Profile

I create stained glass panels, large and small, as well as sun catchers and other small 3D objects.  While the small projects go quickly and can give me a great sense of accomplishment, I find I prefer the more complex projects that my panels represent.

I often work from photos and simplify the detail to create a cleaner design that has the advantage of being more reasonable to fabricate. While many of my panels show a preference for organic design and realistic depictions of nature, I have experimented with abstractions as well.

Background

Prior to discovering glass, I had two satisfying career paths: teacher of Emotionally Disturbed children in the Green Bay (WI) public schools, followed by marketing, technical support, and management in the computer industry, initially for IBM. I started working with stained glass in January, 2003 to create a panel for a pass-through in our master bedroom. I have dabbled with other artistic ventures, primarily music and poetry, but had little success in visual arts despite a variety of efforts over the years.

My first stained glass class was a revelation: I have truly found a medium that works for me. I enjoy both the design and the fabrication aspects of glass and feel that both are improving with every project I complete.

I started creating panels for my home, especially to replace the obscured glass in the windows that faced into the hill the house is perched on. Early on, for practice and fund-raising for the Angel Island Association (AIA), I began making small items and panels for sale at Angel Island State Park. My birds, butterflies, and angels were popular at the Association's gift shop. In addition each year, I create a panel for the live and silent auctions held by organizations I support, including the (AIA) and the Angel Island Immigration Station Foundation (AIISF).

To facilitate my ability to create designs and share them with clients, it was natural for me to turn to the web and my computer. I found and purchased Glass Eye 2000, by Dragonfly Software, a product that has enabled me to achieve design independence far beyond my wildest dreams. Many people new to stained glass are limited to designs created by others. Glass Eye 2000 allows me to easily draw with the computer and also to use reference photos as a foundation for my designs. I have used Glass Eye 2000 for all my projects after my class.

Most of my work has been done using the copper foil method (also known as Tiffany). Foil panels are considered easier to do and it is often the primary method taught these days, but soldering skills (to create clean lead lines) take time to develop.

I started working with traditional leaded came projects in 2007. This was driven by a large geometric commission project and facilitated by a new product, called "No Days Glaze" by Streuter Technologies, that replaces the traditional (and very messy) putty. Not only is it considerably neater and does not require personalized putty formulae, it also eliminates the traditional several day wait for putty to cure (hence the name). It is activated by a heat gun, and is very easy to use. Came is much different to work with -- more forgiving in some respects and more challenging in others. For my geometric design, precision in glass cutting became a key element!

Methodology

I begin with an assessment of the current situation and what you would like to accomplish with the use of stained glass. Are you trying to obscure an un-pretty view? Or create privacy? Do you want to add color to your view? Or sparkling highlights that are the gift of textured clear glass? What are your color preferences? Do you like naturalistic, organic designs or more abstract or linear patterns? Do you have photos of items that you might like to include in the composition? What style fits with your space? How large should the piece be? What budgetary and timing considerations are there?

From this information, I create an initial design or designs which I can email to you or print out and deliver. Using your input on this preliminary design, we work together to create something that matches your vision. The software I use not only produces printouts that I can use as mockups of projects and hang in place before cutting any glass, it also allows me to easily change glass colors, project sizes, and create the full size patterns that I use in fabrication. Prior to final design agreement, I can overlay photos of your installation site with my design, creating a visual of the planned project that can be emailed or posted on the web. I also like to hang a full-sized printout in the actual space. This allows us to see the project in its proposed location and validate scale, sizes, colors, etc.

The Arlington Christian Church project is an example of this capability. The initial discussions and measurements took place in Riverside, CA at the church. I returned to Mill Valley and emailed my designs for input. Based on the feedback I received, I made a number of changes and enhancements, resulting in an agreement that what we had was close to final. I then had full-sized printouts created, which I took back down to Riverside and hung in place in the church. This helped me see that my initial measurements needed adjusting, and also gave the congregation a clear picture of what was being proposed. I gained agreement to complete the final details of the design and build the windows at this point. I returned to Mill Valley, made some minor enhancements to the design, selected glass, and constructed the panels. The panels installed without difficulty and fit the openings nicely.

Once the design, price, and time frame for fabrication are agreed to, we can select the glass and begin the work. Although the glass samples in Glass Eye 2000 are a reasonable approximation of reality, there is a lot of variability in some glass. Substitutions may need to be made based on what glass is actually available from local shops in a reasonable time frame and what looks good together and achieves the proper degree of transparency. Transparency is difficult to assess with a computer, due to the difficulty of photographing clear glass and rendering it accurately on a computer screen. Additionally, the appearance of a glass sample can change greatly depending on whether it is lit from the front or back.

The time to complete a project, once glass and design are agreed to, depends largely on the number of pieces and their shapes -- straight shapes are normally faster than intricately curved ones. A small panel might be ready in a few days. Larger projects take longer. Some activities, especially cutting the glass, are fairly intense and may need to be spread over several days for best results. I can provide a reasonable estimate of a completion date based on your project, my other commitments, and my previous experience with various types of panels.

Installation of a panel is project dependent. In some cases, like the work I have done for my home and at the Arlington Christian Church, we have completely handled the installation. When the panel will be hung, installation is typically the responsibility of the purchaser. We can discuss your situation and come to an agreement about what is most appropriate and cost effective for you.

Please contact me if you have project in mind.