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

(example is from C Rhodes Glass Art on Esty) Don' you love how your piece looks when it is foiled before it is soldered? That shiny copper foil just sparkles. Why, oh why then, is it so hard to get copper patina to look as good as the copper foil. The simple answer is tarnish! A beautiful patina finish is always about how the metal is prepared and cleaned before you apply the patina. So here are a couple of tricks we use at Stained Glass Express to get that professional look for copper patina. 1. After soldering, clean your piece with patina and flux remover. Then rinse well with tap water. Dry all the solder lines with a paper towel so there is no tap water left on the piece. 2. When the piece is dry, mix a solution of 3 parts distilled water and 1 part ammonia. Scrub the solder lines and joints with fine steel wool (0000) dipped in the ammonia solution. Scrub until all of the solder is a consistent satin finish silver. 3. Dry the piece with a paper towel. It is important at this point not to use tap water because the additives or minerals in the water may react with the patina. 4. Dip a paper towel into the patina and rub it all over the piece to cover the solder lines. The patina should come out very shiny. If there are spots that are not shiny, that means there is still tarnish on the solder in those places. Repeat the process over those spots to correct the problem. 5. Dry the solder lines and the glass with another dry paper towel. Immediately apply polishing compound and follow the manufacturer's directions for the product.

It is caused by flux boiling through the solder you’re laying down. That’s why you notice it more on the second side of a project – by then you have sealed off the other side, it can’t splatter out the back. As you may have guessed, the best thing you can do to limit this is use less flux.

The other possibility is that your soldering iron is hotter than necessary and causing more boiling. If you are sure you’re not using too much flux, try putting a temperature control on your iron.

Submitted by Wanda Shorty from an old issue of Stained Glass News

Do you have trouble cutting a straight line? If you do, try a tracking head.  If you already own a nice Toyo glass cutter and you want to change your head to a tracking head, that is also possible.  An important thing to know is that it is NOT good for cutting curves, so you might want one cutter with a tracking head and one without.  

Mary Harris is an artist from Wisconsin. She has a studio called Harris Art Glass. Mary came to my attention once before when she was winner in the Gallery of Excellence Art Competition at the Glass and Bead Show. This year she was a double winner in the same competition at the 2023 Glass and Bead Show. Below are her two winning entries.

Tree of Life

1^st place popular vote

Professional Stained Glass

Under the Cherry Tree

1^st place popular vote

Professional Mosaic

Below is a link to Mary’s website where you can see more of her amazing work. Portfolio | Harris Art Glass Glass Craft & Bead Expo | Las Vegas | Welcome! (glasscraftexpo.com) This is the link where you can go and see the other amazing entries in the Gallery of Excellence. Once you click on it go to the top and click on Gallery of Excellence. Red letters in the white bar.

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!

Glass is made from sand, limestone and sodium carbonate. To get stained (colored) glass, other minerals are added.

Glass Pigments

Compounds	Colors
iron oxides	greens, browns
manganese oxides	deep amber, amethyst, decolorizer
cobalt oxide	deep blue
gold chloride	ruby red
selenium compounds	reds
carbon oxides	amber/brown
a mix of manganese, cobalt, iron	black
antimony oxides	white
uranium oxides	yellow-green (glows!)
sulfur compounds	amber/brown
copper compounds	light blue, red
tin compounds	white
lead with antimony	yellow

Because these minerals are in the glass, they can react with one another when they come in contact. Some products have been developed for just that purpose. Oceanside has frit and glass called Red Reactive transparent and Red Reactive opal. It will react with any glass that has copper in it. It will give a deep reddish color where the reactive frit and copper-bearing glass intersect. Oceanside Compatible Red Reactive Opal Coarse Frit 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Opal Frit Fine 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Opal Frit Medium 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Opal Powder Frit 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Coarse 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Fine 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Medium 96 COE (stainedglassexpress.com) Oceanside Compatible Red Reactive Transparent Frit Powder 96 COE (stainedglassexpress.com) Oceanside Red Reactive Opal Stringer 96 COE (stainedglassexpress.com) Oceanside Red Reactive Transparent Noodles 96 COE (stainedglassexpress.com) Oceanside Red Reactive Transparent Stringer 96 COE (stainedglassexpress.com) Sulfur-bearing products will also react with copper bearing products. The link below will bring you to Oceanside’s Reactive charts. Reactive Guide – Oceanside Art Glass (oceansidecompatible.com) Vanilla Cream is a high sulfur content glass that is also reactive, it even changes from within. After full fusing the inside of the glass stays its pre-fused off-white color while the outside brightens to a vivid warm white. Oceanside Vanilla Cream Opal Glass (stainedglassexpress.com) Bullseye also has reactive products. Bullseye Reactive Cloud Opal Frit- Medium 90 COE (stainedglassexpress.com) Bullseye Reactive Cloud Opal Frit- Powder 90 COE (stainedglassexpress.com) This is a link to the Reactive Potential of Bullseye Glass. It is truly amazing and very fun to play with these combinations. Reactive Glass Chart.pdf (amazonaws.com)

SPECIALITY FRITS

Frit is crushed glass, ranging in particle size from a fine powder to fine, medium, coarse and mosaic. It is made from crushed, screened and cleaned COE tested sheet glass. It is used by artists as a coloring agent or used to created decorative effects when blowing glass or fusing. Often used to achieve the effect of painting on glass.

Metallic Irid Frit

Metallic Frit is to give a silver/gold metallic shimmer in fused work. Doesn’t look like much in the bottle but once fused it will stand out. It IS different from rainbow irid frit. It looks best over dark colors or black to achieve the dramatic multi-layer metallic shimmer. It is available in Medium, Coarse and Mosaic sizes.

Clear Rainbow Irid Frit

Rainbow Iridized adds a mother of pearl shimmer to your fused work. It is made from Iridized glass which has a surface treatment where a layer of metallic oxide is bonded to the hot glass surface just after the sheet forming, resulting in a colorful, shimmering effect.

Red Reactive Frit

Comes in both opal and transparent. This frit works with chemistry and heat to create stunning effects. Red Reactive has elements that will react to the metal content in other colors and create unique color shifts and rings. A normal reaction would be a very thin line in a reddish hue around the added glass embellishments. Reactive Guide – Oceanside Art Glass (oceansidecompatible.com)

DICHROIC FRIT

(this info from Coatings by Sanburg)

Dichroic coating is made by melting Quartz Crystal and Metal Oxides. These Materials are vaporized with an electron beam gun, and the vapor then attaches and condenses onto the surface of the glass, forming a crystal structure comprised of as many as 30 layers. Dichroic frit is not sheets of glass with a dichroic coated smashed up. It is already frit and then it is coated with a dichroic coating. That means that more of the surface is coated. Approximately 80%. It also comes in colors but the black and the clear are the most popular.

This is the 2022 1^st place winter in the CBS Dichroic by Design Contest

The artist is Jackie MacDonald of New Zealand

This piece is called “Memories of Christchurch.

2022 Winners | Dichroic Glass Manufacturer | Coatings by Sandberg (cbs-dichroic.com)

Below is a link to an amazing display of her work along with Stephen Coote:

(64) JackieMac Art, Nelson New Zealand - YouTube

One of the very exciting things we get to do in this industry is to restore windows. These are generally from churches, and they are usually over 100 years old. It is just fascinating to see the beauty of these windows and the skill (they did not have the tools and equipment we have) it took to make these windows. One of these jobs was in 2008 when we had the privilege of restoring two windows from the First Congregational Church of Blue Hill. We were told the windows were originally made by Alfred E. Bell, a renowned stained glass artist of the 1800s. These windows were 6’ by 12’ and were exceptionally heavy because they were all plated. Each piece was at least two layers thick, and some were three layers thick. That created some interesting challenges in the restoration. Another exciting job we did was a window called the Traveling Angel. It was from the Fairfield United Methodist in Fairfield Center, Maine. This window was made by the Belcher Glass company based in New Jersey. It was a unique process. It involved placing tiny pieces of glass on a paper pattern. When I say tiny, I mean like fingernail size! The pieces of glass and the pattern were then covered on both sides with a gummed sheet of asbestos. A frame was placed around the outside edges of the glass-filled asbestos sheets to seal the glass. Molten lead was then poured between the asbestos sheets, filling the gaps between the small pieces of glass. When the metal cooled, it bound the glass pieces together. There were very few of these windows made because the process was toxic, and the workers died! There are approximately 30 of these windows in existence. This picture shows a glazier, Lisa Lucas, from Oakes & Parkhurst Glass helping us reinstall the window after we flattened the curve in it, fixed the painted the face and did some other repairs including rebar to strengthen it. For the first time we offered a class in restoration! It seems there are more pieces of glass to be restored than the time and people to do it. We hope that some of the students will continue to work on their skills and eventually start taking on restoration jobs. The pieces they restored were likely originally installed in the old Methodist Church in Fairfield, Maine (though that building burned long ago and their provenance is not definite.) There were eight panels in various states of decay, and some of them were missing several pieces of glass. They were also each unique, despite being a "matched" set. Some had round faceted crystals in the design, and all had slight variations in glass color. It was an intensive process that took some students weeks to complete. Here you can see some of the detailed steps, the immense satisfaction of a completed project, and 3 very different final interpretations of the restored windows. Want to be notified when we publish a new blog post? Sign up Here