Hanging Sun Catchers

Unless you are using some manufactured system or a frame, the most frequent way to provide hanging points is to create a loop from copper wire.

Hangers should originate in a solder bead that goes some way into the piece. The loop's tail should lie a significant distance into the solder line to ensure it does not pull the piece apart. If this is to remain invisible, some planning will be required to allow the small extra space between the foiled glass.

The loops for hanging a piece of any size should not be soldered to the perimeter foil without reference to the solder bead lines, as the adhesive and foil are insufficient to hold the weight of the piece without tearing.

Here the hanging loops could have been moved just a little to engage with the solder joints at the left ear and at the tail to make stronger hanging points

Here the hanging points are at the solder joints giving strong hanging points

Reinforcement of free hanging or projecting elements can be done by placing wire around the piece with a significant excess going along the perimeter in both directions. The supporting wire can go into the solder line, if it is a continuation of an edge of the free hanging piece.

In this case a twisted copper wire around the perimeter gives strong hanging points

The strongest method is to wrap the wire around the whole perimeter of the piece. Choose easily bent copper wire. This will be pretty fine, but when soldered, will be strong enough support the whole piece.

The hanger can be made by leaving a loop of wire free. This way you can hang from any convenient place on the perimeter. This loop can be made by a single 180 degree twist in the wire, or by bending a loop into the perimeter wire. In all cases you will need to tin the wire to blend it with the rest of the piece.

This perimeter wire can be simply butted at the start/finish of the wire. It could be overlapped, but this is unnecessary on any piece where this method is adequate for support. The start can be at the top or bottom, although I prefer the top, so the wire is continuous from loop to loop. The reason for continuing beyond the loops is to provide support to all the edges of the sun catcher.

This single point hanger is at the strong point of the piece

The left hanger is strong, but the right is weaker than if it had been attached to the right of the body

This piece needs wire around the piece, especially to stabilise the tail and ears

Rods in Glass

Inserting large rods into glass

Normally large diameter rods are incorporated into a glass piece for display supports. However, rods over about 2mm will break the glass when incorporated in the fusing. This means that rods to support the glass that will be of sufficient diameter for the strength required cannot be fused into the glass.

You can use a rod of the same - or slightly smaller - size if you wrap it with thin fibre paper to cushion the differentials in expansion and contraction. When the glass has cooled, pull the rod out and clean out remaining fibre paper with water and a pick. 

Alternatively, you can use fibre paper to create a void of similar size to the wire or other metal support that will be inserted.

If you find that you do not like the hump that the rod or fibre paper create, you can use a third layer between the top and bottom.  Cut the glass to leave a channel of the length you want.  This means that the intermediate glass will need to be in at least two vertical parts, with half the channel width taken out of each side.  You can cut the glass in three parts horizontally.  The main piece is cut to a length minus the depth of the channel.  Then two strips are added to the bottom which leave the desired width. Finally, put the top layer on.  

Alternatively, the middle layer can be the design, with the bottom and top being clear or any other colour desired.

Once fired, clean out the channel and glue the rods into the glass. Silicone is a good all purpose adhesive that will allow a bit of movement.

Metal supports

It is often desirable to have supports that terminate inside the glass rather than clasping or otherwise holding the glass. However, metal that would survive the firing and be strong enough to support a substantial piece would be of such a size that it would break the glass due to the differing expansion and contraction of the two materials.

The wire or rod to support the fused or cast piece does not have to be incorporated at the point of kiln forming. There is the risk of the glass breaking due to the large differences in expansion and contraction of the metal and the glass, especially with the harder metals.

Instead you need to plan for these supports and keep the glass open at the support points during the kiln forming. It is relatively easy to wrap short pieces of appropriately sized stainless steel rod with fibre paper, or coat with kin wash and build the glass around these, keeping one of each of the ends free of the glass.

You can of course, use other metals, although most – except brass – are likely to spall quite a bit, so wrapping them with fibre paper is best.

When the kiln work is finished, the short rods are pulled out.

You need to clean the cavity formed for the rods. If the glass is transparent or translucent, I like to have the cavity as clear as possible, so I prefer wrapping the rod with fibre paper what ever metal is being used. This provides a clearer surface when clean. Kiln wash leaves a white deposit that is difficult or impossible to clean away completely. Of course if the glass is opalescent, it does not matter whether there is a white deposit.

The cavity does need to be clean to enable the glue to stick to the glass. The support rods need to be secured with a silicone or other flexible glue to avoid any expansion problems in the future.

Information on inclusions of metals:
copper
Wire
Silver foil

Light Box Flexibility

Light boxes can be constructed in a variety of ways. The simplest to construct is the free standing, horizontal, single purpose light box.

You need to consider the size of the box in terms of surface area. This will relate to the space you have available and the scale that you work at. Having determined the surface area required or possible, you need to think about the height. The top should be of a height so you can stand or sit with a straight back while drawing, cutting or painting. This will vary according to your height and whether you will be standing or sitting. Typically these heights will be the heights of the benches and desks you already use, but you need to check again that you are actually working with a straight back, as this will reduce the fatigue you might otherwise experience.

Note that if the box is going to be sat at, it will need to be narrower to be able to reach to the opposite side. If you will be standing at the box, it can be at least half again as wide as the sitting version. A sitting version will also affect the depth of the box containing the lights. It may not be possible to have anything deeper than 100mm. This will produce some problems with the evenness of the light, but nothing that will make it unusable.

Then you need to consider the depth of the box. In principle, the deeper the box the better diffusion of the light. But there are limits. If the box is really deep, more lights will be required, and potential storage space is lost. I recommend about 150mm for the depth of the box. I then place the fluorescent tubes at 150mm centres across the box. It does not matter which direction they are oriented. That will be more determined by the available fittings and the dimensions chosen.

The flexibility you have in building your own box includes a number of things which could be constructed separately or in combination.

You can cover the light box with a sturdy work board to do all kinds of work on top. So this makes a combination light box and work bench. This top can be hinged so you don't have to lift it off each time you want to use the bench. It should have some support mechanism so it does not fall on your or your work. I have used a chain that allows the board to go back just beyond the vertical. These chains can sometimes get in the way of your work.

In addition to a separate surface the box can be an area of the work bench. The important element is that the rest of the surface of the bench should be at the same level as the light box top. Any variation runs the risk of breaking the glass you may be working on. The cover for this can be hinged to protect the surface when the light is not needed.

Often you will be working on pieces smaller than the illuminated area. It is possible to arrange things so that each light fitting can be turned on and off independently to allow light reduction or intensification as you need. It is simpler to have sheets of opaque card to place around your work area to reduce the extraneous light that will overwhelm the glass that you are selecting or painting, for example. In the case of too much light the glass or the painted lines and shading look darker than they really are as a result of your pupils contracting against the light.

You could add a variation to allow the light box to be used as a near vertical illuminated glass easel. This requires a set of hinges, a ledge on the hinged side and a support of some kind at the back, similar to a piano lid support. This is most useful in painting and in waxing up the pieces to view the whole panel before leading or foiling.

You need to think about the amount of flexibility you require the box to have when considering the materials to be used. If you want to use it as part of your display equipment, it needs to be mobile and so relatively light. This will interact with the materials to be used in construction. In this case you may want to make greater use of metals for their strength in relation to weight. 


 You probably will use opaque acrylic sheet as the surface. If you do, you will need to give it internal support to keep it from bowing. The best for this is another piece of acrylic – clear this time – glued to the top sheet and to the bottom of the box between the light fittings.


Additional information:
Uses
Requirements
Top surfaces

Lighting

Supports for round bottomed bowls

A number of useful moulds for slumping do not have flat bottoms. There are a number of possibilities to have the bowl sit firmly without grinding the bottom flat. Remember that you do not need to surround the whole bottom to give the bowl stability.

Some of these include things like:

• A rubber “O” ring, although they usually come in black only.

• Thin slices of wide-diameter tubing.

• Wok support rings.

• Plastic tubing with a small joining dowel allows you to make any size. You can then paint it with the appropriate colour.

• Macramé, embroidery and curtain rings can be suitable.

• You can make them using hole saws. Cut out the big ring first so you can use the pilot hole to line up the smaller hole. Then bevel the inside to fit the bowl.

• Use three bumpons on the bottom. Be sure that the bottom of the bowl is perfectly clean, dry and free from oils. Then use some weight pressing on the bumpons for a day or more so that they stick permanently. You can do this by turning the bowl upright and fill it with some heavy objects.

Hanging Panels from the Borders

The hanging method for copper foiled and leaded panels depends to a large extent on size and weight. The larger and heavier the panel is, the stronger support that is required. Smaller light weight panels are not usually a problem as the solder lines and joints can take the weight. Leaded panels require more support than copper foiled panels once they are over a few kilos, or are anything but rectangular.

For heavier panels you need to have stronger supports than just the perimeter calmes or solder beading.

For rectangular panels you can use a stronger edge came such as zinc or brass. Solder this to each meeting joint throughout the length of the panel. This distributes the hanging stress across the panel more effectively. Simple soldering at the four corners of the calme will rely on just those solder joints to carry the whole weight of the panel.

You need to make the vertical borders of single pieces so that you are not relying on the strength of a single solder joint at some point along the side. Although the joint may be strong enough at present, it must stand up to the weight of the panel over a long period of time.

All this relies on secure attachment of the hanging hooks or wire

Lead Framing

One option for framing, especially where the edges are not rectangular is to use lead. The lead touching the glass or copper foiled edge should be 10mm flat came. This allows you to insert a 5mm mild steel rod shaped to the outside of the panel. This is then covered by a 13mm flat came. The came is smoothed by gentle pressure on the upper and lower flanges with a stopping or lead knife to bring the two flanges together. This gives a pleasant finish to the edge.






by Gene Mallard

Hanging Panels - Hooks

If you wish to attach hooks to the panel so that the appropriate chain length for its setting can be attached later, you need to use brass or other strong metal that can be securely attached to the frame of the panel.

An easy solution is to use brass chain links. Cut one link from a suitably heavy chain at the centre of the long side of the link. Straighten one part of the opened link with two pair of pliers or a vice and pliers. Solder the straight leg with the open part of the hook facing outwards, to avoid the chain (which is pulling inwards) from slipping out of the hook. The open part of the hook should give only enough room for the chain links to be inserted between the frame and the opening of the hook

Hanging Panels – Chain, Wire, Line

The choice of hanging material is both aesthetic and practical.

Whatever material is chosen must be strong enough to support the panel over a long time.

Chain is reliable and can be obtained in many sizes, styles and metals. You can use a split ring to join the chain to the loops on a panel, or directly if the panel has been fitted with hooks.

Twisted picture wire is a reliable material too. It normally is twisted brass with at least one steel strand embedded. It can be soldered at various points around the panel and at the place where the eye if formed to insure that the twists will not come undone.

Fishing line can be used. You should use the highest test you can find. 50 pound test is sufficient but still not obtrusive. However, it is subject to deterioration with constant light exposure, and so should be renewed every 4-5 years. Also you need to be careful in the knots you use. It is very slippery and a surgeon’s know should be topped up with a second for security.

Fine cable enclosed in plastic can also be used. This is fine enough that it can be tied, but should be joined with knots that cannot slip.

Advice for Surviving a Selling Event, 1

You have to be really comfortable.

• Bring a high level stool so you can perch and still have eye contact with the customer
• Wear comfortable clothes and shoes.
• Wear something bright to help them remember you. It helps if they can point you out in a crowd.

Food, drink and consequences

Eat well, have a good breakfast and have loads of water to stop dehydrating

Bring your lunch

Make friends with the people beside you. This is very important, especially when you've drunk a lot of water!

Plan ahead

Plan the stand display in advance, where everything is going, display cases and what is going in them. Make a plan of the space. Then try it out to make sure it works.

Consider who is beside and opposite you - you need to be aware of what is around you to plan your space best, so it might be worth getting in touch with them before you arrive.

The stand should be clean and tidy. Having no clutter means the customer can see what they are looking at. Have a storage unit for paperwork, pens, water, packaging etc. Have a space where you can write orders and pack purchases.

More information is available from the Business Fact Sheet for Scottish Crafts at craftscotland