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.

Structural Reinforcement

Leaded light panels often require additional support against wind pressure or vibration. Whether this is needed depends on the size and location, e.g. if in a door or a ventilating window that is constantly being opened and shut.  Large leaded glass windows need some bracing against the force of wind and rain. This can be achieved by using one of the following supports:

• Saddle Bar
• Reinforcing Bar (Rebar)
• Steel Core or Steels
• Zinc Section

Saddle Bars are the strongest method of support and are used in large external windows for preventing panels from bowing inwards. They resist wind pressure in exposed situations. Saddle bars form part of the latteral support structure of the window. These bars are attached to the panel with copper or lead ties.  These ties are soldered to solder joints across the narrow width of the panels.  The bars are fixed to the perimeter of the opening either by the mouldings or by being inserted into holes in the frame. The sides of the opening provide the ancor points for the bar.  The panel is fixed to the bar by twisting the ties around it.

A saddle bar fixed in position at the side and the ties being twisted around the bar.

Sometimes the opening is divided by sideways "T" bars.  Generally the leg of the "T" faces outwards and the panel is set onto the ledge formed by the leg of the "T".  This leg often has a series of holes drilled in the leg, for pins to be inserted to hold the panel in place until the sealant has cured.

An example of "T" bars being used on a small side opening window

Rebar is another external support.  It generally is a zinc coated steel strap about 2mm by 10mm and asl long as needed to cross the panel.  This tends to be soldered directly to the panel at the solder joints either on the inside or outside. One advantage of this material is that it can be bent to conform to the lead lines of the panel.  In consequence it is not as stiff as saddle bars are.

Steel core
Steel cores take two forms - either steel-cored lead or steel strips fitted into the lead cames when leading.  The steel cored lead came is less available nowadays.  They are mainly used in domestic glazing where support is required particularly in leaded lights with diamond panes when they are inserted in continuous diagonal leads. The steel cores are not adaptable to significant curves.

Steel cored lead came cut away to show the steel core

Zinc
Zinc section came is often used to frame a panel that is not glazed into a window or frame. It has been used in the past for both straight and curved lines.  Using it for curves requires a came bending machine to give good, regular curves.  It gives a panel strength for ease of handling, but does not resist sagging or bowing at the centre.  The other disadvantage of zinc is that it corrodes much faster than lead.

Image showing a variety of zinc came

Candle shades

These kinds of drapes are generically known as handkerchief drops, as they form the kind of shape that is formed by holding the cloth in the middle and letting it drape.  They can be done as small drapes over kiln posts, cocktail shakers, and much larger forms.

Two heights of new cocktail shakers

A well used cocktail shaker with kiln wash

A kiln post wrapped in preparation for firing

Two short kiln posts after firing

When preparing several drapes to be fired at one time you need to consider several factors.

Higher in the kiln is hotter.

The heat in a kiln, as in an oven, is greater the higher in the kiln is supported.  This means that taller supports will drape quicker than shorter ones. The consequence is that all the drapes should be of the same height.

A single layer that has begun to stretch at the shoulder of the former 

Larger spans fall quicker than smaller.

The more of the glass that is unsupported, the quicker it will fall, even at the same height. This is because the larger amount of unsupported glass has more mass than a smaller one and so falls quicker.  Plan for all the glass to be of similar sizes.

These two were fired at the same time. The back one is larger than the front 

Different shapes fall in different ways.

Squares and circles are the most common shapes used in a  drape. The corners of squares are points that are further away from the centre of the support than the sides.  These points begin to fall first, drawing the sides in later in the firing.  Circles form a taco shape before the ends of the “taco” begin to fall.  This deformation of the circular “taco” takes longer than a square takes.

Care needs to be taken that the glass does not thin excessively at the shoulder of the support.  There is less difficulty, if the same shapes are fired together as different heat work is required for each shape.

Observation by peeking is required to stop free drops at the right time.

As in all drapes, it is important to observe the progress of the drape at intervals.  This is best done by quick peeks to note the development of the shape and to move to the cooling segment when the drape is complete. This also requires a scheduling of a long soak and knowledge of how to advance the kiln controller to the next segment of the schedule.

Leading - the First Glass Pieces

After establishing the perimeter lead cames, place the first glass piece into the corner formed by these cames. 

You only need to establish one vertical and one horizontal came to begin with. The other two will be placed at the conclusion of the leading.


Normally, you will be working from the lower left corner toward the upper right corner of the pattern if you are right-handed. The reverse is the case for left-handed people. 

Hold each piece of glass in place with some scrap lead and nail. The scrap lead will prevent the nail from chipping the glass. It's important all glass is held in place with nails so no shifting occurs while working in another area of the panel.

Fitting the rest of the glass to the cartoon is described here. 

Revised Feb 2020

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.

Pot Melt Contamination

Pot melting occurs at temperatures above that for which kiln washes are designed. This means the kiln wash most often sticks to the back of the melt.

If you put only fiber paper – Thinfire, Papyros, or standard 1mm or 2mm fibre paper – at the bottom, the dripping glass will tear and move it about.  It also tends to incorporate fibers from the refractory papers into the melt.  It is best to avoid fibre papers of any kind on the base.  Using fibre paper around the edges of dams, if you use them, is better than simple kiln washing of the dams.

From wikihow

If you have a sandblaster, it is easy to take the kiln wash off leaving a matt surface. You can live with this for many purposes, but if you want a more polished surface you can take the melt up to fire polishing temperature to shine up the surface. You will need to flip this over and fire again, if the original top surface is what you want to present.  Or if you like the new shiny surface, use it as is.

If you are going to cut the pot melt up for other uses, there is no need to fire polish as the surface does not matter, only the cleanliness, and removal of contaminants.


There is another thing you can do to avoid kiln wash contamination.

The best solution appears to be to put a disk or rectangle of glass on top of fibre paper. It can be clear or any colour you wish, but needs to fill the area enclosed by the dams. This seems to keep the fiber paper from tearing and being incorporated into the glass, even though the base will have the fibre paper marks.

It also works very well when you are confining the melt to get a thicker disk. Make sure you have kiln washed the sides of the container or dam very well, in addition to 3mm fibre paper arranged so that it is 3mm narrower than the expected final thickness, or any excess glass may stick to the dams. The means of arranging the fibre paper around the dams is given here. You may need to grind the marks off the edge of the disk, but this is much easier than grinding it off the bottom.

Analysis of Breaks during Fire Polishing

The analysis of breaks in fire polishing can be difficult.  The temperature and heat work are minimal, so the edges can look sharp, which would indicate that the break occurred on the cool down.

But this is where you really need to feel the edges.  If they feel very sharp, then you can be more confident that the break occurred on the cool.  But if there is even the slightest smoothness to the edge as you feel it, the break probably occurred on the heat up to fire polish.

In this picture, there appears to be an annealing break, because of the hooked ends of the break.  That is typical of a break due to inadequate annealing.  It is important to know when the break occurred, so that appropriate remedial action can be taken for future firings of similar pieces.

To determine if the annealing break occurred because the initial anneal was inadequate, it is important to do a touch test. Just looking at it will not be enough.

If the edges were even slightly smoothed, the anneal break occurred on the way up.  This would mean that the anneal of the original blank was not adequate, assuming a reasonable rate of advance was used for the thickness of the piece.

If the edges are razor sharp, the break occurred on the way down, indicating that the anneal after the fire polish was not adequate.  This would mean that in future the annealing needs to be done more carefully on fire polished pieces.

Being too quick to apply a diagnosis of a break during a fire polish can lead to the wrong conclusion, and so the incorrect alteration of future schedules.

Schedules for Steep Drapes

I have been asked for a schedule for draping in the context of a tip on steep straight sided drapes.

What you are trying to do with a steep drape is two things. One is to compensate for the heat sink that the glass is supported by, and the second is to compensate for the relative lack of weight at the outer edge of the glass.


The supported glass transmits its heat to the support, leaving it colder than the unsupported glass. This often leads to breakage due to heat shock at much lower temperatures and slower rates of increase than glass supported at its edges. My experience has shown that - contrary to what I recommend for other kinds of firings - a slow rise with short soaks at intervals up to the working temperature works best. The reason for these slow rises and soaks is to try to get the support and the glass to be as nearly as possible at the same temperature throughout the rise in temperature. The soaks help ensure the mould is gaining heat without taking it from the glass.

The other problem with steep drapes is that the edges of the glass begin to drop more quickly than the area between the support and the edge. This leads to the development of an arc that touches the mould side near the bottom before the glass between the edge and the and the support. Extended soak times are required to allow the glass to stretch out and flatten. If this is done at high temperatures, the glass will thin - possibly to the extent of separating.

So the requirements for a firing schedule on this kind of drape are slow increases in temperature with soaks to avoid thermal shock, and an extended soak at the (low) forming temperature.

Whether using steel or ceramic moulds, I use a slow rise in temperature to 100C with a soak of 15 minutes. I then increase the rate of rise by 50% for the next 100C and give a 15 minute soak there. For the next 200C I raise the temperature at twice the original temperature rise, again with a 15 minute soak. The glass and mould should now be at 400C. This is still at the point where the glass could be heat shocked, so I only increase to 2.5 times the original rise rate but use this rate all the way to forming temperature.

Each kiln has its own characteristics, so giving schedules is problematic. 

•  A side fired kiln will need slower heat rises than a top fired one. 
• The closer the glass is to the elements, the slower the rate of increase needs to be. 
• The kind of energy input - electric or gas - has an effect. 
• The thickness of the glass is also a factor in considering what rate to use. 
•  The size of the glass in relation to the size of the support is important - the greater the differential, the slower the heat rise should be. 

So in making a suggestion on heat rises, it is only a starting point to think about what you are doing and why you are doing in this way.

I have usually done this kind of draping in top fired electric kilns where the elements are about 250mm above the shelf, and about 120mm apart. In the case of a 6mm thick piece about three times the size of the support area, I use 50C/hr as my starting point. This is one third of my usual rate of temperature rise. However you must watch to see what is happening, so that you can make adjustments. You should observe at each of the soaks, so you know how the glass is behaving. It will also help you to pinpoint the temperature range or rate of advance that may be leading to any breakages.

On steep slumps, the temptation is to use a high temperature to complete the drape. This is a mistake as the glass will be more heavily marked and tends toward excessive stretching and thinning. What you really need is a slow rate of advance to a relatively low temperature. If you normally slump at about 677C, then you want to do this steep, straight sided drape at 630C or less. It will need a long soak - maybe up to an hour. It will also need frequent observation to determine how the drape is progressing. So plan the time to make yourself available during this forming soak.

Annealing is done as normal, since the mould and glass are more closely together and will cool at the same rate.

The original tip on the set up of a steep straight sided slump is here.

Damming Ovals

There are various ways of damming oval shapes in kiln forming. Some of these are outlined here.

One set of methods depends on having a soft surface such as ceramic Fibre board or vermiculite.

Photo from Clearwater Studio

You can wrap your shape with fibre paper. For this you need to cut a strip or strips 3mm narrower than the height of the piece you are wrapping. You then stick sewing pins down through the fibre paper and into the shelf of fibre board or vermiculite. This will be easiest if you use 1 to 3mm thick fibre paper, as the pins must not contact the glass – the pins will stick to the glass if they do.

You can cut a form out of ceramic fibre board and use that as a dam. You can pin this to the base fibre board or allow it to merely rest on the board. It is possible to cut arcs from fibre board and place them around in sections. In this case they will need to be pinned together so they do not move apart. Staples can form the attachments. You can make your own – larger – ones from copper wire.

You can buy stainless steel banding which needs to be lined with any separator – batt wash or fibre paper.

Bonny Doon stainless steel dams

You also can layer fibre paper up to the height required – remember 3mm less than the thickness of the piece. You then need to fasten the layers together to avoid movement between the layers.


If you are firing on ceramic kiln shelves the same materials can be used but need to be supported a little differently.

If you are wrapping the piece on mullite shelves, use some pieces of kiln furniture to block the strips up against the glass. The thicker the glass, the more weight will be pushing out against the dams and the sturdier the dams will need to be. Make sure the strips contact the shelf evenly- if you have gaps, you'll have leaks.

The disadvantage to this method is that the glass can take up the irregularities of the kiln furniture.

You can use fibre board with a void cut out to the shape required and place it on the shelf.

You can also use layers of fiber paper around the shape and pin the layers to each other. This is the same method as used on ceramic fibre board.

Again stainless steel can be used to form the dam. Remember to line the steel with fibre paper that is 3mm narrower than the height of the piece.



In all these cases of dammed forms, the edges will be of varying degrees of roughness and some cold working will be required.

Heat Work is Cumulative

“…. the first fuse (contour) I brought it up to 1385°F and held for 5 minutes - it did not contour as much as I would like - do I re-fire at same temp and hold longer or go up in temp and hold same amount of time or something else?”

Observe

Of course, the smart answer is “Observe to get it right first time”.   Observation will enable you to determine when the piece is fully fired.  To observe you need only peek at 5-minute intervals to determine if the piece is as wanted. 

Know your Controller

In combination with this you will need to know your controller well enough to be able to advance to the next segment if the piece is done before the segment finishes; or how to stay on the same segment until it is finished and then advance to the next segment.

Of course, there are circumstance when you cannot or do not want to be present at the top temperature of the firing.  Then consider using the delay function to enable you to be present. This gives a countdown until the kiln starts.  The practice is fully described in this blog entry.

Time or Temperature

If you are experiencing an under-fired piece and want to re-fire it to get a better finish, the usual question is whether to fire for longer or at a higher temperature.

The response is – “Neither”.

Re-fire to the same temperature and time as before, unless you are looking for a radically different appearance.  Heat work is cumulative.  You have put heat into the glass to get the (under fired) result.  By firing it again, the heat will begin to work on the glass as it rises in temperature.  The piece, in this instance, is already a slight contour.  The additional heat of this second firing will begin to work just where the first firing did, and will additionally change the existing surface just as the first firing did.  The degree of contour achieved by the first firing will be added to equally in the second firing.  It is of course, a good idea to peek in near the top temperature to be sure you are getting what you want. More information on heat work is available here with its links. 

Rate of Advance

It is important to remember that on the second firing the glass is thicker, and you need to schedule a slower rate of advance until you get past the strain point – about 540°C for fusing glasses, higher for float and bottle glasses.

Future firings

At the finish of the second firing you will have soaked at the top temperature for twice the scheduled time.  You can use this extra time for the next similar firing, or increase the temperature slightly and keep the original firing’s length of soak. 

As pointed out earlier, observation for new layups, sizes, thicknesses, etc., is important to getting the effect you want the first time.

Fibre Dams

Fibre dams are a good and relatively inexpensive refractory material to form dams around regular and especially irregular shapes.  You need only cut the shape you want from the fibre board, if it is not a shape with straight lines.  

You can fire without any kiln wash or hardening if it is a one-off use.  For shapes you want to keep, you can harden the fibre board. 

Once hardened with colloidal silica, you need to paint the board with a separator – kiln wash, boron nitride or similar.

There are some precautions in the use of fibre paper and board.  The main physical one is that refractory fibre is lighter than glass and so will float on top of “molten” glass – that is fusing compatible glass higher than about 800°C.

Fibre board dams can be weighted with kiln furniture on the surface of the board.  If the board is flat this can be on the surface.  If the board is vertical, weights can be placed at the corners.

In the absence of fibre board, you can use layers of fibre paper.  If you have 6mm fibre paper, you need only one layer for two-layer glass, but remember that to get a bullnosed edge to the glass without needling, the fibre paper should be 3mm less than the final height of the fired piece. Thicker glass will require more than one layer of fibre paper.  Place as many layers of fibre paper as required to be at least equal in height to the finished piece on top of one another.  Push “U” shaped pins into the layers of paper to fasten the layers together.  Then cut the required shape out of all the layers all at one time. 

When finished cutting the shape out, you may want to line the edge with 1mm fibre paper to keep any of the layers of fibre paper showing through.  This dam will not need any kiln wash to prevent the glass sticking to it, unless you want multiple uses and so need to rigidise it with colloidal silica.

You can weight this fibre paper dam down by placing kiln furniture near the edge, all around the shape just as for the fibre board.

Safety in use of refractory fibre is described in Gregorie Glass.

Scroll down to Dusts/Particulates for safety recommendations.

Controlled cooling

It is sometimes stated that you can simply turn the kiln off below 370C and let the kiln’s natural rate of cooling take over the cool down.

This works for most flat 6mm pieces in most kilns, but as you work thicker or with greater contrasts in thickness, lots of tack fused elements or in a small rapidly cooling kiln, you do need to control the cooling toward room temperature.

The first thing you need to know is the natural cooling rate of your kiln.  

The rate of cool is not just about the annealing soak. The soak at annealing temperature is to equalise the temperature throughout the blass to have a differential of not more than 5C. 

The rate of cool is about avoiding thermal shock, too. The glass needs to maintain the temperature variation to less than 5 degrees Celsius difference throughout the glass as it cools.  This requires a slow controlled cool.  

You may program a cool of 100C to 370C thinking that the kiln will maintain that rate or less.  If the natural cooling rate of your kiln at 370C is 200C/hour, you risk thermal shock due to the rapid increase in the cooling rate.

You really do need to know the natural cooling rate of the kiln from the point you turn the programmer off to room temperature to be safe from thermal shock.

The alternative to turning off at 370C is to program the schedule all the way to room temperature.  The kiln will use no energy unless the kiln cools too quickly on its own.  At which point the program will kick in to slow the cooling of the kiln.

Bubble Mystery

A question was asked about a collapsed bubble. There were two pieces in the kiln and one (strips) was fine and the other (flat plate) had the collapsed bubble.  Both on the same dried shelf.  The question also asked if the collapsed bubble piece could be flattened by fusing again.

Collapsed Bubble

The bubble collapsed because it had not burst by the time the cool toward annealing had begun.  As the air pressure under the bubble dropped, and the weight of the thinned glass bubble sank down as there was not enough air pressure to hold it up.

The glass is now thinner at the centre of the bubble than the main part of the piece, and thicker at the edge of the bubble. I don't think it is possible to successfully flatten it to become an even thickness across the whole piece. To get the same thickness across the whole piece would require high temperatures and long soaks there. 

Another possibility is to use a pressing solution. 

My suggestion is to add elements or repurpose it. I don’t think any repairs would present a good-looking piece.

Diagnosis

The on-line diagnosis of the possibilities for the cause of the bubble was extensive and sometimes inventive.  It was finally determined the bubble was from under the glass, that is, between the glass and the shelf. A slight depression in the shelf is the usual explanation.  The user tested the shelf for smoothness and found no depressions.

It was clear the bubble came from under the glass.  All the suggestions about how bubbles can form under glass were given, but none seemed to apply.

How can you get a bubble on a dry shelf that is perfectly flat and that has not been subjected to too rapid or too high a temperature?

Solution

The answer is that a little spot of grit or tiny ball of fibre paper can keep the glass raised up enough for air to be trapped.

Prevention

It is not enough to test the shelf is flat.  You need to use clean kiln wash with a clean brush to avoid any grit being brought to the shelf. It is also a good reason to vacuum the shelf before each use in case any dust or grit has fallen onto the shelf. Covering the shelf or putting it into a cupboard will also reduce the possibility of small bits of grit falling onto the shelf.

Of course, if you smooth the kiln wash with a nylon or similar fine cloth, you will remove any specks of grit.  A vacuum of the shelf after smoothing is still a good idea.

Conclusion

It is as important to keep tools and materials clean as it is to clean the glass you are going to kilnform.

Simultaneous Firing of Different Moulds

Often you have moulds of different sizes or depths that you would like to fire at the same time to use the space or save time.  If the moulds are of distinctly different sizes or shapes, you will not save time, as the likely outcome is that some will be over-done and un-shapely or, conversely, that some will not have completed their slump.

The main things that act against firing moulds with distinctly different firing requirements are:

·        Moulds with different spans require different temperatures or different soak lengths.

·       Moulds of different depths, even if they have the same span, require different soak lengths.  

·        Moulds of different shapes, even if they are the same depth, require different soaks or different temperatures. 

As an example, if you have two moulds that require less time or lower temperature than three smaller ones. If you get the smaller, relatively deeper ones fully slumped, the larger, shallower ones will be more marked by the mould than necessary.

The best thing you can do if you want to make full use of the kiln space each time you fire, is to save up the glass until you have enough to put in a full kiln load.  This may require more moulds of the same size than you currently have.

Usually trying to fit in a lot of slumping into one firing relates to a concern on how much electricity will be used in multiple firings. However, the kiln does not use huge amounts of electricity.  A 50cm square kiln will normally use less than 10Kwh for a slump with a long soak.  This will cost much less than a glass of beer or wine.

Firing uneven layers

Firing uneven layers requires more care than a piece equally thick all over.

My rule of thumb is to add the difference between the thick and thin to the thick and fire for that. So, a piece with a 6mm base and a total height of 12mm gives a difference of 6mm added to 12mm gives a firing thickness of 18mm. If you look up the bullseye site annealing for thick slabs, follow the schedule for 19mm. The initial heating rate can usually be half the final cooling rate shown in the table.

The Bullseye recommendations are more conservative.  They recommend that the firing rate should be for something twice the thickest part of the piece.  In this case, the firing would be for a piece as though it were 24mm. Again, the initial rate of advance would be equal to half the final cool segment in the Bullseye table Annealing Thick Slabs.  

If you are slumping a thick piece, you can use the initial rate of advance all the way to the slumping temperature and then anneal according to the thick slabs table.