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.

Layups Promoting Bubbles

Intentional Bubbles

Sometimes you want bubbles. There are various ways to achieve bubble placement with certainty rather than at random.  You can use a variety of bubble powders, such as the UGC bubble powder – now supplemented with bubble enamels.  The use of copper oxide powder will give bubbles of varying sizes dependent upon the amount deposited. You can also use baking soda – calcium carbonate - in the same way for clear bubbles.

You can create a range of bubble textures by arranging textured glasses in various orientations.  Fine reeded glass at right angles will give a regular pattern of small bubbles.  Accordion glass will give a slightly different arrangement.  Using fluted glass at 60 degrees to one another will give you diamond shaped bubbles if you control the temperature and time.  The variety is limited only by the textures and the way you arrange the glass orientations.

Incidental Bubbles

Most inclusions – metal, mica, organic, etc. – result in bubbles to a greater or lesser extent around the objects included.  Extended bubble squeezes are required in conjunction with a sprinkling of powder or very fine frit between the inclusion and the edge of the piece.  Sometimes corner pieces can be included in the design to keep the edges open longer allowing more air to escape.

Unwanted Bubbles

These bubbles largely come from the way in which the glass is arranged. 

Single layers at full fuse will draw in at the edges and thin from the interior, allowing any air to push up and sometimes through the glass.  This is because the thicker and heavier edges resist the movement of the air from under the glass.  This resistance, added to the thinning of the interior leads to bubbles, unless the glass is fired at fire polish or lower temperatures.

This example from Danna Worley shows the effects of firing single layers

Single layers with borders compound the problems of single layers.  The borders ensure that the edges are heavier than the interior and seal air at an even earlier stage of the firing.  The bubbles will appear between the other tack fused pieces in the interior of the piece.  Again, with this kind of lay-up, the top temperature should be no more than a rounded tack fuse.

Heavy or thick borders on two-layer bases are also circumstances where bubbles can be produced.  The border on even two-layer pieces can trap air both under the whole piece and in between layers in the same way a border can on a single layer piece.  In a lay-up like this, it is best to fuse the two base layers together first and then add the decorative pieces and border in a second firing.

This example from Andy Bennett shows how, even when inducing bubbles, things can get out of hand. Here the bubbles between layers have even thinned out the bottom layer to holes to the shelf.

Encased glass pieces are a certain way to get bubbles.  If you place even a single layer of glass pieces in a pattern around the base and then cap it with a sheet of clear, bubbles will form.  This will happen even if there are clear path ways for the air to be released from the interior.  The capping glass will not conform completely to the encased glass pieces by the time the edge is sealed, no matter how long your bubble squeeze may be.  The way to avoid this is by putting the glass pieces on top of a two-layer base.  And it is better to fuse the base layer first before adding the surface glass pieces, so they do not press down unequally, leaving a thin film of air around the heavier pieces on top.

Avoidance of unwanted bubbles

There are a few ways to avoid bubbles that are not where you want them.

•        Avoid using single layers with pieces on top.
•       When using single layers fire with slow rates of advance at low as possible temperatures with a short soak at top temperature. You will need to peek at intervals to observe when the work is finished and advance to the next segment.
•         Non-glass inclusions should be encased with care.  They should be as flat as possible before capped.  The bubble squeeze should be long – possibly as slow as 25°C/45°F per hour between 600°C and 677°C (1113°F and 1252°F). This is to allow the glass at the centre to settle, pushing air from the centre out. Including a sprinkle of powder or very fine frit may help reduce bubble formation, as might chads at the corners or edge of the piece.
•         Organic inclusions will produce large bubbles from the combustion gases.  Use a three to four-hour soak at about 540°C/1005°F to allow the burnout of the organic material before proceeding to the bubble squeeze.
•         Avoid borders on top of the glass.  The additional weight acts to seal the glass to the shelf and between layers, leaving air underneath to rise and even break through.
• ·        Do not cap/encase glass pieces unless you have a very good reason.  The glass pieces placed on top will stick to the surface with less chance of bubble creation, and will become flat at a full fuse.
•         If you must have a border or encased glass pieces, consider flip and fire – fire the piece upside down to a rounded tack fuse at least, clean thoroughly, then cap the piece and fire right side up. This can reduce the bubble formation.

Breaking Apart the Last Two Thin Strips

For multiple thin strips of even widths, score all the strips first. Then break all the scored strips off the remaining sheet as one piece. Start the breaking process by breaking the scored sheet in the middle, then in the middle again, until there are only two to break apart.

Cut running pliers are most useful until the last two thin strips are to be divided.

At that point use two breaking pliers to hold each side of the two pieces of glass. The noses of the pliers should almost touch on either side of the score line. Apply pressure in a downward pivoting motion to break the pieces apart.

Thin strips

Breaking Tapered Pieces

Breaking thin pieces of glass can be tricky, but there are a few things you can do to help direct the break the way you want it to go.

Relieving scores made alongside curved and tapering pieces make the breaking more certain. A relieving score is one that is in addition to the primary score. This additional score will allow you to break the thin or tapering piece from the larger sheet safely, and then go on to break out the delicate piece.

The object is to always be breaking away less glass than is retained. The use of two breaking/grozing pliers, one on each side of the narrow pieces gives more even pressure than fingers or cut running pliers with wide jaws.

When breaking tapering pieces of glass you should normally grasp the thin end in fingers or pliers and run the score toward the  thick end and ease the run of the score. When the score opens an initial distance, turn the glass end for end and run the score back to the opened one. 

Breaking Pieces from Large Sheets

Breaking a piece of glass from a large sheet is often a frightening prospect. It doesn't have to be. It is easier to cut a straight line piece from your larger sheet than it is to try to cut a curve. This describes a straight line cut from a large sheet of glass.

Use a cutting square or other non-slip straight edge to guide the cutter. You can push as in normal stained glass cutting, or you can draw the cutter toward you as glaziers do. In either case, the pressure needs to be even and the speed consistent.

When moving large scored sheets, avoid pulling the sheet by one end. The score may run suddenly and not always along the line. Instead, move the sheet with support on both sides of the score. After the glass is scored, you have choices about how to run the score.

One easy way to break off large pieces is to move the sheet so the scored line is just inside the edge of the bench. The biggest piece will be on the bench and the smaller piece in your hands. Give a quick, sharp downward push with both hands on the overhanging glass. This action will separate the piece from the main sheet. Having the glass score inside the bench edge gives you a place for the broken off piece to rest, rather than pivoting toward the floor.

Or you can slide the straight edge under the glass on one side of the score, and press firmly, but not sharply on each side of the score. The glass will break evenly along the score line. This is a more gentle method of breaking the glass. A variation on this is to place a couple of matchsticks or glass painting brushes at each end of the score and apply the pressure.


If the glass sheet is of a size that you can hold it in both hands with the score between, you can draw it off the bench, let it hang vertically, and bring your knee up briskly to hit the score line, and it will break easily. This is a showman’s way of breaking glass sheets when the score line is approximately centred on the sheet.


Cut running pliers often do not work very well for long straight scores on large sheets of glass. However, if you use this method, tapping at the start and at the end the score line before squeezing the running pliers will help the score to run the way you intend. This is sometimes the only way to achieve the break of the score.  A note on the adjustment of cut running pliers is here.

Revised 30.12.24

Breaking glass with your fists

No, this is not about punching the glass – a dangerous approach. But it is a two-fisted approach to holding glass to break it.

For scores with significant, but not necessarily equal, amounts of glass on each side of the score this is a quick simple approach to breaking glass. After scoring, raise one edge of the glass and put your fingers under the glass on each side of the score. Curl you fingers into your palm, and put your thumbs on top of the glass. Turn your wrists outward and the glass will break cleanly.

With practice, the initial part of a curved score can be run by applying light pressure. Then you can turn the glass around and run the score from the other end to the opened score. This avoids lots of tapping and gives clean edges to the cut glass. It is just as simple as using cut running pliers and avoids the flare often associated with using cut running pliers.

This technique works best with glass that has at least 50mm each side of the score and on gently curved lines. For tight curves and narrow strips other methods need to be used.

Revised 30.12.24

Care of Your Soldering Iron Tip

Wipe your hot iron tip on a wet sponge on a regular basis while soldering.  It must be done on a natural sponge, not a plastic based one. This should be a quick pass, rather than a lingering one to avoid cooling the tip of the soldering bolt.  This keeps the tip clean of carbon and other contaminants that can reduce the effective heat from the tip.  

There are also brass wool tip cleaners.  These are a bit more aggressive than the sponge, but do not cool the tip. 

If you have any dark gunk build up that won't come off on the sponge, rub the hot iron tip against a block of sal ammoniac until the block clears. If the dirt is difficult to remove with the sal ammoniac, use a brass wire brush to scrape the dirt off and then go back to the sal ammoniac block. When it is clean, add a touch of solder to re-tin the tip, and then wipe against your wet sponge.
  

Remember, all this is done while the iron is hot, so be careful.

Other links to Soldering Iron Maintenance:
https://glasstips.blogspot.com/2019/11/soldering-iron-maintenance.html

https://glasstips.blogspot.com/2010/01/maintenance-of-soldering-bits-periodic.html

https://glasstips.blogspot.com/2009/12/soldering-bit-maintenance-wiping-bit.html

https://glasstips.blogspot.com/2009/12/soldering-bit-maintenance-tinning.html

Revised 30.12.24

Polishing Panels with Paint and Enamels on the Glass

Do not use black patina on the lead/solder lines on your finished work if there is any painted glass in the panel whether leaded or foiled. This relates to traditional painting on glass, using vitreous paints, fired at ca. 670C and to cold paints often cured in a domestic oven.

When using enamels within the painting, do not let any patina come in contact with the finished production. The patina will etch out all the enamel colour. The patina will etch off the outer layer, either removing the shiny top layer of paint, or the delicate lines of detail work altogether. Copper patina takes a little of the paint off, but not nearly as badly as the black patina.  Also patinas can often impart a subtle rainbow effect on the glass near the solder lines.

Instead, brush the panel with a natural bristle brush, as used for putty clean up, and polish.

Silver stains that have been properly held at the maturing temp, should withstand any patina application, as they have become incorporated at the molecular level with the glass.

Turning Panels

Panels should be turned by supporting as much of the panel as possible. In general this means that the panel should be moved until about half of it is off the bench and supported by one hand. Then pivot the panel on the edge of the bench until it is vertical. During this process, the other hand should be supporting the other edge.  Pivot until vertical.  Lift and set it on the bench. Turn it around, keeping it vertical. Lift it off the bench and set the middle against the edge of the bench with one hand on each otherwise unsupported edge. Pivot the panel on the edge and slide it back on the bench.

If the panel is going to be a large one, make it on a board placed on top of your bench. Then when it is time to turn the panel, you can tip the board, set the panel together with the board on the floor. Move the board to the other side of the panel, turn the board around, placing it against the edge of the bench and raise it while pivoting it on the bench. Additional help is to have two short pieces of wood on the floor to set the panel and board on, so you can get your fingers under easily and without getting them trapped.

If you have the space and spare boards, you can place a second board on top of the panel. Make sure the panel is at the edge of the boards next to you. You can then, with the help of another person, turn the whole panel in one movement (although your arms will be in a bit of a twist). This removes the danger of the panel wobbling too much while shifting the supporting board.

A panel of any size with one or more long lines going through the panel should be made on a board, so that it can be turned without the danger of breaking any of the glass or of the panel folding along the lead lines.

Straightening the came

Before using the came it is important to straighten it. This increases the stability of the came during the leading process. Most often nowadays, you use a lead vice. This operates similarly to a cleat on a sailing boat. The more strain that is applied, the tighter the vice grips the came.

You place the end of the came into the vice so that the came appears at the back of the vice. Give the top of the vice a firm tap with your pliers to set the teeth into the came. Grasp the other end of the came with the pliers, and put one foot behind you to brace yourself if the came does slip out of the vice. Draw the came toward yourself until you can see the lead is straight and any kinks have straightened.

Take the came out of the vice and keep it straight. You transport it by grasping each end and keep the came under tension until you get it to the destination. It is often easiest to cut the full length in half before moving it, as it will not then be longer than your arms can stretch.

Remember, this process is to straighten the came to give pleasing lines in the leaded panel. It is not stretching the lead. Stretching the came can weaken the lead.

Revised 30.12.24

Dressing the Cames - part 2

Of course, it is not enough just to dress the came at the start. There is an analogous procedure after the whole panel has been leaded, soldered and cemented.

In this instance the term ‘dressing the cames’ means to close or bend the leaves/flanges of the came toward the glass. It provides a neat rounded appearance to the lines, traps the cement you have already added, presents less area for the rainwater to collect, and makes polishing easier. It is also the time when you may break the glass by putting too much pressure on the glass, so be careful!

Dressing the cames is done with an oyster knife or fid. It is best to avoid metal and better to use wood sticks or plastic tools. The pressure is placed on the came rather than the glass. Run the fid lightly at a shallow angle along each flange of the came. It is helpful to use a finger of your other hand to guide the fid along the cames. You may want to do this several times, as repeated light pressure will cause the flanges of the came to move gently toward the glass with less risk of breaking the glass. This can only be done while the cement is pliable. If it is done after polishing, you will need to re-do the polishing, as it will make the edges of the came silvery rather than shiny black.

Revised 30.12.24