So you have looked through the site and you like my style, but nothing currently available catches your fancy. You have an idea for a custom piece and you want to learn more about the design process and costs... how does one get the ball rolling? Well, I'm glad you asked!
If I'm open for commissions ...usually there are only two things that would limit my availability for this; 1. is the time-frame right before the holidays... usually I get booked up for customs by mid to late November, so it's best to inquire early if you are looking to have a present made in time for Christmas. 2. There are some kinds of things I'm likely to pass on or send you to a glass artist who specializes in a particular type of glass or theme. For instance, if you want a fused bowl piece, I will refer you to an artist who makes those regularly, since I don't do much fusing and don't have a kiln. If you ask me to make confederate flag or something I deem in poor taste, well, hard pass.
Assuming I am both available and interested in your project, read on for a complete guide of everything you need to know before ordering a custom piece
First thing; CONCEPT! You may already know exactly what you want represented in glass.. if so, skip to the “Getting Started” section. If not, I have a bit of homework for you! The more inspiration photos you can collect to help communicate a full picture of what you are after, the better. These can be concepts from photography, art or really anywhere. If it's possible for you to open an account on Pinterest (or if you have one, create a specific album(s) and send me a link.) These could be dedicated to historical styles, colors, paintings, jewelry designs, icons, animals, pet portraits, graphics, tattoos, really anything at all that can convey a theme, sensibility, or stylistic elements to translate to a stained glass pattern. You could also send non-copyright protected imagery or photographs that you took if you want me to actually trace it for an actual copy. Tracing a photograph is how I do all pet portraits.
Other things to consider when trying to come up with vocabulary for a concept or style…
-Think about any strong decor or design preferences you like and give me a bunch of word associations to describe them.
-Do you tend to prefer design/fashion that is more traditional or modern?
-Bold, bright colors or muted, soft tones?
-Minimal or Complex?
-Contemporary or Vintage?
-Geometric or Organic?
-Kitchy or Sophisticated?
-Stylized or Realistic?
2. GETTING STARTED: We can discuss a lot of preliminary details via email, and when I'm ready to get started I will get back to you on a scheduled date for our first design meeting either by phone, or in person. FYI, I can usually finish a 10" piece with 30 pieces (about the average number) in a week, and generally costs $150-$300. Larger pieces up to 3’ X 4’ can be upwards of $1-2K, taking 3-6 weeks depending greatly on the glass chosen, and number of pieces. Please let me know if you have a timeframe or occasion which dictates a specific due date.
3. DESIGN & PRODUCTION PROCESS: I can work up to three initial basic drawings for free based on your concepts and inspiration images, and provide a rough estimate for each of them. Then you would then decide which one you like best and if at that point you decide to move forward with the project, a deposit would be due of half the total estimate (including shipping, if needed) with the remaining half due upon completion. If further design work is needed to rework/refine one of the initial three drawings, a design fee of $50/hr AT MINIMUM would also apply. This design fee is non-refundable, and depends on the complexity of the concept. All past work (shown primarily on instagram or featured the photo books located at my shop) can be recreated without any additional design fee.
4. PRICING: Estimates are generally based on a $4 per cut piece, plus materials. Thus a 60 piece panel would be $240 plus the cost of solder, copper tape, chain and glass. Materials may end up being about the same as the cut piece price, resulting in around $500-$550 for a highly detailed, medium-sized piece. I can usually reduce the number of cuts made in the pattern, simplify the design and come down to a lesser budget, as desired. Glass costs vary greatly and can be chosen either in person at my studio or at a glass shop if purchased new (or a client may opt to allow me free reign to select colors that are generally mutually decided upon.)
5. PAINTING/WIRE-WORK: Additional wire work (wires added on top of the piece soldered in place along copper-foiled seams) or glass painting can be a great way to embellish a design and add detail without additional cut pieces. Pricing is estimated on a case-by-case basis in addition to the base price. If you have received a preliminary estimate that needs to be reduced, we can certainly simplify the design by reducing the number of cut pieces and fulfill much of the detail using paint and/or wirework. Glass paint is fired to the surface of the glass before foiling and is a permanent application, but adds a day to the process due to curing time. I always recommend at least a little wire and/or paintwork to define details in pet portraits, but the choice is ultimately yours. (The white reflection in the eyes, hairs of whiskers, and variety of colors in a pet's coat can really make the piece come to life with the addition of these small details, and if there are only a few, likely is only $20 more.)
6. METHOD: I use the copper foil method, otherwise known as the Tiffany method, utilizing copper foil tape encasing the edges of each piece of cut glass, which is then connected together using a 60/40 lead-tin-based solder. I do not make Leadlights, or came glasswork which employs a different method using pure lead came as borders between glass, later cemented together using putty.
7. OVERALL SHAPE: I typically do representations of objects enclosed in some kind of a shape, like a circle, diamond, arch, square or rectangle. The edge can more easily be finished in a thick but flexible framework called lead came. A u-shaped semi-flexible strip like lead came offers not only an opportunity for a background color (thus more visual interest) but also adds structural integrity, protection, and longevity to the piece. If the design of the piece includes parts that protrude (for instance, a single rose with a stem with leaves that stick out) consider that these are potentially at risk of breakage over time during moving, cleaning or handling. A sturdier (but more expensive) way to have a fully contained piece would be to add a background, that is encased in a lead-came “frame”. This completely encases the outer edges of the piece and will offer greater structural integrity of the piece overall, with less risk of bending or breakage.
Free-form shapes with many protrusions extending outside a frame are not able to be contained in a bulky came, but rather would have just the copper foil tape with solder built-up on top of it that serves as the edge which is less sturdy overall and leaves the piece susceptible to breakage over time. If you want a pet portrait, I usually just do the head framed in a complementary color within a particular shape.
8. SIZE CONSIDERATIONS: My preferred size to work in is between 9-11 inches in diameter. This size is a good one for a variety of reasons, cut pieces are easiest to work with, it fits in most windows, and feels substantial enough to make a visual impact without being too obtrusive. The price point tends to be the most affordable, and the finished piece is easy to ship in a priority flat rate box for usually $16-$25. Again, if you have specific size requests, please let me know, otherwise, I will likely base the estimate at around 9-11”. Generally, the more detail a design has, the larger it needs to be, otherwise the pieces get to small and the pattern too complicated to read very well within a piece. If we are creating a piece larger than about 14”X14”, the best practice is to add a more rigid zinc U-shaped came although that usually restricts the overall design and shape to a square or rectangle, as it’s not bendable. For VERY large projects that fill into the architecture of a home, for instance, support bars made of steel or zinc must be added for structural integrity, since lead came can droop and cause problems. Typically, I refer clients to local stained glass artisans who specialize in lead-lights and have in-house glaziers who can encase the piece between tempered glass for added protection and insulation.
9. COLOR SELECTION: General color requests are welcomed but specific art glass selection might not be possible. I have a good collection to choose from in my studio, and can try to acquire new glass at my local shops when the project requires something specialized that I don’t have in stock; Bullseye Glass, Melt Glass or Rose's Glassworks. If you find a specific glass you wish to use, either in a local shop or that you already have, please let me know and I can potentially incorporate it into your piece and let you know how much materials credit I can give to lower your final price a bit. Keep in mind estimates are based on using my own collection of glass, but purchasing new glass that can really increase estimates by a lot. Iridescents, glow-in-the-dark, dichroic glass, textures, water glass, mottled and colorful fused dots can all be incorporated into your piece at an additional cost. Bevels are faceted flat shapes (often squares, triangles and diamond shapes and usually clear) that can be incorporated into a piece to offer the refraction and dispersion of light that will send rainbows into your room when direct light passes through it. Gems can be colored or clear, flat or round briolettes, and also offer the addition of tiny rainbow sparkles when hung in direct sunlight. These can either be incorporated into a design or dangle from the bottom of the finished piece, adding a bit of kinetic sparkle. Please ask if you would like to learn more about the many possibilities in fun glass to use that can have glow, metallics, prism or color-changing properties!
10. LIGHTING/HANGING/LOCATION: Please also let me know where the piece will be hanging. What kind of light will it get, both natural outdoor as well as artificial indoor? Is the existing window frame the piece will be hung in be wood or vinyl? Do you want to be able to see the same thing on both sides? If so, this may affect the estimates if you need paint and/or wire work to be visible from the inside as well as the outside. Keep in mind that mirrored , glittered and Van Gogh glass is grey on the back, so these are not possible to have the same look on the back as well as the front. I would love a picture of the space it will reside, so I can make a recommendations about the type, weight, color and length of chain to use. Another option for a more sleek look is a nylon-coated steel cable which is crimped at the top corners of the piece. This offers a more minimal, modern, less bulky look than chain, but offers less flexibility if you decide to move the piece to a different location and window-shape. Stained Glass can be hung on a white wall and still be able to see colors, (and is definitely recommended for anything that incorporates mirror) but is usually best hung in a window.
11. LEAD-SAFETY: Lead poses a health risk only if a significant amount is ingested or if lead dust is inhaled. It's best to wash your hands after cleaning or handling your piece, but otherwise, there's no cause for concern in simply owning a stained glass piece in your home. There is no risk to children or pets as long as the piece is hung up, rather than left at floor level. Lead doesn’t taste good, so the likelihood that it would get chewed on is still pretty slim.
12. DEPOSITS: Once you have paid your deposit, I can get started on your piece! There's no contract to sign, but keep in mind that your deposit is NON-REFUNDABLE except if I am able to sell your piece elsewhere. If you change your mind at the end of the design process, I keep the piece and if it sells while on display (either in-store or online), I am happy to refund any amount back to you that you have previously invested.
13. PAYMENTS: I accept Venmo, or major credit cards via Square or my website themagichourglass.com as preferred options for payment types. If you are local and want to come to my studio you can also pay in cash, and pick up your piece in person. My studio is located at 4828 N. Williams Ave, Portland, OR 97217. If using Venmo, please use the friends-and-family option if you feel comfortable with that, which saves us both fees. If you wish to pay by card I accept all the major ones for an additional 2% fee.
My Venmo ID is @Tamara-Goldsmith or follow the link or QR code;
Please keep in mind that art glass, solder, copper foil, paint, came, chain and all the tools and equipment required to make the work that I do are extremely expensive, but I work hard to streamline the process and keep the final quote as affordable as possible and strive to make it financially accessible.
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