This copper foil was among the tools which belonged to Tiffany employee John Dikeman (1882-1967). Workers used a glass cutter to score an outline for a piece of glass, which would then be broken off. Pincing off small bits with a grozier further refined the shapes. The edges of the glass piece were then wrapped with a thin strip of copper foil, which had been cut from a sheet of beaten copper set on a scored bronze plate.

Tiffany Studios' dragonfly and poppy shades both incorporated the use of metal filigree, which could be applied over or under the glass. Filigree was used to represent the veins of the dragonfly wings as well as the poppy flower centers.

In a 1904 letter, Tiffany designer Clara Driscoll described the steps in making a lampshade: "If there are to be many shades made these patterns have to be made in brass. Each pattern has a number on it so that it will be easy to find the place. The patterns are all laid out on a flat piece of glass that the design has been traced on in black paint and this piece of glass with the patterns on it put in one of the windows against the light-and the right glass selected and cut for each pattern and then stuck on the big piece of glass in place of its patterns. When the shade is all cut it is sent to the factory (on its piece of glass)." The Peony shade made with these patterns was probably designed by Clara Driscoll between 1900 and 1906.

Full-scale design drawings, known as cartoons, delineated the placement of each piece of glass and were an important step in the process of making a Tiffany shade. This drawing represents Tiffany Studios' 22" Peony shade.

In a 1904 letter, Tiffany designer Clara Driscoll described the steps in making a lampshade: "If there are to be many shades made these patterns have to be made in brass. Each pattern has a number on it so that it will be easy to find the place. The patterns are all laid out on a flat piece of glass that the design has been traced on in black paint and this piece of glass with the patterns on it put in one of the windows against the light-and the right glass selected and cut for each pattern and then stuck on the big piece of glass in place of its patterns. When the shade is all cut it is sent to the factory (on its piece of glass)." The Daffodil shade made with these patterns was probably designed by Clara Driscoll between 1900 and 1906.

Full-scale design drawings, known as cartoons, delineated the placement of each piece of glass and were an important step in the process of making a Tiffany shade. This drawing represents Tiffany Studios' 20" Daffodil shade, designed by Clara Driscoll between 1900 and 1906.

In a 1904 letter, Tiffany designer Clara Driscoll described the steps in making a lampshade: "If there are to be many shades made these patterns have to be made in brass. Each pattern has a number on it so that it will be easy to find the place. The patterns are all laid out on a flat piece of glass that the design has been traced on in black paint and this piece of glass with the patterns on it put in one of the windows against the light-and the right glass selected and cut for each pattern and then stuck on the big piece of glass in place of its patterns. When the shade is all cut it is sent to the factory (on its piece of glass)." The Daffodil shade made with these patterns was probably designed by Clara Driscoll between 1900 and 1906.

Full-scale design drawings, known as cartoons, delineated the placement of each piece of glass and were an important step in the process of making a Tiffany shade. This drawing represents Tiffany Studios' 14" Daffodil shade, designed by Clara Driscoll between 1900 and 1906.