Copper inclusions

Inclusions of metals can be achieved with care.  Copper is a very good metal, as it is soft, even though its expansion characteristics are very different from glass.  This note provides some things you might consider when planning to include copper in your fused pieces.

The copper sheet should be stiff, but not thick. If the metal can be incised with a scribe and maintain that through gentle burnishing, it is suitably thick. The usual problem is that the copper is too thick rather than too thin.  Copper leaf can be very faint if a single layer is used.  Placing several layers of leaf improves the colour, but often provides wrinkles.  In summary, the requirement is to get a thickness of copper that will retain its structure, but not be so thick and stiff as to hold the glass up during the fusing process.  

Do not use the copper foil as used for stained glass applications. The adhesive backing produces a black colour from the adhesive and many bubbles -  sometimes a single large one.

Copper can provide several colours.

Copper sheet normally turns burgundy colour when oxidised.  This means that there is enough air reaching the copper to oxidise it to deep copper red.  This most normally happens, because a lot of air can contact the metal during the extensive bubble squeeze usually given to inclusions.

To keep the copper colour, clean the metal well metal well with steel wool or a pot scrubber. If you use steel wool, wash and polish dry the metal before fusing.  Reduction of air contact with the metal helps to retain the copper colour.  There are two methods I have used.  Addition of a glass flux like borax or other devitrification spray will help prevent the air getting to the surface.  Another method of avoiding oxidisation, is to cover the copper with clear powdered frit, as well as the surrounding glass.

In certain circumstances you can get the blue green verdigris typical of copper in the environment.  This is an extent of oxidisation that is between the clean copper coloured metal and the burgundy colour of extensive oxidisation.  The key seems to be be a combination of restricted air supply, shorter bubble squeezes and lower temperatures.  Experimentation is required to achieve this consistently.


The spaces under and over the copper give the opportunity for bubbles to form. 

This means that the copper needs to be as flat as possible for one thing.  Burnishing the copper can have a good effect on reducing the undulations in the copper.  Thinner copper is easier to make flat than thicker.  If you can stamp a shape from the copper with a stamper designed for card making, it is a good indication that it will burnish flat.  Thicker copper sheet holds the glass up long enough in the temperature rise during the bubble squeeze to retain air around the metal.  This remains the case even after burnishing to be as flat as possible.

The second element that can help to reduce bubbles around the copper is to sprinkle clear powder over the copper sheet once in place on the glass.  The spread of the powder over the glass assists in giving places for the air between layers to escape.

These two things combined with a long slow squeeze can reduce the amount of bubbles you get.  It cannot totally eliminate them.

Of course, a longer bubble squeeze allows air to be in contact with the copper and promotes the change to a blue green or burgundy colour.

Foiling Space

There are a lot of views on what amount of space is required between copper foiled glass pieces.  Some say the pieces should be tight, others that a consistent space is needed, and some who say that variable spaces are fine.

It is necessary to consider what holds a foiled panel together.

Adhesive

The foil is supplied with an impact adhesive which helps keep the foil attached to the glass before soldering.  However, the heat of soldering deteriorates the adhesion of the glue.  If you must take a foiled piece apart you will find that the adhesive is sticky rather than firm. Also, the adhesive will continue to degrade during the life of the object.

Solder

The solder bead is significant in creating the matrix required to hold the panel in one piece.  The bead on each side holds the glass in place and resists deformation away from a single plane. This resistance is significantly reduced if there is not a fin of solder connecting the two beads.  The beads and the fin of solder form an “I” beam which together resists movement of the glass.

Strength

To form that “I” beam there does need to be space between the foiled pieces. It does not need to be wide, but it does need to be enough to wiggle the pieces.  This will allow the solder to flow from one bead to the one on the other side, forming a strong “I” beam.

In vertical panels, the glass is the strong element.  The solder lines serve to hold the matrix together.  Where people indicate the strong border will keep the whole panel from falling apart, they are correct in part. But, if there is not a sufficient “I” beam between each piece, the whole panel is subject bowing, either from wind pressure, vibration or mechanical pressure from handling.  Therefore, you cannot rely on the border to make your panel strong and long lasting.

Dissent

Some take the view that there will be enough unintentional spaces created between pieces to allow the fin form between beads intermittently.  But the gaps in the “I” beam due to tight fiting pieces will make it much weaker than a continuous bridge between beads.  The existence of gaps puts greater pressure on the solder that does bridge between beads.

An example was provided for me in a lamp brought in by client which spontaneously fell apart one evening.  (Not made by me, I add). The upper band of glass remained attached to the vase cap, but separated from the rest of the shade.  Fortunately, it fell straight down and only a little of the bottom edge was broken.  Investigation showed there was very little solder between pieces, although there was a good bead on each side of the lamp.  The lamp pieces separated, in different places, at the foil-glass interface and elsewhere at the foil to foil interface.  This indicates there was little or no solder where the foil remained on the glass, as the adhesive is much weaker than even a thin fin of solder running between the inner and outer beads. This case is an example of the need for a fin of solder to be formed between the beads on either side to provide a strong, long lasting object.

Heat Cracks

There is sometimes a fear expressed that tight fitting of foiled pieces can lead to heat fractures when soldering due to expansion.  Yes, when soldering pieces with a lot of variation in width, you do need to move reasonably quickly. Come back later to improve a bead if you need, to avoid overheating the glass.  Even the thin copper foil can transmit heat along its length, which reduces direct heat transfer to the glass.  Mostly, breaks occur from dwelling too long in one place with the soldering iron. It may be better to tin the foil all around the suspect piece just before running the bead.  This will warm the glass around the edges in preparation for the greater heat of laying down the bead.

The main point is that the solder needs to connect the beads on either side of the glass to provide a stable, strong and long-lasting piece.

Relative stress in Tack and Full Fused Glass

There is a view that there will be less stress in the glass after a full fuse than a tack fuse firing.

This view may have its origin in the difficulties in getting an adequate anneal of tack fused pieces and the uncritical use of already programmed schedules. There are more difficulties in annealing a tack fused piece than one that has all its elements fully incorporated by a flat fuse. This does not mean that by nature the tack fused piece will include more stress. Only that more care is required.

Simply put, a full fuse has all its components fully incorporated and is almost fully flat, meaning that only one thickness exists.  The annealing can be set for that thickness without difficulty or concern about the adequacy of the anneal due to unevenness, although there are some other factors that affect the annealing such as widely different viscosities, exemplified by black and white.

However, tack fused annealing is much more complicated.  You need to compensate for the fact that the pieces not fully fused tend to react to heat changes in different amounts, rather than as a single unit.  Square, angled and pointed pieces can accumulate a lot of stress at the points and corners. This needs to be relieved through the lengthening of the annealing process.

The uneven levels need to be taken into consideration too.  Glass is an inefficient conductor of heat and uneven layers need longer for the temperature to be equal throughout the piece.  The overlying layers shade the heat from the lower layers, making for an uneven temperature distribution across the lower layer.

The degree of tack has a significant effect on annealing too.  The less incorporated the tacked glass is, the greater care is needed in the anneal soak and cool.  This is because the less strong the tack, the more the individual pieces react separately, although they are joined at the edges.

More information is given on these factors and how to deal with them in this post on annealing tack fused glass.

If you have taken all these factors into account, there will be no difference in the amount of stress in a flat fused piece and a tack fused one.  The only time you will get more stress in tack fused pieces is when the annealing is inadequate (assuming compatible glass is being used).

Marker Pens

A lot of us use marker pens on our glass to determine cut lines, indicate areas that need grozing, etc.  These pens have a variety of names – felt tips, Sharpies, paint pens, fibre tips, permanent markers, laundry markers, and many other generic and trade names.

Most, except the paint markers, contain water or spirit based colours. Many of these pigments are reputed to burn away during the firing of the glass. 

Paint markers and the ones that contain metallic colours rarely fire off.  They are more likely to fire into the glass.  Some people take advantage of this fact to quickly add marks that will survive the firing.

I no longer trust anything to burn off. Even if the marks do apparently burn away, the residues are sites for devitrification to begin.

I clean all my marks off before firing.  It only takes the marks to be fired into a favourite piece to convert you to cleaning. If you use paint markers on black glass or coloured felt tip marks on clear, clean it all off before firing.  This removes the chance that the pigment will remain throughout the firing and ensures the glass is spotless when it goes into the kiln.

AFAP firings

As Fast As Possible (AFAP), sometimes referred to “as soon as possible” (ASAP) firings need caution.  Usually, this AFAP rate is applied only above ca. 540⁰C or higher.

This is possible for small pieces in smaller kilns.  It is often desirable for pieces under 100mm.  In the case of smaller items, the heat can be distributed across and through the pieces easily.  There is no need for the same caution as for larger or thicker pieces.

But

There are effects on glass and kiln that AFAP rates have and need to be considered when setting the schedule for the firing.

Effects on glass

An AFAP rate softens the upper surface of the glass early and before bottom can catch up. This leads to greater possibilities of creating bubbles, as the surface is more easily moved by the air underneath.  So, the air can push upwards rather than be pushed by the weight of the glass from under and escape out the sides. 

The characteristic dog boning of thinner glass is increased, as the temperature overshoots, allowing the glass to become much less viscous, so the surface tension of glass can take over to draw the glass in to create a greater thickness.  This “robbing” of glass occurs both from the interior and edge.  The interior glass becomes thinner and so less able to resist bubble formation.

Effects on the Kiln Control

The controller is learning the relationship between the energy input and the temperature achieved all the way through each firing, even though you fired the same piece yesterday.  The controller is constantly (well, about once a second) comparing the actual rate of temperature increase or decrease with the programmed one.  When there is a difference, power is applied. On the way down there is no input of energy unless the cooling is too fast, so there are no concerns about the controller having to catch up.

If you programme AFAP, especially in a small kiln, you will get overshoots in temperature.  This is because considerable time is required for the controller to determine the continuing energy requirements for the rate set.  In small kilns, the upper temperature can rise quickly as there is less kiln mass to heat than in a larger kiln.

Also, the amount of energy required at the higher temperatures is greater than at the lower ones. This means the controller must constantly adjust the rate of energy input at different temperatures.

Both the above factors combine to give overshoots of the top temperature, sometimes by as much as 20⁰C.  During the soak time at top temperature, the kiln will attempt to adjust the energy input to maintain an even temperature. The result of this constant comparison is that the temperature drops considerably below the one set. The controller then overcompensates and goes over the set point again.  It continues bouncing above and below with less and less variation as the soak proceeds, because the controller is “learning” the heat input required.

This bouncing of the temperature gives you less control over the results of the firing.  This is especially so when there are voltage variations in the electricity supply.

Cooling the Kiln

“Why does my kiln take so long from boiling point to room temperature?”

The rate at which a kiln cools is dependent several factors:

• ·        The mass of the kiln. Some kilns have dense insulation bricks.  These are very good at holding heat, and release it slowly.
• ·        Its insulation characteristics. Other kilns have light weight bricks or fibre insulation. Both these materials have less mass and can release heat quickly at high temperatures, but much less slowly at lower temperatures.
• ·        The environment. The temperature of the surroundings has a big effect at lower temperatures.  The amount of air movement around the kiln also influences the cooling rate at these lower temperatures.

The physics of heat transfer determine the cooling rate. if all other factors are the same, the rate of temperature fall is faster when there is a greater temperature differential.  And it is slower where the temperatures are closer together.  You can see this by comparing the rates of fall at 800⁰C and at 300⁰C.  It is much faster at the higher temperature and slower at 300⁰C.  You will also notice that the kiln cools more slowly at the lower regions when the outside temperature is high than when low.

Rather than waiting hours or days for the kiln to get 

to room temperature, there are some things you can 

do.

·        Open any vents or peep holes your kiln has. Not only are peep holes good for observing the progress of the kiln work, they are important in cooling.  Their relatively small size insures that there is not such a great air exchange that could cause thermal shock.  The temperature at which you do this is relative to the thickness or variation in thickness of the pieces in the kiln, of course.

·        Open the kiln lid/door a little. As the temperature fall rate reduces, you can crack the kiln open a little.  Many times, you need to put a prop under the lid to keep it open only a little.  Again, this should only be done at a low enough temperature to avoid any thermal shock to the glass.

·        Create greater air movement around the kiln.  You can of course create greater air circulation around the kiln by opening doors and windows, or by a fan.  If you use a fan, it is best to avoid direct air current from the fan onto the kiln. This is because when the vents or lid are open, dust can be spread over the glass and throughout the studio.  If using a fan, it is best to have the kiln closed.  Some kilns have powered ventilation to speed cooling, but these are usually industrial.

How do I tell if I am cooling too fast?

The risk of opening your kiln after the end of the second part of the annealing cool (generally around 370⁰C) is thermal shock from the relatively cool air contacting the glass and cooling one part too much, causing a break or fracture.

You can select how fast a cool rate is safe for your piece and programme that into the controller down to room temperature.  Doing this does not use any more electricity than simply turning the kiln off.  The controller will only put more energy into the kiln if it is cooling more quickly than the rate you set. 

And this is the point of programming to room temperature.

When you vent your kiln, and have the controller set for a cooling rate, it will only add more heat if you have opened the kiln too much.  If you hear the controller switch on the elements, you know to reduce the size of the opening, because it is cooling faster than you set the rate to be.  This makes for a safe, but more rapid cooling than just letting the kiln cool with no ventilation.

"My controller shuts off when I open the kiln."

If your kiln does not allow any opening of the lid/door without the controller switching off, you need an alternative.  In this case, you will need to take note of the temperature drop over set periods to learn if the temperature is falling too fast or too slowly.  Usually 15-minute intervals are all that is required.  Record the temperature at the switch off and before venting the kiln. Vent the kiln. Fifteen minutes later record the temperature. Multiply the difference by four to get the hourly rate.  If that rate is above the one you intended, close the venting a little.  If it is less, open the venting a little more. Then record the temperature after another quarter of an hour. You continue to do this until you are satisfied you have settled on the rate of cooling you intended.

You must exercise patience with the cooling.  

The larger, thicker, more important the piece is, the more caution is required. 

Kanthal vs. Nichrome

Both Kanthal and Nichrome are high temperature wires.

Kanthal

Kanthal is the trademark (owned by Sandvik) for a range of iron-chromium-aluminium (FeCrAl) alloys used in resistance and high-temperature applications. The first Kanthal alloy was developed by Hans von Kantzow in Sweden.

“Kanthal alloys consist of mainly iron, chromium (20–30%) and aluminium (4–7.5 %). The alloys are known for their ability to withstand high temperatures and having intermediate electric resistance.”  So, it is often used in kiln elements.

“Kanthal forms a protective layer of aluminium oxide (alumina) when fired.”  This layer resists further oxidisation of the elements when firing.  Aluminium oxide is an electrical insulator with a relatively high thermal conductivity.  Ordinary Kanthal has a melting point of 1,500°C.

“Kanthal is used in heating elements due to its flexibility, durability and tensile strength.” Its uses are widespread, with it being used in home appliances and industrial applications as well as glass and ceramic kilns.  As an aside, it is being used in electronic cigarettes as a heating coil as it can withstand the temperatures needed in this application.

Based on Wikipedia https://en.wikipedia.org/wiki/Kanthal_(alloy) and other sources.

Nichrome

Nichrome is an alloy of various amount of nickel, chromium, and often iron.  The most common usage is as resistance wire.  It was patented in 1905.

“A common Nichrome alloy is 80% nickel and 20% chromium, by mass, but there are many other combinations of metals for various applications.”  Nichrome is silvery-grey, corrosion-resistant, and has a high melting point of about 1,400°C.

It has a low manufacturing cost, it is strong, has good ductility, resists oxidation and is stable at high temperatures.  Typically, nichrome is wound in coils to a certain electrical resistance, and when current is passed through it, the resistance produces heat.  This is probably the most common material used for kiln elements.

When heated to red hot temperatures, the nichrome wire develops an outer layer of chromium oxide, which is stable in air, being mostly impervious to oxygen.  This protects the heating element from further oxidation.  However, once heated the nichrome wire becomes brittle and must be heated to red hot before bending.

Based on Wikipedia https://en.wikipedia.org/wiki/Nichrome and other sources.

CoE Varies with Temperature

Information from Bullseye shows that the Coeficient of Linear Expansion changes rapidly around the annealing range.

The following is from results of a laboratory test of Bullseye clear (1101F)
Temperature range.......................COE
20C-300C (68F -­ 572F).................90.6
300C-400C (572F - ­752F).............102.9
400C-450C (752F - 842F).............107.5
570C-580C (1058F-1076F)............502.0

Bullseye glass is probably typical of soda lime glasses designed for fusing.

The change of CoE by temperature is further illustrated by Kugler (a blowing glass) who state their CoE by temperature range. Remember CoE is an average expansion over a stated range of temperatures)
CoE 93 for the range 0C-300C
CoE 96 for the range 20C - 300C
CoE 100 for the range 20C - 400C

The extension of the range by 100C has a distinct effect on the average expansion over the (larger) range. 

This shows why it is not helpful to refer to CoE without also mentioning the range of temperature.

In addition, here is an illustration of the effect. 

(If the owner of this illustration comes across this, please let me know, as I have lost the source)

Cordierite/Mullite vs. pizza stones or tiles

Description of the materials

Cordierite refractory shelves are generally combined with mullite to achieve low expansion rates.  These are most often manufactured as solid slabs, although there is an extruded version with hollow channels along the length, given the trade name corelite.

Cordierite is magnesium, iron and aluminium in a cyclosilicate form (or rings of tetrahedra).  It is named after its discoverer, Louis Cordier, who identified it in 1813.

cordierite/mullite shelves

Mullite is combined with cordierite in small amounts to increase strength and reduce the amount of expansion. It does this through the formation of needle shapes that interlock and resist thermal shock. It also provides mechanical strength.

Mullite was first described in 1924 and named for an occurrence on the Isle of Mull, Scotland, although it occurs elsewhere, usually in conjunction with volcanic deposits.   

Pizza Stones and Tiles

Pizza stones are a variant of baking stones where the food is placed on (sometimes heated) stones.  Baking stones are a variation on hot stone cooking, one of the oldest cooking techniques. The stones are normally unglazed tiles of varying thicknesses.  What is said of pizza stones also applies to tiles.

Characteristics

Pizza stones  

Ceramic tiles and pizza stones are essentially the same things.  Some tiles may be thinner, especially if they are not large. In both cases, the ceramic is a poor heat conductor and the thermal mass means care needs to be taken in rapid heating and cooling of tiles and of baking stones. These are dry pressed which give a coarser surface texture than cast shelves.  All these ceramics are generally fired at about 1100C, so they can withstand kiln forming temperatures.  They are adequate as small shelves, but will deform over larger areas over time.

Cordierite-Mullite kiln shelves and furniture.

This formulation of materials has an extremely low coefficient of thermal expansion that explains the outstanding thermal shock resistance of these kiln furniture materials. They are also strong although heavy. Cordierite/mullite shelves are sintered, to allow the mullite needles to form, and fired at 1400C+, higher than tiles (which are most often fired at about 1100C).

This material can be cast, dry pressed or extruded. 

Cast shelves are the cheapest of the methods and provides a smooth surface.  These are used for kilnforming glass, and low temperature ceramic firing. 

Dry pressed shelves have a higher temperature resistance than cast. For this reason, these are often marketed as ceramic shelves, even though the cast shelves are fine for smaller areas.  These are more expensive than the cast shelves.

Corelite, a brand name for extruded shelves with hollow channels, is often used where larger shelves are required, as the weight is less than the solid cordierite. Extruded shelves are ground smooth after forming.

pizza stones

Preparation

Pizza Stones and Tiles

Due to the thermal mass of pizza stones and the material's property as a poor heat conductor, care must be taken when firing.  Firing quickly can break the stone or tile.  The stone or tile should be fired slowly to just under the boiling point and soaked for a couple of hours to eliminate any dampness in the material.  This probably should be done each time kiln wash is applied.  Because it is porous, a baking stone or tile will absorb any liquid applied, including detergent. They should be cleaned with a dry brush and then plain water if further cleaning is necessary.

Pizza stones and tiles should be checked for having straight and level surfaces. It is not a priority for these to have flat surfaces as for glass and ceramics shelves.  If by placing a straight edge on the surface you can see slivers of light, the shelf needs to be smoothed.  You can do this by grinding two of the proposed shelves together with a bit of coarse grit between.  This best done wet to avoid the dust getting into the air.

Cordierite

Cordierite/mullite shelves do not need this level of preparation, unless they have been stored outside.  It is possible to kiln wash and air dry for a few hours before placing glass on the shelf and firing.  This difference is the low rate of expansion (CoLE 19, if you are interested).

corelite shelves

Corelite

The extruded corelite shelves are made with cordierite/mullite, but are more delicate due to the hollow channels along their length.  They should be fired slowly to just under the boiling point of water to eliminate the moisture.  It should be fired to 540C with a pause before going to the top temperature.  The shelf should be supported at 30cm intervals under the shelf to minimise breakage.  The whole surface of the shelf should be filled rather than having just one heavy piece; again this is to minimise breakage.

Flat shelves

Can I use a pizza stone or a tile for the shelf?

Yes. but, you need to be consider how flat the stones are.

Choose the flattest, smoothest stones you can find.  Take a ruler or other straight edge with you to select the flattest.  Hold the straight edge vertically, and look for light coming from between the edge and the surface of the stone.  Choose the ones with the least light showing.

Determining how flat the stones are

You can make the stones very flat and smooth when you get them to your studio.  Put the surfaces together face to face and move one against the other in a circular motion.  After minute or so of grinding, lift and take note of the areas which are showing the effects of the grinding. Where the stone has not been affected, are the low spots.  The number and depth of the low spots will determine whether you wish to continue to even out the variations in the surfaces.

Grinding

You can speed the grinding by putting a slurry of grit between the two surfaces.  You can use a coarse grit of 100 or less in the grinding. Place a small pile of the grit and make a depression in which to put the water.  Mix into a runny paste.  And place the other stone on top and begin to move the upper stone in multiple directions.

Keeping the grinding surfaces damp will prevent any dust from the grinding getting into the air. You will hear a difference in sound when the slurry begins to dry out.  This is the time to add a spritz of water to the grinding materials.  As you check from time to time, you will see the areas that already are ground and those that are not yet evened.  The grit will remain in the depressions and be clear from the higher areas.  Push the grit onto those clear areas to continue the smoothing and flattening process.  Continue until the surfaces of both stones are smooth and flat.  This probably will not take much more than a quarter of an hour.

It is advisable when smoothing ceramic or glass materials to wear a dust mask. The dust from both are irritants, although not carcinogenetic.

Drying

When the stones are smooth, they need to be carefully dried.  If you have the time, you can leave them to air dry for a few days.  Even then you need to fire them to just below the boiling point of water and soak there for several hours.  Keep the vents open, or the door/lid propped open slightly.

Firing

It will continue to be important to fire up slowly to keep the stone from breaking from thermal shock.  The most rapid expansion of the ceramic is in the 200⁰C to 250⁰C range. This means that the rate of advance of firings should be slow until 250⁰C has been passed, no matter what the glass might survive.

Drapes over cylinders

Draping glass over cylinders or similar shapes presents some ordinary problems in a problematic combination.

• ·        In general, the glass is a long rectangle
• ·        The glass is supported on a long thin part of the mould
• ·        The glass is usually high in the kiln
• ·        The mould is heated unevenly
• ·        The material of the mould influences the way the glass is heated
• ·        The characteristics of the glass interacting with the mould material

Narrow glass

Especially in smaller kilns, a long rectangle will receive uneven heat.  The short edges of the glass are nearer the sides of the kiln than the long edges are.  This means that the ends nearest the sides are in relatively cooler parts of the kiln in a top fired kiln.  It is the opposite in a side fired one.

Long thin support

A drape on a cylindrical mould means the glass is supported on only a long thin part of its substance.  This further increases the temperature differential in the glass.   The unsupported glass receives both radiant heat and heat transmitted through the air, allowing the unsupported glass to heat faster than where the glass is in contact with the mould.

Elevated glass

Glass high in the kiln – the effect of placing glass on top of a cylindrical mould – heats more unevenly than on the shelf. 

Uneven mould heating

The mould directly under the glass will be shaded from radiant heat, but will continue to be heated by convection of along the lower sides.

Mould material

The two common mould materials are steel and ceramic.  These gain heat at different rates.  The steel generally heats more quickly. The ceramic is usually thicker, so with a greater mass, and the heat transfers more slowly through the ceramic than an equivalent mass of steel.

Glass characteristics

Glass is a good insulator of heat.  This means that heat transfers to the mould supporting the glass more slowly than through the air.

The question becomes how to overcome or at least alleviate these limitations.

Relatively narrow glass sheets that extend near side elements will heat those narrow edges more quickly than on the long sides.  Top fired kilns often have the opposite problem, as the short sides may be in the cooler part of the kiln. The usual solution is to reduce the rate of advance, or to baffle the hot parts.  Either of these should work well in this circumstance.

The long thin support of the glass creates the problem of a heating differential.  The glass may be in contact with half a centimetre of the mould all along its length. The glass and mould heat at different rates.  The normal solution to this is to slow the rate of advance.  The slower rate of advance can be combined with periodic soaks 100⁰C intervals.

Elevated glass

Glass high in the kiln needs special care, as the heat is more uneven there than most parts of the kiln on the heat up.  A general rule of thumb is that the radiant surface temperature given by the elements evens out at a distance from the elements.  This distance is determined by the distance between the elements.  The radiant temperature evens at a distance that is one half the distance between the elements.  If your elements are 100mm apart, the radiant temperature will only be even 50mm below the element.  Any glass closer than this will require slow schedules to overcome this uneven heating.

Uneven mould heating

As described earlier the mould will be heated by convection current of the hot air, rather than directly the radiant heat from the elements.  To reduce this difference, the rate of advance needs to be slow.

Mould materials

Although there are other materials, steel and ceramic are the most common materials from which moulds are made. Steel gains heat much more quickly than ceramic.  In the forms used for glass draping, ceramic has much more mass to heat than steel.  Steel also transmits the heat more quickly.  This means that a steel mould can give a hot line under the glass, and ceramic a cool line.  Reduction in the rate of advance will assist in overcoming this differential heating.

Scheduling

Experience has shown that a very slow rate of advance to a soak of 20 minutes at 100⁰C will allow the temperature to equalise between the glass and mould.  However, too fast a rise after that will cause thermal shock possibilities.  So, increase the rate of heating by 50% to another 20 minute soak at 300⁰C.  Follow this by a rate twice the initial rate to 500⁰C for another 20 minutes as a precaution.  Then proceed to fire at a normal rate.

These precautions are not necessary on the annealing cool as the glass will be in contact with the mould.

Glass characteristics

Glass is a good insulator, so the heat passing to the mould will be less than through the air.  With steel, this will give a hot line and with ceramics a cool line.  Slowing the rate of advance will help reduce this differential.  Experience has shown that placing a sheet of 1mm fibre paper over the mould will also help to reduce the effect of the temperature differences.  You can place a sheet of Thinfire or Papyrus over the fibre paper to retain as smooth a surface as possible.

Summary

The best defence to the thermal shock of glass on a cylindrical mould is to reduce the rate of advance with periodic soaks to equalise the temperature.  The addition of fibre paper to the cylinder is an added protection against uneven heating from a hot or cold spot on the mould.

But why does the glass break at right angles to the length of the mould?

I have talked of the long thin contact line between the mould and the glass. “Why does the glass not break along the length of the glass?” I hear you ask.

In thermal shock, the break will occur on the line of least resistance.  In these cases that is on the short sides.

Glass Cutting Surfaces

There are several considerations about your surface for cutting glass.

Make sure you are putting the glass on a flat surface. If the surface is uneven, it will give difficulties in scoring and breaking.  This means that large sheet timber is an excellent surface.  These boards need to be securely screwed down to the bench structure to avoid any warping.

There is some advantage to having a slightly cushioned cutting surface. This will help accommodate glass with a lot of texture and those sheets that have slight curves in them. 

In this example the user has placed corrugated cardboard under the glass for cushioning, but with a hard surface underneath

Consider ease of cleaning.  As you score and break glass, small shards will be left on the cutting surface.  The tell-tale squeaks as you move the glass indicate there is other glass under the sheet. These shards and any other small almost invisible things under your glass can promote unwanted breaks. Also, if there is glass or other grit on the surface, it may scratch the glass. So make sure you brush the cutting surface clean frequently.

An example of a ready made cutting bench.  It has the advantage of being easy to clean and compact when not in use. 

Think about the size of sheets you will be cutting.  Large sheets often have minor imperfections in texture, or some bowing.  These benefit from a slightly cushioned surface. It also allows the sheets to be put down onto the surface with more confidence that it will not break in contact with the bench top.  But if you are cutting mostly smaller sheets, they benefit from a smooth hard surface to support the whole of the sheet especially when cutting long thin or curved pieces.

An example of a large cutting bench with composition board top surface

Some of the materials used are sheet boards (such as marine plywood, MDF, and other composition boards), short pile carpets,  thin rubber or foam sheets, dining table protectors and pin boards. 

All these are useful for cutting each with advantages and disadvantages.

• Carpets and foam can trap shards of glass, so have to be cleaned very carefully to avoid retaining sharp glass within the pile or foam.
• Smooth, wipe-able surfaces avoid trapping glass, but can be slippery. Choose one with a non-slip surface.
• A slightly cushioned surface is good for large sheets
• Smaller sheets of glass are best cut on smooth hard surfaces, providing support for all of the glass sheet.

You can also consider, as in the example above, the use of different cutting surfaces on top of the larger smooth and hard surface.  This allows adaptation to the needs of your glass without duplicating surfaces.

Before scoring, clean the glass on both sides, to ensure any sounds you hear when moving the glass relates to glass shrds on the bench rather than grit on the glass.  At the very least, clean along the cut line, as this makes the action of the cutter smoother. The grit on the glass actually interrupts the action of the wheel, so you get a staccato effect in the score line.

Soldering Fumes

Exhausting Soldering Fumes

Health and Safety

The health and safety of working with lead and solder are a great concern of many people.  Greg Rawls, the acknowledged expert in glass working health and safety, puts soldering and lead work in perspective.

Soldering lead came for stained glass does not usually present an inhalation hazard if the area is well ventilated and you are using an iron and not a torch. With normal soldering, you are melting the lead at temperatures that are NOT hot enough to create a fume.
Lead fume is the inhalation exposure issue. Fumes are very small respirable particulates that are made with heat. Liquid chemicals give off vapours.

Avoid exposure by ventilating the area when soldering, especially if using a torch instead of an iron. Open a window and turn on a fan!  Wash your hands thoroughly when finished working with lead. There are specific products for this purpose.

Use a P95 or P100 respirator when concerned about lead exposure. 

http://www.gregorieglass.com/chemicals.html

There are commercially made fume traps which often have an activated charcoal filter and can be effective.  A simple desk top fan blowing away from you can be effective in well ventilated areas, if you are working on your own. (otherwise it blows the smoke toward others.)

An example of a fan drawing fumes away from the person soldering

Making a fan

Exhausting fumes while soldering is a safety issue. If you happen to have an outdoor screened-in studio a simple fix can be had with a computer fan! You can scavenge such a fan from an older used computer ready for disposal. Simply cut four timbers 50mm square or 25mm x 100mm to fit around it as a box. Attach a long electrical cord to it with an approved plug. Attach a screen to both sides. Plug in. An additional feature is to attach an activated charcoal filter (as used for cooker hoods) to the front of the fan. This removes particles and some fumes.

Positioning

Always set a fan to draw fumes away you, generally pointing it so that it is blowing the fumes in the same direction as the larger air flow in the studio. A very large fan doesn't always do the job alone, since the fumes seem to rise and find your nose. However, with an additional small fan sitting right next to where you are currently soldering, the fumes just move away.

Wearing an appropriate dust mask as illustrated by the Bohem Stained Glass Studio is the best solution.