Painted mirror

[Stuart Norton]

Found old photo of mirror I did a few years back. Painted gold leaf, acid etched and brilliant cutting. Brilliant cut lettering looks good gold leafed and with black out line.

[Patrick Mackle]

Stuart,
I like those brilliant cut letters in embossed panels. I have wondered if those various wheel cut letters were invented by each cutter as their own idea and style, or learned in an apprenticeship as standardized brilliant cut fonts.
I would like to know if the is a book of these various letter cuts, or possibly an old original brochure from a shop that customers could choose a font style from.
How many fonts have other people noticed?
I know that I have looked very closely at some I have seen, and noticed some pretty clever "scarfs" and use of intersecting angles to create fancy serifs.
Can you add anything about the letter cuts in these glass panels?
Pat

[Wayne Osborne]

Hi Stuart- thats a really nice piece.
Did you do the cut glass and gilded Barclays Bank windows at the Beamish Museum, in the north east?-

.Just something very familiar about those letters!

[DAVE SMITH]

Lovely panel Stuart, I also like the cut lettering with this style. You have a piece with your name on it hanging in your workshop,any chance you could post an image of that one as it shows a different style again.
Dave

[Stuart Norton]

yes Wayne, I did the windows in barclays bank.

[Stuart Norton]

Stuart,
I like those brilliant cut letters in embossed panels. I have wondered if those various wheel cut letters were invented by each cutter as their own idea and style, or learned in an apprenticeship as standardized brilliant cut fonts.
I would like to know if the is a book of these various letter cuts, or possibly an old original brochure from a shop that customers could choose a font style from.
How many fonts have other people noticed?
I know that I have looked very closely at some I have seen, and noticed some pretty clever "scarfs" and use of intersecting angles to create fancy serifs.
Can you add anything about the letter cuts in these glass panels?
Pat

Patrick, we brilliant cutters get stuck into one or two fonts. But there is no reason why you cannot have any font, just have to adapt it a bit. It’s all down to time. If you have allot off small curves it takes a while to cut and polish them. Three inch seems to be the smallest size to do, but have in the past done two inch in height but the cuts where small. Have also done 12 inch high letters on shop front. Scripts look good all nice curves etc. Nobody has done a font book of brilliant cut lettering, often thought of getting a type face program and doing some would make things a bit quicker in the drawing stage.

[Stuart Norton]

Lovely panel Stuart, I also like the cut lettering with this style. You have a piece with your name on it hanging in your workshop,any chance you could post an image of that one as it shows a different style again.
Dave

Was it this one on the left. sorry not the best pictue

[Stuart Norton]

A one for erik. erik is this turf supplies office door next to your workshop

[erik winkler]

Great photo's Stuart thank you for sharing!

The Cannabis shop used to be mine, but since a year or two I do not grow pot anymore.
I bought some heat lamps for a glue chipping aparatus which I used for growing my plants in the attict.
I just grow magic mushrooms. Much stronger effect and great for some artistic creativity.
Less work to produce it and definatly less needed growing space.

Just kidding ofcourse.
Only tourists smoke grass in the Netherlands, we ourselves do not do that as much. I never did
To be honoust I do not know the shop, but one thing is for sure: If one can adapt his glass designs in a modern manner the coffeeshops are the best clients you can have!
They have a lot of (we call it black taxless) money. I have some coffeeshops as clients and allways they pay in full and cash.
Nowadays it looks crazy when they do that, but I love it.

Keep your photo's comming!

[erik winkler]

Stuart,

Did you do this mirror also?

Powers Whiskey.jpg (89.2 KiB) Viewed 19105 times

Erik

[Stuart Norton]

Hi erik

No I did not do this mirror. but my workshop used to be in the same building with company that supplied them, hence how I came to do one to match using powers as a start. Dave Knows the man now retired in Ireland who used to do then in hastings England. He used a lot of screens in the making of these mirrors. Tryed to get the company I worked with to let me make them but they over looked me to get then from a company in Ireland. It did anony me a bit. but sales where dieing on there feet. that powers mirror had a trade price of about £1200 but I was expected to do them for about £500 it was not worth it.

Was going to put link here but its gone

[Stuart Norton]

I found it

http://www.francesstudio.com

[erik winkler]

They have some nice things.
I wonder how the color is done in the right etched panel.

Is it done using transparant inks on the none etched parts?

The light reflections on the left photo is amazing.
I wonder how deep this was etched away.

But stil.... no briliant cutting like you do....

[Ingrid Mager]

Erik,
This is an old post, so I suspect you have probably figured it out by now, but the glass on the far right appears to be flashed glass with two levels of acid etch.

~Inga

[Roderick Treece]

Hi Inga,
Nice to see ya over here!

Roderick

[Lars Wacherhausen]

What do call technique with the big leaf? Brilliant cutting? It looks really nice and I would certainly try it out but I cant find much about it.

[erik winkler]

Inga,
How are you? Any progress with the glass works?

Lars,
That is indeed brilliant cutting and Inga can tell you allmost everything you want to know.
Especially, that it is an technique that needs a lot of time to learn and lot of money to invest in.

Erik

[Ingrid Mager]

Erik,
In study, quite a lot..... in practicum, not as much.

I have completed a little bit of translating of the Czech book....will need Dasha or others to fill in a few of the blanks when I get to that point.

Mica acid supplies are on their way.....and I hope to get my cutter back up here by next week.

I had to move and have no real studio space for now, but am setting up a small work area in this house where I can teach myself the water gild from books I am reading. This fall, I will go up to the Boise class with Noel Webber, et al, and see if what I figured out matches what I will see taught in the class.

Plans for building the cutting lathe are still hot and heavy on my mind, but will have to wait a little while longer. I still have not decided which type to build - the wood set-up like Norton & Smith, or the lower set-up with bearings like Rich Samsel uses. Right now, space is also an issue, even if only temporarily, so that is maybe another consideration in the type I will build. Cost and availability of wheels is another consideration, and being I am short, I wonder if one type might be easier for me to maneuver with than the other. Any thoughts or comments by Dave Smith and/or Stuart Norton on how to build my lathe would be HIGHLY appreciated at this point.

Meanwhile, I got some glass painting videos and am looking for a used kiln to practice some of the glass painting we dabbled at in the Czech republic, as I see there is much that can also be achieved with that. I particularly like the very ornate, old, traditional works.

I maybe should try and focus on just one thing at a time, but passion runs wild for all the different techniques, as I am sure you can relate to. When I get to the point I have something to show, I will post PIX.

"Lars,
That is indeed brilliant cutting and Inga can tell you almost everything you want to know."

AH-hahahahah. Good one, Erik.

~Inga

[erik winkler]

Inga you know enough for now.
First practise, practise and practise my grasshopper.....