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

How to Effectively Solder

Stained Glass

By James Veilleux

Note: Soldering Stained Glass can be a fun but sometimes frustrating process. There is a definite learning curve involved but, with time and practice, the end result will be worth the effort. In order to even begin the soldering process, you need to have the right tools to successfully create a stained glass piece.

Below are the 7 essential items necessary to Effectively Solder Stained Glass

1. Soldering Iron

The soldering Iron is the most important tool that you will need to solder stained glass. The soldering iron is used to melt the solder that will fuse the foiled stained glass pieces together. It is important to use a high-quality soldering iron, preferably with a means of controlling the temperature, to make the soldering process successful and increase the soldering iron's longevity. The soldering iron should be hot enough to allow the solder to flow over the seam of the foiled glass pieces. Too much heat will allow the solder to pass through the seam and possibly crack the glass. Soldering Irons & Accessories (stainedglassexpress.com)

2. Solder

Solder is a metal alloy that is used to join metal parts together. Solder comes in different variations, but for stained glass, the best choice is a solid-core wire solder. However, you will need to choose the solder that works best for your project or piece. Solder is usually made of Tin and one or two other metals such as Lead, Copper, or Silver. Solder comes in both Lead and Lead-Free variations. Stained glass uses solid solder with an external flux. 60/40 Solder is typically used for stained glass projects. The first number is the percentage of Tin (SN) while the second number represents the percentage of Lead (PB). 50/50 Solder is sometimes used for certain applications and requires more heat to work due to the increased lead content. Solder (stainedglassexpress.com)

3. Flux

Flux is the chemical solution that is used to clean and join the metals. It helps the solder flow with the Copper Foil or Came. It is placed on the joint before the soldering begins to create a strong bond and hold. Flux comes in either a liquid, gel, or paste form. You will need to find a flux that works with your solder. Flux comes in different forms including Organic Acid, Water-Soluble, Inorganic and other forms. Never use directly from the original container in order to preserve the strength of the flux. Soldering Flux (stainedglassexpress.com)

4. Sponge or Brass Wool

A Damp Sponge or Brass Wool specifically made for soldering is important to have on-hand to help while you solder to help preserve your soldering iron tips. When you solder a stained glass piece, you need to apply solder throughout the process or project. However, before adding any solder to your soldering iron, you need to clean the tip by lightly dragging it across a slightly damp sponge or inserting it into dry brass wool to remove the oxides and re-tin the tip. This needs to be repeated throughout the soldering process when you notice that the tip has oxidized (blackened).

5. Flux Applicator or Brush

A Flux Brush or Applicator (Q-Tip)is used to apply the Flux onto the metal areas to be joined. The Flux Brush can last a long time if rinsed at the end of each soldering session. If not rinsed, the flux will stay active and corrode the bristles and metal handle of the brush. Flux Brush 12 Pack (stainedglassexpress.com)

6. Heat Resistant Surface

You will need a Flat, Burn-Resistant surface to work on your soldering project. This surface should allow pins to be used for the purpose of securing your stained glass project from movement. A ceiling tile is a good choice for this surface. Always use the unpainted side to work on.

7. Gloves and Mask

If you are using Leaded Solder, it is important to wear chemical resistant gloves at a minimum. A Mask and Safety Glasses are recommended for protection from all flux fumes and solder splatter. We also highly recommend keeping Heavy Metal removing soap on hand at all times.

Credit for Info:

Amerway

Canfield

Novacan

Stellar Technical Products

Researched, Interpreted and Arranged By: James A Veilleux 03/08/2023

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!

All credit for this blog entry goes to Bethlehem Burners. This is from their website. Helpful Tips from Bethlehem Tip # 1: Do not use force when cleaning your torch. Using extra force when cleaning your hypo tubes may cause internal damage to the torch. Such as scraping or breaking the hypo tubes which can lead to internal premixing. Only use gentle strokes and only use smooth wires. Cleaning wires with barbs or deep ridges on them will scrape and scratch the inside of the torch hypo tubes, weakening them over time. If you cannot clear an obstruction with the cleaning wires provided, please call us for assistance. (610) 838-7034 Tip # 2: Heat Tint Bethlehem Burners uses 303 stainless steel for the burner faceplates and torch barrels. Stainless steel develops a tint or coloring when the metal is exposed to heat and air. Heat tint found at the face and around the front of the torch barrel is to be expected and will darken with continued use. This discoloring is normal and purely cosmetic. Tip # 3: Removing Heat Tint Removing heat tint is not required maintenance for proper torch use. If the flame worker would like to remove the heat tint, simply rub a plastic dish-scrubbing pad (Scotch Brite) in a circular motion, until the heat tint has been removed. DO NOT USE STEEL WOOL. Steel wool will scratch the metal of the torch. Tip # 4: DO NOT SHOCK YOUR TORCH. Placing a hot torch face in cold water to “shock” trapped glass free from the torch will weaken the torches connection sites. Metal expands and contrasts when heated and cooled, therefore any connection site on the torch formed by fusing metals together, will become weakened if the metals have been heated and then cooled rapidly (shocked). Tip # 5: Do not use wires to remove glass Do not use the provided wires to remove glass. If glass becomes lodged inside the torch ports, please contact Bethlehem Apparatus for expert advice on how to remove the glass. (610) 838-7034 Tip # 6: Ask us about your torch! If you find yourself questioning what to do about your torch, give us a call and we will be glad to help! (610) 838-7034 TORCH CLEANING INSTRUCTIONS The working life of a Bethlehem torch is greatly enhanced when properly cleaned. Removal of carbon deposits on the face of the burner will prevent hot spots and deliver a clean particle free flame. Our new Stainless steel torches (Alpha, Bravo, Champion) have more oxygen ports in proportion to gas ports. This prevents carbon build-up; therefore these models do not require cleanings as often as our previous models. Step 1. Shutoff torch and allow cooling down for 10 minutes. Step 2. Gently brush the torch face in a back and forth and up and down motion for about 6 minutes. Step 3. Clean gas & oxygen ports with the two wires provided. Using the small wire for the smaller oxygen ports and the larger wire for the larger gas ports, located on the front face of the torch. The pentagon shaped center fire has 6 thin walled stainless steel hypo tubes. The hypo tubes deliver gas and the surrounding ports deliver the oxygen. NEVER USE COPPER, GLASS STRINGERS, TOOTH PICKS, OR ANY OBJECT THAT CAN BREAK AND CLOG THE PORT. Step 4. Turn on the torch with a lot of gas and oxygen and hit the underside of the torch with the supplied wooden dowel (never use a hard object to jar out any dust and carbon that may have entered the gas and or the oxygen ports during steps 1 and 2. Step 5. Shutoff torch and allow cooling for 10 minutes. Step 6. Brush torch face again, same as step 2. Step 7. Turn on torch with a lot of gas and oxygen and hit the underside of the torch to jar out any dust and carbon that may have entered the gas or oxygen ports during the brushing and wire cleaning cycle. Step 8. Shutoff torch, torch is now all clean and ready for your next days work.

SO MANY PLIERS! When customers are new to stained glass, it can be overwhelming figuring out which tools to buy. As if choosing a soldering iron wasn't complicated enough, something that seems as simple as pliers ought to be easy, right? Maybe not! There are several tools that are used for breaking glass along a score. We suggest beginners start with a combo breaker/grozer. It is like two pliers in one. You can use the pliers to break the glass on the score line. Position the edge of the plier parallel to the score line with the curved jaw on the bottom. Holding the glass on the other side of the score with your hand, snap up/pull the piece apart. (Use a pair of grozing pliers on each side to break narrow pieces.) Once you've cut a piece, small bits that stuck to the score can be "chewed" off with the tips of the pliers. Just nibble those little bits right off to reduce the amount of grinding in your future. Then we suggest a runner. The jaws of a runner are slightly curved to create a fulcrum. There is a line on the tip of plier that you'll lay over the score line. Some runners have an adjustable screw to control pressure; the screw should be on the top side of the pliers (screw points up so you don't screw up!) Squeeze gently to start; you'll feel the score "running" away from you along the cut. The rubber tips eventually get torn up by the sharp glass and it really does make a difference in the pliers' performance. Get reasonably priced replacements here. There are other variations of running pliers that run the gamut of cost and function. The Silberschnitt pictured on the right is a high-end plier designed to be very exact and can break up to 5mm of glass. They can help with inner curves and small glass strips. Some people really like a plain breaker. These pliers have a smooth jaw for snapping the glass apart. They often have a wider jaw than a grozer. What are your go-to tools for breaking glass along a score? Which tool did you wish you had as a beginner?

One of the most confusing issues in the industry is mold prep. Part of this confusion has come from the elimination of some products and the decision on what to substitute. One of the recent questions I've had (and hear often) is What the difference is between the Hotline primers? These are used on your kiln shelves and some molds. Here's a breakdown: The Original Used according to directions, shelf primer is the best insurance that your fused work will not stick to the kiln shelf. It's a high temperature, low-fluxing clay and alumina mixture formulation which contains suspension agents and a color-coded dye that burns off at 800 degrees F (427 degrees C). Primo Primer Hotline Primo Primer fires to 1550 degrees F (843 degrees C) and higher. Glass does not stick to the shelf. Primer does not stick to the glass. It removes from shelf after firing by brushing or by wiping with a damp sponge. No more tedious and messy scraping. Packed in easy access plastic containers. Hi-Fire A special formulation of alumina and low-fluxing clays developed to withstand the high kiln temperatures required for raking. Contains a dye which burns off when firing. It leaves an excellent smooth finish between the glass and kiln shelf. Hi-Fire Shelf Primer is also excellent for coating mandrels for beadmaking. HOW TO PREPARE DIFFERENT TYPES OF MOLDS Bullseye Molds Can generally be prepped with kiln wash/primer. Colour de Verre Molds You can tell if you have a Colour de Verre mold because they put their name into the mold on the underside. These can be primed with Hotline Primo Primer or ZYP. Colour de Verre has some great information about preparing molds with Primo Primer and with Zyp. Creative Paradise Molds Creative Paradise recommends that you use MR97/ZYP for their molds. You can tell if your mold is from Creative Paradise because it says CPI right on the underside of the mold. Do not use Slide or kiln wash. Stainless Steel Molds FIRST: If the mold is new, it might still have the oil on it from production. The oil must be removed. You can simply put the mold in the kiln at the temperature you will be using it and fire with no glass. That will burn off the oil and the mold will also change color. Another method to get the mold ready for priming is to rough up the metal surface to provide texture for the kiln wash to stick to. Sandblaster is best, but if you don’t have access to one you can use 80 or 100 grit sandpaper. To prime, first heat the mold. Put tin foil or a cookie tray on the lid of a kiln while it is firing and put the mold on it. When the mold is heated apply kiln wash with a brush. It may not totally cover on the first coat. Let dry and apply again on the bare spots. Do at least three coats once you have the first total coat. It will be good for several firings. When you must recoat, scrub the mold with warm soapy water and a scrubber. Apply a coat or two of primer, let the primer dry and you are ready to slump.

There is a lot to chat about when it comes to glue in glass fusing. Let’s start with these cute little owls with wonky eyes. They started out with the pupils glued to the white nugget eyes. Since the glue cooks off at about 450F, the eyes just slid off the nuggets and landed where they wanted during firing! Solution? Drill a bit of a hole and the little dots will stay put and you will have sweet little eyes like the one in the second picture (done by Liz Watts of Rocky Coast Treasures). There are many different glues that behave differently and have different uses. Let's take a look at a few! GlasTac Blue Gel This blue gel has a thick viscosity and minimizes slipping even when not dry. GlasTac Pink Use the pink glue on something already set in place. The pink glue is runny and if you squeeze a tiny drop next to the element it will wick under the glass. Aloe Vera This is good for when you don’t want it to “set up”. It keeps pieces stable, but you can keep moving them about. Best to use generics because the name brands have added ingredients that can cause trouble. Hair Spray When do you use hair spray on your hair? When you are done! Same with using it on glass. It is a top-down adhesive. You spray to keep something as you have it, especially little things like fine frit. Buy it cheap with a pump. HoneyDoo Glue A gel consistency with quick set times and a clean bond. It has a stiletto tip nozzle which allows precision. Great for glass fusing. Super New Glue Our favorite super glue here at Stained Glass Express, it is formulated to dry clear. It comes in a tiny bottle so you don't have to worry about it drying out before you get a chance to use it! SOME GLUING TIPS: Put glue close to the edge of the top piece so that it can dry quicker. Stuck to the wrong place? Hopefully you put the glue near the edge! Use a razor blade to carefully scrape at the glue. Superglue that is not specifically designed for fusing may not dry clear and can give off toxic fumes during firing. Here is some helpful info. How do I unstick my fingers? (This section reproduced from How Stuff Works) Let's say you're repairing some broken pottery and before you can say "Whoops," you've glued your index finger to your thumb! The recommended first aid treatment for this is:

1. Scrape off any excess glue. Don't use cloth or tissue -- a chemical reaction between the fabric and glue could potentially cause burns or smoke.
2. Soak the bonded fingers in a bath of warm, soapy water.
3. Don't try forcing the fingers apart, or you'll tear the skin.
4. After soaking, use dull, rounded utensil to carefully wedge the fingers apart.
5. If you see no immediate success with this, drop a little acetone (found in nail polish remover) on the area. Again, try wedging the digits apart.

At first, the thought of someone getting Super glue on his or her mouth seems outlandish. But let's face it a lot of us have a bad habit of using our teeth to wrench or twist off particularly stubborn caps. Say you do that with the top of the tube of glue and, presto, you've given an entirely new meaning to the phrase "zip it." In order to unzip those lips, your options on what to do are a little more limited:

• Since you're dealing with an area on the face, do not use acetone.
• Using a wide coffee cup or bowl, immerse your mouth in hot water.
• You will also want to dampen the bonded skin from the inside of your mouth as much as possible.
• Once you sense a loosening of the grip, use a dull, rounded utensil to wedge your mouth open. Be careful not to force it, or you will tear the skin.

Of course, glue is made for keeping things together; researchers have modified super glue to become less toxic, making it an ideal replacement for stitches (even veterinarians use it!) So if you've got yourself stuck and find the instructions above aren't working, we recommend you seek professional medical help! What's your favorite type of glue for fusing? Have you experienced any kiln disasters that eventually came down the type of glue that was used? Let us know in the comments below!

1. Glastar burned to the ground on October 18th. Glastar is a leading manufacturer of glass-shaping equipment, tools, accessories, and supplies. The warehouse next door exploded, and the fire quickly spread to the Glastar building. No one at Glastar was hurt, however two people were killed and two were injured in the warehouse where the fire started. We do not expect to see any Glastar products soon. Everything that was available, sold out quickly. They still have a Facebook page with no news and the website continues to state, "they will be back soon", but yet no news. The following is a link to the Bing video of the Canoga Park explosion. glastar fire - Bing video
2. The Paul Wissmach Glass Co was sold. On April 1, 2021 Jason Wilburn and Annabelle Javier became the new owners. Mark Feldmeier continued to be actively involved so that is probably why it all happened, and we did not even realize. Wissmach is the second oldest manufacturer having been operating since 1904. This is their new logo:
3. Kokomo seemed to have a rocky year. I was not able to get them directly, but I did get my info from a reliable source. What I heard is that their extremely interesting furnace is now not operating and has been replaced with day furnaces. This is a round furnace with a down draft which I so wish I had seen while it was still operating. Kokomo was founded in 1888, making it the oldest producer of glass in the United States. The transition caused lapses in production, and we have not been able to stock as much as we would like. One of their key personnel retired after returning from a bout with Covid. Apparently Covid took its toll at Kokomo, which also slowed down production because of employees being absent. We have been assured that all is back on track, and we will be seeing more glass!
4. Oceanside also reported some difficulties in 2021. Many people were not happy that the glass is "different". Vince Moiso shared how hard it has been sourcing chemicals. They follow the "recipe", and some glass has come out different, we had some orangey reds and other differences. He also reported that we will be seeing more bubbles in the glass. Even though they do make the glass like Spectrum did, they do not have the long ribbon or glass system that Spectrum had, and the shorter run will create bubbles.
5. On a positive note, Youghiogheny seems to be just smoothy flying along. After purchasing the Uroboros hand rolled sheet process from Oceanside in May of 2020 they continue to add more Uroboros glass to their already amazing lines of Youghiogheny.
6. In general, we have seen unprecedented price increases. These come from increased shipping costs, raw material sourcing issues and increased labor costs. Less product at higher prices.
7. We did see a new line of art glass come on the scene. Artisan Glass is an imported glass that is quite beautiful and reasonably priced. Artisan Glass (stainedglassexpress.com)
8. Tools and supplies have been difficult. In addition to not having any Glastar products, we cannot get Morton products. Some that have been difficult are: spray a, score one plus, didymium glasses (clip-ons), value tools, bevel clusters, fid'l stick, some silver products (earring findings), glass pro silver protector and cleaner, Breda nippers, Hifire, Thinfire, and resin. Some products were difficult for awhile because people could not get packaging for them, like glue. Right now we are waiting on Inland Grinders.

The biggest question we get about grinder bits is "how long will it last?" Tough one! Depends on how much you use it. A bit can be adjusted up and down, and carefully you can use lots of the surface. Once you get a bare spot, move the bit up or down. Normally your wear will be even all the way around the bit. Occasionally, you will get a bare spot. You can still use the space above and the bare spot. The next biggest question we get is, "how do I get my bit off the shaft?" It's stuck! What you do not want to do is bend your shaft so do this very carefully. We send someone to our classroom every week to take the bits off, rinse them, and put them back on. That keeps the gunk from building up between the bit and the shaft and behaving like it is cement. The only way to get it off is patience! That is a bit tough when you just want to use your grinder. Take some 3 in 1 penetrant, (or any of these chemicals designed to loosen metal), let it set and see if it comes loose. If not, do it again and again and again until it does. In this "there is a gadget for everything" world, there are now different grits. These grits include: XFine, Fine, Medium, and Coarse. The fines are great for when what you are grinding is chipping. Glass with a surface, like mirror or irid for example. In the old days, we saved our old worn regular bit for this. Coarse or speed bits are for when you have quite a lot of glass to grind off. When you get too close to where you want to be you will probably switch back to regular as the coarse is a coarse grind. There are also sizes to get you into smaller spaces: For these bits each manufactures look a bit different, but most are interchangeable. There are also some specialties bits---like a lamp bit. The ripple bit is so you can grind rippled glass and it is smoothed out for foiling. The radius is a combination of flat and a place to round the edges to get rid of a sharp edge. It is used mostly for mosaics. The lamp head allows a nice, angled grind so angled pieces will fit well together. The Quick Fit System has become popular with the new Techniglass Grinders and can be used on other grinders. When the grit wears off you can just buy a replacement sleeve and not the entire fixture.

Info taken from Spectrum Glass System 96 Getting Started with Kiln-fired Glass

1. WHAT IS FUSING

Stacking two or more layers of compatible glass to make a design and then melting it by placing it in a kiln. You can flat fire or slump. Bring the kiln to 1300 - 1500 decrees F to flat fuse. Create a tile, trivet, suncatcher, coaster or art. You can leave your piece flat or slump it into a mold or drape it over a mold to get a 3-D piece such as a bowl, tray, platter or vase. 2. COMPATIBILITY This is very important. Only glass that is compatible can be fused together. Glass expands when it is heated and contracts when it cools. Glass from different manufacturers have their own rate. This is called Coefficient of Expansion (C.O.E.). Most common are 96 and 90. Youghiogheny, Wissmach and Oceanside all produce 96. Bullseye is commonly thought of as 90 but they call themselves Bullseye compatible. 3. TOOLS AND SUPPLIES If you are already doing glass work you may have many of glass cutting tools like a cutter and pliers (breaking, running, grozing). You will also need glue (lots of types available), kiln paper, molds, primer, shelves. brushes. https://www.stainedglassexpress.com/fusing_supplies/ PLANNING YOUR DESIGN You can use a pattern. There are lots and lots available. You can design your own. There are lots of on-line ideas on Pinterest, Instagram and Facebook. Another technique is called Frame Focus, Fill. Create your frame or your base, create a focal point (a central element that draws the eye. The Fibonacci sequence (which our logo is) is a great one to follow. 4. MAKING THE PROJECT There are lots of fun things to add to yur projects called accessory glass. Rods, pebbles, frit, stringers, noodles, ribbons, precuts, dots and millefiori. ASSEMBLE YOUR PROJECT Gluing does help to hold things together until they are in the kiln. Use it sparingly. to keep from using too much apply with toothpick. "Over the counter glues" like Elmers can char if you use too much and "Super Glue" (Not Super New Glue) does not always burn off clear. Klyr-Fire gives you time to work and burns off. GlasTac blue has viscosity and keeps things from slipping when not dry. GlasTac blue can be applied after something is in place. Squeeze a drop next to the element and it will wick under. Super New Glue is great and easy to use. Lots of good options. https://www.stainedglassexpress.com/fusing_supplies/ 5. FIRING Load the Kiln Keep projects 2" from elements The Center is the most evenly heated. Deep or difficult should go there. Most molds have to be elevated on kiln furniture 6. PROGRAM THE KILN With a glass kiln you ramp and hold. Kilns come with a controller where you can program in what you wish. It is a three part. You enter:

• The Ramp. The rate in degrees per hour, that kiln temp will rise or fall during the segment
• The Goal Temp. The temperature the kiln will seek during each segment.
• Hold Time. the number of minutes the kiln will stay at the Goal Temp, once it is reached.

It is wonderful if you can purchase a kiln, but if you cannot, you can rent kiln space at a glass store. BASIC PROGRAMS

• Tack Fuse: glass is joined with little change beyond the softening or rounding of glass edges.
• Contour: The glass edges are soft and rounded, yet the project surfaces retain a degree of dimension.
• Full: Works best on two layer projects containing an even amount of glass on each layer. These will melt together completely and smooth surface.
• Slump: This is a second trip to the kiln and it is taking what you have created and put it in a mold to "slump" into the shape of the mold.

There is MUCH, MUCH, more we could go into but this is just the basics.

Temperature controllers are generally separate units that the iron plugs into. They are small, easy to use and relatively inexpensive.

It operates similar to a light 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, allowing the tip temperature to be controlled.

https://www.stainedglassexpress.com/Glass-Tools/Soldering-Irons-and-Accessories/soldering-iron-temperature-controller.html

Ceramic Heating Element Irons

A temperature control/iron combination offers you greater control and flexibility than a temperature controlled tip iron when working with different metals and solder mixes. Look for one that is at least 80 watts. Since the flow of electricity to the tip is consistent and never completely stops, encounters with cold spots are nearly eliminated.

Hakko Soldering Iron FX 601 (stainedglassexpress.com)

These irons are relatively new to the stained glass trade. They are made with highly efficient ceramic heating elements. Like a ceramic room heater, they produce a consistent temperature using less electrical wattage during operation. When initially heating and when reheating during "recovery" periods, they can draw a "burst" of power exceeding100 watts and then efficiently reduce electrical consumption, often below 60 watts, during the soldering process. The result is efficiency and economy.

A remarkable feature of ceramic heater irons is they generally reach operating temperature in less than 60 seconds. Of the three types of irons, the ceramic heater type best maintains consistent tip temperature.

Irons with Temperature Controlled Tips

These irons are supplied with an internal regulator in the tip that does not allow the iron to exceed a predetermined temperature. An example would be a 600°F tip. The iron heats to that temperature then "shuts off." When heat is required, the iron "turns on" again. Tips are available in predetermined temperatures up to 800°F. These irons are easy for beginners to use because the temperature is automatically maintained for you, however, as your skills increase, you may prefer to control the amount of heat yourself for different soldering situations. The limited amount of control may become frustrating as your soldering skills increase. With this type of iron you will likely encounter "cold spots" where the iron will not melt your solder. These cold spots occur when heat is being drawn out of the tip faster than it is being replenished. You will need an iron with a minimum of 100 watts.

The Weller 100 is one of these irons.

Stainless Steel Heater Technology

These are nice stable irons. Best to use them with a separate controller. The biggest advantage is if you drop this iron it does not have a ceramic element that is very easily going to break. These are little workhorses.

Weller SPG80 Soldering Iron (stainedglassexpress.com)

100 Watt Pro Soldering Iron (stainedglassexpress.com)

Everyone is always asking what to do with scrap glass.

January

Make a pot melt.

This is from GrandRidge Glass

February

Make a heart. Put a magnet on the back or fuse in a ring to hang.

March

Make it tiny and use up scraps.

From Stubridge Yankee Workshop

April

Eggs, foiled or fused. Ideas are endless.

From Justin Urbantas on

Stained Glass Arts and Addicts

colibriglass.com

May

This by Lee Ann on Stained Glass Addicts. A table top. Mosaics always a good way to use scrap.

How cute is this from Anything Stained Glass

June

Start doing some fun garden stuff.

Sorry, I don't remember where I got this picture to give credit.

July

Go out to the yard sales and find an old frame to mosaic, fuse to foil.

From Glasscrafter.com

August

Imagine little strips like this hanging outside.

September

October

November

From Crafty Chica

December