Cutting involves: getting the cutter into place for each discrete cut (same amount of time no matter how large or small); making the cut (very quick and flowing generally, regardless of length); breaking off excess (basically the same no matter the size of the break); and a bit of grozing pliers clean up maybe (brief for any given piece).
Cutting the same piece at twice the size takes fractionally longer, and if curves are involved may actually be simpler to do as breaking is less dicey.
e.g. if I were to do this same Menger sponge at 12"x12" instead of 6"x6" I'd use (approximately) 4x as much glass, and foil, and solder, and misc. cleaners.
I wouldn't spend 4x the time on it, though. It's still 18 pieces of glass, from a pattern that exists; each piece needs to be cut, ground, foiled, and then all soldered together, and each of those steps would take a bit longer vs at smaller scale, but not even 2x since most individual steps lose time to starting, not doing.
Thinking about the practical art economics of stained glass a little lately as I get more practiced and confident with my work.
This like all creative production is a balance of materials cost and labor cost, and one interesting revelation is that working the same design at a somewhat reduces materials cost somewhat but has approaching zero effect on labor cost. Each individual piece of glass, regardless of size, requires some significant minimum fixed investments of time.
MetaFilter uses "crouton petting" as in-community lingo for expression affection or empathy for inanimate objects, so we decided to go ahead and build a literal interactive crouton petting zoo with a random crouton generator.
Not Any Crooks
Richard M. Nixon
R. Milhouse Nixon
Richard "Rascal" Nixon
R. M. Nixon
Rick "Nix" Nixon
Richard "The Hammer" Nixon
Ricky "18 Minutes" Nixon
Rick "Roll" Nixon
and Spiro Agnew as "Smarf"
Having a song I recorded yesterday really, really stuck in my head is, as much as it might sound like a self-gratifying thing ("yay, I made something catchy"), actually pretty shitty for the most part. Beyond the normal resentment of a durable earworm, it comes with a kind of theft of enjoyment of having made a thing; if I can't step away from the fucking thing I can't hear it with fresh ears. And your ears get real tired in the process of recording and mixing a thing.
I recorded a Very Online song about the overwhelming desire not to miss out on the minute-by-minute details of how awful everything is.
It’s called OH NO FOMO.
Buried the lede a little I guess: there's also this larger piece that's a take on a 3-iteration Sierpinski Triangle in green and yellow; the yellow glass (and the clear outer frame) is from my grandpa's supply of glass that I've come into ownership of, and the green streaky stuff is some scrap from a large sheet made by a company locally.
Server run by the main developers of the project It is not focused on any particular niche interest - everyone is welcome as long as you follow our code of conduct!