements can drastically affect the final pattern.

After all the design elements are settled and colors are agreed upon, the glass selection begins. I always require a deposit before going any further than this, as it not only protects me, but also provides the funds needed to go out and purchase the glass for each project. Depending on the effect being gone for, specialty glasses and techniques can run anywhere from a couple dollars a square foot to well over fifty. Even if a piece only calls for a small amount of a certain glass, purchases must all be made by the sq./ft. This has an upside too, as this excess glass from one project often spills over and lowers the cost of supplies for another. After lead and glass have all been purchased, the real fun begins.

I generally cut my glass directly over the original cartoon (with the occasional assistance of a light table), instead of cutting a second copy into a jigsaw puzzle of glass-sheets and loose paper. I’ve found that particular technique to be highly useful when dealing with opaque glasses and blasting resists, but nothing but a head-ache otherwise. However, it’s all a matter of taste. Obviously, the time it takes to cut a piece is entirely dependant on the number and complexity of the cuts. Patterns with lots of curves and spirals take considerably more time and effort than straight lines, and inside curves take a lot more work than outside curves. That said, I’m nothing if not practiced in it. I do have both a ring saw and a grinder, though I try my hardest to use them sparingly. Most pieces never call for either; though I won’t hesitate to plug in the ring saw when using highly textured glass, or when it’s desperately important that I don’t break a piece while trying to get it off the sheet. However, most of the glasses I use are translucent, so the ‘grain’ of the sheet is generally my only concern as far as the placement of the cut is concerned. My grozing and running pliers are usually more than enough for most glasses. Those, and my intractable will to dominate.

Sometimes, more specialized techniques are called for. I’ve utilized sandblasting, hand beveling and etching in my work previously. However, having just moved up to the Pacific Northwest has limited my outside abilities somewhat. A few years back, beveling was done by myself, using some cheap and archaic grinder attachment I’d happened upon. The beveling itself wasn’t too complicated a process…it was the polishing that killed me. Unfortunately, I would now have to send glass off to a specialized craftsperson for such work, as what was left of my equipment had to be left behind in San Antonio. It breaks my heart a bit, as hand beveling was a surprisingly cathartic experience. The cheap tools I had did, in the end, probably contributed more frustration than they relieved. ~~For sandblasting I would also need to send the glass elsewhere~~ (just purchased a blasting cabinet and compressor, so I'm open for business), and I have always cut my own patterns into the resist beforehand. Again, it’s just an issue of access to tools that I’ve yet to establish up here. Etching can also be done using a Dremel with a diamond-head attachment. This has a much lighter and less even effect than can be achieved through sandblasting, but also allows a bit more control. I plan on experimenting with acid etching as well, which I’m told is a great way to frost glass. I’ll keep this page updated if I do.

I don’t use the copper-foil technique on my glass, preferring the feel and even nature of leaded panels. Lead comes in a large variety of weights, and I try to vary the lead’s thickness a bit in my panels. I feel this gives a piece more character, and it definitely engages the eye. I like there to be something interesting to look at when the sun is down and the glass has gone dark. After the leading is complete and both sides are soldered, a weather-proofing putty is applied to the piece, between the glass and lead channels. This generally takes two to three days to completely cure, at which point the glass is ready for hanging or installation. For now, installation isn’t a service I offer, as I’ve close to no experience in it.