Quiet Craft Fairs

“A decade ago or so it was possible to predict sales from a craft fair, but that’s much harder now! It’s an unpredictable market out there right now for crafts and design products! … Even doing a show that was successful in the past might not be so good the next year.

All successful craft exhibitors confirm that they have to work harder to get sales and commissions, do more promotion in advance themselves, and follow up after a craft fair as more people delay their purchase decisions.”

Patricia van den Akker, Crafts Magazine July/August 2014 (page 26)

There are many reasons for quiet fairs. Among them is that the recession and recovery from it has created uncertainty among potential buyers.  House moves, which are big drivers of purchases, are less frequent. On the other hand, there is an increasing awareness of craft and handmade which has led to an increasing number of competing craft fairs.  Online selling such as Etsy creates a new kind of competition for craft fairs.

These and other developments are outside your control.  You can’t affect this. You need to concentrate on the things you can do to make things more successful.  

This is about some of the things you can do.

What Can I Do During the Event?

You will have done your research in choosing this event, which lead you to think it would be successful for you.  During the show you can do some things to help inform you about what to do now.

·        Is there good footfall?  What are the numbers to date compared to previous years? The organisers should be able to tell you how many visitors have come so far. You can make the comparison from your research on previous years.  Don’t panic.

·        Consider the composition of the people who are present.  Are the visitors the right people prepared to buy? What does the visitor profile seem to be?  Are there retail and wholesale buyers present? This is a good opportunity to engage with them for future orders if not present ones.  Networking is important and this is a time and place where you can meet a lot of people and discover reactions to your work, even if they are not buying.  Remember that your fellow stallholders can be part of that supportive network, and even sometimes be future customers.

·        Have you put out enough publicity?  Is there anything you can do now to get people to come before the close?  If you have a quiet time, you can use your social media outlets to tell people about your participation in the event.  Possibly you can offer an incentive for people to come to this show.

·        What does your interaction with the visitors that are at the event tell you? What interest and feedback are you getting? What questions are being asked? Which piece was is most popular? Think about rearranging the placing of your work to better reflect the interests of the visitors.  Can you follow up with the visitors after the show? Are you collecting their contact details?

·        Is your display right for the venue? Can you adjust your display to attract more visitors to the stand? Think about a white board for people to post their reactions to your work.  Which is most popular, for example?  Possibly a special offer is in order. 

·        Are the other exhibitors of a similar price level and quality?  If not, think of ways for your products to appear a better fit for the rest of the event.

·        Are the other stall holders having a quiet time too?  If they are, it may be a general problem with the event.  If you are performing less well than other stall holders, perhaps you have the wrong pricing, or glass products with perceived difficulties for transport.  Lots of packaging is necessary.  Offer a delivery or postal service, if appropriate.

Review the Event

Research – how good was your investigation of the event before you signed up?  

it’s crucial that you research craft fairs before you apply. Choosing the right events to suit your work can be difficult and there are no guarantees of instant return. Don’t be afraid to ask some probing questions of the organisers and past exhibitors.   Patricia van den Akker, Crafts Magazine July/August 2014, p.26.

There are a number of things you should look at to determine if this was the right event for your glass work. 

Organisers

Who organises the event? Look at their track record for this and any other events they organise.  There are sites for rating events that you can use such as Folksy’s.  You can look at Trip Advisor show reviews  for the visitor reactions.

Exhibitors

Who the other exhibitors are, or have been, is important in judging your fit within the group of exhibitors.  This information should be available from the organisers.  Are these your peers in price and quality?  Think about how you will both fit with them and stand out from them.

A good craft fair curator should make sure there’s a wide mix of things and not too many of the same.  David Andrews, And at What Cost

Visitor numbers and average sales

The organisers should be able to tell you of the number of visitors to previous events and at least the average sales of the event.

Visitor profile

Does the proposed event seem to be oriented to buyers?  If the craft fair is in support of a main event, you need to determine if your glass work will fit the apparent interests of visitors to the main event.  You may be able to make items that will interest them.  If the craft fair is the main event, you have a greater chance of the visitors being buyers.

The publicity may be oriented toward individuals, or to buyers for businesses and wholesalers.  These will each need different approaches.  The organiser should be able to tell you about the composition of the visitors for previous event.

Publicity for the event

Look at the publicity issued for previous events.  The organisers often give you this information.  This will provide an idea of what they produced and maybe how it was distributed.  Look at what local, and if appropriate, regional and national, press was obtained.  Did they get into lifestyle publications? What business and trade press was received?

Visit the event

If at all possible, visit the event.  This will give you a first-hand feel of the style of the event.  You will be able to see the range of exhibitors, the various styles of stands.  This will help you determine if this is an event you would fit into.  It also will  give you ideas to help design your exhibit. 

You can engage with exhibitors that appear to have a business of a similar size to yours to get the benefit of their experiences. You must be careful about this.  Be honest.  State that you are a potential exhibitor and ask if they have the time to give their experience about this event.  Approach them only when they are quiet.  Be aware of the need to avoid blocking other visitors from the stand.  Do not engage in long conversations.

If you can’t visit, look at the social media of the organisers and any exhibitors you know attended.  This will give some feel of the previous event. 

Location

This is about where the event is being held in relation to your location.  Do you need to travel and stay somewhere to attend, or is it near enough to avoid overnights?

It is also about where the event is located.  Venues range from dedicated events arenas to school gyms.  How easy is it to find? Is it signposted well? What are the parking facilities?  Look at the venue as though you were a visitor and decide on the suitability of the place.

Consider the timing

Craft fairs are held throughout the year, but those in the months leading up to Christmas most often get greater footfall and have a higher proportion of buyers.  Summer shows are influenced by the weather – a sunny day can take everyone to the beach or lakeside, but a stormy, rainy day can keep everyone inside.

Try to make your products relevant to the existing season or the coming one.  Think about opportunities people want for securing gifts relating to celebrations or awareness days.  Trade shows are often working 6 to 9 months in advance so the buyers can get the products into stock for the relevant season.

Promotion

This is not about what the organisers do, although that is important.  It is about what you do to generate interest.  There are going to be a lot of competing products.  You need to generate interest in people coming to your stand. 

My bugbear is exhibitors who expect footfall and sales and rely too much on the organisers. YOU need to do marketing & social media to get sales. – Patricia van den Akken, The Design Trust on Twitter.

You should be prepared to do a lot of social media work in the months and weeks leading up to the event.  You need to be telling people about your participation and preparation for the show.  You should make up a press release about the show and your participation in it.  Even if this is not taken up by the press, the material in it can be used for all the other marketing  you do.

You need to ensure that you provide the organisers with text and excellent photographs well before the deadline they impose.  If you have good images of your glass work and send them in plenty of time, you have a greater chance of being featured in one way or another.

After the Show

You need to consider what lessons can be taken from a quiet show.

Display

Review the layout of your stand.  Does it do justice to the quality of your glass work?  Think about what you can do to make the glass more eye catching – lighting, space for each item to breathe, clear pricing, arrangement, etc.  Make it clear what you do, what you make and why.

Product range

“When planning which products to sell at a craft fair, think 1) affordable, 2) achievable, 3) aspirational, and try to bring a range of products so you have all three covered.”  Folksy

This is applicable to all shows, perhaps with the exception of trade shows, where you need to concentrate on glass work that you can produce in quantity.  If you can produce a variety of glass with a group of price points, you will make it easier for buyers to choose.  Of course, you will need more items in group one, with a moderate amount of group two and only one or two of group three.

After a quiet fair you need to reflect on whether the glass range you brought was a fit for the event.  Were they relevant to location, suitable for the season, relevant to the event, suitable for a range of ages, etc. You need bring only the relevant products, not your full range of glass work.

Engagement

You need to review your performance at the show too.  Look at how you interacted with the people who did stop by.  You need to be sure you maintain a friendly appearance throughout.  Did you enjoy your conversations with visitors?  If not, you need to work on picking up on their cues.  You need to get them talking about themselves and their interests to be able to direct them to the appropriate glass.  Are you approachable?  Being at the front of your stand is important to drawing people in.  Showing your enthusiasm for doing your glass is important, because people like a story about the maker and her glass.  This helps engage people with your work and may lead to purchases.

Transport

Glass is heavy, and perceived to be fragile.  You need to find ways to overcome these resistances to buying.  Some things you can do are:

• excellent packaging (bring lots);
• a pick-up service (after they have paid and given their contact details) before they leave the event;
• after show delivery by post or courier. 

There will be others that you can think of too.  Signpost these services, so people know while they consider their purchase.

Payment

It is essential that you are able to take card payments.  You can use PayPal.  There are a number of companies that either have short term hire of terminals, or do not have monthly charges (although their percentage take is a bit higher).  Without electronic payment facilities, you will lose many sales.

Reflect on the Benefits of Attending Events

Feedback

You get direct feedback on your work, its pricing, and how it fits with people’s lifestyle.  You can learn of misunderstandings about your glass and so correct or anticipate them in the future.  Conversations at shows can be vital in guiding the direction of your work.

Networking 

Communicating with other stall holders makes a community of interest and support.  Also, potential customers can be discovered at shows and some of them may be the fellow stallholders. Making good relations with them has the potential to get write-ups about you from them in their discussion of the fair on social media, just as you may and should write about them even though they don’t do glass.

Meeting people that can promote your work

There is a great variety of people who are not buyers but are looking for things and people to write about.  This is great publicity.  The craft press attends shows looking for items of interest to their readers. Bloggers increasingly are writing about people they discover at events. Stylists, interior designers and influencers are also milling about.  You will not always recognise them from their badges, but treating everyone with enthusiasm for your glass work will include them.  They may give you feedback at the show or be available afterwards to contact and learn of their views.

Stockists

Shows are good places to meet stockists, who may be retailers, shops, galleries, wholesalers and others who want to stock your glass.  Take details and follow up all of these contacts.  You should be prepared for these people by having price lists and  professionally produced publicity material under the counter to give to them.  Business cards are essential.  If you offer one, you will get theirs in return.

Future sales 
It is not only stockists that you need to keep a list of contacts.  Get the details of all the interested people and contact them after the show and in the future when appropriate.

I do believe that craft fairs and events are still one of the best marketing tools for creative businesses. They help you to build your profile, to reach many potential clients in a short period of time who can get to know you a lot better, and events can really boost your confidence too.

But … you do need to … promote yourself! Even if your contacts are unable to attend the event it’s crucial that you let them know through a series of emails, blog posts and social media. Events are one of the best ways to stay in touch with your potential clients!

An event invite can be a great tool to drive more traffic to your website and get online sales instead.

Selling events aren’t there just to get sales but are also a way to stay in touch with potential clients, to increase your profile, and to get new contact details for your database. Start a database and stay in touch. And by following up you can often turn a quiet craft fair into a pretty successful one!

Patricia van den Akker, Crafts Magazine July/August 2014 (page 26)

Take advantage of quiet events to reflect on what you can do during the show and after the show to make for better outcomes in the future.  Reflect on your research of the event.  Consider location, timing, relation to a main event or awareness week or month.  Look at your promotional effort leading up to the show.  Consider how to improve your marketing.  Remember that even a quiet show can provide great contacts and that follow-up with the people you have met can garner purchases.  Not everything is about the immediate monetary returns.

Displays for Small Tables

Frequently small or busy craft fairs provide a relatively a small space or table to display your glass.  This means you need to make an impact with little area in which to do it.

There is also guidance elsewhere, but these are some basic ideas to get you started thinking about how to use the space you have and make your presentation stand out.

credit: CountryHeartandHome

Make your display like a shop window display

Think about how a shop with small windows works to display things to attract your attention.  Use your stand to display a single theme or style (sometimes called a brand).  Present your key pieces in a complementary but muted background.  Co-ordinate colour, or shape, or function.  Do not put everything out at once.  Give each of your glass pieces space.  Keep extra stock behind or under the table to meet the need for different colours, sizes or shapes.  Give your pieces space to be appreciated individually. The more unity you can give to your display, the more chance you will get the attention your glass deserves.

Be imaginative in your use of display materials

Think about props you have around the studio or in your home that can complement your glass.  Look for things that fit your style of work, or the theme you are presenting.  It is the unusual, but complementary coverings and props that can help you stand out from the other displays.

Height provides interest and space

You might consider a self-supporting stand that can be placed on the table and provide shelves for your glass – as long as they are stable.  You can drape appropriately sized boxes that you brought the stock in to give height to the display.  If the boxes are appropriate, you can use them bare as platforms or shelves, depending on the arrangement.  Always think about ways to build higher, but secure, displays for your glass.  After all glass looks best with light coming through rather than flat on a table.

credit: dizziebhooked.wordpress.com

Make your display fit the glass you make

Think about what is needed to show your glass off to its best.  Mostly this will be vertical with light filtering through.  Vertical light behind or in front of the glass is good.  This is to avoid dazzling the visitor rather than displaying the glass.  It may be that jewellery is best flat, although earrings can be stunning with light behind.  You can consider constructing something that does not need a table.  Look for inspiration at the kinds of displays used by retailers to save space.

credit: pinterest

Create the illusion of space

Use light colours for table coverings and display materials.  It gives a sense of space, that black does not. Using the same colour throughout gives a sense of unity in the display.

Tablecloths are most often used because they are easy to transport, but they are not the only portable material to use.  You could consider rolls of paper, foam board, and other materials to give a clean minimalist base for the display.

What more could be done with that space behind?
credit: MacrameUK

Space behind your stall

Often there is a backing to the stall.  Make use of it if it is there.  You need to determine in advance from the organisers what backing there is to the stall you will be allocated.  If there is a wall or other partition, make sure you leave it as you found it.  You can also think about providing your own stall backing with the organiser’s permission.   Using the back of the stall increases the space you have to display your glass.

There are many ways to utilise small spaces at craft fairs. Your imagination will be the only limit.  Think of shop displays, build up, give your glass space, ensure good lighting, use the back of your space.

Consignment – meeting the owner/buyer

When approaching the retailer keep several things in mind:

Prepare for the meeting

• Make an appointment, as the retailers’ focus is on selling. Buying is done in down time from the sales.
• Explain how you came to select the shop – this can include recommendations from people already represented by the store.
• Provide a brief description of the kind of work you do.  If you sell at other locations – craft shows, online, etc. – include that and be prepared to say how well they sell.
• Be prepared to talk about the inspirations behind your work.
• Prepare yourself with the points you want to make about your work and its relation to the shop’s offerings.
• Remember that you are providing retailers with unique items that fit with their customers interests and needs.
• Be prepared with suggested retail price ranges for each line, remembering the commission the shop takes.
• During the meeting, the retailer will be assessing both your work and the potential working relationship.
• Be prepared for the retailer to ask for time to consider whether to stock your work.

Bring a range of materials to support your presentation.

• Take a small but representative sample set of your work in its packaging.
• Back up the samples with good photographs, which are essential, especially if the pieces are too large for practical transport.
• Bring business cards, a resume relevant to the shop, marketing materials, photographs, and samples you are prepared to leave with the shop if asked.

Presentation

• Dress to make a good impression. You are presenting yourself as well as your work.  You don’t need to be super smart.  Dress neatly in a way that suits your personality.
•  Present your work at its best along with its packaging.

Follow up

Follow up is essential. A week or so after the meeting contact the premises with further information or even questions.  If the response is to decline to carry your work, ask for feedback about your work and its relation to the shop’s offerings. This will assist your future presentations.

Selection of a gallery or shop in which to place your work is a complex interaction of commission levels; the value you place on your time in preparing for and attending craft fairs or putting your work online; the perceived prestige of the shop/gallery; the potential relationship between you and the outlet; and the relationship of the consignment, wholesale and retail prices.

Other posts on consignment:

Consignment

Consignment Agreements

Consignment Rates

Consignment Venues

Preparing for a Craft Fair

“What should I take to the craft fair?” 

This is a frequently asked question.  The question gets a variety of answers from the materials to make the stand out of, the variety of supplies, to taking a variety of things to the show with different price points.

I’m sorry to say that the last piece of advice leads to set ups that look more like a jumble sale rather than a display of finely crafted works.  These stalls have a lot of closely arranged pieces to fill the space.  They have a lot of price points.  They have a wide choice of colours in each range.  What is the potential buyer to make of so much choice?

It is important to have an identity on display.  Are you a maker of votives, table ware, suncatchers, garden objects, panels, recycled and repurposed glass, etc.?  If they all are displayed, it is difficult for the viewer to determine what it is that you do.

This identity can be a unified colour range throughout the items you are selling.  It could be a range of bowls, platters and other table wear with a consistency of colour or design.  It could be your concentration on making objects from recycled glass. Essentially, you are telling the viewer what you are about.  It could be from “I make jewellery” to “I make glass objects in a range of blue green” (not that I think the latter is a real identity, but it is a possibility).  This “identity” can change from venue to venue, of course.

The usual way shops and stores distinguish their important items, is to give them display space.  This is vital for craft shows too. Space around items allows each item to have its own significance.  It is possible to give this space by concentrating on just a few lines of work.  You can always have spare stock under the table or out back to fill the gaps caused by purchases.

You may decide to go for the jumble sale approach. One of the reasons might be the people coming will be looking for lower priced objects. (Should you be selling your pieces at bargain prices?). You may be unsure of the nature of the visitors to the show and want to appeal to a wide range of people. You still need to give each piece its space.  You may have a range in multiple sizes and colour ways.  Display only one product in the full range of sizes and only a single item in each of the colour ways.  Your “under the counter” stock will fill in the sizes for the colour range.  In this kind of way, you can make space for each item even when you bring a multiplicity of objects.

So many times, I see little evidence of descriptions relating to the object or range of products.  You need to illustrate the thought you have put into the creations by the descriptions you give to the pieces.  Simply putting the pieces out in a nice arrangement is not enough.  You need to tell people what it is, the concept that led to its development, possible uses, how it might fit into a life style and its benefits – unique art piece, display of the owner’s ability to choose beautiful objects, etc.  And of course, you need to give the price.  You might also want to make it possible for a buyer to have it shipped, so you need information about delivery costs as well.  In giving this kind of description, you are showing you have put thought into the piece and into the buyer’s needs too.

It is very unusual to see anything about the maker.  Unless people are looking for bargain basement items, they want to know about the maker.  They are buying your story almost as much as the object. You have a story relating to your life and your approach to making.  Tell it. Display it prominently.

Where else can your products be found?  People want to be assured that they are buying things in demand. Telling where else your creations are sold helps assure them that their choice is validated by other people’s interest (even though they are buying a unique piece).  Put this information in a few sentences and put it up somewhere on your stand.

Telling people about where you can be found in the real world, on social media, your blog, and any online marketplaces is important.  Often people can turn into repeat buyers through maintaining contact. At the least it can promote continuing relationships, which may turn into commissions.

Research the market. You need to look at the profile of people that will be attending the event.  If it is a gardening event, you might take garden-based objects, or set your pieces in a garden-like atmosphere. If it is a school event, think about the background of the parents.  If it is a stand-alone event, then you need to think about the population of the area, or the people that the event will draw.  The organisers in all these cases should be able to give you information on the people who are likely to come. 

Take things that will appeal to the people who will be browsing and arrange them appropriately to the event as well as getting the display right.  This might involve different table coverings, or backgrounds to reflect the ethos of the event to which the craft fair is attached.  You need to make a connection with the potential buyers.  Show that you are tuned into their lifestyle.

Preparing for a craft selling event is much more than what structure to hang or display your work on.  It is about reflecting the environment of the event. Will the people be browsers that need to be converted to buyers, or are they going to be coming to buy? Those two groups have different display requirements. What your identity will be in relation to these buyers will determine the range of material you bring to the show. 

Summary

A craft fair is very similar to a shop display or your offering on an online craft marketplace. 

• Your display needs to immediately say what you do. This is assisted by the walls, coverings, etc. of the stand, but is most importantly shown by the selection of objects to show.  This is what tells people what you do.  It is your identity for the time being. 
•  
• You need to lovingly describe each object on display. This gives the buyer a feeling for the concept behind the item, an idea of the benefits and value of it to their life.
•  
• You need to tell your story. They are buying an idea of the maker as well as the object.  It is a good idea to tell people where else your work can be found too – even if it is at other craft fairs just now – but especially if you are on any online marketplaces such as Etsy.  Engaging them with your social media is also a good idea to help maintain the currency of your story.
•  
• You need to find out about who will be attending the event.  The social and economic characteristics, the age profile, the status of the event and many other things will be important to what you bring and how you dress it.

Finally, all these elements of an approach to selling your work apply to anything you are thinking of selling on an online craft marketplace.  Getting it right at craft fairs prepares you for successful online selling too.

Channels in Jewellery Items

The principle in forming channels in fused glass is to keep the space open with something that will survive the firing and can be easily removed.

You can use kiln washed wire, mandrels, or tooth picks which you can pull out after cooling. These tend to leave a residue of the kiln wash behind. So this is best used on opaque items.

You can use rolled or cut fibre paper, which can be washed out after cooling, leaving a clean hole. This is works well on transparent items.

Both these methods tend to leave bumps over the channel. So you can make a three layer piece. Cut the middle layer short enough to allow the element to keep the hole open (toothpick, cut piece of fibre paper, wire etc.) to be placed with enough overlap of the top layer to catch the bottom layer. In this kind of setup you need to make the top layer a bit longer than the bottom layer. Make sure you are generous in the length of the "hole keeper" so if the glass (now possibly 9mm) does expand you do not trap the material inside.

Of course on a three layer set up like this you could use thin glass which would give you about 6mm of thickness thus eliminating the spread due to volume. In this case you would need to use fibre paper or wire that is about 1.5mm high/thick. It is probably best to have a thin piece of glass on each side of the “hole keeper” to ensure the glass does not retreat due to lack of volume.

You can experiment with a layer of standard and two of thin in various combinations to find the one you like best.

Channels for Jewellery

One way of providing attachments for chains is to make a channel in the piece. This is most often done by placing something between the glass pieces to maintain an opening for the chain to slide through. The materials can range from toothpicks, coated wire, rolled ceramic fibre paper and many other things which will stand up to the heat for the required time.

One of the requirements is to prevent needle points and drawbacks of the glass. There are a number of ways to do this. Some of them are noted here.

One method is to make pattern bars with a channel through the whole width of the bar. Then you need to cut the bar into strips (leaving the channel material in place), do any edge work required, and fire polish.

When creating a single piece from cut glass parts, you need to ensure the upper piece of glass extends beyond the lower piece by at least 3mm to allow the glass to bend over the channel and touch the lower piece. A little more than 3mm will allow the upper glass to curve over the bottom piece and create a rounded top with no evidence of the joining of the two pieces of glass.

Another method is to use two pieces of 2mm glass with full pieces above and below. The narrowest piece of glass will be about 3-4mm and placed at the top of the pendant. The largest piece will be long enough to give a 2mm gap between the two pieces. This is kept open by inserting two pieces of 1mm fibre paper into the gap. Then cap with the top piece of glass. All the glass can be of 2mm thickness, as the three layers will give the desired 6mm thickness.

Finally, a tack fuse firing can help to avoid the needling that can occur at the channel, as the glass is so much thinner than the 6mm required for a full fuse. This means that you can do the work in stages. First fire the elements to the desired state, then combine them for a tack fuse when creating the channel.

If you use a clear middle glass, you can create a depth by having a design on both the bottom and top layers of glass.

Hangers for Sun Catchers

Unless you are using some manufactured system or a frame, the most frequent way to provide hanging points for copper foiled sun catchers is to create a loop from copper wire.

Hangers should originate in a solder bead that goes some way into the piece. The loop's tail should lie a significant distance into the solder line to ensure it does not pull the piece apart. If this is to remain invisible, some planning will be required to allow the small extra space between the foiled glass.

The loops for hanging a piece of any size should not be soldered to the perimeter foil without reference to the solder bead lines within the piece, as the adhesive and foil are insufficient to hold the weight without tearing.

Reinforcement of free hanging or projecting elements can be done by placing wire around the piece with a significant excess going along the perimeter in both directions. The supporting wire can go into the solder line, if it is a continuation of an edge of the free hanging piece.

An example of a piece that needs reinforcement around the wings to keep them firmly attached to the body

The strongest method of proving hangers is to wrap the wire around the whole perimeter of the piece. Choose easily bent copper wire. This will be pretty fine, but when soldered, will be strong enough support the whole piece.

The perimeter wire can also be concealed by edge cames

The hanger can be made by leaving a loop of wire free along the perimeter. This way you can hang from any convenient place on the perimeter. This loop can be made by a single 180 degree twist in the wire, or by bending a loop into the perimeter wire. In all cases you will need to tin the wire to blend it with the rest of the piece.

An example of wire running between the yellow and purple on the left and incorporated into the design

This perimeter wire can be simply butted at the start/finish of the wire. It could be overlapped, but this is unnecessary on any piece where this method is adequate for support. The start can be at the top or bottom, although I prefer the top, so the wire is continuous from loop to loop. The reason for continuing beyond the loops is to provide support to all the edges of the sun catcher.

Panel Framing Options

Some framing options for free hanging stained glass panels are given here.  They are not exhaustive, of course, but do give some principles to be considered when making frames.  Wood and metal are the two traditional materials for framing panels to be hung.

Wood

A wood frame requires joints of some kind. These joints are important to the durability of the frame. The two main kinds of joints are glued and screwed.

Glued joints

Lap joints seem to be strongest. An odd element relating to the strength of this joint is that placing a wooden pin in the joint weakens, rather strengthens the lap joint.

Mortice and tenon is also a strong joint. It requires considerable skill to make a good joint.

A mitred is among the weakest, but can be strengthened with a biscuit or fillet in the joint.

A mitred joint with biscuit ready for glueing.

Screwed joints

These have a lot of movement before failure, but do give a lot of resilience to the joint as they can stretch rather than immediately give way. They also can be used with any of the glued joints if appearance is not of prime importance.

Frame style

The width and thickness of the frame are interrelated – thicker frames (front to back) can be narrower, thinner frames need to be wider. So the desired appearance of the frame width has a significant effect on the dimensions of the frame.

Metal cames or angle

Lead can be an adequate framing material, but if strengthening is required, you can use copper wire within the came and fold the leaves closed over it. You can also use steel rod within the came, as shown in the posting.

Zinc is a stronger metal than lead – about 8 times, but still has a weak tensile strength. I corrodes easily, but accepts solder as a joining method. It is more expensive than lead.

Some of the variety of zinc came available

Aluminium is a little stronger than zinc, but does not take solder. It has similar costs to zinc.

Some of the aluminium profiles available

Copper is about 1/3 stronger than zinc and also takes solder. It corrodes to a verdigris, but can be protected by clear varnish or paint. It is more expensive than zinc, but can be used as wire which is less expensive than other forms of copper.

Brass is over two times stronger than zinc and also takes solder. It resists corrosion well, and is a little cheaper than copper.

Some of the brass came options.

Mild steel is over 3 times stronger than zinc, but does not take solder at all well. It is relatively cheap and welds easily, making it a good framing material, although a method of fixing the panel into the frame is required.

Stainless steel is about 4.5 times stronger than zinc, but does not take solder and needs special welding. It resists corrosion very well, but is expensive in relation to zinc.

Hanging and fixing options

Two point hangings are the most common as they prevent twisting and distribute the weight to the sides of the panel.

The hanging material is straight up from the zinc framed sides to the fixing points

The hanging material whether line, wires or chains should be straight up from the sides to two separate fixing points. A triangle shaped hanging puts a bowing stress on the panel or frame.

A variation where the chain is taken to the corner of the window, is less secure, as it stresses the joint away from the sides

Loops or holes for screws should be placed in the frame rather than the panel.

The hanging is from reinforced corners directly to fixing points on the overhead beam

Ensure the fixing points for the hanging wires are sound and secure.

If the panel is fitted tight to the opening, consider ventilation requirements to reduce condensation between the primary glazing and the hung panel.