Hake brush

Bamboo handle hake brush

The hake (pronounced hah–kay) brush was developed in the far east.  It has several variations – the original consisted of a group of bamboo brushes bound together in a line.  These are still made and used. Many modern hake brushes have a broad wooden handle with a wide line of hairs.  These brushes are made of very fine, soft hairs - often goat hair is used. 

Flat wooden hake brushes

The flat hake brushes are most often cheaper and in a wider variety of sizes than the bamboo ones.  I prefer the bamboo for the feel in the hand that the broad handle gives.  With the longer hairs, it holds more moisture and delivers even amounts of kiln wash even with long strokes. 

Use

These brushes can hold a lot of moisture and deliver it evenly.  This makes it good for laying  down large areas of even colour in watercolours, and in glass painting. The same characteristic makes it very good for coating shelves with kiln wash.  The brush should be filled liberally with the paint or kiln wash. The brush should be gently shaken to remove any excess. Hold the brush nearly vertical and let the bristles barely touch the surface as you move along in smooth sweeps across the surface.  This allows the kiln wash to be evenly spread with very few brush marks.

Maintenance

One drawback of these brush is that the fine soft hairs are difficult to bind into the ferrule.  This results in the brushes often shedding hairs onto the shelf as it is being coated. A tip I learned from Bullseye is to treat the new hake brush with superglue at the base of the hairs. It does not have to be super glue.  It can be any runny glue, or diluted PVA.  I prefer super glue, even though it is reported to have some sensitivity to moisture. You can work the glue into the centre by using a needle to poke at the hairs to move the glue toward the centre of the bristles.  The glue binds the hairs in addition to the binding at the ferrule, and so keeps the brush from shedding. 

I did this on my bamboo handle hake brush a couple of years ago and it is not yet shedding hairs during applications of kiln wash.

Make sure you clean the bristles immediately after using to avoid any material drying among the hairs and causing them to break when next used.  To clean the brush, you only need running water run through the bristles.  Do not scrub the bristles against anything.  The hairs are delicate.  Set the brush aside horizontally to allow water to drip off and the hairs to dry.  Setting the brush upside down when wet allows water into the bindings of the hairs.  Putting it with the hairs down onto a surface deforms the hairs, making it difficult to straighten them later.

A hake brush is among the most useful tools to put kiln wash onto shelves and moulds because it holds so much moisture.  It does require maintenance to ensure the hairs do not shed and that the delicate hairs are not broken.

What are enamels?

Not all enamels are equal

Enamel paints

This description refers to a paint that air dries (or with minimal heat) to a hard finish (usually gloss). Most commercially available enamel paints are significantly softer than either vitreous enamel or heat cured synthetic resins. The term "enamel paint" generally is used to describe oil-based covering products, usually with a significant gloss finish. Many latex or water-based paints have adopted the term.

Enamel paint has come to mean a "hard surfaced paint" and usually is in reference to paint brands of higher quality, floor coatings of a high gloss finish. Most enamel paints are alkyd resin based. Some enamel paints have been made by adding varnish to oil-based paint. Enamels paint can also refer to nitro-cellulose based paints. Nitro-cellulose enamels are also commonly known as modern lacquers.  These have been largely replaced by synthetic coatings like alkyd, acrylic and vinyl.

More information at: https://en.wikipedia.org/wiki/Enamel_paint

Enamel paints are used for coating surfaces that are outdoors or otherwise subject to hard wear, or variations in temperature.  A widespread application is in paints for cars. It is also used frequently to decorate or label bottles due to the low curing temperatures of some formulations.

Vitreous enamels 

Vitreous enamels are used in a variety of circumstances.  Metal signs are most frequently enamel coated; they are used in ceramics as over glazes;  and they are used on glass in many circumstances.

Vitreous Enamel is simply a thin layer of glass fused at high temperature on to the surface of a metal or glass. Vitreous Enamel can be defined as a material which is a vitreous solid obtained by smelting or fritting a mixture of inorganic materials.  The word enamel comes from the High German word ‘smelzan’ and from the Old French ‘esmail’.

The key ingredient of vitreous enamel is finely ground glass frit. Colour in enamel is obtained by the addition of various minerals and metal oxides. 

Vitreous enamel is made by smelting naturally occurring minerals, such as sand, feldspar, borax, soda ash, and sodium fluoride at temperatures between 1200°C and 1350°C  until all the raw materials have dissolved. The molten glass which is formed is either quenched into water or through water-cooled rollers. This rapid cooling prevents crystallisation. The resulting frit is ground in a rotating ball mill either to produce a water-based slurry or a powder.

At the milling stage, other minerals are added to give the properties and colour required of the final enamel. Different enamel colours can be mixed to make a new colour, in the manner of paint. Enamel can be transparent, opaque or opalescent.

More information at: 

https://www.vea.org.uk/what-is-enamel/

https://en.wikipedia.org/wiki/Vitreous_enamel

https://www.iom3.org/vitreous-enamellers-society/vitreous-enamel-information

Metal enamelling

Modern frit for enamelling steel is typically an alkali borosilicate glass with a thermal expansion and glass temperature suitable for coating steel and other metals. Raw materials are smelted together between 1,150 and 1,450°C (2,100 and 2,650°F) into a liquid glass that is directed out of the furnace and thermal shocked with either water or steel rollers into frit. Vitreous enamel is often applied as a powder or paste and then fired at high temperature. This process gives vitreous enamel its unique combination of properties. The smooth glass-like surface is hard; it is scratch, chemical and fire resistant. It is easy to clean and hygienic.  It all started 3500 years ago in Cyprus. Since 1500 BC, enamelling has been a durable, attractive and reliable material.

More information at: 

https://en.wikipedia.org/wiki/Vitreous_enamel

https://www.vea.org.uk/what-is-enamel/ 

Enamels in Ceramics

Overglaze decoration, overglaze enamelling or on-glaze decoration are all names for the method of decorating pottery, where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature.  The colours fuse on to the glaze, so the decoration becomes durable. This decorative firing is usually done at a lower temperature which allows for a varied and vivid palette of colours, using pigments which will not colour correctly at the high temperature necessary to fire the clay body.

More information at:  https://en.wikipedia.org/wiki/Overglaze_decoration

Glass Enamels

Glass enamels are produced in the same way as enamels for metals and ceramics.  The frit characteristics are adjusted for various applications and temperatures.  This combination of finely ground frit and metals for colouring are often combined with a binder or carrier medium.  It is similar to vitreous enamel on metal surfaces, but the supporting surface is glass. It is also close to "enamelled" overglaze decoration on pottery, especially on porcelain, and it is thought likely that the technique passed from metal to glass (probably in the Islamic world), and then in the Renaissance from glass to pottery (perhaps in Bohemia or Germany). 

Glass may be enamelled by sprinkling a loose powder on a flat surface, painting or printing a slurry, or painting or stamping a binder and then sprinkling it with powder, which will adhere.  The powdered frit can be in the ceramic on-glaze composition suitable for fusing or casting temperatures, or it can be adjusted for slumping temperatures as in the traditional glass stainers’ enamels. It can produce brilliant and long-lasting colours, and be transparent, translucent or opaque. Generally, the desired colours only appear when the piece is fired, adding to the artist's difficulties.

More information at:  https://en.wikipedia.org/wiki/Enamelled_glass

The term enamel is applied to a wide variety of coating materials.  The range of usage is indicated, and the manufacture and applications of vitreous enamels is indicated.  The term enamel is not properly applied to finely ground coloured glass in a medium.

Soldering Irons and Rheostats

People often want to have variable temperatures for decorative soldering.

It is recommended to use a rheostat in circumstances where the soldering iron does not have an internal temperature control.

A rheostat is NOT a temperature controller.

Action of a Rheostat
A rheostat actually reduces the power supplied to the iron, thereby making it take longer to heat or re-heat after a period of soldering. Without a rheostat, if an iron is left idle, it will eventually reach its maximum temperature. This is usually too hot for soldering lead, but OK for joining other metals. With a rheostat, if an iron is left idle with the rheostat set to (say) '6', it will still reach its maximum temperature but very much slower than the one without a rheostat.

Action of a Temperature Controlled Iron
Temperature controlled soldering irons attempt to maintain a set temperature. This is controlled by the combination of the microchip in the iron and the tip. So to adjust your temperatures all you need is a few different tips. For example, a number 7 tip lets your iron heat to 700F degrees. For decorative soldering your need tips of lower temperatures, usually a number 6 or 600F degree is enough of a reduction for most decorative stuff. A number 8 tip (800F) will let you work at a higher temperature if you work quickly.

Differences in Soldering Speed
Using an iron without a rheostat, provided you work relatively quickly, you will probably be able to solder all the joints in a small or medium panel without stopping to let the iron 'catch up'. In this case the temperature is controlled by the heating power of the iron balanced by the cooling effect of making the soldered joints.Using an iron with a rheostat, you will need to slow down a little if you are to do that same panel without stopping to let the iron re-heat. In this case the temperature of the iron is controlled by the (reduced) heating power of the iron balanced by the same cooling effect of making the soldered joints.This difference is caused by the fact that a temperature-controlled iron, if it is left idle, it will quickly reach its maximum operating temperature - just as quickly as an un-controlled iron of the same power. When you start soldering, the cooling effect will trigger the temperature controller to provide full power until the operating temperature is reached again.

Advantages of a Temperature Controlled Iron
You can buy an iron (not temperature controlled) and a rheostat but buying tips for the temperature controlled iron is cheaper. The big advantage of the temperature-controlled iron is that you know it will never get too hot for the work you are doing, and that it truly provides that 100 watts (or whatever) power to keep it hot even when you are soldering at top speed.

Soldering irons

General
Historically soldering tips were copper, placed in braziers. One tip at a time was used; when the heat had transferred from the tip to the solder (and depleted the heat reserve) it was placed back in the brazier of charcoal and the next tip was used.

Much later gas irons were in common use. These used a gas jet to heat the soldering bolt/tip. They are very fast, but require significant amounts of experience to properly regulate the temperature.

Currently, electric soldering irons are used; they consist of coil or ceramic heating elements, which retain heat differently, and warm up the mass differently, with internal or external rheostats, and different power ratings - which change how long a bead can be run.

Selection
The soldering iron used must be of a high enough wattage to readily melt the solder and be able to reheat fast enough to maintain the necessary melting temperature. The tip can't be so small it can't maintain the heat and not so big it covers much more area than wanted.

For soldering leaded panels a 100w iron with a 3/8" temperature controlled tip that maintains a constant 370°C (700° F) is suitable.

For copper foil a higher temperature controlled tip is used. This normally runs at 425°C (800°F). Sometimes a tip of ¼” is used where more delicate beads are being run. But there is little difference in the resulting bead - only that the smaller bit takes slightly longer to heat up.

If a lot of soldering is required that has sustained heat requirements, you might consider a 200W iron. These can deliver heat more quickly and evenly than those with lesser wattage.

Trimming the Came on Site

There are a variety of reasons for the panel not fitting the opening easily. These can range from poor measurements through parallel, or trapezoidal openings to irregular perimeters of the openings.

In the cases of irregular openings, you can trim the edge cames if you have used 12mm (1/2”) or more wide came. The quickest way of trimming cames to fit the opening is to use a rasp or “surform” tool. The open nature of the teeth, allows the lead to fall away. It is much quicker than using a lead knife, and it puts less pressure on the panel.

Reinforcement

Reinforcement is probably the most important design element in stained glass. Without adequate reinforcement, all other effort and results are secondary, because an inadequately reinforced work will not survive, and that is sad.

GuidelinesThere are no all-encompassing reinforcement rules. There are however some basic guidelines:

• Restrict non-reinforced panels to between 2 and 4 perimeter metres (a rectangle of 1 by .5 meters up to a square of 1 meter).
• An abundance of horizontal or vertical lead lines within the leading concept are most likely best served by a vertical reinforcement system.
• A diagonal or bent reinforcement bar dilutes its reinforcement capacity in proportion as it deviates from the straight. Such supports serve to merely stiffen the section.
• Know that most reinforcement systems provide only lateral reinforcement.
• In most architectural situations which adhere to sections of 4 perimeter metres, reinforcement will usually be 12” to 18" apart in vertical accommodations, with an average around 15".
• Placement of reinforcement should be established on the initial scale layout in which the design is to be done. It should not be an addition after the whole is designed. That increases the likelihood that the reinforcement will be an intrusion upon the design.
• Very tall or wide windows should have an armature of some sort. This is commonly "T" bars for the panels to rest upon without transferring their weight to the panel below. Other more complicated armatures can be seen in large windows, such as at Canterbury Cathedral.

With diamond and other quarry lights, reinforcement placement cannot always be equally spaced. In such instances, it is probably best to have the shortest distances between the reinforcement at the base of the section where the weight creates the greatest likelihood of buckling.

Tucking Lead Came

It is most usual in many countries to butt lead cames against one another. In continental Europe the tucking of cames is more common. In this process, which has the advantages of speed and accuracy, the came is first fitted to the glass and then cut at the edge of the glass.

The first step is to cut the came to the appropriate angle to meet the lead to which it is to be joined. However before presenting the cut came to the joint, one end is lightly tapped with a small hammer to slightly curve the end of the came. This allows it to slip inside the leaves of the came to which it will be soldered.










The came is then shaped to the glass as normal. However, rather than removing the came for the next cut, the came is cut to the length of the glass, often using the glass as a guide. This end is then supported on the lead knife and tapped with the hammer to curve the end, ready for tucking into the next piece of came. Care is required so that you don’t crush the came and break the glass, nor miss the came and hit the glass or your fingers. With practice, there are few accidents.

Diagramatically, the tucked lead looks like this:

Tucking lead provides very accurate joints with no gaps for solder to fall through. Some argue it provides a stronger panel as the hearts of the jointed cames almost meet. The main immediate gain is quicker soldering.

Soldering old lead

This is normally only a requirement when repairing old windows. Usually either to join new lead to the old, or to repair breaks at the original solder joint.

You will need to clean the lead down to the bright metal at the joints. This is more than a rub with steel wool. You need a glazing nail to scratch through the oxidisation layer, the corner of your lead knife, or in cases of mild oxidisation, a brass wire brush might do. But not a steel one as that may scratch the glass and any painting.  

Do not clean the oxidisation off the lead elsewhere. That is a protective layer already formed which leads to the longevity of the came. It is best to leave oxidised lead alone rather than expose the metal to further oxidisation.

Getting to the bright metal where you want to solder the joint means the flux can act appropriately and help the solder form a secure joint.  Otherwise only a weak, cold joint is possible.

Note that you always need to use dust masks or other breathing protection.  You need to have the work area well ventilated and need to do a damp wipe down of surfaces to reduce the amount of lead oxide in the work space.

Using Cut Running Pliers Without Cushions

Using Cut Running Pliers Without Cushions

There are a wide variety of cut running pliers for different purposes.  A description of some of them is here.

This post is to describe maintenance and use of this kind of cut runner.

The plastic covers that come with these cut runners eventually wear out.  The replacements are hard to find. There are things you can do other than buying a new pair just for the shields.

You can dip the jaws in tool coating compounds such as Plastidip.  This does not last as long as the plastic, but is easy to re-do.

You can wrap the jaws in tape.  Electrical tape, duct tape or even self-adhesive elastic bandage will do the job. Again, not long lasting, but easy to replace.

Or

You can use the cut running pliers without any covering on the jaws.  “You can’t do that. You will crush the glass!” is the response I hear.  You can use them bare. I do, and so can you.

The key is in the adjusting screw.  It is there not just to tell you which is the top of the pliers; it has a function too.  That screw adjusts the opening of the jaws to the thickness of the glass. 

A simple way to ensure you have the correct opening is to put one corner of the jaw on the edge of the glass with the jaw opening less than the glass is thick. Then tighten the screw until you feel the handles of the pliers begin to open.  Then you have the right opening for the thickness of the glass. 

It ensures you cannot crush the glass, as the jaws will not close at the centre to be less than the glass thickness. 

You also have a more direct feel of the glass without the spongy connection of the plastic. You can sense the glass beginning to bend just before the score runs due to the gentle pressure of the jaws of the cut runners on either side of the score.

Whether you use the cut runners with or without cushions on the jaws, it is important to keep the adjustment screw lubricated so you can adjust the width of the jaw opening for different thicknesses of glass.

Commissioning

Commissioning a stained glass window, screen or lamp involves entering into a contract with the designer/maker. It is therefore important that both client and maker know exactly what is involved.

· The price of the work should be established. The materials used in the making of a window, especially the glass itself, can be expensive and the possibility of commissioning a well-designed leaded light should not be ignored.

· The maker will need to know the budget for the work and will provide an estimate, and may require a down payment before beginning work and perhaps payment by instalments, depending upon the cost of the materials involved.

The designer will prepare a preliminary design, according to the client's brief.

· The design should indicate the nature of the construction and the position of any ferramenta or physical support.

· This design should be as detailed as possible. It may be accompanied by samples of the proposed glasses.

· The client must be prepared to recompense an artist for design(s) prepared according to a brief, whether or not it proceeds to execution.

· The copyright in all cases remains the property of the artist.

The arrangements for the execution of the commission must also be satisfactorily established, including those for installation. If necessary, the advice of an architect should be sought; for church commissions, the architect responsible for the church should be involved from the outset. If the window is to be sited in an exposed position or in an area where vandalism is known to be a problem, protective measures should be considered.

Also look at Commission Agreements

Iridised Side of Glass

It can be challenging to determine the iridised side of glass. The coating is very thin and so cannot be seen by looking at the edge. There are several ways of testing for the coated side. Two that I find useful are:

The pencil test – In this you put a pencil point or other point to the glass. You then look for the reflection at an acute angle to the glass. If there is a gap between the point and the apparent surface of the glass, the coating is on the other side. And in reverse, if the point is immediately reflected with no gap, the point is touching the coated side.

Another test is the fingernail test. If you have sensitive nails, you can feel the difference in surfaces by gently dragging your nails at an almost right angle to the glass. The rougher side is the coated one.

There are other tests but these two work for me.

Combination Grozing/Breaking Pliers

Description
The jaws of grozers are serrated and used to gently remove small pieces of glass which remain after the glass has been scored and broken. They are normally supplied with one straight jaw and one curved making them combination grozing and breaking pliers.

Use as breaking pliers
When used as breaking pliers the flat side should be up and the nose of the jaws almost touching the score line. The breaking pressure should be down and slightly to the side to bend and pull the piece away from the main piece of glass.

Use as grozers
When used a grozers – to gently wear away some small part of glass - the curved jaw should be up. The plier jaws should be used slightly open, and a downward motion of the plier does a “rasping” of the glass edges, taking away small bits of glass. With experience, a lot of glass can be removed quickly shaping the glass with a fair degree of precision. The edge can then be tidied by a grinder if required.

Handling Large Sheets

PreparationUse proper glass handling gloves.

Wear closed toe shoes, preferably with steel toe caps. This also allows you to set the glass on your toes prior to changing your grip to place the glass in the rack.

Clear the passage ways of all obstructions, whether on the floor or at the walls and door ways before moving any glass.

Lifting from horizontal
The transition between horizontal and vertical is important because the glass sheet can break if it does not have the proper support. However, there is a tried and true method for laying glass down and turning it over.

Rest the glass on the edge of the bench, half on, half sticking off. Support both sides of the sheet. Then pivot it to the horizontal, still resting the middle of the glass on the edge of the bench as your fulcrum. This provides support at the middle during the transition from vertical to the horizontal of the bench top.

CarryingTo carry large sheets of glass safely (for yourself and the glass), you need to support from below as well as the end. One gloved hand goes under the bottom and the other on the side. The glass is then carried vertically, with the edges at an angle. This is done in a manner so that the glass is on the side of your body with both palms are facing outwards. If there is a trip or other accident, the glass will be tipped away from the body. This sounds awkward, but is safe and easy when you get used to it. It also is the glazing industry standard method of carrying glass.

If the glass is too heavy to lift in this way, use suckers and get others to help.

If the glass breaks while carrying it just let it drop. Trying to catch or save it will lead to a hospital visit.

Always set the glass edges down on a cushioning material. This can be wood, linoleum, carpet, etc.

Transporting

Store, carry and transport glass as near to vertical as possible.  You need to be careful when handling glass. In larger sheets it is very weak in a horizontal plane. It is strongest when it is in a vertical plane. (That’s why glass is always supposed to be shipped upright.)

If you are transporting a number of sheets, place paper between the sheets to avoid scratches and vibration damage or breakage. The glass should be tied tightly together, perferably on a rack. If you do not have a rack you can put into your vehicle, you can put the seat belts around the glass to keep it from flying forward in the event of an emergency stop.