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Making Good

Using art to help support worthy causes.

Recently I had the idea to make a large stained glass panel in order to teach an online class on how to make your very first large stained glass piece. If you’ve never made one, there are a few extra things you have to take into consideration so that the finished piece ends up being structurally sound and will come out the way you envision it in your head.

While planning this class, I had another emotional nudge to begin using my art to raise money for causes that I am passionate about. Lots of stained glass artists donate pieces to their churches or schools to raise money, I just decided that I’d get more deliberate about it.

I chose first to make a large sea turtle panel and auction it off to benefit one of my favorite organizations, Sea Turtle Inc. This organization is a sea turtle rescue, rehabilitation, and education center on South Padre Island, Texas. It was started back in the ’70s by a woman named Ila Fox Loetscher, and if you’ve never heard of her do yourself a huge favor and Google her because her backstory is freaking brilliant! I have fond memories of visiting SPI as a child and one of the highlights of those visits was seeing the Turtle Lady. She was about a thousand years old at the time, gave demonstrations and classes about turtle rescue and conservation right there in her home, and loved these creatures with a passion that was palpable. Her foundation was formed in 1978, and is still carrying out her vision.

This is me circa 1973 holding a fairly disgruntled turtle named (I think) Jonathan Livingston Seaturtle.

Anyway, the panel is in progress, and will be done by the end of February barring another snowpocalypse or other disaster, and the auction is planned for the second week of March on a site called BetterWorld.org. If you’d like, please follow along on the Facebook or Instagram page. I’ll be posting more information as it progresses.

Here’s the pattern.

Given the weather, Sea Turtle Inc. is working to save hundreds of cold-stunned turtles and that all costs money so I am grateful to be doing my small part to help out. Please email me at MerryGoRoundStainedGlass@gmail.com to learn more about participating in the auction either by donating an item to the auction or to bid on the pieces.

Take care and stay warm! – Stephanie

Starting out in stained glass? The first big money question will be, “Which grinder should I buy?”

Is a grinder really necessary? Well, the answer is yes, and no. But mostly yes.

While it is true that you can work on your glass cutting to hone that skill to razor sharp perfection, and you can dull the sharp edges of your glass with a carborundum stone, the bottom line is that most of us need a grinder to make the kind of art pieces that we want to make in the amount of time that we want to spend making them. My time is valuable, and rather than spending hours filing pieces of glass down with a stone, or re-cutting pieces over and over wasting however many square feet of glass, I firmly believe that purchasing a grinder has saved me a TON of money in the long run. Any skilled tradesperson will tell you that having the right tool for the job is essential. So, save your pennies, ask for early birthday money, scour Craigslist and Marketplace for used ones, but please, make it a point to invest in yourself and your art by buying a grinder.

Here is a link to the grinder that I like best, the one that I recommend to beginners who have a mid-range budget. It’s Inland’s Wizling. It sells for about $130 and is made in the good ole USA. It also has a 5 year warranty. I’ve had mine for nearly 20 years and it’s a little workhorse. I will add a shameless note that this link is to a site called Kit.co, which allows me to put together recommended products through my Amazon affiliate link. And I might get a tiny commission from it but the price to you will be the same. There is also a super budget friendly option in this kit that would be good for people whose studio will be small or need portability for their craft. And if money is no object, check out “The Grinder”. Artists far and wide sing its praise. Happy grinding!

https://kit.co/MGRSG/stained-glass-grinders/inland-craft-wizling

Simple stained glass copper foil repair.

Repairing a copper foil suncatcher.

  1. Remove broken glass carefully.
  2. Flux old solder joints.
  3. Melt old solder and pull off old foil gently. (Melt, don’t yank.)
  4. Place new glass under piece and trace shape onto glass.
  5. Cut out and grind new glass to fit.
  6. Foil.
  7. Solder and finish.

Some exciting news from YOUGHIOGHENY OPALESCENT GLASS COMPANY INC.

https://www.youghioghenyglass.com/uro-by-yough.html

In case you missed it, Youghiogheny Opalescent Glass Company in Connellsville, PA reached an agreement with Oceanside Tile and Glass to resurrect the Uroboros line of glass as well as expanding the System 96 line of fusible glass. This agreement was forged in late 2019, and I for one am looking forward to seeing which of the gorgeous Uroboros glass they start making first!

Redeemer Bible Church – White Settlement, TX

LOOK right at it! Isn’t it positively glorious?!? This is the best my little camera phone could do, but in real life it is stunning!

This window graces the Redeemer Bible Church, located at 100 Verna Trail North in White Settlement, TX.

I remember, vaguely, when this church was built in 2009, because I noticed that its facade was built with these small, but lovely, flying buttresses. I thought that was pretty cool, even though flying buttresses are no longer a structural requirement for building a large church, it struck me as a sweet homage to ancient architecture. I didn’t particularly notice the stained glass window until one evening when I drove by and it was all lit up from within. It didn’t look like regular stained glass, you know, with skinny lead seams, it was chunky, and had the look of a giant mosaic picture from a coloring book. The depth and vibrancy of the color caught my eye, which wasn’t necessarily the safest thing, as I was, you know, driving…

But catch my eye it did, and it has been in the back of my mind to see if I could pop in and have a look at it from the inside to see how they got those windows so chunky and colorful. This past January, when I bought the stained glass store I discovered in the recesses of the back of the store were these huge slabs of glass, 2 inches thick and 7 pounds apiece. I had never seen such things but the previous owner informed me that they were called Dalle De Verre (see footnote 1 below) and they were used in making giant mosaic-like church windows. AH HAH!, I thought to myself. That’s how they did it. Now, I was on a mission to see this window for reals…

It took a few months, but the stars finally aligned and I managed to catch the Pastor, Scott Klemanchuck on a non-Sunday. He graciously took time out of his day to unlock the sanctuary, and allowed me to see the window up close. It was late afternoon/early evening, and the south facing window was at just the right angle to catch the retiring sunlight. It is even more beautiful in person than I imagined. The window is, indeed, constructed using the Dalle De Verre technique, and I got to see, up close, the actual chipping that gives these windows their signature visual resonance. In the pictures below you can see the chipping and the resin that holds the pieces in place:

I’m pretty tickled that I finally got to see a Dalle De Verre window in person, and Pastor Scott could not have been more kind. We got to talk briefly about the church itself and its ministry. The congregation is clearly important to him and his love of the church is obvious. I am so thankful and grateful for all the lovely people I get to meet in my stained glass travels.

– Stephanie

(1) From Wikipedia:
Dalle de verre, from French: “glass slab”, is a glass art technique that uses pieces of coloured glass set in a matrix of concrete and epoxy resin or other supporting material.

Technique:The technique was developed by Jean Gaudin in Paris in the 1930s. Slabs of coloured glass, 20 centimetres (7.9 in) to 30 centimetres (12 in) square or rectangular and typically up to 3 centimetres (1.2 in) thick, are shaped by breaking with a hammer or cutting with a saw. The edges of the resulting pieces may be chipped or faceted to increase the refraction and reflection effects.

The pieces are laid out to a design, similar to traditional stained-glass work. The pieces are laid on a bed of sand, bounded by a wooden casting frame. A matrix material, sand and cement or epoxy resin, is poured between the glass pieces and allowed to dry, typically requiring 24 hours to harden. The visible glass faces are then cleaned and the resulting solid panel can be relocated, embedded or hung as required.

The use of thicker glass produces deeper colour effects than traditional lead came stained-glass, especially when illuminated by bright natural or artificial light. The technique achieved prominence in the stained glass literature of the 1950s and 1960s.

Westside Unitarian Universalist Church – Fort Worth, TX

Located at 901 Page Ave in Fort Worth, Texas, this simply styled Mid-Century Modern church building boasts one seriously lovely piece of stained glass art! The design is the Flaming Chalice, recognized as the symbol of the UU faith, superimposed on a Tree of Life and an endless uplifting ring. The pieces are leaded and painted, creating a bold and intricate design.

The window was installed in 2010, and was a collaboration between the visual artist Eric K Stevens and John Kebrle, stained glass artist.