Tracing –
to paint a very thin line in one smooth, calligraphic stroke to define the basic shapes in the glass painting
Matting –
to apply a very thin coat of paint over the entire surface of the glass (usually
after tracing and firing) for further definition and highlighted details of the glass painting
Stippling –
removal of the matting to expose more glass and often used as a shading technique, using a pouncing motion, producing a pinhole effect
Stick-lighting –
removal of the matting to expose more glass and often used as a shading effect to create roundness and dimension in the glass painting
Firing –
the heating of the glass and paints to fuse the paints with the glass or stain the glass with the silver stains
Tuesday, 2 December 2008
Monday, 1 December 2008
Laminated Glass
Laminated glass is a type of safety glass that holds together when shatered. In the event of breaking, it is held in place by an interlayer, typically of PVB, between its two or more layers of glass. The interlayer keeps the layers of glass bonded even when broken, and its high strength prevents the glass from breaking up into large sharp pieces. This produces a characteristic "spider web" cracking pattern when the impact is not enough to completely pierce the glass.
Friday, 28 November 2008
The Glassy State
- Glass is a state of matter.
- Glasses combine some properties of crystals and some of liquids but are distinctly different from both.
- Glasses have the mechanical rigidity of crystals, but the random disordered arrangement of molecules that characterises liquids.
- Glasses are usually formed by melting crystalline materials at very high temperatures. When the melt cools, the atoms are locked into a random (disordered) state before they can form into a perfect crystal arrangement.
The complete description can be seen at the Corning Museum of Glass
Thursday, 27 November 2008
Smooth Solder Beads
Good smooth soldering occurs when the temperature of the iron is correct for the job and the solder being used.
The problem of bunched up solder or peaks as you lift the iron from the solder is caused by the iron being slightly too cool for the job and the solder being used. Looking at the conditions causing the problems may lead to a better solution.
If the problem is caused by the iron being slightly too cool to let the solder flow properly, this can be caused by a number of things.
The best possible soldering iron controller is a genuine temperature controlled iron, where the iron’s controller maintains the tip temperature by applying full power to the heater when the tip cools slightly, but otherwise just 'idles'. If you can't get (or afford) one of these, possibly the best would be to get a higher power iron or throw away the 'rheostat' or dimmer 'controller'.
If the problem still occurs, then use 60/40 solder – which melts and solidifies in a narrower range than 50/50 - or perhaps do the soldering in shorter 'bursts', letting the iron recover for a couple of minutes before starting again.
In any case you need to match the speed of movement and the speed of feeding the solder to the iron according to the capability of the iron to adequately melt the solder.
Also you have to ensure that the foil has been properly fluxed and tinned.
The problem of bunched up solder or peaks as you lift the iron from the solder is caused by the iron being slightly too cool for the job and the solder being used. Looking at the conditions causing the problems may lead to a better solution.
If the problem is caused by the iron being slightly too cool to let the solder flow properly, this can be caused by a number of things.
- If your iron is too low power, you may start out well and have the problem develop as you solder.
- If your iron is high enough power and you're using a 'rheostat' or dimmer controller, this has the effect of lowering the iron's power and the problem will occur as above.
- 50/50 (tin/lead) solder requires a hotter iron than 60/40 (tin/lead) solder to keep the molten metal flowing properly.
The best possible soldering iron controller is a genuine temperature controlled iron, where the iron’s controller maintains the tip temperature by applying full power to the heater when the tip cools slightly, but otherwise just 'idles'. If you can't get (or afford) one of these, possibly the best would be to get a higher power iron or throw away the 'rheostat' or dimmer 'controller'.
If the problem still occurs, then use 60/40 solder – which melts and solidifies in a narrower range than 50/50 - or perhaps do the soldering in shorter 'bursts', letting the iron recover for a couple of minutes before starting again.
In any case you need to match the speed of movement and the speed of feeding the solder to the iron according to the capability of the iron to adequately melt the solder.
Also you have to ensure that the foil has been properly fluxed and tinned.
Wednesday, 26 November 2008
Foil Pulling Away from Edges
If foil is pulling away from the glass on the perimeter of pieces, there are several things to remember.
Clean all the edges and surfaces just before foiling. This ensures there are no oils to interfere with the contact adhesive of the foil.
Avoid hand creams just before foiling as this increases the amount of oils getting onto the glass.
Remember that lots of heat breaks down the adhesive. So do not remain in one place too long. However the adhesive is not the element that keeps the foil attached to the glass in the long term.
Instead, think about whether the bead on the edge is thick enough to provide the rigidity required without relying on the adhesive of the foil.
Finally, think about whether an edging came would provide better support and finish to the piece.
Clean all the edges and surfaces just before foiling. This ensures there are no oils to interfere with the contact adhesive of the foil.
Avoid hand creams just before foiling as this increases the amount of oils getting onto the glass.
Remember that lots of heat breaks down the adhesive. So do not remain in one place too long. However the adhesive is not the element that keeps the foil attached to the glass in the long term.
Instead, think about whether the bead on the edge is thick enough to provide the rigidity required without relying on the adhesive of the foil.
Finally, think about whether an edging came would provide better support and finish to the piece.
Tuesday, 25 November 2008
Copper Foil Limitations
Unsupported windows
Windows without either rebar or internal support via Strongline or re-strip should not measure any more than 610mm in any dimension.
Flat work
It is not advisable to create anything over 1220mm (4 feet) by 1830mm (six feet) for a window installation even with re-inforcing bars. All such large copper foiled windows need an exterior piece of safety glass flush against the stained glass. Alternatively, split the window into smaller panels supported on “T” bar.Reinforcements
Anything over 610mm square normally requires internal reinforcements with either Strongline and/or restrip. Inserting long strips of either Strongline (copper plated steel) or restrip (thicker strips of copper) in between the copper foiled glass pieces to create a "spine" and then a "grid" of internal support is necessary when dispensing with rebar (horizontal lines of brass, steel, or other stiff metals attached to the panel for structural support).
Advantages
The huge advantage of copper foil is in the construction of three dimensional pieces and free hanging or standing pieces.
Monday, 24 November 2008
Polishing Solder lines
Before polishing, clean the solder (see cleaning tips) and apply the patina, if any.
Use a good quality furniture polish or wax. Shake the bottle well if it is a liquid, then apply liberally to a soft cloth, or good quality paper towel, rubbing all over solder. If you have a glass with a deep texture, try to avoid this all over process, as it can be hard sometimes to remove all of the polish afterwards, and it is noticeable when it dries. Alternatively, mask off the glass from the solder.
Immediately after applying the polish, take a clean, dry soft cloth or new paper towel, and begin to gently rub the solder seams. If you are using paper towels, you will need a lot of them, as they tear up quickly. When both sides have been polished, check for any missed spots, especially along the edges of your solder seams. Also check for polish residue in tight corners and along the edge of the solder. An old toothbrush often works to remove it. If you need stiffer bristles, make sure you keep this new toothbrush separate from all the others in the house.
Use a good quality furniture polish or wax. Shake the bottle well if it is a liquid, then apply liberally to a soft cloth, or good quality paper towel, rubbing all over solder. If you have a glass with a deep texture, try to avoid this all over process, as it can be hard sometimes to remove all of the polish afterwards, and it is noticeable when it dries. Alternatively, mask off the glass from the solder.
Immediately after applying the polish, take a clean, dry soft cloth or new paper towel, and begin to gently rub the solder seams. If you are using paper towels, you will need a lot of them, as they tear up quickly. When both sides have been polished, check for any missed spots, especially along the edges of your solder seams. Also check for polish residue in tight corners and along the edge of the solder. An old toothbrush often works to remove it. If you need stiffer bristles, make sure you keep this new toothbrush separate from all the others in the house.
Friday, 21 November 2008
Lampshade Pattern/Cartoon Tools
Lampshade patterns –tools for custom-made patterns.
The items you need to have for creating your own pattern are not extensive or unusual.
The items you need to have for creating your own pattern are not extensive or unusual.
- Craft knife or razor blade
- Baby/talcum powder
- Fine pointed felt tipped pen (Sharpie)
- Highlighting pen
- Pencil
- Eraser
- Carbon paper
- Drawing paper
Masking tape - Lampshade form
- End/vase cap
Thursday, 20 November 2008
Lampshade Pattern Construction, 3
Cut the finished template into sections (if you are using a 360 degree form)
The masking tape template will need to be cut off the curved form and laid out flat. This is easier to do if you can logically separate the template into smaller sections. To do this you need to find lines running almost vertically from the top to bottom of the template. Mark these separation lines in a different colour. Also label each section.
Remove the template(s) from the form and press it out flat
Take a craft knife or razor blade and trim away excess masking tape from the end cap mark. Do the same for the bottom edge. Carefully remove the excess and throw it away.
Prepare a section of your work surface by sprinkling some talcum powder on it, and onto your hands as well. This will help keep the sticky side of the masking tape from sticking where you don't want it later.
Using the craft knife, slice through the middle of each separation line that you marked in a special colour. Try to stay in the exact middle of the line. Be careful that you do not tear or cause to pull away the underlying masking tape as you cut through the line. Do this with each separation line.
Starting with the top edge, use the craft knife to gently pull the masking tape template off the form. If the masking tape starts to separate, stop and repair it. As each section is taken off the form, put it sticky side down into the talcum powder and press it flat. Do this for each section.
Scan/copy the template(s)
At this stage you can scan each section into Glass Eye or other image software. This allows you to:
You don't have to scan your pattern, but you do need to make at least two copies of the pattern.
Cut out one copy and reapply it back to the form
One copy is fastened back onto the form so that you know where to put your glass pieces.
Cut out the other copy and paste it onto your glass
The other copy is cut out using pattern shears (the three-bladed scissors) and glued onto the glass for cutting.
Based on work by Christie A. Wood, Art Glass Ensembles
The masking tape template will need to be cut off the curved form and laid out flat. This is easier to do if you can logically separate the template into smaller sections. To do this you need to find lines running almost vertically from the top to bottom of the template. Mark these separation lines in a different colour. Also label each section.
Remove the template(s) from the form and press it out flat
Take a craft knife or razor blade and trim away excess masking tape from the end cap mark. Do the same for the bottom edge. Carefully remove the excess and throw it away.
Prepare a section of your work surface by sprinkling some talcum powder on it, and onto your hands as well. This will help keep the sticky side of the masking tape from sticking where you don't want it later.
Using the craft knife, slice through the middle of each separation line that you marked in a special colour. Try to stay in the exact middle of the line. Be careful that you do not tear or cause to pull away the underlying masking tape as you cut through the line. Do this with each separation line.
Starting with the top edge, use the craft knife to gently pull the masking tape template off the form. If the masking tape starts to separate, stop and repair it. As each section is taken off the form, put it sticky side down into the talcum powder and press it flat. Do this for each section.
Scan/copy the template(s)
At this stage you can scan each section into Glass Eye or other image software. This allows you to:
- select and change colour/glass choices very easily
- print out or email colour proofs to the client
- keep them in an electronic form for future reference or manipulation
You don't have to scan your pattern, but you do need to make at least two copies of the pattern.
Cut out one copy and reapply it back to the form
One copy is fastened back onto the form so that you know where to put your glass pieces.
Cut out the other copy and paste it onto your glass
The other copy is cut out using pattern shears (the three-bladed scissors) and glued onto the glass for cutting.
Based on work by Christie A. Wood, Art Glass Ensembles
Wednesday, 19 November 2008
Lampshade Pattern Construction, 2
The second stage is to get the design onto the prepared mould and make adjustments to give a balanced and pleasing appearance
Trace the pattern onto the template
Take your design elements and trace them onto the masking tape on the form. The use of carbon paper enables you to put the design element and trace right on top of the taped mould so that the image is transferred onto the tape.
An alternative method is to use a pounce wheel to perforate the design element. The element is placed on the form and dusted along the perforated line with a bag of dark coloured powder such as powdered poster paint. This will leave a temporary trace on the form that can be changed easily, but needs to be pencilled in before too much other work smudges the shape.
Do this tracing with each design element, flipping and rotating them around so that you don't repeat any element exactly. Fill up major sections of the form using this method. Drawing the main feature first and filling with the minor elements helps provide a pleasing composition.
Fill in blank areas
Now that the key design elements are onto the masking tape template, create background pieces by linking your design elements. Use pencil, since you will probably need to do corrections. Remember, avoid creating large horizontal pieces. Larger vertical pieces are usually better. However, try to keep all the pieces of similar size.
Correct any pieces and number them
Once you are satisfied with the design, go over every line with a fine felt tip pen or other ink pen so that each is clear and distinct. Number each piece and mark colour and glass textures as necessary.
Based on work by Christie A. Wood, Art Glass Ensembles
Trace the pattern onto the template
Take your design elements and trace them onto the masking tape on the form. The use of carbon paper enables you to put the design element and trace right on top of the taped mould so that the image is transferred onto the tape.
An alternative method is to use a pounce wheel to perforate the design element. The element is placed on the form and dusted along the perforated line with a bag of dark coloured powder such as powdered poster paint. This will leave a temporary trace on the form that can be changed easily, but needs to be pencilled in before too much other work smudges the shape.
Do this tracing with each design element, flipping and rotating them around so that you don't repeat any element exactly. Fill up major sections of the form using this method. Drawing the main feature first and filling with the minor elements helps provide a pleasing composition.
Fill in blank areas
Now that the key design elements are onto the masking tape template, create background pieces by linking your design elements. Use pencil, since you will probably need to do corrections. Remember, avoid creating large horizontal pieces. Larger vertical pieces are usually better. However, try to keep all the pieces of similar size.
Correct any pieces and number them
Once you are satisfied with the design, go over every line with a fine felt tip pen or other ink pen so that each is clear and distinct. Number each piece and mark colour and glass textures as necessary.
Based on work by Christie A. Wood, Art Glass Ensembles
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