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In
writing a newsletter, sometimes
the articles raise additional
questions which I try to answer on
an individual basis. Those answers
are here for your enlightenment... |
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I've been working with stained glass for
about two years now and am beginning to
make bigger pieces (2'-3' ). I've
framed all my pieces in the past using
zinc came, but am worried about twisting,
warping, and security. What is the
best way to frame panels that are not
going to be installed into a building,
panels that will hang in front of a
window? |
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For that type of
installation we continue to use Zinc. The
type we use is zinc outer bar which has a
channel that fits over the glass and
measures about 1/4" in both
directions. It adds an additional
1/8" to the size of the panel on each
side of the panel, 1/4" overall.
This type of zinc is
best cut with a hobby saw. Jarmac makes
one and it's pricey, but you can fins a
deal on one if you search for the "Mitey
Mite" at the Harbor Freight website.
They are only available at the website,
but the $49 price is good. Then you'll
want to pick up a Jarmac brand blade which
is like a round hacksaw blade, very sharp.
It will cost around $15 from a stained
glass supply.
When we first got one of these
"baby" saws, we were building
production panels for furniture entirely
with zinc and it took all week to build
ten panels. With the new saw we were able
to build ten in about 6 hours. I
illustrated using a saw in an article at
http://www.betterstainedglass.com/Newsletter/Archives/2007Apr-smallbacklitpanel/SmallBacklit.htm
As you approach the 3 foot mark in your
construction, you'll want to think about
adding copper reinforcement strips to your
panels to make them stronger. I wrote an
article about reinforcement at http://www.betterstainedglass.com/Newsletter/Archives/2006Aug-reinforcinglargepanel/aug2006reinforce.htm |
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I have made quite a few flat copper foiled
items over the last few years, mirrors,
photo frames, etc. but nothing curved. I
have been asked if I would repair a
Tiffany lamp with two broken pieces. The
thought of doing this is a little
daunting, but I am tempted to have a go.
Would this be difficult and how would I go
about it? |
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Right off the bat I'd refer you an article
on how to fix copper foil glass pieces at http://www.betterstainedglass.com/Newsletter/Archives/2006Jan-brokenpiece/brokenpiece.htm
that will show how to remove the old glass
and get you ready for the repair.
I show how to build a globe at http://www.betterstainedglass.com/Newsletter/Archives/2005Nov-buildaglobe/nov2005buildaglobe.htm
That article shows steps in globe or lamp
shade construction. This is only about a
lamp shade which is built with the copper
foil method, if another technique is used,
you may have to adjust.
Pay attention to the way I show how to
solder the project using a box and some
crumpled up paper to hold the shade while
soldering. |
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I've worked in glass for many years, but
have an intersting challenge. My
husband, a woodworker, and I are building
an inside door with an arched top and
which incorporates a tree design which
branches upward into the top 1/3 - 1/4th
which will be glass. I do a lot of
fusing and often incorporate fused pieces
in my panels. My big question is whether I
can use copper foil for this construction
and have it be strong and flexible enough.
I envision 5 fused pieces with Mtn.
Ash leaves and berries tack fused to them.
These pieces would fit into slots in
the tree on one side and would be copper
foiled to one another on the other with
the foil line representing branches. I'd
thought to do the entire piece as one
in the kiln, but my kiln isn't quite large
enough. I can divide the top into 5
and have a nicely balanced design. I
have never done lead construction, but
could will learn if I need to for this
piece. Is NO Days Glaze a good
option if I need to use this
technique! |
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Well, right off, I'm going to answer your
question a part at a time, because you've
actually asked several questions.
First, will it be strong enough? Yes.
Copper foil construction is the strongest
technique since it adheres directly to the
glass and doesn't need to be cemented. Now
part of the strength of your finished
piece is derived from the framework that
your husband is making, so the glass may
be fragile as you work with it, but it
will gain lots of strength when it's
attached to the woodwork. Use the
techniques described in http://www.betterstainedglass.com/Newsletter/Archives/2007Nov-cabinetdoors/cabinetdoors.htm
to install the glass in the framework.
You ask if it will be flexible enough and
I assume that you mean flexible to fit in
the framework. You may need to consider
foiling the edges of the glass and
"tinning" them and then doing
the final soldering after you have the
pieces in place. This is another advantage
to the copper foil method technique, the
ease of making things fit.
Finally, you ask if No Days glaze is right
for this and the answer is that you won't
need it. With the copper foil method, the
foil is adhered directly to the glass and
the solder is applied directly to the
foil, so not only is there virtually no
gap between the lead line and the glass,
it's also stuck by means of the adhesive
on the back of the foil.
If you don’t have much experience
soldering on an irregular surface you may
want to review the steps I took when
soldering a 3-D globe at http://www.betterstainedglass.com/Newsletter/Archives/2005Nov-buildaglobe/nov2005buildaglobe.htm |
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I've got a pattern created in Glass Eye
2000, intended for a 25 x 42" copper
foil panel. So far, the largest panel I've
made is 16 x 24", and I've printed
out the patterns in tiles, when necessary,
and taped them together, covering them
with a clear contact paper for water
repellency. I'd like to know what
technique you and Jeanne use for your
larger panels. I was thinking of taking my
8-1/2 x 11" pattern to be enlarged on
a blueprint machine, running two copies,
using one covered with a sheet of clear
acetate for my working pattern and the
other rubber cemented to cardstock to be
cut out for the pattern pieces. Does this
make sense or do you have a better idea? |
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For many years we couldn't justify getting
a plotter (which prints 36" wide
prints)
So what we did was take our drawings to
the local print shop and have them sized
for us. We've worked with CopyMax, Kinkos
and the local blueprint shop. This is what
will be easiest for you, find a local
print shop who can help you.
Then, you'll need to print the file. Check
to see if the version of Glass Eye you
have will let you print to a PDF file. If
so, good. If not, you'll need to install
software that lets you create a PDF file.
Adobe makes the software for this. The
reason for needing a PDF file is that the
print shop will be able to open it and
size it for you. When I print to a PDF
file, it gets saved on my computer and
then I send it with an e-mail to get it
printed. Then I call them and make sure
they get all the information they need.
You can probably get the second copy of
the print done on cardstock, or take
posterboard with you to get it printed on,
then you won't have to mess with rubber
cement.
I worry about laminating the working
pattern. Make sure that if you solder over
it, it doesn't melt with the heat.
Personally, I'd just get a couple of
throwaway copies of the print done on
paper to build on.
I hope this helps.
Now about the size of the window. You are
right on the edge of needing reinforcement
in the window. You may want to consider
using some with this project. We say that
anything larger than 36 x 36 should be
reinforced. Since it's narrower one way,
you can get away without it, but it's good
practice to reinforce your work. I wrote
and illustrated an article about
reinforcing a panel and you can see it at http://www.betterstainedglass.com/Newsletter/Archives/2006Aug-reinforcinglargepanel/aug2006reinforce.htm |
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Do you think foiling machines are a good
tool to have? If so, can you recommend the
best one and tell me why you like it? I'm
considering the Glastar and the Table
Foiler. I've been doing copper foil since
July and so far have made smaller panels,
the largest of which is 16x24. I'm getting
ready to start a 250-piece panel that's
25x42, and I'm thinking a foiling machine
might make the task less daunting. |
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Okay, now since we only do copper foil
windows in our studio and since we have
been building them since 1983, you'd think
I ought to be qualified to answer this
question. Right now we have three panels
we're building in the studio with more
than 340 pieces in them, so I'm pretty
familiar with foiling.
I bought a Glastar machine in the early
80's hoping that it would help me to speed
things up and then I bought an Inland
Machine two or three years ago. I'm sorry
to report that I found it difficult to use
them and I was easily able to foil without
a machine much faster than with one.
But I haven't given up hope. I continue to
look for one that works well. I may try a
Diegel Foiling Machine next. And some
people have had good success with them. I
visited a friend's shop in Branson,
Missouri and there were foiling machines
mounted on boards near the cash registers
so that the employees could foil projects
while not waiting on customers.
Now, one thing to keep in mind is that
Jeanne and I can foil very fast, since
we've had so much practice. If you are
slow at foiling you may find that the
investment of around $25 is worth it to
you. You can read the Glaster manual for
their foiler at http://www.glastar.com/manuals/foiler.cfm
it may help you to understand the process
more and help you make a good decision.
You can read about the Inland Edgemaster
at http://www.inlandcraft.com/Uguides/UGedgemaster.htm
and you can read about the Diegel at http://www.hoevel.com/foiler/Foiler%20Instructions.pdf |
I have just purchased three Tiffany style
lamps with copper foil. But the letter of
authentication says there is lead in them
and that lead is known to cause cancer.
Well I knew that, but will the amounts in
these lamps, in the same room, put me at
risk for cancer? |
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Lead poisoning is something that we as
artists take very seriously. In days gone
by, there were many paints that contained
lead and a good number of artists became
sick from lead poisoning. This because the
lead went from their paint to their mouth
and into the body. In those days, pencils
contained lead as well, so kids were
warned not to suck on their pencils, but
many did.
Over the years, it became apparent that
lead based paint was getting into
household dust and children were even
poisoned by the lead in paint when they
ate paint chips from walls.
So the government began to regulate the
use of lead and banned it from use in
household paint. Some governments even
carry regulations to a greater extreme
than others. The state of California has
seen fit to declare that lead is known by
it to cause cancer. That may be true, but
you’ve got to eat it in order to get it
in your system. The warning serves more to
warn of the health hazard associated with
lead. It would be harmful to use stained
glass (because both Tiffany style and
leaded style contain lead) as a candy dish
or as a serving bowl because it would come
in contact with food and the risk of
contaminating the food would be great.
But your lamp won’t be coming in contact
with food and you probably won’t be
licking it either. Since solder used in
stained glass is lead based, we follow
some basic precautions. We never eat,
drink, or smoke in any area where
soldering takes place and we always wash
our hands after soldering, in our studio
we recommend washing once and then washing
again. We also make sure that soldering
equipment and supplies are kept out of the
reach of children. And we don’t use lead
in items that will be handled a lot or
come in contact with skin or food. If we
make dishes or jewelry or kaleidoscopes or
baby mobiles, we use lead free solder.
"Lead soldering usually does not
represent an inhalation risk since
controlling temperature of lead below 900
ºF(melting temperature = 621 ºF) is
effective in controlling lead
fuming."
From
www.osha-slc.gov/SLTC/Lead/index.html
So, don’t worry too much about harming
yourself, just be aware that you want to
keep your hands clean after handling
stained glass and keep it away from the
kids. |
Have you or anyone you know used safety
film on a stained glass piece to
prevent glass shards if shattering occurs? |
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There are times when it is prudent to
protect the public from glass breakage, we
artists often encase stained glass between
panels of tempered glass to protect public
places from potentially dangerous
conditions.
In doors and sidelights we generally
install art glass sandwiched in between
tempered or laminated glass. It satisfies
requirements by the Consumer Protection
Agency and most building codes. I’m
not familiar with “safety film”. I
assume it would be similar to tinting that
sometimes is applied to glass. That is
applied directly to the glass and would
not provide as good a safety barrier as
tempered glass, laminated glass or a layer
of Plexiglas or Lexan. But basically,
anything that prevents shattering is an
effective way to protect people from harm.
Those items I’ve talked about aren’t
necessarily the only way to keep folks
safe, but you’ll find that doing that
which is normal, will get approved by
building inspectors more easily because
they are used to seeing it and they are
comfortable with standards such as
tempered and laminated glass. Glass based
products also have the advantage of
keeping the art clean and being easy to
clean themselves.
To see an illustrated article about how
glass is placed into an insulated unit of
tempered glass go to
http://www.betterstainedglass.com/Newsletter/Archives/2006July-windowindoor/howtohangindoor.htm |
Most of the designs I draw (on Auto Cad
LT) have enough detail in them that they
are copper foiled. Typically, they are in
the 24" round or 24" x 24"
size range and are for interiors only.
I have recently hung one piece
(hooks soldered on a round zinc frame and
placed at solder joints for support) and
about a month later I've noticed a crack,
which I have to assume is a stress crack.
So...
1.)Other than being wise about shapes...do
different glass weights cause cracks?
Some glass is thinner in thickness
than others in this piece.
2.)Would less of a tight glass fit
help...but then the gap would just be
filled in with more solder? And
would that make it heavier and add to
stress?
3.) Would it help to add reinforced copper
strips? Or would that just add to
the weight bearing down on the glass? |
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This is difficult without seeing the
actual placement of the crack (you could
e-mail a picture to david@gommstudios.com)
but I imagine that the crack is stress
related, but not due to the weight of the
window.
First of all, a 24” window isn’t very
heavy and doesn’t need extra
reinforcement. Think about how the window
hangs on the hooks, the weight is pulling
AWAY from the window, so if anything,
there would be less stress at the point
where the window is hanging, not more.
Cracks can occur in a window that is hung
in direct sunlight pretty easily. The
light from the sun is full spectrum,
meaning that it contains all colors. If it
passes through a piece of blue glass, the
glass filters all the colors except blue
out of the light and that filtered light
becomes heat. So the gless heats up quite
a bit, (put your hand on a piece of
stained glass which is hanging in the sun)
Now when things heat up, they expand and
then at night they cool off, so your glass
is expanding and contracting quite a lot
during a 24 hour period. So cracks can
occur-Stress cracks, from that expansion
and contraction.
I try to do two things when building
windows to avoid cracks, I try to build
windows with a little wiggle room
between pieces. You’ve seen how tight a
window can get as you wrap each piece with
foil. Well, I make sure to grind pieces
down some if the window is beginning to
get tight. Just think, if you’ve placed
all your glass into the window tightly,
all the pieces are already pushing tightly
up against each other. Then the sun comes
along and crack! Things expand! So try to
avoid a window being too tight.
Second, when grinding, if you use a
“speed bit” on your grinder which is
course, you’ll notice that the bit chips
the edge of the glass. I try to only grind
close to the profile I want in the glass
and then switch to a finer bit (usually I
use a fine bit all the time). This keeps
the edges of the glass smooth and will
eliminate weak points where a crack could
develop.
In your question you asked three things.
1. Do different glass weights cause
cracks? My answer is that I haven’t
noticed the thickness of the glass being a
problem.
2. Would a less tight fit help? Yes as
answered above.
3. Would copper strips help? Generally you
don’t need reinforcing strips until a
window is 3’ X 3’ or more. |
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"I have been making glass panels to
sell for a few years and have had some of
the rings where I hook a chain come loose
causing the panel to fall. Am I
doing something wrong that causes the
solder to become weak? |
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Here’s the most important thing to know
when soldering rings to a panel; any
movement when the ring is cooling will
cause the joint to be weak. When there is
any movement in a solder pool as it is
cooling, the solder structure can be
changed, it’s called a “cold” joint.
The solder forms in a more crystalline
structure and has a crumbly property to
it. It may look the same as other joints,
but the movement in it as it cooled has
caused it to weaken. To fix it, just
reheat it and let it cool with no
movement. This should fix your ring
problem.
To keep solder from oxidizing is a real
challenge. The key is cleanliness,
you’ve got to get all of the flux and
patina away from the window and this
includes that which has soaked under the
lead line. We flood the project with
water, dry it off and then liberally apply
CJ’s flux cleaner which neutralizes and
cleans the project. We then apply Kwik-clean
to the window. If it is going to get
patina, this is the point where we add it
and then dry it and apply more Kwik-clean
to the surface. Finally we apply Clarity
Finishing Compound which is a waxy
protectant. And after all that, you still
might have problems with oxidation, but
they will be lessened. For more
information on the chemicals we use in the
studio (with pictures) go to
http://www.betterstainedglass.com/Newsletter/Archives/2006Apr-chemical/shopchemicals.htm
and let me know how it goes! Just
remember, when you’re trying to get a
panel clean and keep it clean, you need to
be liberal in the application of the
chemicals and the water. |
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I have a 3' by 4' project I'm working on
and cracked one of the larger pieces.
Is there a technique for detaching a
piece of glass that is already soldered? |
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I'm excited to answer this question,
because it seems like a big deal, but it
really isn't. Copper foil windows are the
easiest to fix and I wrote an article
about how to do it with pictures to show
how it's done and you can look at that
article at
http://www.betterstainedglass.com/Newsletter/Archives/2006Jan-brokenpiece/brokenpiece.htm |
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I have left the back of a stained glass
piece unsoldered with old flux still on it
for about two years. I added additional
solder and it wouldn't stick. I then
cleaned the flux off the whole piece
reapplied new flux and the solder still
will not flow/stick. Any ideas as to
what I should be doing to correct the
problem. Would really like to finish
this piece. |
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Back in my early days in the stained glass
business, I made the same mistake that you
made. I left the flux on too long.
Generally, we now try to get flux off a
window within two hours of applying it. If
left longer, it can dissolve too much or
etch the glass. In my case, the copper
foil on the backside of my window
dissolved, that was tricky to fix.
I think you need to first make sure the
window is clean. I wrote an article at http://www.betterstainedglass.com/Newsletter/Archives/2006Nov-heavyclean/heavyclean.htm
Go to that URL and read the article and
follow those instructions.
Once the window is clean, try to solder
again. If it works, great! If not, you may
need a stronger flux. Laco brand is the
kind I was using when I dissolved the back
of my window in the old days. That's the
stuff you should try. |
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I make stained glass panels and lamps
and sell them on a website. Recently, a
woman emailed me to ask if I could fix
her stained glass chain. It's not a big
deal...but I'm not sure what I should
charge for attaching a new chain hanger
and reattaching the chain to the hanger.
Pretty simple job, but it's my first
time fixing anything for anyone and I
haven't a clue what kind of fee to
charge. Can you give me an idea?
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When we fix a broken piece of glass, we
charge $45 per piece. This covers not
only the cost in time and materials, but
it also covers the RISK. This is where
you need to be cautious. If she sends
you her lampshade, make sure to have her
insure it for it's proper value. Then
make sure that you charge enough to
cover your time and materials and the
cleaning of the shade. You'll also have
to repackage it and take it to the UPS
store (unless they pick up from your
location). You can easily run into some
serious time just doing a simple fix.
$45 would not be out of line and your
shop rate may be higher. Just explain to
the customer all the steps you'll have
to take and she'll understand why the
cost is what it is. If she thinks it's
too high, no big deal, you're not in the
repair business anyway, but you have
offered service to her for a fair price.
If she has you do the repair, then
you're getting enough to cover your
time. Since you say you haven't
done repairs before, you may not yet
dislike the prospect of doing a repair
that I do. There isn't much reward doing
a repair, you're simply fixing someone else's
work, so not so much pride of creation.
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I am now living in
Florida
. I began making stained glass projects in
Maine
and did not have much of a problem with my
pieces oxidating. Here in
Florida
it seems that my projects oxidize very
quickly. Is there something I should be
doing differently here? First, I have my
shop set up in my garage and I live about
2 – 3 miles (as a crow flies) from the
ocean (
Gulf of Mexico
). Secondly, I had my supplies in storage
for a few years in
Maine
and some things may have frozen, etc. So I
have thrown out some of the flux I had and
am now using new flux. But can solder go
bad? And what about the foil can that lead
to the problem also?
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Oh the horrors of oxidation!
There is some controversy about what
causes oxidation. Some folks think it's
a white mold and others think it's an
oxidation of the metal. I'm pretty sure
it's an oxidation because it can happen
so fast! Mold takes some time to grow
and I've seen oxidation happen
overnight.
First, your supplies are probably all
right. Solder doesn't go bad, even if
oxidation forms on it, you can still
melt it and use it. Flux and patina
rarely go bad they have a very long shelf
life and freezing won't affect them,
sometimes you have to shake up patina if
crystals start to form in it. Copper
foil can get an age patina on it
when it's old and it just requires a
little more, or a little stronger flux
to get the solder to stick.
I've been in contact with a stained
glass firm in New York, that had a
commercial job shipped to Florida and
the windows oxidized almost overnight.
They don't usually have that problem in
New York, but Florida has salt air. Salt
attacks metal and so you have to be
vigilant to protect lead from the
elements. But you've probably had
occasions to notice oxidation even back
when you were in Maine.
Here's what I think is going on. We
solder, using flux, a light acid and we
clean our windows and then we patina the
windows using an acid base chemical and
we clean and then the lead starts to
oxidize. My belief is that in the
process of making the window, we get
those acidic chemicals under the came or
copper foil and when we clean the panel,
there's always a bit left behind. So
when you get done with the project, it
looks great, but underneath there's a
bit of chemical lurking and when the
panel is exposed to temperature
fluctuations which cause expansion and
contraction, the chemical begins to get
forced out onto the surface of the metal
and begins to oxidize it.
The secret then is deep cleaning. I try
to be vigilant in cleaning at each step.
When we get done with a window, before
adding patina, we spray the panel down
with Kwik-Clean spray cleaner. (They
call it a mold inhibitor) But it's great
for getting the flux away from the lead
lines and getting them ready to accept
patina. You'll notice that if you use
the Kwik-Clean before applying patina,
you'll get much more vibrant results.
After the patina is applied, we then
apply CJ's flux remover and water to the
window and we scrub the panel with a
scrub brush. Then, we again use
Kwik-Clean and try to spray a heavy
amount on the lead lines, in an attempt
to neutralize the acids under them. You
can read about the chemicals we use in
the studio at http://www.betterstainedglass.com/Newsletter/Archives/2006Apr-chemical/shopchemicals.htm
Last, after the window is cleaned and
dried, we apply a coating of Clarity
Finishing Compound and polish the panel
(except when the panel is to be
insulated, then the wax would interfere
with the bond in the insulated unit. The
wax may help you to avoid the part of
the problem caused by salt air.
After all this, you'll still have
problems with oxidation, but not as
much. I'm planning to build a vertical
tank where I can give panels a good
soaking as part of our cleaning process.
If it works, I'll talk about it in our
monthly newsletter, if not, well, I'll
keep trying to discover a more permanent
solution.
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I am a stained glass artist and I really enjoyed your piece on reinforcing large panels. I have been using a different method, yours is totally superior! I am writing to find out where to get this thin copper strip you use. I have looked around and cannot find it anywhere, please advise! |
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I have to tell you that I used to have to have copper strips cut for me at a local sheet metal shop. It was thicker and more difficult to bend and I had to solder it to the outside edge of the stained glass. It really worked well, but was difficult to bend and to clean around. I still use that
type of strip on chandelier pieces that are big and need more support.
So when this thin copper strip came along, I was very happy. It doesn't have the strength that my sheet metal strips did, but I make up for that by adding extra strips in the panel. The product is made by Ventura and is called Copper Reinforcing Strip and it comes in 25 ft and 100 ft rolls. |
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I have been trying to find advice on making stained glass pool table lamps and saw your
website. I was hoping you might answer a few questions for me as I’ve been attempting to make one myself. I’ve done foiled window panels for years and have been working up to The Lamp.
I’m having trouble finding information about the internal construction of these. Our lamp will be about 4’ long by 18” wide and 18” or so high, so big and very heavy. My husband (the over-engineer) wants to make sure it doesn’t fall on us and crush us to death while eating.
We’re trying to figure out an internal structure that I could attach the panels to. Or some combination of internal construction and zinc came (?) or other something that would make it strong.
My brother can weld a frame out of just about anything. We were thinking of aluminum but it looks like it’s hard to solder to. My thought was to have him make a frame out of something that I could weld the panels to, perhaps via came channels.
Do you have any suggestions you’d care to share? |
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I'm attaching a drawing which I gave to my friend the welder to build a pool table lamp frame for me. I told him that I wanted it out of 1/2" angle iron and he was able to calculate the angles to fit everything together. The only other thing that isn't on the drawing is that I had him weld 2 pieces of 3" wide strap across the top of the lamp, about 4" in from each side. This gives you a place where chains can be attached to the top and a light or light bar can be attached to the bottom. Don't worry about using
aluminum, steel is just fine and the finished lamp won't weigh more than most commercial lamp fixtures of that size.
Make your pattern from the framework and don't assume that any side is the same as the other because in this type of construction it's easy to be off a little. Make sure that you make the glass smaller than the inside opening because you'll be putting an
eighth inch of glass or more inside and you need things to still fit. I
recommend that when you make your poster board template for your pattern pieces that you take all four of them and make sure they fit into the lamp opening easily and with at least a quarter of an inch of play (1/8 per side) so the glass will fit.
Take a look at http://betterstainedglass.com/Newsletter/Archives/2005Aug-pooltablelamp/aug2005pooltable.htm
for step by step instructions on putting the glass into the frame once it's built. |
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The problem that I seem to have is keeping the solder lines from forming a white mold like appearance. I have cleaned the work thoroughly with the Flux spray that I bought from you and then have polished them with a liquid car wax (Finish 2000) and buffed them out. When they are newly completed they are bright silver and look very nice but over time they seem to develop this discoloration (please note that I have not used a patina). You did talk to me about how to remove this film and re-clean the piece and I have done this but is there something that I am missing that I can do to prevent this from developing in the first place? Do I need to apply a patina to all my work to stop this from happening or should I use a different polish? |
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No, you're doing what's needed. The only solution I've found is to flood the solder lines with water and then apply the spray liberally to neutralize the acid in the flux (and patina when it's used). Then waxing helps slightly, but we don't have any
iron clad solution to prevent the oxidation.
Lots of water seems to get the corrosive
chemicals that hide behind the solder line
washed away. |
I did a stained glass piece that is in lead. My first one. Size is about 20"by 14" . All the joints are soldered. I did this about four months ago, then cold weather, and Christmas came. The cold weather is an issue as I don't want to put the whiting on top of the cement ...in my art room, as it has no windows. So I reasoned that I could wait till spring to finish it. The solder joints have all gone white, oxidized. Question: When I do my cement and whiting powder, will the oxidization come off?
Also, I need to put the zinc around it. It was
originally going in a wood frame. But, I may hang it with just the zinc. It could hang side to side, or up and down. What is the best way to put the loops on for hanging something like this? |
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When you get ready to cement your window, you'll first want to clean it. We do this with the old fashioned method of putting
Comet (or similar cleanser) on it and rubbing
vigorously. See http://betterstainedglass.com/Newsletter/Archives/2006Nov-heavyclean/heavyclean.htm
for step by step instructions.
As you attach your zinc outer bar to the glass panel, you will solder each lead line to the zinc and you'll also solder the corners. I prefer to attach rings to the corners of the panel. This way, the rings are attached to a bar which is holding the entire weight of the window, which is soldered at various joints running down the panel, but also holding the bottom strip of zinc which holds the window. It's kind of like the handles on a basket, the way they are attached to the edges of the basket and are able to hold the entire weight of what's inside. |
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Have you ever had problems with a haze or
film getting on windows? I had this
problem with sidelights [which] were
installed next to tempered glass with the
double stick foam tape. |
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The best thing I've found for haze on the
glass, is to polish the glass with
Clairity
Finishing Compound. It makes the glass
quite slick so don't put it on the edges
of the glass if it's going to be put in an
insulated unit. That will help with the
haze, the only solution I've found to deal
with the powder that forms on lead lines
is to really clean them well, flood them
with water and then apply Kwik-Clean
generously to the lines. This helps to
neutralize the acids from flux and patina.
Then polish it with the wax to seal the
lead against corrosion. Even with all you
do, you'll probably notice some
discoloration, that's when you shrug and
realize it's just part of the art! A
friend who helps build our insulated units
says, "Don't use wax on windows that
are going to be insulated." |
I am doing a large (5' x 4') panel for a
friend to hang in front of a large window
in her home foyer. It's being done
in lead. I haven't done a project
this big before, and have a couple of
questions. I bought some rebar, but
am not sure how or where to add it.
Should I use that or some reinforcing
strips inside the came?
Also, is it better to frame the whole
project in wood afterwards? Would
that help in solidifying/strengthening it?
Or would the zinc frame be enough? I'm
concerned about the weight of this project
when done, and want to make sure it'll be
safely hung. I usually just add the
rings at the top of the finished project
with some chain, and then use cup holder
hooks (of various sizes) to hang it.
Have you done a large project like this
and what hooks/chains, etc. have you used
in the hanging process? |
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We do many very large projects, but, we
specialize in the copper foil method so my
expertise is in that area of production. I
have a friend who does a great volume of
leaded panels. He suggests that when doing
large panels, if they are to be sandwiched
between tempered glass panels, they not be
cemented, but if they are to be open, make
sure to cement the panel.
Internal strips work well with the copper
foil method, but we always use as many
strips as possible. On some patterns, we
have to double up on the strips because
there aren't enough lines to provide
adequate support.
Wood or steel framing is a must when doing
panels of this size or greater. Zinc just
doesn't provide enough strength and the
weight of the panel will often pull joints
apart if the framing isn't adequate. Rebar
is very strong and is typically wired to
the panel at the joints where wires are
soldered as well as the joint. Then the
rebar can be slipped into holes drilled in
the wooden frame.
In our studio, we either do our own
wood work or have it done by custom
shops. Recently, we did some large panels
that hang in a ski lodge. They were
1-1/2 wide oak by 3"high and that
provided good support. I designed one of
the frames with a middle break in the
glass so it would give enough support
for the weight of the unit.
Attach the rebar first to the joints
where you solder the lead lines of the
window. The wire is bent in a
"V" shape and inserted into the
joint. Then it is soldered into the joint.
Your local stained glass shop or
instructor ought to be able to give you
instruction on how this is done. Talking
about it is good, but actually seeing it
done is so helpful.
You want to plan exactly where your
rods will go to reinforce the panel, so
that you can insure that the rod will run
in a straight line, get attached generally
every 6 inches
to the window and mark where the holes
will go in the wooden frame. I like to
have the top hole go all the way through
the frame so I can run the rod through.
Then I have the bottom hole run halfway
through so I can run the rod in, but you
don't see an unsightly hole at the bottom.
After the rods are in place and wired to
the panel, I stand the frame up and add
epoxy glue to the top rod to get a nice
solid connection to the frame.
Dry fit everything before adding glues
and resins so that you will be positive
that everything fits. When I install a
large panel in a wooden frame, I put a
bead of silicon caulk into the frame, all
around and then set the window into that
bead of caulk. The silicon surrounds the
1/4" zinc creating a cushion between
the metal and the wood. When it dries, it
will form a rubber gasket which sticks
wood, metal and glass in place which is
strong and flexible. Make sure you've
already drilled holes and attached wires
for reinforcement before you silicone the
window into the frame. |
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Follow-up Question: I finished the large stained glass project I told you about, and had put
the rebar on the back, and decided to bring it to a recommended frame
shop to have them do the framing.
However, the guy working on it, couldn't get the wood frame on it, due
to the soldering I did around rebar and other joints... He did cut
notches into the frame (on the backside, on just one-half of the
channel) at various points to accommodate the rebar.
Long story, short... he attempted to force the wood on there, and BROKE
two squares of the project. :( I took it to a recommended guy who does
stained glass repairs, and he helped me by cutting the zinc frame in
part, and got the two broken squares of glass out. I bought new glass
to replace those, and worked all weekend in cutting the glass and
fitting it back in there, soldering the new zinc portion, etc. I also
re-did the rebar and made the soldering flatter where it joins with the
zinc.
I can get the wood frame about halfway on there, but not totally.
Should I just keep working on trying to shave portions the wood frame to
accommodate the various rebar points? It's difficult to get in there
with a saw, etc.... Or is it totally necessary to have this rebar on
there? Can a 2-inch oak frame hold this panel sufficiently? I'm
just wondering what I should do... |
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Here's your problem...
What is normal is you solder the wires that are going to be twisted onto the
rebar onto the finished panel, so you have
a bunch of little v-shaped wires sticking out all
over the panel. Then you have the glass and rebar installed in the frame. The
installer drills holes in the wood so he can slip the rebar through the wood
in the exact place where you've got your wires ready on the glass. Then he
glazes the glass into the frame and after the glass is installed, he slips the rebar through the holes in the wood frame.
So, you have bars running across the glass
that have there ends disappearing into the
holes on either end of the frame. Then he twists the wires that
are soldered to the window around the rebar which gives you a tight
mechanical connection. After the wires are attached, he'll fill the holes
in the wood where the rebar goes through with epoxy or some form of sealant that
attaches the metal to the frame and seals it from the weather.
So next time, remember to keep the glass and the rebar as two separate
elements. Glass goes in, Rebar goes in. The two are connected. If you don't
have them attached in advance, you won't experience these problems.
To solve your current problem, you'll need to custom fit the whole glass and
rebar panel into the frame. You might want to get a
Dremel tool and whittle
away at the frame, then test fit, mark where it doesn't fit and whittle some
more. |
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I am trying to build a model of a church
in 1:87, HO, scale with stained glass
windows. I don't have the ability to have
a photo made into a transparency. Trying
to put colors onto clear .010 styrene.
Have tried magic markers, too runny,
Tamiya clear paints, very limited colors.
I'm lost. |
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If you go to an office supply, you can buy
3M transparency sheets. Next, take your
small stained glass image, printed on a
sheet of paper and run a copy on a color
copier. The color can be quite versatile
and I'm sure you can figure out the best
combination. Then cut out the plastic
"window" and fit it in place! |
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How much does a stained glass window cost
to make? |
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The supplies for stained glass cost about
10 to 20% of the retail price of the
glass. So a $100 piece of glass will cost
$10 to $20 to build. The expensive part
of building stained glass is the cost of
the labor. We spend many hours
building glass and find that many times we
make less than minimum wage on
the glass. |
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How much training does it
require to become a stained glass artist? |
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It is
something that can be learned in about six
weeks, but takes many years
to get really good at it. Some people can
cut glass easily, but find that
cutting out the pattern or foiling the
glass is very difficult. Some people
are good at many of the steps but can't
seem to get things to fit right.
Some students don't have the patience or
won't listen to us when we give
them ideas as to how to do a better job.
Stained Glass work is both a craft and an
art. Those who have no artistic skills can
succeed by using the good patterns that
others have made. Those who have an
artistic ability can draw great and
unusual patterns. |
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you tell me the steps in order to make a
stained glass window? |
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1. Decide the basic size and shape of the
panel you want to create..
2. Make a sketch of the design.
3. Do a full sized drawing of the window so
it will fit the space it will go in.
4. Color the design (called a cartoon)
5. Trace a pattern and an extra copy of the
design.
6. Cut out the pattern pieces (on poster
board)
7. Nail the other copy of the design to a
board.
8. Trace the pattern pieces out on the glass
colors you want in the window.
9. Cut the glass.
10. Grind the glass so it is smooth and fits
just right.
11. Wrap each piece of glass with copper foil
tape.
12. Flux the joints of the glass (apply a
light acid at each place the glass
intersects another piece)
13. Tack solder all the intersections of the
glass.
14. Solder all the lines where copper foil is
showing (if the piece is large, add
reinforcing inside the spaces)
15. Add outer bar to the panel for strength.
16. Clean the window on both sides very thoroughly.
17. Color the solder lines with patina.
18. Clean the solder lines again.
19. Wax and polish the window.
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