Glass Snagging on Grinder Surface

A number of people report difficulties in sliding the glass along the surface grid.  The glass catches on the grid squares and so does not move easily and smoothly when grinding.

 

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Some suggest sanding the grid to remove any rough places.  The difficulty with sanding the grid is that it will mean that you have to replace the grid before the grinder comes to the end of its life.  Whether you will be able to replace the grid is a risk you have to take if you do this.

It is better to give all sides of your glass a quick arris before beginning to grind. Although technically, an arris is the edge of a piece, it has come to mean the modification of the edge in glass work.

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 An arris on the glass edges can be made by hand with a pass of a grinding stone on the top and bottom edges.  

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It can also be done by a light pass of the glass along the grinding head. This arris protects your fingers too, as it removes the sharp edges of the glass.

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Make sure any points on the glass are slightly rounded, as they are most likely to get stuck in the grid.  You can nip the point with your grozers, or give a slight rounding of the point when making the arris.

It is important that you do not press down on the piece of glass. Press horizontally toward the grinder bit instead. The top is plastic and so deforms pretty easily.  With long pieces the bowing of the top means that the glass, which does not bow, will catch on the grid.  So, to keep the surface grid flat, hold long pieces at the ends.  This will remove any tendency to press down in the middle, as any downward pressure will be at the ends of the glass, allowing the grid to remain flat.

Channels for Jewellery

One way of providing attachments for chains is to make a channel in the piece. This is most often done by placing something between the glass pieces to maintain an opening for the chain to slide through. The materials can range from toothpicks, coated wire, rolled ceramic fibre paper and many other things which will stand up to the heat for the required time.

One of the requirements is to prevent needle points and drawbacks of the glass. There are a number of ways to do this. Some of them are noted here.

One method is to make pattern bars with a channel through the whole width of the bar. Then you need to cut the bar into strips (leaving the channel material in place), do any edge work required, and fire polish.

When creating a single piece from cut glass parts, you need to ensure the upper piece of glass extends beyond the lower piece by at least 3mm to allow the glass to bend over the channel and touch the lower piece. A little more than 3mm will allow the upper glass to curve over the bottom piece and create a rounded top with no evidence of the joining of the two pieces of glass.

Another method is to use two pieces of 2mm glass with full pieces above and below. The narrowest piece of glass will be about 3-4mm and placed at the top of the pendant. The largest piece will be long enough to give a 2mm gap between the two pieces. This is kept open by inserting two pieces of 1mm fibre paper into the gap. Then cap with the top piece of glass. All the glass can be of 2mm thickness, as the three layers will give the desired 6mm thickness.

Finally, a tack fuse firing can help to avoid the needling that can occur at the channel, as the glass is so much thinner than the 6mm required for a full fuse. This means that you can do the work in stages. First fire the elements to the desired state, then combine them for a tack fuse when creating the channel.

If you use a clear middle glass, you can create a depth by having a design on both the bottom and top layers of glass.

Stabilising Stringers

Stringers and rods never seem to stay where you put them.

• Glue them and they move after the glue has burned away.  
• Grinding a flat side to them seems a lot of work.  
• Easier, is to put them in the kiln and take them to a tack fuse to give a flat spot. But that takes a lot of kiln time.
• For stringers you can put a kink or curve in it by heating over a candle.  Rods require more heat than that. Of course, this is of no use for straight lines, and takes additional time.

A simple method which can be used with a tiny amount of glue, or not, is to sift clear powder around the stringers and rods. A fine film is enough to keep them from moving during the heat up.  Large amounts will give a rough surface or have a greying effect from the multiplicity of tiny bubbles developed between the particles of powder.

Assembled panel by Kathleen Watson with the stringers surrounded with clear powder which can be seen as white

The frit should be put on the assembled panel once it has been moved to and placed in the kiln.  Any movement will disturb the powder and defeat the purpose of keeping the stringer or rod in place.

The fired result

This was fused to a rounded tack fuse and no signs of the clear supporting powder is visible.

This is a quick simple method to stabilise rod, stringer and other small items that may shift in the firing.

Revised 30.7.25

Thinning a Melt

There are two basic methods, both use gravity, but one uses additional weight.

Gravity

In this you take advantage of the forces of gravity and the fact that heat reduces the viscosity of glass.  The universal belief is that glass tends towards 6-7mm thick. Yes it does, but only under the times and temperatures we give during fusing.  Those who have seen the results of relay stuck on for hours will know that glass will become thinner than that. A kiln stuck at 1200C for several hours will produce glass that is less than 3mm thick, although stuck to the shelf.

The practical approach is to give the glass plenty of heat work by reducing the usual rate from bubble squeeze to top temperature.  Also increase the top temperature, and give the glass time to flow as it moves slowly.

If your melt is 12mm at the centre and 6mm at the edge you need to take that difference into account when setting the initial rate of advance. A rate of about 90C/hour up to the softening point should be slow enough to avoid thermal shock.  You do not need to hurry from there onwards, because the glass needs to be hot throughout to move easily.  A rate of 200C, or less, per hour would be fast enough.  The top temperature should be set around 810C and for at least half an hour, perhaps an hour depending on the diameter of the piece.  Periodic observation is advisable.  When the reflections seem fairly straight from one edge to the other, it is as flat as it will get using this process.

Anneal for a piece of 12mm, even though the piece is no longer that thickness, because the glass has been through a high temperature process and the compatibility of some of the glasses may be a little less than originally.

Note that this process should be done on a kiln washed shelf.  Thinfire or papyrus will get caught up in the moving glass.  The coarser fibre papers will inhibit the flow of the glass.  You need to expect to do considerable cleaning of the glass afterwards.

Pressing

The other method is to use weight above the glass to thin it more quickly and certainly to the desired thickness.  Place a kiln washed shelf with the kiln wash facing toward the glass.  The weight of the shelf above presses the glass outwards more evenly than a free flow will.

Put solid spacers of the thickness you want the glass to become.  Remember that ceramic fibre used as spacers will thin when the binder has burned away. So, a 6mm stack of ceramic fibre paper will be less than that at the end of the firing.  The larger the pieces of fibre paper you can use, the less the effect will be, as the weight of the shelf will be distributed over a wider area. 

The same kind of firing schedule can be used on the way up as in the gravity only method, but you need to approach the annealing differently.  With two shelves and the glass between, you should be thinking of annealing for something in the region of 25mm. 

Do not do this pressing on top of your normal shelf, as the temperature differential between the exposed shelf and the part of the shelf covered with 12mm of glass and 15mm of shelf will be pretty large, leading to thermal shocking of the shelf. 

Lead Free Solder

Lead free solder is being required for the electronics industry, but not yet for the stained glass industry.  However, some people are beginning to use lead-free solders for other reasons.  In general, it is reported that it is harder to get smooth beads.  Some reasons may relate to the physical properties of the material being used.

Lead free solder solidifies at a higher temperature than the common tin/lead solder compositions although the common lead free solders melt at slightly lower temperatures.  For comparison purposes characteristics of some common lead free solders are given with the common tin/lead solders.

Sn = Tin,   Ag = Silver,   Cu = Copper   Pb = Lead

Solidus = solidification temperature.   Liquidus = Melting temperature

96%Sn, 4%Ag which has a Solidus of 221C and Liquidus of 229C

95%Sn, 5%Ag which has a Solidus of 221C and Liquidus of 254C

Slightly less commons is

96.5%Sn, 3.5%Ag which has a Solidus of 221C and Liquidus of 221C, but has poor wetting properties except on stainless steel.

Other solders are available up to 7% silver, but these are increasingly expensive and have much higher liquidus points.

A truly eutectic lead free solder can be produced with 95.6%Sn, 3.5%Ag, and 0.9Cu, which has a Solidus and Liquidus temperature of 217C

For comparison:

63%Sn, 37%Pb has a has a Solidus of 183C and Liquidus of 183C

60%Sn, 40%Pb has a has a Solidus of 183C and Liquidus of 188C

50%Sn, 50%Pb has a has a Solidus of 183C and Liquidus of 212C

40%Sn, 60%Pb has a has a Solidus of 183C and Liquidus of 238C

The solidus temperature of lead free solders is almost 40C above the tin/lead solders.  This may be the reason people find the need to turn up the heat of their soldering iron when using lead free solders.  The difference in the Liquidus and Solidus points for 4%Ag is very similar to that for 60%Sn/40%Pb.  So with enough heat should behave similarly.

Physical Characteristics of Solder

Solder is an alloy of various materials.  The most common ones for leading and copper foil work are tin, lead, copper and silver.  The most important is tin.  There are, of course, some solders that do not have tin in their composition.

The most common alloy for us is tin and lead.  Various proportions produce different melting (liquidus) and solidification (solidus) points.  This graph shows the effect of changing the amount of tin in a tin/lead solder.

This shows that 61.9% tin and 38.1% lead produces an eutectic solder (although others report a 63/37 alloy as eutectic).  That is, a solder which has both its liquidus and solidus temperatures the same.  This kind of solder solidifies very quickly after its melting.  If we put a lot more heat into this kind of solder, it takes time to become solid.  During that cooling, the solder bead can become disturbed and become either crystalline or marked.  The objective should be to move quickly enough to melt the solder, but not to dwell, as that adds heat.

For the other common combinations [insert ref to previous blog entry] there is a temperature range where the solder is pasty.  It is neither fully liquid (needed to get a good bead) nor yet solid.  It is in this range that various problems can arise.

Failing to get the solder to the liquidus state will result in what is called a cold joint.  The solder is crystalline at the visible level.  It has visible cracks and will not adhere to the copper foil or lead properly.  If disturbed while the temperature is in the pasty range while cooling from the liquidus state, you will also get a crystalline structure to the solder, resulting in an insecure joint.

The graph also shows the melting points of lead (327.5C) and tin (232C).  The wonder of an alloy is that by combining these two metals, the solidus points are greatly changed. This graph shows is that tin is not fully solid until 13C, while lead is solid immediately below its liquidus point, but by combining them a solidus temperature of 183C is achieved.

This graph, with different temperatures, is applicable to lead free (tin and silver mainly) solders too.  The solidus point is about 40C above that for tin lead solders.

Information on specific solders is given here and here

Storage of Came

There are a variety of ways of storing lead came.  The best would be storage in air tight containers.  In the absence of that, many solutions are possible.  These are some of the considerations you should be thinking of when constructing your came store.

Straight

You will get the most use from your came if you store it straight.  If you are short of space or don’t have long arms to handle both ends at the same time, you can halve the normal 2 metre lengths. This also makes for shorter storage units.

Container

The surface oxidisation of lead is reduced by keeping it in a container whether box or rainwater pipe for example.  If the ends or top is open, it is a good idea to wrap the came in waxed paper, as that seems to keep the lead better than ordinary paper.

         

Dry

Lead oxidises on the surface quickly in a damp atmosphere. Try to store it in an area that is not subject to condensation.

Ease of extraction

When building your container, think about how easy it will be to extract the lengths of lead, whether by drawing or lifting them out.

The rate of surface oxidisation relates to the purity of the lead.  The more pure the lead the quicker the surface oxidises.  Half hard and hard cames oxidise more slowly.  However it is normal to have to make sure the surface is bright before soldering.  Don’t worry about a bit of oxidisation – it is only the surface and a scrubbing with a brass wire brush at the joints will have the came ready for flux and solder quickly.

Hand Finishing Jewellery Edges

Often jewellery scale pieces need to have their edges finished before the final wrapping or hanging on the necklace. This is frequently done by running the piece against the grinder, dumping it in water and then cleaning with a tooth brush or similar before the next process.  What is described here can be used on fused and “raw” glass both.

You can finish the edges of pieces by hand. 

Get a flat piece of glass – window glass is good for this.  You can put a fine grit such as 200 onto the glass and wet it to a paste. Place the edge of the jewel on the glass and begin rubbing with moderate pressure in an oval or figure of 8 motion.  You will be surprised at how quickly the edge is refined.  You can follow this up with finer grits.  Make sure you clean the jewel and the grinding plate thoroughly if you use the same glass plate for finer grits.

If you want a less messy - but slightly more expensive - method, use wet and dry sandpapers.  These can be found in grits from 200 to 6000, although you will not need to go beyond 1200 which will give you a smooth, shiny edge. These need to be kept damp too.  If you are planning to fire polish the pieces, you can stop at 400 or 600 grit.

This process avoids the water soak stage, can bring back into use the pieces you forgot to soak, and can be taken all the way to the finished edge.  If you are doing only a few pieces, it is much faster than a fire polish in the kiln.

Diamonds and Water Use

When drilling glass with diamonds, water has three uses.

• It cools the glass.  The action of grinding away the glass surface creates heat.  If this is not dissipated, the glass will break from the heat differentials caused by the drilling.
• Water helps to lubricate and clear the grinding dust from between the diamonds on the drill bit.
• Water keeps the glass dust that would otherwise be circulated in the air contained and easy to clean. 

Ground glass does not cause silicosis.  This is from a leading industrial safety expert:

"It is important to understand the difference between glass and crystalline silica because exposure outcomes are extremely different!  Glass is a silicate containing various other ingredients which have been melted and upon cooling form an amorphous, or non-crystalline structure.  While silica (SiO2) is a primary ingredient in the manufacturing of glass, when glass is formed under heat, the crystalline structure is changed to an amorphous structure and is no longer considered crystalline.  Ground glass is rarely respirable because the particle is too big.

Always use wet methods when grinding glass! Water captures the dust."

Source: http://www.gregorieglass.com/Health_Safety_Chemical.html

How Much Glass to Buy

Of course the answer is that you can never buy too much as you will use it for something later.  Still, economics comes into play sometimes and you need to consider how much glass is enough for a given project.

I find that the larger the pieces in the project, the more glass I need.  There is greater wastage with large pieces than in a project with many small pieces.  I always cut my large pieces first, as this leaves cullet for smaller pieces, thus reducing the wastage.

If you are using glass that has a definite pattern or flow to it, you need to plan on a greater wastage factor than if you are using plain glass or textured glass with no particular direction.

The stage you are at in your cutting will also have an effect on how much glass you need.  At earlier stages you will have more unexpected breaks than later on, so take that into account too.

Some people report that they can manage with one third more area than their project, others one half more.  I find that I usually need twice the area to have enough glass to complete the project.