How can I tell if a Messy Color is a transparent, opaque, or opal?

Creation is Messy organize their colors in more ways than just "by color"!

All of Creation is Messy colors fall into one of the following categories:

• Opaques (Effetre calls these "pastels")
• Opals (of the variety that turn opaque-ish after annealing- similar to Effetre's "opalinos" or "alabasters")
• Milky Opals
• Misty Opals
• Moonstones
• Cloudy Transparents
• Transparents

These categories are not just about color, but also about the behavior of the glass.  Moonstones, for example, are etch resistant. Opals turn "opaque-ish" when annealed while misty/milky opals will not.

 comparison photo by Jenefer Ham

How are CiM item numbers organized?

CiM item numbers are composed of three parts. The first three digits "511" are the manufacturer code designated for Creation is Messy by Frantz Art Glass (in the same way that 591 indicates Effetre, 791 indicates Vetrofond, etc.)

An example of a Messy Color tag on a rod label

The fourth digit indicates one of the different families of colors as follows:
1 red
2 orange
3 yellow

4 green

5 blue
6 purple
7 brown
8 neutral
9 pink

The last two digits indicate a number for the color.

All Messy Color rods are between 4 and 7 mm in diameter. Some Messy Colors are available in thinner or fatter diameters. To indicate diameters that are not 4-7 mm in our item number system, they add an -S after the initial six digits of the item number. Further numbers indicate size as follows:

-S01 1-2 mm
-S02 2-3 mm
-S04 4-6 mm
-S06 6-8 mm
-S08 8-10 mm

An example of a tag on a Messy Color large diameter rod

An example of a Messy Limited Run tag on a rod

 

 

 

Making Fused Glass Snowflakes

 

 

Picture by The Avenue Stained Glass

 

To make these amazing snowflakes, you will need:

A snowflake mold

Primer brush

Small measuring spoons

Digital Scale

Zyp primer

Assorted fine and medium frits (96 or 90 COE)

Dichroic frit flakes

You can watch a Youtube video here:  Making Snowflakes with Colour de Verre Molds - Bing video

 

 

 

Colour de Verre snowflakes are amazing.  They are great as an ornament or gift, or you can use them as embellishments on other projects. 

Colour de Verre introduced the first snowflake mold in 2012. Both the 2012 and 2013 molds are being retired soon.  If you have one, lucky you!  They are so scarce, we can’t find any. 

 

 

The 2017 snowflakes are the largest at 5.5 inches.  There are two separate molds, one released in January and one in December. 

The 2016 is also large and you get two designs.

Colour De Verre 2015 Snowflake Mold (stainedglassexpress.com)

 

 

Colour De Verre 2014 Snowflake Mold (stainedglassexpress.com)

 

 

Colour de Verre recommends that all of their molds be prepped with Zyp spray.

 

Intermediate / Advanced

How To:

Frame Stained Glass Panels using Zinc Came

"Came" is a channel made from a variety of metals and is available in various shapes. The two most commonly used metals used to manufacture came are lead and zinc. We carry multiple sizes of both Zinc Came and Lead Came on our website. Zinc Came is available in different widths. The wider the width, the stronger it is. Zinc Came is rigid and can be a challenge to cut. It lends itself well to geometric shapes. When used as a border for a stained glass panel, it will provide a nice clean, strong edge to that panel. Choose a width based on the look of your piece as well as the size. “U” Came / Capping Came is easier to work with but has little strength. Materials & Tools Needed:

1. Your Stained Glass Panel
2. Your choice of Zinc Came
3. Your choice of hangers (we show Handy Hangers in this tutorial)
4. Ceiling Tile or equivalent heat resistant work surface
5. Push Pins (Straight Edges – Optional)
6. Sharpie
7. Ruler / Measuring Tool
8. Fine toothed Hack Saw or Came Saw (Miter Box – Optional)
9. Metal File
10. (Masking or Electrical Tape - Optional)
11. Soldering Iron, Stand, and Damp Sponge
12. 60/40 Solder
13. Flux and Flux Brush

Note: Click on photos to view them larger!

Note: Steps will not always happen in order, especially measuring and cutting. You will be going back and forth!

Measuring the Came: Cut a short piece (1” to 2”) of your Came to use as a marking gauge. Lay it over another piece of came (both pieces are laying on their side as though they were on a finished piece!) and mark the width of the gauge (both sides) onto the gauge came. Draw a diagonal from corner to corner of these marks. This will give you a 45° line to cut on.

Making an accurate mitered edge

Place a length of came on the bottom edge of your panel. Place your mitered gauge next to it so the end of the center channel lines up with the end of the glass panel. Mark the 45° angle onto the frame came piece.

Using gauge came to measure and mark frame cameAfter cutting, you can see the center channel lines up with the end of the glass panel

Cutting the Came: Note: After all this, you may find that a Miter Box will simplify this process! Place the blade of your saw over the cut line and saw straight down. Let the saw blade do the work, do not force the cut. Cut all sides and make allowances for hangers. Dress each cut with a file to remove any burrs and to fine tune the angle that you cut.

Filing the came

Look at that beautifully fitted mitered edge!

Hangers, Part 1: Plan ahead for what type of hanger you will use. We recommend Handy Hangers, which require a tiny modification to the top piece of zinc came. See the three-step photo below that shows a small notch filed off the top piece. When dry-fit together, the Handy Hanger will slide down into the side piece of zinc through that notch (note that it is shown flat in the second picture, and is then rotated sideways in the third photo to fit into the side.) Making room for a Handy Hanger Soldering the Zinc Came Frame: NOTE: Soldering Zinc requires more heat than copper foil. Dry fit the sides to your stained glass panel and secure in place with pins.

(Popsicle Sticks can be used as shims under the glass, if tipping is noticed.)

NOTE: Tape can be used to control/contain the solder. (If used, the tape must be stuck to the zinc prior to the flux application.) NOTE: Flux should be applied 1 joint at a time for best results. Side 1 : Solder each edge joint (all that are touching the side of the zinc came), working all the way around the 4 sides until all of the intersecting joints are soldered to the zinc came. Hangers, Part 2 : If using Handy Hangers, tin them and slide them into the notch you created. If using another hanging method, either make or prepare (modify) the hangers to fit into the vertical zinc channels. Tin the hangers and place them into the channels. They will be soldered in place at the same time as the corners are done. Corners : Apply a small amount of solder, using the chisel edge of the soldering iron, directly over the corner seam. Keep applying small amounts of solder in this manner until you see that it has penetrated the seam.

Details of angled soldering iron and finished and unfinished joints

Side 2 : Carefully flip your panel and repeat the same process as Side 1. Finishing : Clean the panel thoroughly. If needed, oooo Steel Wool can be used on the Zinc Came to brighten it or remove oxidation caused by the flux. If you Patina your panel, your best results will be achieved by using “JAX” Pewter Black. Wax and hang. Cleaners and Polishing (stainedglassexpress.com) Note: Completed panels can be heavy. Use a chain or cable that will easily support its weight. Sources: Everything Stained Glass – Molly Frances Ezine Articles – Maurine Summy Living Sun Glass – Samantha Calder James A Veilleux Researched, Interpreted and Arranged By: James A Veilleux 04/05/2023

SAFETY

June is National Safety month.

Hopefully it is not a surprise that we are an industry that should be tuned into our personal safety. Not only do we deal with lead, but we also deal with lots of dangerous chemicals.

FLUX

Flux is one of the worst we deal with. It contains acids, sometimes solvents and other chemicals. We heat it up and create fumes. If you are not careful, you will be breathing these fumes. Set yourself up with a fume trap or at the very least something that is blowing the fumes away from you.

Weller Fume Trap Smoke Absorber

It is a little tough to do as you don’t want to cool your solder prematurely. Every chemical has an SDS (Safety Data Sheet) that is readily available. If you are concerned about the flux you use, ask for the SDS or look it up online. You will have all (or more) the information you could possibly want.

SOLDER

Solder is made with lead (unless you are using lead-free). I don’t know anyone who wears gloves when soldering. People generally have the soldering iron in one hand and a strip of solder wire in the other. Lead is absorbed through your skin so that is the real health issue there. If you are not going to wear gloves, then wash your hands after use with heavy metal soap. Years ago, we had Safety Works in doing some safety testing for us. He told me to get the soap and have it at the sinks and then sell it and not be bashful about pushing it on people. They are touching lead and they need it! So, yes, we have it in our bathrooms and at our classroom sink and we sell it. So here it is. You need this so buy it and use it! Don’t eat where you solder. Just don’t. If you are making something that people are going to handle (jewelry, nightlight, boxes), use lead-free solder. We have gotten great feedback on this Amerway Tourmaline Lead Free Solder. It is the shiniest!

GLASS HANDLING

Stained glass people love to pick up a big sheet of glass and hold it over their head and look through it. DON’T DO THAT! If it breaks it is breaking into your open eyes! Don’t let glass slide down in your hands. That cut will need more than a band aid. In our retail store, we take care to push the glass into the display cubbies every day. We don’t put short sheets down into the record racks where people can skin their hands trying to get the pieces out. We put the taller glass to the back so people are not reaching over it. We are checking the scrap glass all the time as it is sharp and pointed. Wear glasses when cutting and grinding. Wear gloves for glass handling. Wear a dust mask when using glues and powders. This is supposed to be fun. Stay safe!

MODELING GLASS

Ever wish you could get more detail on a project? Modeling Clay is the answer. It was developed by Glass Bird Studios. It is a two-part kit that has a powdered binder and liquid medium. It is mixed with water and your own powdered glass or frit. Once it is mixed, it is the consistency of clay and you can work it like clay. It is food safe and non-toxic. You can pretty much do everything with it that you do with clay. Roll it, cut out shapes, put in silicone molds. You can then fire to a tack and get amazing detail.

Glass Bird Modeling Glass Starter Kit (stainedglassexpress.com) Lois Manno, the owner and developer of Glass Bird Modeling Glass, is a talented, experienced artist. Her love of nature shows in her artwork. She is most known for her feathers made from Modeling Glass.

This incredible image is made by Bob Leatherbarrow, who is one of our industry’s amazing artist and teacher. He created the lines with Modeling Glass.

See more of this work at www.leatherbarrowglass.com

Q: When I fuse my projects, sometimes I get medium to small bubbles. What causes them and how can I prevent them? A: Bubbles can be caused by many different things. First, uneven stacking of glass can result in air trapped between layers. To prevent this from occurring, check the placement of all the glass pieces and insure they are sitting properly on the base. Since the edges of the glass fuse before the center of the glass, cut your base glass 1/8” larger than the top layer to allow air to escape. Second, check the glass prior to fusing. Some glass may already have contained bubbles inside the glass, which may or may not affect the outcome. Q: After I fuse my pendants, I get uneven areas around the edges. What’s happening with the glass? A: You did not fire it long enough or to a high enough temperature for a full fuse. Try firing for a little longer time. Q: Sometimes my glass pieces look like a porcupine with spiky edges. What causes the glass to spike? A: Spiky edges can be caused by over-firing your piece. The spiked edges are caused by the glass grabbing as it is trying to shrink. Q: What caused my layered glass pieces to flatten? A: If the glass piece has flattened out too much, you have over fired the piece. To prevent this from happening, reduce your power and shorten your time. After your first firing, open the microwave and using Fireworks Hot Mitts™; carefully lift the lid to inspect the fuse piece. If the desired results have not been achieved, continue firing in 30 seconds intervals. Q: I tried to make a 1 inch pendant with embellishments, however after I finished fusing, the glass shrunk. How can I prevent this from happening the next time? A: Glass naturally wants to be ¼ inch thick when heated. Your glass will shrink or expand to obtain this depth. A good tip to remember is that if your piece is less than ¼ inch when you start, it will shrink up to reach this depth. If your piece is larger than ¼ inch when you start, it will want to flatten out to reach this depth. Q: What causes two pieces of dichroic or iridized glass to blow apart in the kiln? A: Repelling glass will occur with dichroic and iridized coatings. The coatings can’t be placed together for fusing purposes, because they repel each other. The only way to avoid this is to encase the coated glass with a non-coated glass, such as clear. This will cause the coated glass to be encased and sealed. Q: Yuck, this film appeared on my fused glass. What is it and how can I prevent this from happening? A: This dull white crystalline substance on the surface of your glass is known as devitrification. This is one of the most talked about glass fusing problems around. It can occur when your glass remains in a temperature range 1000ºF-1300ºF too long. You need to minimize the time spent in this temperature range. Gray or Scummy Edges - Gray or scummy edges can occur on pieces that have been fired once and then cold worked before refiring. Cold working involves using either a grinder or glass saw on a piece of glass. These can be avoided by thoroughly cleaning the glass before refiring the piece. Keep a bowl of clean water near your work area and soak the glass right after doing the cold work procedure. This will keep the edges damp and allow the piece to be cleaned easier. Scrub completely and let dry before proceeding with the refiring process. Q: My glass cracked! What happened? A: Cracking glass either during or after firing can be caused by a several things: thermal shock, heating up the glass too fast and compatibility. Thermal shock occurs either by taking the piece out of the kiln too soon, or by opening the kiln and exposing the hot glass to cool air. If the glass cracked in the kiln and it has an “S” shaped crack, the piece has heated too quickly. Slow down! Finally, if the crack occurs along the line where the two pieces of glass meet, then the two touching pieces are not compatible. Make sure the glass you are using have the same COE (coefficient of expansion). Q: How can I prevent my glass from shattering? A: Glass Shattering in pieces over 1” with more than 1 layer may sometimes shatter. To prevent this from occurring, reduce the power. This will allow the glass to heat slower and will be less likely to shatter. Next, make sure your glass is clean and dry before firing. Q: My fusing instructions say to clean my glass before firing, can I use a glass cleaning spray or detergent? A: We don’t recommend it. Detergents, dish soaps, multi-purpose cleaners, some window cleaners, ammonia and even denatured alcohol should NOT be used to clean glass. These can actually promote devitrification. We suggest diluted white vinegar or rinsing your glass with distilled water. Q: Every time I put my fuse glass project together, the pieces roll off before I can get it to the microwave. What can I do to prevent this from happening? A: To hold your fusing project together, mix one drop of glue. Apply a very thin amount on the back of the glass using a brush and allow the glue to dry thoroughly before firing.