If you work with stained glass over time you can end up with buckets full of scrap. When the pieces start getting too small and irregular, or if there’s just too much of it, you can used them in a stepping stone. This tutorial demonstrates how to make a stepping stone with an abstract pattern. You can also use tiles instead of stained glass scraps.
Brian Kyle’s mosaic interpretation of Picasso’s painting “Man With Ice Cream Cone” is a refreshing departure from the cute themes that seem to dominate contemporary mosaic artwork. Brian calls his mosaic “The Lecher” and says that some people are creeped out by it. I say that makes it real Art (with a capital A) in the sense of being worth thinking and talking about.
Brian’s mosaic is also noteworthy because it has some interesting elements that actually build on what Picasso was doing, which is no small trick. (Successfully improving or extending a master’s work is a fairly significant accomplishment any day of the week.) Notice how the working lines of the black background all converge on the ice cream to make it a focal point. I think Picasso would have approved and possibly even been jealous of how Brian used the lines of the background to focus even more attention on the cartoonish black tongue licking the white ice cream.
Glass Beads For Texture and Depth
Work In Progress
Brian also sent us a good photograph of the mosaic in progress, which shows the classic direct method of drawing the pattern on the backer and mosaicing directly on that surface.
For dry indoor mosaics, areas can be built up to support thinner tile next to thicker tile by mixing sand or sawdust to Weldbond adhesive to create a heavy paste. You can also fill holes in mosaic backers using this method. Sand is best for minimizing the contraction that happens as the glue dries, but sawdust can be used when weight is an issue.
For outdoor and wet mosaics, thinset mortar can be mixed with clean pea gravel to make a concrete. The pea gravel must be washed clean and dried to avoid contaminating the mortar, and we recommend screening the pea gravel and using only small pieces. Note that you cannot use sand because too much sand will overwhelm the mortar and make it crumbly.
Case Study: Stained Glass Mosaic Coffee Table
Recently our customer Holly LaBarre emailed us asking how to build up areas between wooden slats of a mosaic coffee table she was making. The design concept for the coffee table was to make it look like it was made from pallet wood or wooden planks and put stained glass mosaic between the planks. The problem was that the planks are significantly thicker than the stained glass, but Holly wanted the stained glass to flush with the planks so that the coffee table had a flat surface.
The solution was to put a piece of 1/2-inch plywood on the underside of the table top and then build up the area to be mosaiced using a paste of Weldbond and sand.
The catch is how to build up the area to the right height so that when the stained glass is applied, it isn’t too high or low. To figure this out, Holly made a simple gauge from a straight edged piece of wood that rests on the surrounding planks and has a small piece of stained glass glued to its bottom edge.
In my article Stained Glass Mosaic Art, I explained how stained glass can be cut up into small pieces and used like conventional tesserae or cut larger and used to define entire elements as is done in a stained glass window. In the window mode of working, one single piece of variegated glass is used to render an element, say a tree trunk for example, and whatever shading or detail is provided by the swirls or bands in the glass. Contrast that with conventional mosaic mode, where the shading or detail is built from different pieces of glass, and together they render the tree trunk.
The objection to working in the conventional mosaic mode is that most artists don’t want to lose all the visual interest of the swirls of color by cutting them up. Canadian artist Lorna Ball demonstrates that it is possible to use stained glass cut up into small tiles and not lose the visual interest provided by the variegated colors of the glass.
Note the bark on the trees in the mosaic below. Sure, a single piece of swirled glass could be used for the trunks, but could any swirling no matter how beautiful capture the texture and dimension of the bark facets as well as Ball’s separate slivers of different colors do?
Lorna’s work also demonstrates an important point about using stained glass cut up into small tile: just because the tile is cut up small, it doesn’t have to be cut up into similar shapes and sizes. Notice in the mosaic below how the black tiles in the branches of the trees are completely different in shape and proportion from the white tiles in the tree trunks and from the yellow tiles that render the leaves:
The slender black tiles used for tree branches might make you wonder if the conventional mosaic style and the conventional stained glass style can be hybridized, and the answer is a qualified yes. For example, the above scene would have looked odd if the leaves of the canopy and forest floor were rendered in their tiny tiles and the tree trunks were replaced with single pieces of swirled glass. There has to be stylistic integrity throughout the composition, or the odd element will stick out like a sore thumb. The styles are simply too different. Look at the following mosaic by Natalija Moss as a reminder of how different these two stylistic modes are:
What if the blue strips of the background were rendered in smaller blue tiles in a conventional mosaic manner? Could the face still be composed from large pieces? No, the background would have more visual detail than the figure in the foreground, which is the exact opposite of what is needed to make the figure stand out from the background.
Artist and MAS employee Natalija Moss has recently completed a series of mosaics made from stained glass, and they are definitely worth seeing and discussing for several reasons. Natalija’s other artwork and video game plugins can be seen at her Lady Natalya website.
Stained glass can be used in mosaic artwork in two different ways. The stained glass can be cut up into small tesserae (pieces) just like glass mosaic tile in a typical mosaic approach, or it can be used in larger pieces similar to how it is used in stained glass artwork. This latter approach preserves the large swirls of color which cutting into smaller pieces tends to break up, and this allows “the glass to do the work” as stained glass artists often say as a maxim. What they mean by that expression is allowing the swirls in the stained glass to create visual interest and suggest details such as ripples in water instead of rendering each ripple individually as a separate piece of glass.
I tend to think of mosaic artwork in terms of the traditional mosaic approach and cut any stained glass I use into tiny tiles, but I was impressed by how successful Natalija’s mosaics were and how conspicuously different they were from my preconceptions.
Compare Natalija’s “Erza” mosaic to Doug and Carly’s “Van Gogh Self Portrait” mosaic. Notice how the flowing andamento so crucial to the the Van Gogh mosaic is COMPLETELY absent in Natalija’s work.
On reflection, I can see that Natalija’s use of stained glass in larger pieces instead of many small tesserae is merely stained glass artwork as stained glass artwork is typically done, but there are two reasons that Natalija’s work still stands out. First, she didn’t give up the stained glass convention of larger piece sizes merely because she was mounting on an opaque background to make a mosaic.
The second reason Natalija’s work caught my notice was the freshness of her themes/subjects. As a rule, stained glass artwork tends to use some of the most cliche designs to be found in art and crafts marketing (which is saying quite a bit), so Natalija’s use of subjects from Japanimation is fairly novel for that medium. I think that grabbed my attention as much as the absence of andamento.
A Digression On The Failings of Stained Glass Retailers
It has been very easy for me to ignore stained glass artwork for the most part in the 13+ years I have been running Mosaic Art Supply because so much of it I came across by chance was so cliche and dated. The butterflies, bald eagles and tulips you see so much of now in stained glass catalogs appear to be the exact same patterns I saw 15 years ago and as a boy in the 1970’s.
I think the people who sell stained glass have done a disservice to their customers and to their own wallets by promoting their industry in such a tired way. Sure, there will always be people who want sappy stuff because they like sappy stuff or think it is easier to make, but I think that sort of approach tends to kill interest in the medium over time by not attracting younger people and people with more serious interests in art. This converging on the cliche by stained glass marketers has also meant that their patterns were more easily mass produced by countless Chinese competitors, which further destroys profit margins as everyone “races to the bottom” to compete solely on lowest price.
All of my product decisions at Mosaic Art Supply were made with one eye toward avoiding these traps, and this is why we have always avoided selling the mosaic craft kits we see on the market. I want to promote a serious interest in Art with a capital A because I think it is in the best interest of my industry, and because if I wanted to help distribute mass-produced junk, I could have stayed in the corporate world. In the sense of being something a person creates for deeply personal reasons, Art is one of the few intrinsically sacred things in a world where everything is increasingly profaned and commercialized. That is why the prevalence of cliche stained glass patterns has always struck me as being nothing less than a tragedy, a huge opportunity lost. Even if you prefer those particular subjects/themes, it should still strike you as conspicuously strange that you don’t often see alternatives to those themes being offered as patterns by stained glass retailers.