FanningSparks – Page 49 – A DIY and lifestyle blog authored by Peg Frizzell.

Talk About Tiles!

Talk about tiles! Tiles, called azulejos in Portuguese, are everywhere in Portugal! On the facades of churches…

… on the facades of shops…

…on the facades of businesses…

… and on the facades of homes.

Beautiful tiles are also used on the inside walls and surfaces…

…often in the most breathtaking way. Here are some of the painted tile murals in the São Bento railway station in Porto. Note the dude in the bottom right‒these tile murals are huge!

As I walked around the streets of the big cities of Porto and Lisbon and smaller cities like Aveiro, Viana do Castelo and Ovar, I was amazed by the variety. With all those lovely colors and patterns set in interesting historical buildings there was no shortage of photo opportunities.

But why are so many of Portugal’s homes and buildings decorated with tile? Here’s the explanation provided by the city of Ovar. “Although there is no definite proof of this, some art historians sustain that there is a correlation between the strong Portuguese migratory flux to Brazil, and later return of these emigrants, with the increase in the demand for tiles and ornaments for building decoration. … The flamboyance tiles bestowed onto the building was one of the best ways to demonstrate the acquisitive power and social status of its proprietors, while these also enjoyed other advantages associated with the use of tiles in covering of external walls: resilience, durability, light reflection and easier upkeep.”
The city of Ovar proudly claims the title of “Living Museum‒City of Tiles” due to the quantity and diversity of tiled facades from the 19th and 20th century still existing in the city. Ovar has created a self-guided walking tour along the main tiled facades in the city center. This route showcases “Tile’s Street” which is a series of tile carpets on the benches and sidewalks of the main squares.

Ovar’s Tile’s Street is supported by a handy booklet which includes an explanation of the various techniques used to decorate tiles. It was fun to look for evidence of process in the tiles (see my post Admiring Evidence of Process to learn about this approach to viewing pottery). Some tiles, like the breathtaking murals in the São Bento railway station (shown earlier in this post), are obviously hand painted. Here’s another pretty example from Porto showing a butterfly and flowers.

Three other techniques are called out in Ovar’s Tile’s Street booklet: stencil technique, transfer print decoration and relief. The first technique, stenciling, is the most common in Ovar. Stencil technique entails using stencils to add color to the raw glazing base. Each color requires its own stencil. Here’s an example of a stenciled tile from the 19^th/20^th centuries. Ovar’s Tile’s Street booklet notes the production technique of these tiles is stenciled but a closer look (especially at the dots in the 4 corners) makes me think some hand painting was involved. Apparently, elements of a design were often connected with a brush after the motif was stenciled onto the tile.

The consistency of the below design suggests it was entirely stenciled.

The second technique, transfer print decoration technique, entails mechanically pressing a paper print on the surface of the tile either before or after the glazing has been fired. This technique was limited to only one color but was faster and easier to produce. The below tile appears to have been made with transfer print decoration.

The third technique is relief. Instead of having a flat surface, the motif is raised on a relief tile. The surface texture is obtained by filling wood or plaster molds with clay or pressing the clay mechanically. This decoration technique is one of the rarest to be found in facades because the process is more complex and labor intensive. Below is an example of relief tiles.

As I wandered around drinking in Portugal’s beautiful tiles, I noticed that often the tiles on a building’s facade were in better shape than the building itself. This is quite the testament to the durability of tiles but it must present a difficult challenge to the folks trying to maintain Portugal’s rich tile heritage. It also leads to some interesting photos.

To wrap up, I’ll circle back to the tile I featured at the top of this post. This was my favorite design‒I love the energetic pattern and bright colors of this tile. Sadly, I sighted it on an abandoned building with the front door boarded up.

More Info

The Visit Portugal website has a post called In the Country of Tiles highlighting some of the top places to see tiles.
The Museu Nacional Do Azulejo (National Tile Museum) in Lisbon has a magnificent collection of azulejos and describes their historical, technical and artistic evolution in Portugal. You can see the museum’s collection online via Google Arts and Culture under The National Azulejo Museum.
The Center of Portugal Tourism site features a Porcelain Route and provides information about the tiles of Aveiro, Ovar and other places in central Portugal.
You can learn more about the São Bento Railway Station in Porto on the Timeout website.

I was so inspired by my recent trip to Portugal that I wrote a series of blog posts about what I learned and experienced. Check out:
. Tied in Knots in Portugal about the bobbin lace traditions of Vila do Conde.
. Following the Yellow Arrows which recaps my first 110+ km Camino walk.
. Making Curls and Swirls with a Filigree Master about my experience making a traditional Portuguese filigree heart.
. Talk About Tiles! (this post).
. Lavish Lalique in Lisbon which looks at the René Lalique Collection of Art Nouveau jewelry at the Calouste Gulbenkian Museum.
. Lines and Patterns in Wrought Iron shares a variety of wrought iron designs spotted in Portugal.

Today’s Takeaways

1. Look for characteristics which are noteworthy and representative of your surroundings.
2. Research to learn about the processes used to make art, craft and design.
3. When viewing a large collection or body of work, look for similarities and differences across the individual pieces.

Make Other Media Portugal Travel

Making Curls and Swirls with a Filigree Master

Filigree is a delicate embellishment in which very fine strands of gold or silver are twisted or curled into a design and then soldered into jewelry or other fine articles. Filigree is characterized by smooth flowing lines, gorgeous scroll work and lacy flourishes. It has been made since ancient times and was used by the Greek and Roman civilizations to make jewelry. Filigree is still being made in many locations around the world but it is particularly notable in Portugal.
According to the Filigrana de Portugual, there are “two production centers par excellence of Filigrana Portuguesa (Gondomar and Póvoa de Lanhoso) … who united in the sole purpose of valuing the handicraft technique of filigree, common to both territories, defending its producers and protecting artisanal production from industrial imitations that confuse consumers and discredit art.” Working together to preserve and protect a traditional art form‒there’s a mission I can get behind!
One of the traditional filigree workshops represented by this impressive organization is managed by António Cardoso and his wife, Rosa Cardoso. They make and sell beautiful filigree jewelry in silver and gold under the brand of AC Filigranas. Here’s a spectacular filigree necklace made by António and Rosa. It is a traditional Portuguese design called the Viana heart. The Viana heart is a stylized heart shape, with a flame at the top of the heart symbolizing passion and the sweep of the heart’s tip pointing towards the wearer’s own heart.

The Viana heart is the symbol of one of the cities I visited on my first Camino walk‒Viana do Castelo. See my post Following the Yellow Arrows for a peek at this beautiful place. Filigree jewelry is an important part of traditional festivals and activities in Viana do Castelo and the surrounding areas. Every August, young women dress in traditional costume and adorn themselves with the family’s gold treasures for the annual Festival of Our Lady in Sorrow. It’s said the parade is heavily guarded with security and police because there’s so much gold on display.

Traditional Costume from Viana do Castelo Portugal Showcasing Gold Jewelry. @FanningSparks — Photo Credit: Traje à Vianesa Viana do Castelo Caderno de Especificações para a Certificação (Vianesa Costume Viana do Castelo Specification Sheet for Certification).

Here’s another example of a traditional Portuguese costume with lots of gold and filigree jewelry. It was displayed at the Museu da Filigrana (Filigree Museum) in Lisbon.
Given filigree’s long and rich heritage, I was super excited to participate in an Airbnb experience to “Learn How to Make a Filigree Heart” when visiting Porto (see More Info below). The experience was hosted by Lucinda Oliveira. Lucinda was the perfect hostess‒attentive, personable and enthusiastic. Through her connections with the local artisan community, Lucinda is able to offer exclusive access to António and Rosa Cardoso’s workshop. She escorted me to the artists’ private studio where I spent the afternoon making filigree jewelry. I was actually working in a master filigree artist’s studio in the heart of Gondomar Portugal! This was definitely a “Pinch Me” moment.
António and Rosa explained the process which Lucinda translated into English for me. Then they demonstrated the various steps. António started with casting whereby he melts silver and pours it into a long, thin bar-shaped mold.

Pulling threads is the next step. The silver bar goes through a drawing process until a very fine, almost hair-like, thread is created. The final step in preparing the silver threads is twisting whereby 2 threads are wound together.

With the materials ready, we were able to begin creating the filigree heart. We started with framing. António showed me how to use a metal template to create the heart’s skeleton or outline.

Once the heart frame was formed, António soldered the connection.

Then it was my turn to give it a try. After forming the frame, I bent and cut several curls and swirls to fit inside the heart. These were then soldered in place. One important lesson I learned was to use the tweezers to pick up and move my piece. At first, I forgot and simply picked it up with my fingers but that can damage the shape or cause the swirls to pop out. It took a few gentle reminders to break that habit.

Once the heart frame and primary swirls were soldered in place, it was time for the filling step. It is the most time-consuming step because the entire piece is filled with filigree threads‒teeny, tiny filigree threads! This is Rosa’s specialty and she makes it look so easy. But it’s not!

Winding those tiny little swirls and cutting them to the right size is tricky. But holding everything in place until you’re ready to solder is even harder. I eventually got the hang of it and found it quite enjoyable. Here I am filling my filigree heart.

After all the filigree was soldered in place, António helped me shape the heart to give it a convex curve. Next we added a bail to the top of the heart so it can be hung from a chain or cord. Then we silver plated the heart by sprinkling silver granules over the piece and heating it. The final step was to clean and polish my new filigree heart. Here it is‒my very own Portuguese filigree heart made with lots of curls and swirls!

More Info

The Learn How to Make a Filigree Heart experience with Lucinda, António and Rosa was, by far, the most unique and special hands-on travel experience I’ve had. If you’re heading to Porto Portugal and have an interest in traditional arts, be sure to check out Lucinda’s Airbnb Experience. Thank you to Lucinda, António and Rosa for a great experience! Special thanks to Lucinda for taking photos of my efforts. Obrigada meus amigos!
You can learn more about António and Rosa Cardoso and the AC Filigranas brand on their Facebook page or Instagram account. They are also represented on the Filigrana de Portugal site under Adherent Workshops.
The City of Gondomar has established a special tourism route called the Rota da Filigrana to promote filigree in their area. Check out their very cool promotional video on YouTube.
There are a couple of museums which include filigree that are worth visiting. I loved the Museu do Traje (Costume Museum) in Viana do Castelo. Numerous traditional costumes, complete from head to toe, are displayed in full splendor. There is also a small exhibit of a gold workshop and a great exhibit of gold filigree jewelry. You can learn more on the City of Viana do Castelo’s website.
The Museu da Filigrana (Filigree Museum) in Lisbon is small but thorough and interesting. You can learn more on the Lisbon Tourism website.

I was so inspired by my recent trip to Portugal that I wrote a series of blog posts about what I learned and experienced. Check out:
. Tied in Knots in Portugal about the bobbin lace traditions of Vila do Conde.
. Following the Yellow Arrows which recaps my first 110+ km Camino walk.
. Making Curls and Swirls with a Filigree Master (this post).
. Talk About Tiles! which features the beautiful tiles (azulejos) so prevalent in Portugal.
. Lavish Lalique in Lisbon which looks at the René Lalique Collection of Art Nouveau jewelry at the Calouste Gulbenkian Museum.
. Lines and Patterns in Wrought Iron shares a variety of wrought iron designs spotted in Portugal.

Today’s Takeaways

1. When planning a trip, seek out topics which are unique to or noteworthy for your destination.
2. Look for a hands-on experience of something that interests you for a more robust and deeper understanding.
3. Consider supporting initiatives and artists who focus on preserving traditional art, craft and design.

Portugal Travel

Following the Yellow Arrows

Spotting yellow arrows becomes a critical skill when walking the Camino. I learned this quickly when I recently walked my first Camino de Santiago, or the Way of Saint James as it’s known in English.

Fiber Make Portugal Travel

Tied In Knots In Portugal

Greetings from Portugal! My husband and I are visiting this beautiful country for a few weeks.
Lace, more specifically bobbin lace, is probably not something most people associate with Portugal.  I had no idea either until I stumbled across this connection while researching for our trip.  Whenever possible, I like to search out bloggers from my destination to get the inside scoop. That’s where I learned about Portugal’s bobbin lace. Then I discovered Vila do Conde in the northern part of the country‒a place I was already scheduled to visit‒is the primary center for bobbin lace.  Clearly this was meant to be!
So on a quiet Sunday afternoon, I found myself awestruck in the small Museu das Rendas de Bilros (Museum of Bobbin Lace) in Vila do Conde, Portugal.  It’s a small museum but the exhibits were well-displayed and presented with care. The lace was beautiful–intricate detailed designs executed in precise perfection.  Here are some examples.

But here’s the kicker!  This lace is made by crossing and twisting together dozens of strands of thread.   The thread is wound onto individual wooden bobbins.  The lacemaker works on a padded surface, like a firm pillow, and pins the pattern to the pillow.  The setup looks like this.

The bobbins are then manipulated to cross and twist the thread into the pattern. Small pins are inserted to keep the wound thread in place.

It seems miraculous that this fine lace is the result.  Conceptually, it sounds doable.  But in reality, how the heck does anyone keep track of hundreds of bobbins that all look exactly the same?  I examined the works-in-progress on display and could find no rhyme or reason to it.  No numbers or color coding-no differentiation at all-every bobbin looked exactly the same.  And there were literally hundreds of bobbins on a single project.   Here’s an example of a work in progress that I studied with care.

Unfortunately there was no one at the museum that afternoon able to answer my questions. I did find this helpful diagram in the Portuguese book Rendas de Bilros de Vila do Conde. It shows the basic pattern at the mid-point (Meio-Ponto) and at the full return (Volta).

So I did a little online research after the fact. Turns out the lacemaker does indeed work the bobbins in a very specific sequence.  On the YouTube video I saw (see More Info below), the lacemaker explained the bobbins are always worked in pairs.  She used color coded beads on the end of her bobbins as a reminder of which bobbins were paired. She explained that bobbin lace is worked in either whole or half stitches.  This means the lacemaker is consciously moving bobbin2 over bobbin1, bobbin3 over bobbin 4, and so on.  She was very careful to keep her bobbins organized in sequential order on her pillow.  But she only had 20 or so bobbins-not hundreds like the projects I saw.
There are numerous bobbin lace designs. The designs are sketched on paper patterns. Here’s an example of a pattern called “Braid” and the resulting lace from the Rendas de Bilros de Vila do Conde book. The piece of actual bobbin lace along the top is a bookmark I purchased. Pretty cool, right?
Another cool thing is the world’s largest piece of bobbin lace which is displayed in the museum.  A group of Vila do Conde residents got together in 2015 and pieced together 437 30×30 square centimeter pieces of bobbin lace to create a 53,262 square meter masterpiece.  The folks from Guinness World Records verified it as the world’s largest piece of bobbin lace and awarded the Vila do Conde team the world record. The award and the enormous piece of bobbin lace are on display for all to enjoy.  It’s displayed in a life size tunnel so you can enjoy bobbin lace on all sides as you walk through.

Definitely not something you see every day!

I was impressed that the world record team included 3 generations of lace makers‒grandmothers, mothers and daughters.  Of course, as the carriers of the torch for this traditional art, it’s not surprising to see the grandmothers leading the charge. Fortunately they are not the only ones, various governing bodies and arts associations in Vila do Conte are already working to pass down this traditional art to the next generations.  To this end, they have established a lace making school where children and adults can go to learn lacemaking for free.  Local master lacemakers teach the participants with a goal of helping to preserve this unique skill.  Interestingly, this is not the first time Vila do Conde has sponsored a lace school.  Back in 1919, the original Bobbin Lace School was founded in the city.  Here’s a fun photo from that early school.

There’s even a Lacemaker Monument to pay tribute to the Vila do Conde women who have preserved the art of bobbin lace. The statue, created by Ilídio Fontes and Claudio Ricca, is found on Cais das Lavandeiras along the river in Vila do Conde.

I’m so pleased I discovered Vila do Conde’s rich heritage of bobbin lace and had a chance to visit the Museu das Rendas de Bilros.

More Info

The two blogs I consulted before our trip to Portugal are A Portuguese Affair and Julie Dawn Fox in Portugal. Both were packed with insider information.
To learn more about the Bobbin Lace Museum in Vila do Conde, check the Porto and North website or the Vila do Conde website.
The YouTube video I found helpful was Video #84 Beginner Bobbin Lace Tutorial by Red Cardinal Crafts.

I was so inspired by my recent trip to Portugal that I wrote a series of blog posts about what I learned and experienced. Check out:
. Tied in Knots in Portugal (this post).
. Following the Yellow Arrows which recaps my first 110+ km Camino walk.
. Making Curls and Swirls with a Filigree Master about my experience making a traditional Portuguese filigree heart.
. Talk About Tiles! which features the beautiful tiles (azulejos) so prevalent in Portugal.
. Lavish Lalique in Lisbon which looks at the René Lalique Collection of Art Nouveau jewelry at the Calouste Gulbenkian Museum.
. Lines and Patterns in Wrought Iron shares a variety of wrought iron designs spotted in Portugal.

Today’s Takeaways

1. Local bloggers often provide unique insights into a travel destination.
2. Consider delving into the handmade traditions of the place you plan to visit.
3. Think about supporting local artists and art organizations when travelling.

How Tos Make Mosaics

My Mandala-Inspired Oval Design

People have been creating mandalas for thousands of years. The earliest evidence of mandala art dates to the first century B.C. Nowadays, mandala designs can be found in countless forms‒everything from t-shirts to street art murals, from tattoos to cake decorations, from garden pebbles to dinnerware. The word mandala comes from Sanskrit and means “circle”. Indeed, the circle is what gives the mandala its signature symmetry‒that perfect repetition of design elements and the radiating pattern flow. This balance of visual elements has a universal appeal.
In her book Joyful, author Ingrid Fetell Lee notes that “A love of symmetry is one of the best-studied human aesthetic preferences. … One reason we love symmetry may be that it is an outward symbol of inner harmony.” Check out the posts Joy Spotting and My Top 3 Nonfiction Reads for 2018 to learn more about how the seemingly mundane spaces and objects we interact with every day have surprising and powerful effects on our mood.
Mandalas have come to symbolize unity and harmony. In some cultures, the mandala also represents cosmic and psychic order and is used in meditation practices and sacred rites. While in other cultures, mandalas are simply treasured for their joyful beauty.

As I started to consider designs for my latest mosaic project, the mandala’s symmetry sparked an idea. I wanted to replace the cheap, boring metal frame from an oval mirror we had in our Half Bathroom. The mirror itself has a pleasing shape and fits perfectly above the pedestal sink. If you follow this blog, you’ll know I’ve been on a mosaic kick lately and had some success making mosaic mirror frames for our Master Bathroom (see Pair of Mosaic Mirrors Completed).
I wondered if it would be possible to create a mandala-like design out of mosaic to frame the oval mirror. The challenge was figuring out how to apply a round design to an oval shape. In a mandala’s circular design, the curve is consistent and all the elements are identical around the circle. On an oval, however, the curve is inconsistent and the shape of the elements has to be adjusted to match that curve. Since I planned to use stained glass for my mirror frame, I also had to ensure the design elements were self-contained and of a manageable size. There are numerous online tutorials and videos on designing mandalas which I used as a starting point. After some experimentation, I found a way to adapt the standard mandala-making techniques to my oval shape. This is the finished mandala-inspired mirror frame.

Here’s how I created the design. The first step was to remove the old frame from the mirror and determine the size of the new frame. Our Half Bathroom is small so there was wasn’t much clearance around the mirror. I decided to make the new frame 4 ½” wide. Using a piece of blank paper slightly larger than the outside of the desired mirror frame, I traced around the oval mirror in the center of the paper.
Note my approach is admittedly old school‒I used paper, pencil and scissors to create this design. I’m sure professional designers would create this design more easily using some type of design software like Adobe Draw.
Next I folded and creased the paper to divide the oval into 16 equal slices. The first fold marked the horizontal center of the oval. The second fold marked the vertical center of the oval. And so on until the oval was folded into sixteenths. Then I unfolded the paper and used a pencil and ruler to clearly mark the crease lines all the way to the edges of the paper. I divided the slices one last time, but this time by measuring and marking instead of folding, which resulted in 32 equal slices.

To mark the outside edge of the new frame, I measured 4 ½” from the oval along each line. Then the real fun began! I printed a few mandala designs I’d found online for inspiration. I also found a simple black and white mandala design in a coloring book. I marked it up into slices and used it for reference in creating my own design. My design was drawn on only one quarter of the oval. I built it up, one round at a time, as I sketched and repeated small shapes. Each shape covers two slices as shown in the below photo. I found it easiest to use paper to sketch, mirror and cut the shapes.
All the pieces were numbered and traced onto the paper.

After I was happy with the outcome, I used a copier to make 3 copies of the quarter-oval design‒2 copies were mirror images and 1 was an exact replica. I had to tinker with the copies, cutting and taping them together, because the copy paper was so much smaller than my mirror frame. In hindsight, it would have been much easier to simply have a copy shop make the copies. But I persevered and it worked out in the end. Here’s how my full pattern looked.

Knowing I’d be making the mosaic from stained glass, I made a second version of the full design and cut it into pattern pieces. The cut lines were drawn wide and carefully removed to ensure enough space for grout between the pieces.

A backing for the new mirror frame was made by tracing the outline of the pattern onto a piece of MDF and cutting it to shape. Here is the backing with the oval mirror and the original section of the pattern.

Then it was time to select the glass for the design‒my favorite step in the process!

The individual pattern pieces were used to cut each piece of glass. Some thought goes into optimizing the cuts so I don’t waste glass. Here’s a section ready to cut.

In this photo, the glass pieces are starting to build up around the oval mirror and the mandala-inspired design has become visible.

The rest of the process is pretty much the same as explained in Pair of Mosaic Mirrors Completed. And, finally, here’s how our new mandala-inspired oval mosaic mirror looks in the Half Bathroom. It adds some much-needed life and energy to this space–so much so that I really need to upgrade the rest of the room. And so it goes…

More Info

To learn more about mosaics, check out my posts Learning from the Ancient Masters and Gaudi’s Trencadis Mosaics. To see other mosaic projects I’ve taken on in the last few months, see Pair of Mosaic Mirrors Completed and DIY Turkish Mosaic Candle Holder Tutorial.
Check out the posts Joy Spotting and My Top 3 Nonfiction Reads for 2018 to learn more about Ingrid Fetell Lee’s book Joyful.

Today’s Takeaways

1. Traditional designs and classic motifs can inspire contemporary art making.
2. Consider re-purposing existing accessories or home decor items.
3. When uncertain how to approach a design or technique, keep it simple and just experiment.

Make Mosaics Tutorials

DIY Turkish Mosaic Candle Holder Tutorial

Have you ever noticed those brightly colored, glass mosaic lampshades from the Middle East? The kind where dozens of small pieces of glass create interesting patterns and the light casts a rainbow of colors?
I purchased a few Turkish mosaic candle holders while visiting Istanbul. The candlelight really makes the design stand out.

Surprisingly, they are equally stunning in the sunshine.

This was the perfect small project to attempt while I was in mosaic-making mode. My studio was already set up for glass cutting and mosaic making. I’ve been happily puzzling together little pieces of glass and tiles for a number of projects (see Pair of Mosaic Mirrors Completed). But you don’t need to be mosaic-crazy, or ever have made a mosaic, to make one of these beauties. My Istanbul souvenirs served as my inspiration and “go-by models”. Turns out, this is a very doable DIY project. At a high level, you cut some glass diamonds and glue them to a glass globe. Then finish off by grouting the surface. But let me get more specific and fill in all the fun details. Today’s post provides easy, step-by-step instructions to make your very own Turkish Mosaic Candle Holder.

Supplies Needed
The supplies needed for this project are not extensive—everything is spelled out below the photo.

Glass Globe: A clear glass bowl measuring 3.9” x 4.9”. I used one made by Libbey Glass and purchased from the Dollar Tree in their candle section. There was a smaller size available as well. This glass globe cost only a dollar.
Colored Glass: A piece of stained glass measuring approximately 8 ½” x 2” should yield the 50 colored-glass diamonds required. I used a transparent, brilliant orange.
Clear Glass: A piece of glass measuring approximately 8 ½” x 1 ½” should yield the 42 clear-glass diamonds required. You re-purpose clear glass from a picture frame, window or the like, just ensure the clear glass is the same thickness as the colored glass (typically ⅛“).
Beads: Approximately 6 oz of 6/0 glass seed beads. I mixed together 3 colors, S/L Gold, Crystal Luster and Tortoise Rainbow from Bead Treasures.
Beading Thread: Approximately 5’ of beading or other heavy duty thread.
Paper: Several long, narrow strips of scrap paper.
Thin Cardboard: A thin strip of cardboard (such as a manila folder) approximately 1” x 9”.
Rubber Bands: 3 wide rubber bands.
Silicone: A tube of GE Silicone 2*+; Clear; 100% Silicone For Window, Door, Attic and Basement.
Grout: There are many types of grout available. I used Jennifer’s Mosaics Indoor/Outdoor Powdered Grout in white.
Grout Sealer: Sealer for grout and tiles. I used Custom Building Products brand from the local home improvement store.

Tools Needed
China Marker/ Wax Pencil/ Marker: To mark glass.
Glass Cutter: To score the glass.
Running Pliers: To run the glass scores and break the glass.
Beading Needle: To string the beads on the beading thread.
Scissors: To cut paper and thread.
Globe Holder: A round bowl, cup or container to hold the glass globe so it will be easier to position and maneuver. The globe holder should have an opening slightly smaller than the globe so the globe will sit on it snugly. The globe holder should be heavy enough so it doesn’t tip over.
Craft Stick: A wooden craft stick (aka popsicle stick) to spread silicone on the glass globe.
Plastic Lid: A plastic lid from a disposable food container (such as yogurt) to hold the silicone.
Caulk Gun: To dispense silicone from the tube.
Beading Bowl: To hold and catch loose beads when gluing them into place. Look for a bowl, tub or container about 3-5” larger than the glass globe.
Spoon: To scoop beads. Any plastic or other inexpensive spoon will work.
Knife: To trim and clean off excess silicone. An X-Acto or other small, utility knife will work.
Bowl: To mix grout. Disposable is best.
Stir Stick: To mix grout.
Cotton Rags: To remove excess grout. Old cotton t-shirts are ideal.
Bucket: To hold water when grouting.
Spatula: To spread and scrape grout. Any plastic spreader or spatula will work.
Safety Equipment including Safety Glasses, Gloves and Mask.

Instructions for Turkish Mosaic Candle Holder
Preparations
Step 1 Mark Horizontal Center Find horizontal center of the glass globe.
TIP: An easy way to find the center of the curved surface is to use a narrow strip of paper (approximately 1” x 6”). Align one end of the strip with the top edge of the globe. Smooth the paper over the surface of the globe to the bottom edge. Fold the paper in alignment with the bottom edge of the globe. Trim the paper at this fold. Fold resulting strip in half to find center. Use this folded score line to mark center on globe.
Use china marker to mark dashes along horizontal center on outside of globe. Trace same dashes on inside of globe. Remove dashes from outside of globe.

Step 2 Mark Vertical Quadrants Measure the circumference of the globe along the horizontal center using a strip of paper (approximately 1” x 20”) as noted in the tip above. Fold strip into halves and quarters. Use the folded score lines to mark the 4 quadrants across the horizontal center line.

Step 3 Prepare Diamond Template Use a strip of thin cardboard (such as a manila folder) approximately 1” x 9”. Mark ½” increments along one long edge. On the other long edge, measure ¼” from end and mark. Mark ½” increments from the ¼” mark. See photo in Step 4. This provides a simple template for measuring and marking the glass.

Cut and Prepare Pieces
CAUTION: Please be careful! You’ll be working with glass. Edges are sharp. Shards may fly. Wear proper safety equipment including safety glasses and gloves.
TIP: If you’ve never cut glass or need a refresher, there are lots of great online videos and instructions available. I thought the video from Delphi Glass (see More Info below) was quite helpful. Please take the time to do some practice cuts and get comfortable with these techniques before proceeding.

Step 4 Cut Glass Diamonds Cut approximately 34” of ½” strips of colored glass. You can see the transparent, brilliant orange glass I used in the photo below. Cut approximately 26” of ½” strips of clear glass. Using the diamond template (from Step 3), mark increments along the sides of the glass strips. Join the marks to create diamonds. It should look like this:

Cut the diamonds. You will need 50 colored glass diamonds and 42 clear glass diamonds. This includes a few extra to make fitting easier.

Step 5 String Beads A row of beads will be glued to the top and bottom of the glass globe to give the edges a nice, clean finish. Measure the top edge of the globe using a strip of paper as described in Step 1. Simply hold the paper along the top edge and crease the paper where it meets. Use the beading needle and beading thread to string a row of beads to the required length. Double check the length by holding the strung beads against the globe edge. Adjust, as needed. Carefully knot the end and tie off.
Repeat the same steps for the bottom edge of the globe.

Assembly

Step 6 Place Rubber Bands Slip rubber bands around the glass globe to serve as guidelines for gluing. Use 3 rubber bands‒2 will be placed vertically and 1 will be placed horizontally. Start with one of the vertical bands aligning it midway between two of the vertical quadrant markings (from Step 2). The idea is to leave the actual vertical markings free for gluing. Repeat with the second vertical band. The bands will cross at the center of the top and the bottom. Slip on the third rubber band horizontally aligning the band’s top edge with the horizontal markings (from Step 1). The globe should look like this.

Step 7 Lay Out Glass Pieces On a clear, flat working surface, lay out six colored glass diamonds in a star shape. Take care to find pieces that fit well together. Surround this first round, with a circle of clear glass diamonds matching and aligning edges. Finally, lay out colored glass diamonds at the six points of the star. The stars should look like this.

Lay out the side borders in a similar fashion. Start the side border with a row of 4 colored diamonds touching point to point. Add a row of 3 clear glass diamonds above and below.
Lay out 4 sets of 3 colored diamonds for the half stars.

Step 8 Adhere Star Centers Get ready to glue the glass pieces by setting up a work area. Set the glass globe in the globe holder so it’s slightly elevated and one side is facing up. You can see the plastic cup I used to hold the globe in the photo below. This wasn’t ideal, however, because it tipped over. I replaced the plastic cup with a round cardboard container. Have the craft stick and plastic lid ready. Open the silicone using the handy cutter and pick on the caulk gun.
TIP: Don’t forget to break the foil seal on the silicone tube BEFORE squeezing the caulk gun trigger. It creates a miserable mess if the bottom of the tube breaks and the silicone spreads all over the caulk gun. Ask me how I know!
Squeeze a small mound of silicone onto the plastic lid. Start with the top 3 colored diamonds in the center of one of the stars. The center point of the star will be positioned where the horizontal and vertical center lines cross. Use the wooden stick to pick up some silicone and cover the target spot for the first diamond. Try to apply a thin, even layer of silicone without bubbles or gaps. Put the first colored diamond into position. Use the edge of the rubber band for horizontal alignment. Repeat the process for the other 2 colored diamonds in the star center. Place only these 3 diamonds at this time.

Turn the globe around in the globe holder taking care not to disturb the glass diamonds already glued. The second star will be positioned opposite the first star. Repeat the process with the first 3 diamonds of the second star center.
Remove any excess silicone. I found scooping up extra silicone with a piece of scrap paper folded into a “V” was surprisingly effective. Allow the silicone to dry. According to the directions on the container, the sealant will be tack-free in 30 minutes but then it goes on to say “Do not touch or clean caulk for 24 hours.” The idea is to get these starting pieces solidly in place so they can form a foundation for the rest of the pieces. I played it safe and waited until the next day to proceed.

Step 9 Adhere Stars Remove the rubber bands. Use the same techniques as in Step 8 to adhere the rest of the glass diamonds for the 2 stars. Start at the center of the star, carefully positioning and gluing all the glass diamonds in place. As before, take care not to disturb the first star when turning and re-positioning the globe to work on the second star.

Step 10 Adhere Side Borders Starting at the center, align a colored diamond with the cross point of the horizontal and vertical center lines. Glue remaining 3 colored diamonds for the center row. Repeat on opposite side taking care not to disturb the diamonds already glued. Remove any excess silicone. Allow to dry.
Finish side borders by gluing clear glass diamonds in place. Remove any excess silicone. Allow to dry.

Step 11 Adhere Bead Edges Spread a line of silicone just below top edge of globe. Keep silicone thin enough so the beads will stick firmly to the glass without getting buried. Press beads into place aligning with top edge. Ensure a smooth connection point where the ends meet. Pull any loose ends of thread clear so they can be snipped after silicone dries.
Repeat for bottom edge. Remove any excess silicone. Allow to dry.

Step 12 Adhere Mini-Stars Use the same techniques as in Step 8 to adhere the small, 3-diamond stars on the sides. There are 4 mini-stars‒1 above and 1 below each side border. Start at the center of the star, carefully aligning the first colored diamond with the vertical quadrant marks. Glue the remaining 2 diamonds in place. Repeat for the second mini-star on this side. Turn the globe around taking care not to disturb the mini-stars already placed. Apply the final 2 mini-stars. I forgot to take a photo while gluing the mini-stars but here’s how the side will look when finished.

Step 13 Adhere Beads Filling in the remaining spaces with individual beads is the last step to cover the glass globe. It’s also the most fun! Pour the beads from their packaging into the beading bowl.
Working in sections, apply a thin layer of silicone to an open area on the globe. Hold the globe over the beading bowl. Use a spoon to scoop up some beads and let them fall on the silicone.

Settle beads into place by pressing lightly with hands. Repeat until all remaining sections are covered with beads.
Remove excess silicone. Allow to dry.

Step 14 Clean up Examine the beaded sections and fill any gaps by attaching individual beads with silicone. Use a small utility knife to carefully remove any excess silicone from the surface of the glass diamonds or beads. Use the knife to clear the joints between the glass diamonds to make way for grout. All glass diamonds and beads should be firmly attached. Adjust if needed. Snip off any thread ends on the bead edges.

Step 15 Grout
CAUTION: Be sure to wear proper protection when working with grout. Wear gloves. Wear a mask when mixing the dry grout. Also be sure to dispose of leftover grout correctly; never pour grout down a drain.
Mix dry grout with water according to manufacturer’s directions. Typically, the grout should be the consistency of thick oatmeal before applying. Have a supply of cotton rags, a bucket of water and a spatula or spreader ready.
Use the spatula to cover the entire globe with grout. Swipe the grout back and forth to force it into all the cracks.

Following manufacturer’s directions, wait for the grout to set. This is typically 15-20 minutes. Remove excess grout with your hand and/or spatula. Use cotton rags to remove all grout from the surface of the glass diamonds and beads before it dries completely. It may be necessary to scrub with a slightly wet rag to remove grout from the bead surfaces. Take care not to make it too wet as the grout could wash away. Buff and shine the glass diamonds and beads with a dry cloth.
Following manufacturer’s directions, allow the grout to fully cure. This is typically a few days.

Step 16 Seal The final step is to seal the grout. Follow the manufacturer’s directions for the grout sealer you’ve selected. Allow the sealer to cure.

Step 17 Enjoy Your new Turkish mosaic candle holder is ready to use! Light a candle and enjoy!

More Info

I found this YouTube video from Delphi Glass, called How to Cut Glass – The Basics, very helpful. It’s a great place to start if you’ve never cut glass or need a refresher.

You may wish to pin for later reference.

Today’s Takeaways

1. A Turkish mosaic lamp or candle holder can add a colorful feature to your home.
2. This candle holder is a doable DIY project and a great way to try mosaics.
3. Consider making your own Turkish mosaic candle holder.

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