tag:blogger.com,1999:blog-65358894390702443252012-01-26T07:34:39.506ZThis is a continally developing collection of information I have been helped to, or discovered myself. It gives my views on stained glass, kiln formed glass, and a number of other processes. Use the Search Blog box, the terms at the right of the page, become a follower, or write to me with your query.Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.comBlogger4991100tag:blogger.com,1999:blog-6535889439070244325.post-18755467033735699532012-01-25T09:58:00.002Z2012-01-25T09:58:00.711Z

I recommend your top should be 6.4 laminated or 4mm toughened glass for anything up to 610 by 1000mm. If it is larger, you should go to 6mm toughened, as 8.6mm laminated glass is pretty expensive. I suggest glass because it is strong, rigid, scratch resistant and easy to clean. You can use a router to form a ledge for the glass to sit on. You can use a less machine intensive method, by

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0Glasgow, Glasgow City G31 2HF, UK55.8645396 -4.226372155.862312100000004 -4.2313076 55.8667671 -4.2214366tag:blogger.com,1999:blog-6535889439070244325.post-72706553521900198572012-01-20T09:50:00.002Z2012-01-20T09:50:00.501Z

Light boxes can be constructed in a variety of ways. The simplest to construct is the free standing, horizontal, single purpose light box. You need to consider the size of the box in terms of surface area. This will relate to the space you have available and the scale that you work at. Having determined the surface area required or possible, you need to think about the height. The top

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0Glasgow, Glasgow City G31 2HF, UK55.8645396 -4.226372155.862312100000004 -4.2313076 55.8667671 -4.2214366tag:blogger.com,1999:blog-6535889439070244325.post-45610963193128152492012-01-15T09:37:00.001Z2012-01-15T09:37:00.110Z

Once you have determined that you need a light box, buying or building seem to be the two options available. It used to be that when hospitals were changing from film to screen based x-ray results, that the light boxes were available on the second hand market very cheaply. There may still be many available on the various auction lists. The alternative is to make one for yourself. The

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-18263671554769931232012-01-10T09:25:00.001Z2012-01-10T09:25:00.302Z

Light boxes are in many ways development from the glass easel. The glass easel was used in studios to wax up the painted glass and display it as it would be seen in a window. Some times the glass painters painted across all the glass at once, so this method enabled them to see the results immediately. Nowadays people tend to use back lighting for these and other purposes, so the light box

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0Glasgow, Glasgow City G31 2HF, UK55.8645396 -4.226372155.862312100000004 -4.2313076 55.8667671 -4.2214366tag:blogger.com,1999:blog-6535889439070244325.post-37774991235464469782012-01-05T07:45:00.004Z2012-01-05T07:45:00.146Z

The traditional approach to cartoons meant three versions were necessary. One with all the drawing details, one with the cut lines, and one for layout and leading. If you are doing a leaded or copper foiled panel without details for painting on glass two copies are the maximum required. I make do with one original, as I have no place to keep the glass pieces laid out while cutting and

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-74411939551597018302011-12-30T21:04:00.002Z2012-01-23T15:14:53.282Z

Some times no matter how you try to avoid it in the design, you end up with multiple solder lines joining at one point. In copper foil work, I find it best to tin all the copper foil before assembly, as this means you can use a minimum of solder to tack solder the pieces to one another. You will be left with less solder at the joint if you start from the joint and move away from it while

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-50918897946379513972011-12-26T20:51:00.001Z2011-12-26T20:51:00.198Z

You do not have to buy all your kiln furniture. Any refractory material – any heat resistant material that will stand up to the forming temperatures – that you have from broken shelves or used material will do. The advantage to home made kiln furniture is that you can have exactly the shape you want. There are a number of possibilities. Broken kiln shelves can provide supports and dams.

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-16077631991369209562011-12-20T20:41:00.003Z2011-12-20T20:41:00.126Z

This test can be used to determine both the slumping point and the annealing soak temperature. This used to be required when the manufacturers did not publish the information. It is still useful for untested glasses. The method requires the suspension at a defined height of a strip of glass, the inclusion of an annealing test, and the interruption of the schedule to enter the calculated

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0Glasgow, Glasgow City G31 2HF, UK55.8645396 -4.226372155.862312100000004 -4.2313076 55.8667671 -4.2214366tag:blogger.com,1999:blog-6535889439070244325.post-10101354605838653592011-12-15T09:49:00.002Z2011-12-16T16:45:52.433Z

Uneven slumps are an occasional feature of kiln forming. There are a number of possibilities that can cause this. A mould that is not level will lead to an asymmetrical slump. You need to make sure on each firing that the mould is level, as well as your kiln and the shelf or supports. A three-way level can check this quickly. Glass that is placed unevenly on the mould can cause uneven

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-25246671057241725532011-12-10T23:08:00.002Z2012-01-23T18:07:46.260Z

People sometimes comment that their cutters are leaking. Most cutters of the pencil type are not prone to leaking. Some of the pistol shaped cutters seem to have more difficulty. One possibility is that the oil being used is too thin for the system that dispenses the oil. In that case a little thicker oil may cure the problem. It may be that the oil is

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com1Glasgow, Glasgow City G31 2HF, UK55.8645396 -4.226372155.862312100000004 -4.2313076 55.8667671 -4.2214366tag:blogger.com,1999:blog-6535889439070244325.post-63290967241739136042011-12-05T08:53:00.002Z2011-12-05T08:53:00.138Z

Principles of design practice for stained glass, 5 Having created the design, you should consider re-working the designs for a variety of reasons. Some of these are: - to save time in the later stages of the work. It all too easy in the excitement of creating a new piece to want to get directly on with making, however this often gives construction or design difficulties that have to be

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-48058861934184637402011-11-30T08:51:00.002Z2011-11-30T08:51:00.378Z

Principles of design practice for stained glass, 4 Use the everyday visual experience and make interpretations and adaptations. E.g., draw lead lines on an illustration to make it suitable for stained glass, using the fewest lines possible Use your photographs of interesting subjects and scenes These may never become useable designs or cartoons, but will increase you abilities to

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-90702769142067380812011-11-25T08:49:00.001Z2012-01-23T16:51:31.059Z

Principles of design practice for stained glass, 3 Stained glass is a graphic medium where line and colour are very important. Achieving pleasing lines and forms requires practice and use of various approaches and techniques. The two dimensional world is one of abstract thought. Work and development are the way to creativity – there is no mystical talent. Practice drawing every day –

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-81301121614462865812011-11-20T08:45:00.002Z2011-12-17T18:21:35.242Z

Principles of design practice for stained glass, 2 The graphic form of much stained glass means that the medium is about line and colour. This requires that you think about both your and the viewer's response to the colour combinations. Respond to your instincts. Use you feelings about colour and their relationships. Try different colour ways. Formal training does help, but experience

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com1tag:blogger.com,1999:blog-6535889439070244325.post-34670835378026098642011-11-15T08:41:00.002Z2011-11-15T08:41:00.388Z

Principles of Design Practice for Stained Glass, 1 There comes a stage when each of us moves from using patterns developed by others to trying to realise our own vision. This is the time where in attempting to reproduce an image from our mind or from natural and man-made forms that we begin to encounter difficulties with the medium of glass and lead or copper foil. There are a number of

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com2tag:blogger.com,1999:blog-6535889439070244325.post-2154423384411118372011-11-10T21:43:00.001Z2011-11-10T21:43:00.774Z

Occasionally you need to re-fire a piece that already has holes drilled into it. The smaller holes tend to close up or reduce in diameter when they are larger. There is a method to resist this and still have a neat smooth hole. To keep the holes open during a re-firing, cut a strip of Thinfire a little thinner than the thickness of the glass to be fired, roll it up tightly and put it into the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-88178172898819004522011-11-05T21:23:00.002Z2011-11-05T21:23:00.469Z

Cracks on the bottom of slumped bowls initially appear mysterious if not impossible. It seems that what is happening is that the crack results from too fast a heat up. The top gets plastic during a - relatively speaking - too quick a rise in temperature, while the bottom is still too cold to move. The piece splits on the bottom to relieve the stress of the weight of the upper portion of the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-54469956549423993962011-10-30T21:11:00.003Z2011-10-31T22:42:53.153Z

Factors relating to how to determine an annealing soak time and cool rate are numerous. The thicker the piece, the more conservative you need to be in the soaking and cooling. This is because the annealing soak time increases almost exponentially with the thickness of the piece. The reduction in the speed of the anneal cooling has an approximate exponential relationship also – requiring much

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-55898407077074952682011-10-25T20:23:00.003+01:002011-10-25T22:53:01.597+01:00

“Is it possible to to fuse copper to the back of glass? The easy answer is - no. But it can be done. There are a number of conditions that will help. The copper needs to be thin and flat. It works best if you clean the copper of any oxidisation,  and then coat it with borax or other devitrification spray that can act as a glass flux. The fusing has to be done with a long soak to ensure

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-25098849090278482842011-10-20T19:43:00.003+01:002011-10-20T19:43:00.228+01:00

I find that a steady slow heat up gives best results for both slumping and draping. Many do a two stage heat up with a slower initial rise to a temparature above the annealing point and then faster afterwards. A slow steady increase in temperature allows all the glass to be nearly the same temperature both across the piece and from top to bottom. Speed in draping, especially where there are

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-29745389256256119562011-10-15T19:40:00.003+01:002011-10-15T19:40:00.312+01:00

A candle bridge mould is one of the most difficult moulds to use successfully. The problems relate to the kinds of work you are trying to do, the size of the glass to put onto the mould, the shape of the piece and the stability of the resulting piece. With a candle bridge you are trying to do a combination of slumping and draping at the same time. You are slumping into the middle and draping

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-86815508532217158292011-10-10T19:25:00.003+01:002011-10-10T19:32:15.204+01:00

Cutting the brass tubing for box hinges is best done with a saw. The manual version is to use a fine toothed saw - similar to those used by jewelers – with very light pressure. The power solution is to use a Dremel or similar hobby motor with a cutting wheel attached. This cuts through the tube cleanly and quickly. In both cases, a fine rat's tail file can clean up any burrs within the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-36597492465330071262011-10-05T19:19:00.007+01:002011-10-05T19:19:00.169+01:00

“Can anyone offer me any tips for fitting the brass caps onto lampshades?”” There are at least three ways to get the right vase cap size. Make up your shade in a cardboard mock-up. Use 3mm thick card or foam board to represent the glass, as the thickness of the glass is important in determining which vase cap is the correct size. Try your vase cap against the cardboard model, then if you need,

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-61954237958362532192011-09-30T21:20:00.006+01:002011-09-30T21:20:00.316+01:00

When building leaded glass panels to be placed in existing wooden frames, you need to make sure the panel is as square as the opening in the frame. The first requirement is to make sure your cartoon is squared, or has right angles at each corner. I use a “roofing iron” as it is called in the UK. It is a steel tool about 600mm on one side and 400mm on the other. Its original use was to work

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com4tag:blogger.com,1999:blog-6535889439070244325.post-2186562912699550652011-09-25T07:15:00.005+01:002011-09-25T11:47:19.556+01:00

Attaching the vase cap securely is important as often the whole lampshade hangs from the attachment points between the cap and the solder seams of the shade. Once you have assembled the shade and tack soldered it together, perch the vase cap on the top covering the opening and apply solder so it joins the vase cap with the solder seams. It is a good practice to turn the lampshade over and apply

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-20659704136788883522011-09-20T17:36:00.004+01:002011-09-20T17:36:00.446+01:00

The commonly used designation for grits has become the gauge This is a confusing measure as it increases in number as the size of the material decreases in size. This is because the number of wires per unit increases with decreasing size and the gauge refers to the number of wires used to sieve the material. In an attempt to indicate the actual sizes of material refered to by the gauge sizes, I

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-59849111332496034612011-09-15T16:43:00.003+01:002011-09-17T11:59:15.912+01:00

My experience leads me to say that the tip of the iron should be in contact with the surface of the material being soldered. If the metal is not hot, it will not take the solder well. In the case of copper foil, the metal is so thin it will heat up almost instantaneously. The solder should be added to the heated metal to obtain a good joint. All the advice to hover just above the surface and

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com4tag:blogger.com,1999:blog-6535889439070244325.post-26098200855451032432011-09-10T16:39:00.005+01:002011-09-11T10:25:58.642+01:00

Sometimes a white residue appears alongside the solder bead sometime after a piece is finished, covered in patina, and waxed. This seems to have two causes. First - Residual acid As there is a possibility of some acid remaining on the piece, rinse with a bit of bicarbonate of soda added to the water. This will neutralise the acids from the flux and patina that may still be lurking

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-6500358833116140212011-09-09T22:06:00.000+01:002011-09-10T08:46:22.677+01:00

Cutting glass is done by “scoring” the surface of the glass with a glass cutter, then breaking it along the score line. The break you make will always follow the path of least resistance, so you want to be sure that the score you make becomes that easy path and glass breaks the way you want it to. Holding the Cutter Generally, you use the cutter by moving it away from you, so you can see the

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-68619175361342762862011-09-05T16:28:00.005+01:002011-09-08T07:57:46.541+01:00

Grinding of the edges of the nuggets is not required for foiling. Roughing up the surface helps some adhesives hold better, but it depends on the viscosity of the adhesive and the degree of "roughness" of the surface. The adhesive on copper foil sticks better to a smooth than a rough surface. Try sticking it both to glass and to fine sandpaper and see which is easier to scrape off, for

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-89560561808233402992011-08-31T15:20:00.005+01:002011-09-04T11:31:14.368+01:00

Glass that is stuck to moulds needs more care in removal than removal of glass from kiln shelves does. The major element in removal is to get the mould to release the glass. This requires some diagnosis of why the glass is stuck. Is the glass trapping the mould? This happens most often when the glass is draped, especially over ceramic moulds. Has the glass been fired high

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-59654238073506034102011-08-28T21:18:00.000+01:002011-08-27T11:45:42.459+01:00

Polishing of glass can be done in the flame, in the kiln, by acids or by grinding with successively fine abrasives depending on the nature of the piece and the equipment available. Fire polishing Fire polishing is the technique most often available to kiln formers. This is the process of heating the glass to less than a full fuse to achieve a smoother texture on the glass. It is often used

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-54593328471979999692011-08-26T15:12:00.005+01:002011-08-26T19:59:58.869+01:00

After the piece has cooled and been removed from its ring, you can consider how to finish the piece. If you have used something other than a flat rim, you may have minimal work to finish the piece. As most people use a flat ring, the first decision is whether to retain or remove the rim from the vessel. In some cases the rim can be retained as an integral part of the piece. Again here there is

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com2tag:blogger.com,1999:blog-6535889439070244325.post-64925458561670808732011-08-21T15:08:00.003+01:002011-08-24T00:00:53.417+01:00

The soak at annealing temperature will need to long to accommodate the temperature variations within the thick and thin parts. The thin parts will be able to cool much faster than the thicker parts. The objective in annealing is to keep all parts of the glass cooling within a 5C range, so the soak will need to accommodate those differences. I suggest a minimum soak time is 90 minutes for a 9mm

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-33569925069756613172011-08-16T15:04:00.004+01:002011-08-23T23:58:58.916+01:00

Arresting the drop and cooling the piece can be complicated, as you need to cool the kiln quickly enough to stop the glass moving. The higher the forming temperature of of the work, the quicker you need to stop the movement of the glass. This will involve opening the kiln to cool the glass enough so that it becomes stiff and resists further movement. You need to be aware that you are cooling

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-55405425569492097022011-08-11T15:00:00.004+01:002011-08-24T00:00:37.159+01:00

This kind of firing absolutely requires observation of the progress of the drop. Ideally you would set up the firing surface where you can peek at it during the firing as well as observe the bottom of the kiln or the shelf – which ever you are firing upon. I you have to choose, then the bottom of the kiln is the most important place to have clear observation lines. Even if you do not want the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-84423805313783627742011-08-06T14:55:00.003+01:002011-08-24T00:00:04.502+01:00

Aperture drops normally are placed much higher in the kiln than most work to get the greatest length of drop. This means that the glass is near the elements and so will be heated unevenly. It has been said that the heat evens out across the kiln approximately the distance below the elements that they are apart. So if the elements are 100mm apart, the heat will even 100mm below the elements.

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-15446847397959430162011-08-03T09:31:00.007+01:002011-08-23T23:38:49.550+01:00

Need help! The small screw that secures the grinder bit to the shaft was stuck and my efforts to loosen it resulted in stripping it. I've tried spraying it with lubricant -- still no luck. What can I do? There is a tool that many mechanics and tool shops have. It is normally square or triangular. It is used by drilling into the broken off bolt, or in this case, the grub screw. The tool is

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-75202220602045835272011-08-01T14:50:00.005+01:002011-08-23T23:58:23.299+01:00

Initial Heat Rise As the placement of aperture drops is much higher in the kiln than normal, the initial heat rise needs to be carefully controlled. Usually, the glass will be so high in the kiln that uneven heating is almost certain and the risk of breakage very high. The need is to arrange a schedule that takes account of this uneven heating effect. The principle requirement is to add heat

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-40315487798936796862011-07-27T14:43:00.004+01:002011-08-23T23:58:03.146+01:00

As the glass drops through the aperture, it stretches, but the whole substance of the piece is drawn toward the hole. If there is not enough spare glass around the hole, the whole piece will be drawn through the aperture. There is a minimum size of the glass in relation to the size of the drop out hole. Up to some maximum size, the greater the diameter of the hole the greater the amount of spare

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-9317642707804128232011-07-22T14:36:00.003+01:002011-08-23T23:57:16.453+01:00

The supports for aperture drops need to be rigid at tack fusing temperatures. A number of materials are rigid enough to maintain their form. Those such as ceramic, or fibre board are commonly available. The ceramic forms can be purchased from various suppliers. Fibre board can be carved in a number of shapes and so are more versatile. They are more flexible than ceramic so need careful

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-88872152565206112342011-07-17T14:30:00.018+01:002011-08-23T23:56:56.518+01:00

The height of the drop must be related to the thickness of the glass. The glass moving at the edge of the hole becomes thin, so the deeper the drop, the thicker the glass required. The general rule of thumb is to have 6mm for the first 50mm drop. For each additional 50mm an additional 3mm of glass is required. So a 200 mm drop will require glass at least 15mm thick. Observation and

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-86997666760185007292011-07-12T14:25:00.022+01:002011-08-26T23:28:44.054+01:00

Aperture drops are apparently simple to do. But to have control of the process and to be able to get repeatable results is relatively complex. There are various elements that need to be considered when preparing to make one of these. The main technical considerations are: The height of the drop from the shelf. Material of the supporting ring or material. Diameter of opening of the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-78917996281356277612011-07-07T14:49:00.005+01:002011-08-16T21:40:29.205+01:00

Cutting opalescent glass often gives difficulties in getting clean breaks along the score line. You need to remember that the opals do not make much if any sound when cut with the correct pressure. If you are scoring so that you hear the ziiip sound, you probably are pressing too hard. When the score is too hard, the opals do not break easily or truly. Only the same pressure as used on

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-12487624640321694912011-07-02T14:41:00.004+01:002011-08-16T21:41:14.740+01:00

The most important element in the deterioration of soldering iron bits is long idle times. This is where you leave the iron on, and not in use, for a long time. Have everything ready when you start soldering, so the iron will be used continuously, and will not sit there building up heat, while you get ready to use it again. An idle iron will keep heating to its maximum capacity, and without

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-11306325681852395362011-06-27T14:35:00.006+01:002011-08-16T21:42:18.151+01:00

Extending the life of your grinder bits is a matter of recognising that you should not force the glass into the grinding head. Excessive pressure against the head heats the bit and allows the diamonds to become free of the binding material, so reducing its life. If the motor slows as you press the glass to the bit, you are applying too much pressure. That kind of pressure also puts a lot of

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-78554275900126446862011-06-22T14:31:00.006+01:002012-01-23T18:12:47.433Z

The best action is to prevent difficulties from the start. Before putting the grinder bit onto the shaft, coat it with Vaseline or a proprietary anti seize-compound. This will ease the removal of the bit later. If the bit is already seized, the method of removal is based on how fast it is stuck. If there is a bit of movement around the shaft when the grub screw is removed, you can probably

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com2Glasgow, Glasgow City G31 2HF, UK55.8645396 -4.226372155.862312100000004 -4.2313076 55.8667671 -4.2214366tag:blogger.com,1999:blog-6535889439070244325.post-25750030502552503702011-06-17T14:23:00.014+01:002011-08-16T21:42:55.736+01:00

To use nuggets in leaded glass panels, just wrap the came round the nugget. If the came leaves are oval, it works better than the flat. If the nugget is thick and does not want to fit securely in the channel, you can also use a fid to open up the top leaf of the came. There also is a technique to cut the came to give a smooth curve given here.

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-85052194017413708552011-06-12T22:08:00.001+01:002011-08-16T21:43:10.266+01:00

When doing a foil project which does not have a zinc or lead came frame, do you use a wider foil so it has a wider solder line? You do not need to use wider foil on the edges, but I have often done so to give the edge just as much "line value" as the internal beads. However this needs to be planned from the beginning. If you simply add a wider line on the outside, many times you will compromise

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-34172472510807450072011-06-08T21:57:00.001+01:002011-08-16T21:43:23.463+01:00

An enquiry arrived the other day: I’m working on another irregular shaped suncatcher and I have just completed the soldering. Now I've found one small section the copper foil is not sticking. How can I fix this? The adhesive on copper foil tape is not a permanent one. It only sticks to the glass long enough to apply the solder to the foil. The heat of soldering often degrades the adhesive so

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-27982843698206920212011-06-04T21:33:00.002+01:002011-09-11T11:25:28.011+01:00

Tie wires for glazing bars are to keep the panel from rebounding due to wind pressures on the window. There also is some pressure created within the house by the opening and closing of doors, although this is minor in comparison to the weather. The tie wires should be securely soldered to the panel at solder joints. Placing ties elsewhere leads to the tearing of the lead. The soldering of the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-63780207576668792052011-05-31T21:19:00.002+01:002011-09-11T11:25:28.031+01:00

There are a few tips that concern the installation of glazing bars into wood frames. An important element to understand is that the purpose of the bars is to protect the panel from horizontal wind pressures on the window, not to lift the panel or in any other way strengthen the panel vertically. The holes on one side should be at least 5mm deeper than the other. For a really secure attachment

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-63316628807403666292011-05-27T20:46:00.002+01:002011-09-11T11:25:28.024+01:00

I recently had the occasion to repair a panel made by a friend of the clients several decades ago. It was cemented by pushing commercial putty under the leaves of the leads. It illustrates very well why lead light cement should be brushable to completely fill the space between the glass and the came. This photo shows how the putty filled the space above and below the glass but not between the

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-21509465690322724342011-05-23T21:42:00.004+01:002011-08-23T23:55:47.667+01:00

Rather than trying to perform the difficult task of cutting small ovals, you can use the heat of the kiln to do some of the work for you. Cut a rectangle the length and width of the oval you want. Then groze the corners to the approximate curve of oval you want. Do not worry about the little inaccuracies of the curve. If it is the curve you want, the heat of a full fuse will even out the edges

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-8192419120143920342011-05-16T21:39:00.005+01:002011-08-31T21:20:02.296+01:00

Just as the mould size and shape have effects on slumping temperatures and strategies, so does the weight. When slumping you are making use of the combined effects of gravity and the increasing softness of the glass. The same thing happens when you have a thick piece of glass as when you have a large span in the mould. As the weight of the glass increases, the temperature at which it will begin

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-67960750094067910642011-05-09T21:34:00.002+01:002011-08-31T21:20:35.603+01:00

This is glass which is slightly convex and normally found in multiple-paned cabinet doors. Glass workers are sometimes asked by antiques dealers to do a replacement. You can make a mould and do a slump. However, you should consider doing a drop out or aperture drop. Normally these are thought of as circular, but they can be of any shape you want. The reason for making them as a drop out is that

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-80782567678422655412011-05-02T21:28:00.006+01:002011-08-31T21:21:02.409+01:00

Some recommend cutting flashed glass on the clear or non-flashed side. This is based on the idea that the flash is only laminated to the main body of glass. My view is that flashed glass has proved to be very stable over many centuries, and so is firmly a part of the whole sheet. What is more important is to observe that flashed glass often has a bow. If you place the glass on the bench, you may

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-19098283985993309082011-04-29T21:25:00.006+01:002011-08-31T21:22:45.289+01:00

Once you have determined the flashed side on a sheet of glass, mark it with a felt tip or wax marker of some kind so that you will not have to perform this action each time. This should be carried over to each piece as you cut it away from the main piece. When you have cut a piece from the main sheet, it is easy to turn it over and work on the clear rather than the flashed side. It is essential

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-78697807080116150522011-04-25T21:22:00.007+01:002011-08-31T21:25:45.153+01:00

On smaller pieces of flashed glass you can determine which the flashed or coloured side is by putting it to the light and viewing it through the edge. If the flash is very thin or you cannot determine which the flashed side is, you can alter the angle a little. If you tip the glass down slightly and the light is coming through the clear side, there will be very little variation in what you see.

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-67800744903208077422011-04-21T21:53:00.008+01:002011-09-11T11:23:48.823+01:00

The size of the opening of the mould has a significant effect on the schedule you will need to use for slumping. This often referred to as the span of the mould, because the glass spans the mould from one edge to the other. In larger span moulds, the glass drops more easily, because the weight at the centre is effectively more than in smaller span moulds. This means that the glass in large span

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-9721316642703688682011-04-17T21:50:00.008+01:002011-09-11T11:23:48.837+01:00

Each time you get a new mould, you should think about the firing schedule that will be needed. The existing schedule you use may need to be changed, so you need to observe the first few firings to be sure you have the correct heating pattern for the mould and the glass.• Simple curves such as ball mould, square slumper are easiest to slump into, as they have only easy curves to take up. They need

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-43125510015449801122011-04-13T21:47:00.004+01:002011-09-11T11:23:48.809+01:00

Moulds that are easy to slump into are more complicated than they appear. When choosing a mould or making one yourself, there are some things that should be considered.Steepness, Draft and Undercuts are three elements that can make a mould easy or difficult to use, or make it a one use mould, or a reusable one.Steepness of the sides or any part of the mould are considerations that make it easy to

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-829885797872782432011-04-09T21:40:00.003+01:002011-09-11T11:25:28.061+01:00

Windows that have been painted several times over the years often have paint drops or smears on the glass. There are at least two ways of getting it off the glass.Mechanical means are possible and should be the first trial on unpainted glass. Use a flexible, sharp blade to scrape at the paint. Often there was enough dirt on the glass that the paint will pop off easily. Where you have painted

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-73611847885532445212011-04-05T07:37:00.009+01:002011-09-11T11:25:28.050+01:00

What can be done to keep leaded glass panels from growing beyond their original cartoon lines?I find that most people, who are not used to lead came, cut the crossing pieces too long so the whole panel grows. Each piece of came that is a fraction too long pushes the passing came out, making the glass apparently too large. You can and should make sure that you have pressed the came snugly against

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-41960548424694103302011-03-29T18:13:00.024+01:002011-09-11T11:25:28.017+01:00

Glass normally has little or no colour because the electrons in the material are tightly bonded so no electronic movement in the energy range of visible light is possible. Glass is given colour by addition of various materials to selectively absorb light in the visible spectrum. There are three processes: addition of ions of transitional metals; addition of colloidal particles; and addition of

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-29066032794039783992011-03-25T22:27:00.005Z2011-09-11T11:23:48.788+01:00

The crispness of the lines of images made with sprinkled powder depends on the neatness of the edge of the powder. If you are using Bullseye black, you need to use stiff black 000101-0008 rather than the normal which spreads much more than the stiff black does.There are various ways to create crisp edges, but in some cases it is better to remove the powder than to push it about.I have adapted a

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-3099434870487149372011-03-21T22:24:00.005Z2011-09-11T11:23:48.795+01:00

A variety of tools can be used to move frit and powders about to get the shape and edges you want.One simple tool is a brush. It seems that a soft water colour brush is suitable for very delicate manoeuvring. There are various shapes and sizes for more and less delicate shaping. A stiffer hogs hair brush will move greater volumes.You can also use a brush to pick up stray pieces of frit. Get the

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-25144264748803906712011-03-17T22:21:00.003Z2011-09-11T11:23:48.782+01:00

Use stiff card for the stencil. Make two little holders by sticking tape together in the middle and use the wings to attach it to the card. This makes it easy to lift the stencil straight up from the piece. Do not stick the stencil to the glass. Make the stencil with only enough surrounding card to keep the whole stiff, but ensure you can pick it up easily.If you want to use multiple stencils on

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-12125166507769581192011-03-13T22:19:00.002Z2011-09-11T11:23:48.775+01:00

One effect of placing clear under a coloured glass, especially a dark one, is that the bubbles rising will thin the colour, even to the extent of giving a small clear circle in the midst of the colour. Placing clear on top almost completely eliminates this effect.An additional effect of placing clear over colour, especially opals, is that it reduces devitrification.

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-71270310149144887232011-03-09T22:16:00.004Z2011-09-11T11:23:48.830+01:00

This is the temperature range at which a super cooled liquid becomes a glass. At higher temperatures the molecules are able to reorganise quickly as in a liquid. At temperatures below the transition range, the movement among the molecules virtually ceases and the resulting material is known as a glass. Two characteristics should be noted here. The temperature range for the transition phase is

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-5693941033188728892011-03-05T22:10:00.007Z2011-09-11T11:23:48.816+01:00

There are a lot of glasses – natural and laboratory created – in addition to the silica based one that we work with. However understanding how glasses in general are created helps to understand “our own”. In general, when the liquid phase of a material is cooled below its freezing temperature it usually transforms into a crystalline solid. But some materials do not crystallise when cooled to

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-64094850806173984032011-03-01T22:03:00.003Z2011-09-11T11:25:28.038+01:00

When constructing large or heavy lamp shades, reinforcement needs to be an integral consideration in the construction. With panel lamps the reinforcement is relatively simple – it can be along the seam lines. In fact, if you do not bevel your panel edges, it can be in the upper seam lines, as the solder filling the open joint will cover the wire. If the panels are bevelled, the wire can just go

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com2tag:blogger.com,1999:blog-6535889439070244325.post-42338606799752878992011-02-21T23:18:00.034Z2011-09-11T11:23:48.802+01:00

Almost everyone has fired the glass from cold too fast at least once. This provokes the question of how fast it is possible to fire glass. Of course, there are lots of variables which relate to the evenness of heat across the firing surface of the kiln. A number of factors will affect this. Among them are:The size and shape of the chamber Composition of the chamber – brick, fibre or a combination

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-69238813081469267552011-02-20T18:35:00.002Z2011-09-11T11:25:28.044+01:00

Avoiding bubbles appearing under the vinyl resist on large sheets of glass when preparing etching or other resist based processes is often difficult.A trick I learned from the firms that apply advertising vinyl to vehicles is to use a spray bottle filled with water that is just soapy. A few drops per pint will be sufficient.Their process uses pre-cut vinyl with an adhesive backing. So the first

Verrierhttp://www.blogger.com/profile/18043440528649354154noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-57311702811043556082011-02-17T20:57:00.011Z2011-09-11T11:27:32.870+01:00

There are at least three ways to achieve flat bottoms to bowls without the use of external supports.Using drop out rings will enable you to get a flat bottom of whatever diameter you wish depending on how long you let the aperture drop run.You can put some dry kiln wash into the bottom of the mould, then firmly press it flat with a round piece of glass. You will need to make sure it is horizontal

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-14214085111887734302011-02-13T20:56:00.006Z2011-09-11T11:28:16.351+01:00

Sometimes the water does not rise to the mini work surface. There are a number of things to check. These, in order, are usually the reasons the water does not get to the Mini Work Surface. • Ensure there is enough water in reservoir, right up to the overflow• Ensure channel from impeller to the up tube is clear• Ensure the up tube is clear• Ensure tap at the top is clear• Flush the feed lines

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-88373439980232401562011-02-09T20:53:00.004Z2011-09-11T11:27:32.964+01:00

A number of useful moulds for slumping do not have flat bottoms. There are a number of possibilities to have the bowl sit firmly without grinding the bottom flat. Remember that you do not need to surround the whole bottom to give the bowl stability.Some of these include things like:• A rubber “O” ring, although they usually come in black only.• Thin slices of wide-diameter tubing.• Wok support

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-68502889968074263282011-02-01T20:23:00.046Z2011-09-11T11:27:32.894+01:00

Firing schedules or programs are the means of controlling the temperature rises, soaks and falls to accommodate the needs of the glass. They consist of a number of segments –or steps - each of which includes: rate of temperature rise, target temperature, and soak time. They vary according to the thickness of the glass and the forming and annealing needs of the glass. Read and understand the

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-38254382876259679342011-01-28T20:17:00.008Z2011-08-31T21:18:43.437+01:00

Most moulds have a long but limited life due to cracks appearing and accidents. However the life of moulds can be extended with repairs. Most moulds can be repaired, unless shattered. Cracks can often simply be ignored. If the glass is not getting marked by the crack, then you can keep using it until it widens or goes completely across the mould. If you feel the need to protect the mould before

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-33611477663102936132011-01-24T20:10:00.006Z2011-09-11T11:27:32.808+01:00

Tidying up powder designs is often a time consuming process using brushes. One way of cleaning the edges of lines and the bottoms of furrows in the midst of the powder designs is to use a modified keyboard vacuum.I use a Miele vacuum sweeper –it has a variable suction - with a keyboard cleaning attachment. I have modified the finest nozzle by putting the end of a ball point pen in it and filling

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-2012455997717427452011-01-20T21:47:00.004Z2011-09-11T11:27:32.799+01:00

“Heat work” is a term applied to help understand how the glass reacts to various applications of heat. In its simple form it is the amount of heat the glass has absorbed during the kiln forming heat up process.Heat can be put into the glass quickly, but to achieve the desired result, it will need a relatively higher temperature. If you put the heat into the glass more slowly, it will require a

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-45218417205080761852011-01-16T21:38:00.019Z2011-09-11T11:27:32.828+01:00

Often iridised surface details are created by using iridised sheet glass and then masking and sandblasting off the unwanted portions. But you can make your own iridised surface detail much more cheaply by using pearlised  mica powder. One way to apply the mica in areas of detail is to make a stencil from stiff card and sift a smooth relatively thin layer of mica onto the area of glass you want

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-48009818131055568352011-01-12T21:33:00.005Z2011-09-11T11:28:16.359+01:00

Cutting bottles seems to have a fascination for many people. There seem to be three methods – heat and cold, scoring, sawing. There are various ways to apply heat and cold to assist with breaking the bottles. - A string tied around the bottle and soaked in a flammable liquid is a common way to apply heat. As soon as the flame has gone out, you immerse the bottle in cold water; the temperature

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-65799020808029770762011-01-08T21:25:00.009Z2011-09-11T11:27:32.886+01:00

A reported 90% of the world's flat glass is produced by the float glass process invented in the 1950's by Sir Alastair Pilkington of Pilkington Glass. Molten glass is “floated” onto one end of a molten tin bath. The glass is supported by the tin, and levels out as it spreads along the bath, giving a smooth face to both sides. The glass cools as it travels over the molten tin and leaves the tin

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com1tag:blogger.com,1999:blog-6535889439070244325.post-92000663872700413332011-01-04T12:08:00.017Z2011-09-11T11:27:32.973+01:00

You should be testing for stress in any new set up. This includes new processes, different layering, different colour combinations, and any other variation that you make in your basic processes. You can buy kits called stressometers. The devices called stressometer are not actually meters. They are battery powered light sources with two pieces of polarized film in frames. This is very good for

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-79698119862526838452010-12-30T22:55:00.005Z2011-09-11T11:27:32.937+01:00

Smooth and complete coverage of the piece is the aim when applying devitrification solutions. A soft brush, an air brush, a mouth atomiser are some of the ways to apply the solution. Some even use a sponge - all these application methods will do the job. It is a pretty simple process, but requires concentration to ensure the piece is evenly covered. If it isn't, there will be areas of

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-76469506024987541202010-12-26T22:48:00.012Z2011-09-11T11:27:32.929+01:00

It is true that Borax is water soluable. However, the borax has done its job by preventing the devitrification, so it does not matter whether it has or has not disolved, nor whether it is inside or outside. Borax as a flux for paint in excessive quantities has the effect of corrosion on the paint or enamel it is mixed with. It is not actual corrosion, just that its effects are like that. The

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-61160556636522661942010-12-22T22:38:00.025Z2011-09-11T11:27:32.877+01:00

"Are there specific glasses that are more prone to devitrification, and knowing that, what steps can you take to try to avoid it?"Glasses that are formulated and tested compatible for kiln forming are less likely to devitrify than other art glasses.Opalescent glasses even if tested compatible for kiln forming are more likely to devitrify than their compatible transparent counterparts.Yes, you can

Stephen Richardhttp://www.blogger.com/profile/17854964450984329333noreply@blogger.com0tag:blogger.com,1999:blog-6535889439070244325.post-71447365155600046962010-12-18T22:20:00.009Z2011-09-11T11:27:32.904+01:00

Stress is induced into glass during cooling through the outsides of the glass cooling more quickly than the interior. This contraction causes residual stress. Annealing is the process to relieve that stress. The annealing soak temperature is determined by a number of factors, of which coefficient of expansion, viscosity, exposed surface, and thickness are some. “The relief from stress happens

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Although sandblasting and then firing a piece can achieve a matte finish, there are several other ways to improve the quality of the final finish. One of these involves the use of manual sanding after sandblasting in order to smooth out uneven spots and achieve a better final finish. • Start with a 400 mesh diamond hand pad. It shouldn't be necessary to start out with a lower mesh (coarser)

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Glass can be fired to take on a satin appearance that is both appealing to the eye and pleasing to touch.The first step toward the matte finish is to sandblast the piece after fusing, then fire to a temperature between 600C and 675C. A short soak - or no soak at all - is all that is needed.The exact temperature needed depends on a number of factors, including:• The specific glass being used. A

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One of the most common problems in using a tile saw to cut glass is the tendency for the saw to chip the edge of the glass as it completes the cut. This occurs when the blade of the saw has less glass to cut through. Excessive and uneven pressure and the lack of support cause this break-out.It's possible to improve the quality of the cut by slowing down and pushing the glass through the blade

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Once you have cut and arranged the glass for your pattern bar, you need to dam the bars in the kiln to prevent the glass spreading.The materials required for forming the sides of the dam can be made from anything that is rigid and can withstand the heat of the kiln, e.g., cut up kiln shelves, rigidised fibre board, vermiculite board. The material being used to dam must be over 13mm and preferably

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Making a box for a pattern bar design that involves frit or lots of small pieces is necessary and simple. Let's assume you want to make a pattern bar that's 25mm by 25mm by 200mm long. Start by cutting three strips of glass, each 25mm wide and 200mm long. Also cut two 25mm squares of glass. You can use any colour, but remember that the colour you choose will make up the outside of your pattern

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Assuming that you are not going to just dump your scrap glass in a random pattern to form a pattern bar, you need to spend some time designing it. The simplest kind of bar is composed of strips of glass which are stacked or assembled in the kiln, but there are many other more elaborate configurations. Because of the additional annealing time required for larger and thicker items, most pattern

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A pattern bar is a thick bundle of glass that has been fused together. These can be in the shape of a rectangle, or can be a thick pot melt – whether a disc or a rectangle. The length of the individual bars can be as long as your kiln allows, but needs to be practical to handle when cutting.The basic steps involved in making a pattern bar include deciding on a design –whether controlled or random

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An important characteristic of float glass is that a very small amount of the tin is embedded into the glass on the side it touched. The tin side is easier to make into a mirror and is softer and easier to scratch than the air side. The characteristic of float glass having a molecular level of tin left on the “tin side” but not the “air side” is important to distinguish. There are short wave UV

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Stainless steel is sometimes called the almost the perfect mould material. It is lightweight, difficult to deform, and durable for a very many firings. Simple bowl forms are relatively inexpensive to buy — you can even use cheap stainless steel bowls. All you need to do is drill three or four small 1.5mm holes in the bottom for air to escape. It often is a good idea to fire the mould to working

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Steel absorbs heat much faster than glass, so the glass suspended on the steel is cooler than the suspended perimeter during the heating and cooling cycles of the firing. This does not apply to slumping when the glass is supported on the edges, as so little of the glass is touching the mould at the start. The fact that the steel “bleeds” the supported glass of heat while the unsupported parts

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Care is needed when removing glass that is stuck to the shelf. You need to protect your hands with thick gloves, as any slip will cut your hands deeply.For mullite and other ceramic shelves you can use a variety of tools:If there is a small amount of glass in one or more spots, you can use a scraper or lead knife. The wider the blade is, the less chance there is of creating a big divot beside the

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