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Uroboros 60541 cobalt blue with sky blue, cobalt blue rondels and cobalt blue Dalle glass smashed up! Artist is Jane Burke. Note glass countertop. Spandrel glass! Beautiful.

The artist is Jane Burke, also beautiful!

As you become more skilled at soldering you may find that the number you have been setting you temperature control on no longer works the same.

Things that affect the temperature are:

1. Voltage of your iron.  That is all I can say about that.  Voltage is electricity and electricity is magic.  No one can explain magic!

2. Speed at which you solder.  More below.

3. Size of area or seam you are soldering.  Common sense.  (the least common of the senses!)

4. Cleanliness and overall condition of the tip. More common sense. 

So, I am referring to #2. As you get faster, your iron will operate differently.

Your temperature controller is similar to a dimmer switch. By dialing the control to a higher or lower setting, more or less electricity is fed to the iron. This increases or decreases the iron temperature.

The numbers on the dial are a reference scale to indicate higher or lower temperature settings.

To begin, adjust the dial to the 1/2-way setting. Wait approximately 15 minutes. If the solder flows quickly into a smooth puddle, your iron is probably operating at the correct temperature. Adjust accordingly. As you become faster, you may have to set the temperature control to a higher number as you are releasing the heat faster.

We often get asked why the solder at the hardware store cannot be used in stained glass. The solder that stained glass stores sell is different than common solder you might find in your garage or at the hardware store. Normally that solder is rosin core or acid core solder. If you use these, you will end up with a scum mess.

You want solder that is 1/8" in diameter. Most are a mixture of tin and lead. The mix is designated by two numbers. The first number always refers to the % of tin, the second is the % of lead. The most used solders in stained glass are 60/40 (60% tin/40% lead) 50/50 and 63/37. "Lead-free" solders have no number designation and are a mix of tin and small amounts of other metals. Also look for "pure" solders--free of impurities. You will spend less but you will get scum as you solder and ruin your iron tip. It also interferes with patina.

60/40 melts at 374 degrees and becomes solid when it cools to 361 degrees. That means you have a working range of 13 degrees. This is your best choice for copper foil work. The liquid temperature and narrow working range make it easy to form and maintain consistent high, rounded, beaded seams.

50/50 melts at 421 degrees and is solid at 361 so has a working range of 60 degrees. This solder will produce a much flatter bead than 60/40. Because of its higher melting point, 50/50 is often used on the back (or inside) of a stained-glass project to protect against "melt through" when soldering the front. Because it spreads and flattens out, 50/50 is often used when soldering lead joints.

63/37. Melts at 361 degrees and becomes solid at 361. No working range! This solder is also known as decorative or quick set solder. It is great to bead up the outside rim of copper foiled pieces. It is used to create dimensional effects in the solder itself and can be manipulated to produce a variety of textures and designs.

Both pictures below are from Pinterest. 

Lead-Free melts and cools depending on the mix of metals. It performs similar to 50/50. This should be used for pieces that will contact food, that will be handled frequently or will be where a child could touch it.

In addition to there being different types of glass which we talked about in Know Your Glass (part 1) there are also different glass manufacturers.

The manufacturers that we stock glass from at Stained Glass Express are: 

Artisan--This glass is an import of high-quality that is perfect for art glass projects.  The line has a wide range of colors, textures and patterns that help with a wide variety of applications.  

Bullseye—Is based on Portland, Oregon. I toured they plant, and it is very impressive. They manufacture “colored glass for art and architecture with worldwide distribution and a strong commitment to research, education and promoting glass art”. They really are leaders in contemporary kiln-glass. Their colors are rich and beautiful. 

Kokomo—Kokomo is oldest glass manufacturer. They have been in Kokomo, Indiana for 125 years. They are known worldwide for they hand mixed sheet glass art and colored glass. Even though Tiffany manufactured his own glass he also bought a lot of glass and jewels from Kokomo. Much of Kokomo’s glass was influenced by Mr. Tiffany. One of our favorites.

 GNA—GNA stands for German New Antique. Unfortunately, the color glass is being eliminated and only the clear will remain. We still have some that is our clearance bin and some mirrored that is in the mirror section. However, when it is gone, it is gone. We will continue to carry the clear. It is very beautiful. Fine lines run through it and nothing cuts better!

Oceanside—We stock more Oceanside than anything else. Most of their glass is fusible COE 96.  It cuts great and they just keep coming out with more and more fun and beautiful products. They give great retailer support. 

 Van Gogh—This glass is fun and different. It is usually glue chip glass, painted with auto paint in Asheville NC. At times they have some other clear textures as a base. It is unique and beautiful. It is great for Mosaics. Not so great in the light.

Wissmach—This is another very old glass manufacturer. They have been manufacturing art glass since 1904. I have toured this plant also. They let us hand pick some glass which they then drop shipped through our distributor. It was a very fun experience. We have a large stock of Wissmach and it is often the pick to match old repairs and church windows. They have also developed a fusible 96 COE glass. 

Youghiogheny—It is just beautiful glass. Each piece is a work of art. It was founded in 1976 and is now “world-renowned for uncompromising quality”. It is another one that we look forward to on glass unloading day. It is always a treat! They have a wide range of art glass and fusible 96 COE glass.  They also sell their ends which have become very popular.  After Uroboros closed, they took on the line and each year produce more of it.  They do a great job with it and it wonderful to have the availability.  

Did you ever have a project that seemed to grow after it was foiled or leaded? A special type of scissor called pattern shears solves this problem. They have three blades. The center blade removes a strip of pattern material as you cut out the pattern. This compensates for the thickness of the lead or foil which will be placed between the glass pieces.

They are available for both Lead and foil.  

Search: 4 results found for "pattern shears" – Stained Glass Express

I just love this piece from the Glass Craft and Bead Expo. The women represent Earth, Wind, Fire and Water. I love the symbolism, I love that Bonnie used women (powerful forces of nature), I love the framing, and how “earth” is escaping the frame. It is truly a great piece. In my opinion a FIRST PLACE!

We often see people just standing in front of our foil display looking overwhelmed! Here is a picture of our display just so you can see how overwhelming it is! 

The first variable is width. Sizes: 5/32, 7/32, 5/16, 3/16, ¼. 1/2.  If you want a very thin solder line, you use thinner foil. If you need strength or you like a heavier line, use wider foil.

Next is thickness. It is measured in millimeters. It is how thick the foil is. It might be as thin as 1 mil go to 1.25 or 1.5.

Next is the backing. There is copper, black and silver. This is important depending on the transparency of the glass and if you are using patina. Let’s say you are making a piece in all clear glass, and you plan to not patina it. You should use silver backed foil so the solder line is silver looking on the exterior and because you can see into the glass, it will look silver on the inside. If you use copper, it just jumps out and ruins the piece. If you were using clear and going to patina it black, use black backed. If you are going to patina, it copper, you can use the regular copper foil that is copper on the outside and the sticky side. There is also a foil that is called silvered. It is silver on the outside and the inside. Often used when doing suncatchers and eliminates the need to solder the outer edge.

this image shows the front and the back as well as foil soldered and patinaed.  Thank you Red Veilleux for making this for us.  

There are also sheets of copper so that you can cut for overlays or have it wide. It also has a sticky side.

Use this link to see our full line of foils. 

Copper Foil – Stained Glass Express

To make the heart shown, use four 1x1" bevels and 2-2" half circles. You can also make it large by using 4- 1 1/2x 1 1/2 bevels and 2-3" half circles. The large heart in the center is made with 1-1x1" bevel, 4-1x2 bevels, and 2-3" half circles. The heart on the bottom right is made with 1-2x2" bevel and 2-2" half circles. You can also make this one large by using 1-4x4" bevel and 1-4" half circle. Word to the wise. If you use copper foil, be prepared to patina your solder copper. If you don't, the copper from the inside of the tape will show through. If you don't want to use copper patina, use black back foil and patina it black or use silver back foil and leave it silver. A variation of these hearts is to replace the half circles with red or pink glass.

To see more Easy- To -Make hearts put ikh in the search bar of the website. 

TIFFANY LAMP 1901. Wisteria

This incredible lamp is on display at the Morse Museum in Winter Park, Florida. This is one of the lamps designed by Clara Driscoll. This lamp was exhibited at the 1902 decorative arts exposition in Turin, Italy. Both this lamp and the Pond Lily lamp won a grand prize for transforming previously utilitarian devices into electrified sculptures from nature. Most of Tiffany designs were oil lamps that required the base to serve as the oil source. Electricity gave more opportunity for design

. Clara Driscoll led the Women’s Glass Cutting Department that was established in 1892. It was very progressive for establishment to employ women.  This book, which has become a national bestseller, is a delightful story about the women workers at the Tiffany studio. It is well worth the read.

Luminescent glass is different than iridescent glass. It is low-fire—not high-fire like iridescent—and is intended for reverse fusing.

What is reverse fusing? Reverse fusing means placing your piece face down on the kiln shelf and building backwards, fire-coated side down. If you are firing on a textured mold, place a piece of Thin Fire between your boron-treated mold and the glass. If you fire your piece with the coated side up or cover it with another piece of glass or you will lose the coating. If you are slumping and do not go over 1,200 degrees, you can place the luminescent side up and not lose the coating. the most up to date info on Food Safe with Wissmach Glass is here:   Food Safety and Wissmach Glass - Paul Wissmach Glass Company LEFT: Luminescent glass fired with Thin Fire in between, with the coating facedown. RIGHT: Luminescent glass fired facedown, directly on the mold.

Firing Schedules: Courtesy of Petra Kaiser and Wissmach Glass

Standard Fusing Schedule – 2 Layers Thick

Segment 1: 600°F/hr. up to 1,000°F, hold for 10 minutes

Segment 2: Full/9,999 up to 1,410°F, hold for 10 minutes

Segment 3: Full/9,999 down to 950°F, hold for 60 minutes

Segment 4: 100°F down to 700°F, hold for 1 minute

Tack Fuse, Polishing and/or Slumping into a Mold

Segment 1: 300°F/hr. up to 1,000°F, hold for 10 minutes

Segment 2: Full/9,999 up to 1,300°F or 1,350°F (depending on your desired results), hold for 10 minutes

Segment 3: Full/9,999 down to 950°F, hold for 60 minutes

Segment 4: 100°F down to 700°F, hold for 1 minute

Draping over a Mold and/or Polishing

Segment 1: 300°F/hr. up to 1,000°F, hold for 10 minutes Segment 2: Full/9,999 up to 1,200°F or 1,220°F (depending on your desired results), hold for 10 minutes Segment 3: Full/9,999 down to 950°F, hold for 60 minutes Segment 4: 100°F down to 700°F, hold for 1 minute

NOTE: Not all kilns are alike. Your kiln size, controller type and individual project may require some alteration to the schedule for best results.

Iridescent glass is made by Oceanside, Bullseye and Youghiogheny.  Also Wissmach non fusible. When firing it can be placed up or down. This info from Oceanside.

Iridescent glasses have a micro-thin layer of metallic crystal creating a reflective surface that shimmers in rainbow, silver, or gold tones. Because of its metallic nature, the coating has specific characteristics that are important to understand as you plan fused glass projects. 

The metallic coating doesn’t melt so it resists bonding:

If you were to try to fuse two iridized surfaces facing together, they will not bond well, if at all.

When stacking a design on top of an Iridized surface, you may get more of a tack-fused look than you intend. Use this to your advantage to create very dimensional work or adjust your schedule.

To fully clear cap an Iridescent glass, make sure your piece of clear is slightly larger (between 1/8" and 1/4" on all sides) so that it has enough area to bond with the edges of the glass below.

The metallic coating doesn’t stretch:

This is why a crackling effect can be seen when Iridescent glasses are allowed to spread — especially when the irid surface is on top, face-up. Enjoy the look—alternately, dam pieces or construct them using a circular design (where the glass tends to draw inward when full-fused) to minimize the effect. Clear capping produces more of a pinching or crinkling look as the clear presses into the coated surface below.

Picture from Angelas Art Glass on Etsy.

The same coating is more dramatic on darker glasses:

The rainbow iridescence on Clear or White is much more subtle and delicate than on darker colors or Black, which is the most dramatic. 

Firing for Different Effects:

Irid side down: in this example, the iridescent surface of the glass is placed face down on the kiln shelf paper, with a piece of clear on top. This look can make a lovely matte finish for either the top or bottom of a piece.

Irid side up: in this example, the iridescent surface of the glass is placed face up on top of a piece of clear. This gives the most opportunity for glass to spread and crackle.

Irid side up and capped with clear: in this example, the iridescent surface of the glass is placed face-up and capped with a slightly larger piece of clear glass on top. 

 Using Clear Textured Iridescent Glasses:

Place the texture side down onto a darker base glass. Although the texture will flatten using a full fuse, the irid design from the texture will still be visible with interesting distortions from the texture.  Do small test fires to know.  

In smaller pieces of Iridescent Clear or other light colors, it can be difficult to tell which side has the coating.  Simply scratch both sides with your fingernail--the irid surface will grip more than the smooth side.  

DICHROIC GLASS

MOST INFO FROM HOWARD SANDBERG OF COATINGS BY SANDBERG

Dichroic glass is one of the most beautiful things SGE carries and it has been one of the most challenging. It was kind of nice to see on CBS page “the history of dichroic glass” that Howard says, “When you look at the history of an artist using Dichroic coated glass, it appears that the artist has been under the major handicap of not having any information on what he or she was working with. These artists were exposed to a piece of glass that had interesting color effects but came from a very complex and scientific industry not easily understood. These ‘high-tech’ coatings were capable of reflecting a narrow band of light (or one color) and at the same time, transmitting the remaining part of light.” So at least it was not just us facing challenges. I could go on about how the development of this metal film was done by our military and aerospace industries. The text would make your head hurt! It was 30 years (mid 70s) ago when CBS started production for art applications. When SGE first brought in some dichroic glass it was a big deal. We made a special display rack for it. We were displaying 1 piece that was about 2x4 inches of each one. We outgrew that fast! Then we would get questions about what it was going to do. We had some idea but not much. To complicate things, we didn’t even always know what we were getting. A customer would buy a piece that was rainbow or mixed and one part of the glass would behave one way and another part another way. Then our suppliers started to drill down and offer a standard stock and good descriptions. We changed our sku system and our descriptions to help our customers know what they were buying and to help us have them organized in a way that the customer could find what they wanted, and we would have a way to see gaps in our inventory and keep our stock consistent. About five years into stocking this glass we bought a shrink wrap machine. We bring in the glass, cut it, shrink wrap it and label it. No more ruined pieces from scratches and no more fighting to get the glue from the label off the glass. The only manufacturer we currently have is CBS.  Coatings by Sandburg.  Occasionally we see some Duncan (which has little designs like dragonflies on it) but not often. We stock both 90 and 96.  We also stock some 104 and 33 Coe for flame workers and glass blowers.  We also have dichroic frit flakes.  

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