Verre Eglomisé Details

I have been quite prolific in the last week, and have spent it exploring methods to put a pattern onto glass before the verre eglomisé process. It has been a very exciting week and I have some created some great results; however in the interest of keeping the discovery under wraps until it goes on display I’m afraid I’m going to leave it off this blog.

Something I will share however is my experiments with small panels of  verre eglomisé. Working to a small scale of a little larger than A4, I have been using hand-painted methods to add a repeat pattern into my designs; perhaps this is a way to utilise my textiles degree – although it is slightly removed from fabric and textile grounds!

Decidedly, I love a contrast. Whether it is between matte and shiny, metallic and dull, distressed and unfaulted, so it seems only natural that this will come across in my verre eglomisé design too. When I was at uni I loved a quote about Wabi-Sabi that stated something along the lines of; ‘the beauty of perfection lies in imperfection’. Although I probably do overpush that ideal of beautiful imperfection in my work so it becomes far removed from its source; I really enjoy the intricacies and unusual effects created through imperfection and the distressed aesthetic, ‘happy accidents’ if you will.

I have photographed some detail shots of the samples, which follow below, that I thought really captured this and otherwise just become delightful snapshots in their own right to look on and provide interest. Enjoy!

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Snapshot into my week


Beautiful scenery and a scruffy puppy makes for a very picturesque scene, I am loving dramatic skyscapes and cloud formations at the moment. There is something delightful about the contrast between sky and land in this photograph.



This is going to be something one day.

I love the simplicity of the shot, with the lovely sweeping movement coming across from the right hand side and the very classsic clouds across the moon detailing.

Verre Eglomise developments

I personally love to look at other blogs progress shots and love seeing the changing and how the work transforms from stage to stage.


This is the design as it currently stands, it is roughly a3 size. I am considering adding subtle colours to help separate the different areas of land, sea and sky; but for now I am loving the simplicity of silver and black. So until inspiration and bravery hits it’s going to the bottom of the pile, but adding a beautiful edge to the aesthetic of my studio


49AD272C-A0BC-4D10-B026-6EBED7A1A948Snapshot into my studio, featuring my latest commission in progress and definately taking centre stage. I am loving the large size as you can really appreciate the impasto strokes of the palette knife. Once it has dried I will add a subtle copper gilt detail and of course a photo on this blog.


And and finally I couldn’t resist the texture of these distressed paints I created when I was stripped the walls of my sister’s house at the weekend. It was definately one of those moments of one man’s trash being another man’s treasure.

Gilt Surfaces

In this post I have included a selection of artworks that I have recently created, they all have a similar start point of gilding however they have all been treated differently, whether through design, texture or technique.

The above designs are a silver leaf background with acrylic washes applied to create the design, utilising only a small colour palette of indigo and fuchsia to avoid overcomplicating the design. I love the build up of tone through the washes of colour, and the relation this has to the source reference of waves and clouds.


These three artworks were created by applying metal leaf onto a textured ground and then applying an opaque colour that has been partially removed, making it reminiscent of worn metallic textures.


The design on the left is an acrylic wash that has been layered to make a depth of colour, the background was pretreated with a sponged effect that creates a bashed silver effect. On the right is a trial ombréd artwork with a blur between aluminium leaf to brass, in my opinion this could be refined to achieve a greater aesthetic. However I think it is a successful attempt and portrays a beautiful composition.

Life after University

Life after university, or perhaps it would be more correct to say regaining my life after university, I am extremely pleased and grateful to have spent my degree at Bucks uni, however as any hard-working degree student will tell you – you need a bit of me-time after finishing and giving it your degree your all.

Since finishing university last September; I have spent my first year as a graduate developing my style and taking the opportunity to explore various mediums, techniques and methods of creation. Alongside the various placements, commissions and freelancing; I felt it was important for myself to develop as an artist/designer outside of the influence of education, to help question what truly inspired my designs and push myself try new things.

Without a clear and defined goal, I have questioned many times what the point of creating art for art’s sake was. However for me personally, in order to move forward I needed to strip away the purpose of not having a pre-set outcome; this enabled me to have the luxury of choosing what kind of artwork to create next, as a pure whimiscal notion.

After this period it has become clear that I am still very much process-led, and enjoy exploring new and unfamiliar methods, I have found during this time that I have definitely retained my love for metallics and gilding; there is something beautiful about the process of gilding that I’m not quite sure I’ll ever get over. (lets just call it a love for all that shines) This love for metals has led me to continue exploring corrosive and forceful processes, I am endlessly intrigued about the metamorphic change to shape, colour and texture as a result of a natural process (eg. verdigris).

To help direct this open-ended exploration I started off by creating mini moodboards of themes and techniques that I found interested and wanted to work with. These were labour-intensive to make and I ended up with 43 pages, however they were such a valuable resource to have, enabling me to pick a board and try out a new style.

I have included a selection of these boards below to reference this;

After exploring this, needless to say this will never be finished because as the famous quote goes ‘inspiration is everywhere,’ I was starting to recognise a pronounced colour scheme appearing. To avoid this becoming an Indigo blue and Emerald green only, portfolio of work, I set out to create a small collection of refined colour boards. Turning to magazines, pinterest and own imagery to source references. At first I worked entirely by choosing images I liked for their colours, then I gathered all my imagery and began organising it into related colour groups. Once I had narrowed down my image selection I had the rather fun job of picking a colour and painting a small square – a great lesson in colour matching.

Again I have included a selection of these boards below to help me illustrate how useful these boards really are;


Going forwards, with the threat of another year post uni and all the pressure that entails, I am going to start marketing myself and my work better – lets call that a new years resolution. With some really exciting opportunities have dropped into my email inbox, I realise that self-promotion is everything. To put it simply if I don’t show off the beautiful new portfolio pieces that I have created then how can I expect people to know what I can do. So heres to the potential opportunities that will hopefully come my way. I am open to potential freelance, commissions and licensing openings, so please don’t hesitate to get in touch

Graduate Collection Featuring Luxurious Wall Panelling

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A collection of luxurious wall panels and treatments for interiors, inspired by arabesque and biomorphic patterns and the beauty of decay. The use of copper oil-gilding features heavily within this collection, applying traditional craftsmanship skills to convey the extravagant side of decadence; utilising also materials, craftsmanship and surface decoration to portray this idea.

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A luxurious and expensive aesthetic has been achieved through using processes of deterioration alongside resists; creating a personal methodology to restrict the impact of a forceful process, retaining a pattern on the panel’s surface. This selection of surface treatments is aimed at contract interiors, exploring a variety of surface qualities, whilst bringing together a well-crafted pattern and textural finish, relating back to the theme of metamorphic decadence. A variety of handcraft skills and processes were used in the creation of this collection; gilding, verdigris, sanding, acid-etching, dyeing, and casting and moulding; and CAD design skills to create accurate models for CNC and laser work.

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The colour palette within these surfaces portrays an element of luxury together with a decayed and distressed aesthetic. Using strong blues alongside neutral grey tones, in built-up layers using copper as an accent colour to brighten and highlight this palette. Navy, Indigo and dusky blues work with charcoal, slate and chalky greys to add drama to the collection without competing against the metallic strength of the copper, working together in harmony.

Graduate Collection at Degree Exhibition

Graduate collection in final degree exhibition at Bucks New Uni,

Featuring 3d concrete tiles with oil-gilt copper planes in three different designs and a collection of oil-gilt copper panels, acid-etched inlay, burnished laser etch and dyed panel and presswork emboss verdigrised tiles.IMG_6845.JPGIMG_6857.JPGIMG_6870.JPG

Overall group of 9 hexagons, above shows the arrangement for my degree show and below shows all three designs and the two variations of each with copper gilt planes and plain concrete.

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Metamorphic Decadence – Sample Palettes and Mini Collections 

Putting my developed samples into mini collections and creating palettes centred around a theme of distressed, to make a cohesive grouping that reflects my original intent and clearly conveys my title of Metamorphic Decadence. 

Distressed Palette 

This collection explores the distressed aesthetic, appreciating the depth of character and added interest gained from the use of texture and harsh processes. I have used sanding, patination, discolouration and verdigris to convey this idea of distressed into my samples.

Adding an element of luxury is very important to me in this project, to enhance the rough processes used and refine the overall resul; through my use of copper and gilding I have achieved this.

Copper Gilt Palette

This palette uses oil gilt copper to add the aforementioned luxurious aesthetic I desire, I have used verdigris in the two lefthand images to manipulate the clean, precise patterning and gilding, whilst also maintaining the beauty and refined impact these samples portray.

This collection shows the variety of outcomes I have created exploring distressed and luxury.

This groups works well together as a four because they all have elements in common, for example the top sample uses verdigris as does the piece below, which uses a variant of the pattern used in the sample below. Therefore connecting these together and harmonising this grouping as a collection.