Grinder Head Grub Screw

Need help! The small screw that secures the grinder bit to the shaft was stuck and my efforts to loosen it resulted in stripping it. I've tried spraying it with lubricant -- still no luck. What can I do?

There is a tool that many mechanics and tool shops have. It is normally square or triangular. It is used by drilling into the broken off bolt, or in this case, the grub screw. The tool is hammered into the hole and then with a wrench/spanner loosened.

However, you should make sure that the socket for the allan key is clear of glass residues. I do this by using a needle or other thin sharp object to clear out all the glass powder. I am sure there are other things to clean out the hole too. When the socket is cleaned, I push the key into the socket very firmly and hold it there while turning. This has worked for me in the past.

Once the grub screw is out, you need to get a replacement, so the same problem does not re-occur. I keep the screws from old heads in my box of grinder parts for this eventuality.

So the maintenance is not only on the shaft but also on the fixings. Putting a dab of Vaseline or thick grease into the socket will help keep it clear of the glass residue.

Aperture Drops Firings

Initial Heat Rise

As the placement of aperture drops is much higher in the kiln than normal, the initial heat rise needs to be carefully controlled. Usually, the glass will be so high in the kiln that uneven heating is almost certain and the risk of breakage very high. The need is to arrange a schedule that takes account of this uneven heating effect.

The principle requirement is to add heat slowly so the glass receiving less direct heat can heat up by convection through the glass. However glass is a very good insulator, allowing heat to travel only slowly. There are two strategies for this:

• one is to heat at a very slow but consistent rate. After the annealing point has been reached the speed can be increased.
• the second is to go a bit faster, but with soaks at three or more intervals in the heat up. After each soak the speed of advance can be increased a little. The soaks should be from 15 to 30 minutes, depending on the speed of heat up.

In either case it should take about five to six hours to reach 650C for 9mm thick glass. If the glass is thicker, more time is required to get to this point. I would take 8 -9 hours for 12mm glass; 16 – 18 hours for 15mm glass; 26 – 30 hours for 18mm glass.

Bubble Squeeze

If the glass has not already been fused, you may need a bubble squeeze at around 650C. Keep in mind that the temperature rise has been slow and so a lot of heat has been put into the glass. A quick peek can tell you whether the glass has already sealed at the edges. If the glass was per-fused, you can continue directly to the forming temperature.

Forming temperature

The exact forming temperature of course is dependent on:

• aperture size
• weight of glass
• speed of advance to forming temperature
• glass used (to a lesser extent)

However the forming temperature will be between a high temperature slump and a low temperature fire polish or tack fuse. Observation will be required to determine the temperature for your kiln.

Soak at forming temperature

It is best to soak for a long time at the forming temperature. At high temperatures the glass will move quickly, possibly too quickly to arrest the movement when you want. At higher temperatures the glass thins much more at the shoulder – where the glass moves from the horizontal to the vertical – than at lower temperatures.

Lower temperatures take longer to form, but are more controllable. More of the glass has time to slip into the aperture. Lower temperatures allow compensation for the increased speed of the drop during long drops. After the first 50-75mm of drop the glass at the sides is thin enough to allow a quicker drop caused by the weight of glass at the bottom pulling on the thinner sides.

Aperture Drop Supports

The supports for aperture drops need to be rigid at tack fusing temperatures. A number of materials are rigid enough to maintain their form. Those such as ceramic, or fibre board are commonly available. The ceramic forms can be purchased from various suppliers. Fibre board can be carved in a number of shapes and so are more versatile. They are more flexible than ceramic so need careful support.

The supports also need to be of such a material that will not trap the glass when cooling. This makes metals unsuitable for use as drop supports. The metal contracts more on cooling than the glass does, and so traps or crushes the dropped part of the glass.

Note that the supporting structure does not have to be flat. It could slope toward the centre, or could be curved down on the outside. The permutations are up to your imagination.

The other element of support is the material to hold the support surface above the kiln floor. These supports need to be stable so should have a relatively broad base in relation to the height of the support. Two good kinds of supports are kiln posts and fire brick sawn to the appropriate height. There other possibilities to create home made kiln furniture. [qv]

Note that it is important to kiln wash all the supporting materials to avoid any glass getting stuck to them.

Aperture Drops – Length of Drop

The height of the drop is related to the thickness of the glass.  The glass moving at the edge of the hole becomes thinner than the rim, so the deeper the drop, the thicker the glass required.

The general rule of thumb is to have 6mm for the first 50mm drop. For each additional 50mm an additional 3mm of glass is required. So, by this method a 20cm drop will require glass at least 15mm thick.

A more accurate method is described by Frank van den Ham in his book – Kilnforming Glass, a Master’s Approach.  This is based on obtaining an approximately 4mm thick rim and relies on measuring the amount of glass needed to provide an average wall thickness of 4mm.  The method is:

• Double the drop length, and add the diameter
• Divide the result by the diameter
• Multiply that result by 0.4cm (the average thickness to have a robust result)
• This gives the resulting thickness of glass required in centimetres.
• Divide centimetres by 2.54 to get the decimal part of an inch.

This method relates the diameter (or other dimensions of the opening) to the length of the drop. 

By this method a 20cm drop through a 20cm aperture would require a 1.2cm/0.5” thick blank.  If it were to be a 30cm drop, a 1.6cm/0.625” thick blank would be required, but by the rule of thumb, a 2.1cm/0.825” blank would be needed.

However, if you have a blank and want to know how far you can safely drop it you can determine it by:

• Thickness (in cm) divided by 0.4cm
• multiply by diameter
• subtract the diameter from that result
• divide this result by 2 
• This gives the length of the drop safely possible in cm.
• Divide centimetres by 2.54 to get the decimal part of an inch.

By this method a 12cm aperture with a 1.5cm (5 layer) blank would require division by 0.4cm to give 3.75.  Multiply that by 12cm (the diameter of the aperture), giving 45cm, subtract 12cm and divide the result by 2 which gives a thickness of 16cm or just over 6 inches.

The thinning effect of the stretching can be influenced by both the temperature and material of the supporting material, so this method cannot be infallible.

Revised 14.12.24

Aperture Drops Introduction

Aperture drops are apparently simple to do. But to have control of the process and to be able to get repeatable results is relatively complex. There are various elements that need to be considered when preparing to make one of these. The main technical considerations are:

The height of the drop from the shelf.

Material of the supporting ring or material.

Diameter of opening of the aperture.

Size of the blank in relation to the aperture

Initial firing speeds

Height in kiln and relation to the distance from the heating elements.

Observation of the progress of the drop.

Arresting the drop

Annealing and cooling.

Finishing the resulting drop.

The above instalments will discuss these in turn.

Scoring Opalescent Glass

Cutting opalescent glass often gives difficulties in getting clean breaks along the score line. You need to remember that the opals do not make much if any sound when cut with the correct pressure. If you are scoring so that you hear the ziiip sound, you probably are pressing too hard. When the score is too hard, the opals do not break easily or truly. Only the same pressure as used on transparents is required. Feel the pressure rather than listen for the sound.

Care in the Operation of Soldering Irons

The most important element in the deterioration of soldering iron bits is long idle times. This is where you leave the iron on, and not in use, for a long time.

Have everything ready when you start soldering, so the iron will be used continuously, and will not sit there building up heat, while you get ready to use it again. An idle iron will keep heating to its maximum capacity, and without anything to transfer the heat to, it will start burning off the tinning, after a short while. So if you will not be using the iron for a while turn it off until you are ready again.

The other elements leading to deterioration in performance come from lack of cleaning and tinning of the tip. When the coating of solder burns off or is coated with carbon you get poor heat transfer from tip to working surface making it appear that the iron is not heating properly.

Grinder Bits

Extending the life of your grinder bits is a matter of recognising that you should not force the glass into the grinding head. Excessive pressure against the head heats the bit and allows the diamonds to become free of the binding material, so reducing its life. If the motor slows as you press the glass to the bit, you are applying too much pressure. That kind of pressure also puts a lot of wear on the bearings of the motor.

If the grinder is not taking glass off fast enough for your purposes, you should put a coarser bit on the grinder, rather than pressing harder. The bits do come in a variety of grits. Try out some different grits to find the one that works best for the speed at which you want to remove the glass.

You can also buy a additive for the water – often called a diamond coolant – which is intended to provide a kind of lubrication for the diamonds. This may also extend the life of the bit.

Replacing Grinder Heads

The best action is to prevent difficulties from the start. Before putting the grinder bit onto the shaft, coat it with Vaseline or a proprietary anti seize-compound. This will ease the removal of the bit later.

If the bit is already seized, the method of removal is based on how fast it is stuck. If there is a bit of movement around the shaft when the grub screw is removed, you can probably remove it with simple tools. First use very fine wet and dry sandpaper to remove all corrosion and roughness from the upper, exposed part of the shaft. Put a thin film of lubrication or penetrating oil on the shaft and then you can hold the top of the shaft tight with smooth-jawed pliers while you twist the bit. Be careful not to mark the shaft or you will create another obstacle to removal of the bit. Alternatively, while pulling up on the bit, you can tap the top end of the shaft gently with a plastic hammer to shake the bit loose.

If this does not work, remove the grid and turn the dry grinder upside down and spray WD-40 or other penetrating oil to the bottom of the grinder bit.  This should be left for a few days with renewal of the penetrating oil every half day.  Then try the methods above to free the bit from the shaft.

If the bit is firmly stuck, you will need a small wheel puller to get the bit off the shaft.

Once you have the bit off, smooth any corrosion with fine wet and dry sandpaper and lubricate the shaft. Periodic removal of the bit and lubrication of the shaft will become part of the regular maintenance of the grinder.

Leading Nuggets

To use nuggets in leaded glass panels, just wrap the came round the nugget. If the came leaves are oval, it works better than the flat. If the nugget is thick and does not want to fit securely in the channel, you can also use a fid to open up the top leaf of the came.

There also is a technique to cut the came to give a smooth curve given here.

Edges for Copper Foil

When doing a foil project which does not have a zinc or lead came frame, do you use a wider foil so it has a wider solder line? 

You do not need to use wider foil on the edges, but I have often done so to give the edge just as much "line value" as the internal beads. However this needs to be planned from the beginning. If you simply add a wider line on the outside, many times you will compromise the integrity of the design at the sides. You need to cut the glass a fraction larger to accommodate the thicker foil. Two millimeters added to the outside edge should be enough.

Foil not Sticking on Edge

An enquiry arrived the other day:
I’m working on another irregular shaped suncatcher and I have just completed the soldering. Now I've found one small section the copper foil is not sticking. How can I fix this?

The adhesive on copper foil tape is not a permanent one. It only sticks to the glass long enough to apply the solder to the foil. The heat of soldering often degrades the adhesive so much that it no longer sticks. What holds the solder down is the solder bead. So you probably do not have a full bead on the edge. Placing a bead on the edges of pieces is difficult but you can find a method here.

You can make the edge beading a bit easier by putting thin copper wire around the edge of the piece. This strengthens the whole piece. It allows you to attach a hanger without risk of pulling the whole suncatcher apart. It also allows you to form a bead on the edge more easily.

The bead formed on the edge curves around to the front and back faces allowing the solder to hold the copper tape more firmly to the glass.

Tie Wires

Tie wires for glazing bars are to keep the panel from rebounding due to wind pressures on the window. There also is some pressure created within the house by the opening and closing of doors, although this is minor in comparison to the weather.

The tie wires should be securely soldered to the panel at solder joints. Placing ties elsewhere leads to the tearing of the lead. The soldering of the tie wires requires more heat than simply soldering the lead joints. The tie wire needs to be heated enough to melt the solder of the joint to which it is being attached. Then an additional dot of solder needs to be added so that the wire cannot simply pull out from the joint by being only sweated to the joint.

At installation, when the panel is fully seated in its opening and fastened by nails or sprigs, pull the tie wires out at right angles right at the edge of the solder attachment before twisting the wire. Do not use any more than firm pressure. Then you are ready to cross the wires over the glazing bar. This ensures there is no excessive give in the copper tie.

Do not over tighten the tie wire twist. Only twist until snug against the bar. Then continue to twist the loose ends until you have them a satisfactory length. Cut off the twist rather than the tail ends to provide a neat finish. Then tuck the twist under or over the bar, just as you desire.

Installation of Glazing Bars

There are a few tips that concern the installation of glazing bars into wood frames. An important element to understand is that the purpose of the bars is to protect the panel from horizontal wind pressures on the window, not to lift the panel or in any other way strengthen the panel vertically.

The holes on one side should be at least 5mm deeper than the other. For a really secure attachment one side should be at least 15mm deep and the other 7-10mm. This allows a significant amount of wood to seat the bar. The bar should be at least 10mm longer than the opening is wide.

The hole you drill should be 1mm larger than the bar diameter. This will make moving the bar easier. Additionally, the ends of the bars should be filed to remove any roughness. Also greasing the ends of the bar with tallow or candle wax will ease the movement of the bars.

If the bar is to be installed inside sash windows you can ease the installation by determining the height of the hole to be drilled by presenting the panel to the opening and marking the frame where the bar is to be attached to the panel. Drill the hole so the edge of it is flush with the rebate. This allows you to use a chisel to open the hole enough to allow the bar to be placed in the socket now prepared. In these cases the bar needs to be no longer than the opening.

The installation should be completed by forcing putty into any gaps left between the bar and the hole. This will stiffen and help to firm up the bar’s attachment to the frame.

Cementing Panels

I recently had the occasion to repair a panel made by a friend of the clients several decades ago. It was cemented by pushing commercial putty under the leaves of the leads. It illustrates very well why lead light cement should be brushable to completely fill the space between the glass and the came.

This photo shows how the putty filled the space above and below the glass but not between the glass and the heart of the came.

This photo shows the putty missing from the corners of the glass. There has been a little chipping of the putty in the dismantling process, but not much.

The question may be asked about what is so important about a bit of putty missing from the edges of the glass, it is sealed along the leaves of the came. Yes, this style of cementing will seal the panel from the weather for a time. But had this glass been in a window instead of hung inside, it is questionable whether it would have begun to leak only about 20 years after being made. Certainly as the putty begins to break down, the moisture will rapidly find its way into the inside.

The only way to be certain that the panel is completely weather proofed is to use brushable cement. The cement is pushed under the leaves of the lead with a stiff brush. You know the fill is complete by the cement oozing out of the other side.

It is possible to make up a brushable cement from commercial putty. You simply add some white spirit to the putty. I make a depression in a fistful of putty and add white spirit. Fold over the sides into the well and gradually, the white spirit is mixed into the putty. Continue adding white spirit until you have a very thick molasses that can be pushed around with a brush.

Of course, while you are doing this mixing, you can add a blackening agent - powdered or oil based black pigments are best.

Jewellery-scale Ovals

Rather than trying to perform the difficult task of cutting small ovals, you can use the heat of the kiln to do some of the work for you.

Cut a rectangle the length and width of the oval you want. Then groze the corners to the approximate curve of oval you want. Do not worry about the little inaccuracies of the curve. If it is the curve you want, the heat of a full fuse will even out the edges into oval you want. Clean the glass, assemble and fire to your normal full fuse temperature. The result will be a smooth edged oval of the shape you grozed from the glass. Of course anything less than a full flat fuse will produce a piece with some of the inaccuracies that you grozed into the glass.

If you do not go to a full fuse, or are using only 3mm thickness of glass, this will not work.

Effect of Glass Weight on Slumping

Just as the mould size and shape have effects on slumping temperatures and strategies, so does the weight.

When slumping you are making use of the combined effects of gravity and the increasing softness of the glass. The same thing happens when you have a thick piece of glass as when you have a large span in the mould. As the weight of the glass increases, the temperature at which it will begin to slump is decreased. There is an inverse relationship between the weight and the slump temperature just as there is between increased span and slump temperature.

A 3mm piece will take more time or more heat to fully slump into a mould than a 9mm piece will into the same mould. Observation will give you the information on what the temperature differentials are.

Bowed Glass for Cabinets

This is glass which is slightly convex and normally found in multiple-paned cabinet doors. Glass workers are sometimes asked by antiques dealers to do a replacement.

You can make a mould and do a slump.

However, you should consider doing a drop out or aperture drop. Normally these are thought of as circular, but they can be of any shape you want. The reason for making them as a drop out is that the surface of the bent glass will be completely unmarked.

I have made these several times for antique dealers. To do it, make a rectangle in fibre board about 10mm larger than the glazing size. Place a piece of glass about 40mm larger than the rectangular hole and fire. You need to watch. It will begin to slump at around 520C - or less if it is not float glass. You need to go slowly so the glass does not drop too much.

You will know from the existing pieces how deep a drop is required. Measure that and place a witness to determine when the slump has gone far enough. This can be a piece of kiln furniture with fibre paper over it. It can be a reference point on the far side of the kiln. In my case it normally is a stack of fibre board pieces with fibre paper on top to build it up to the correct height.

When the glass is just about to touch the witness, flash cool the kiln to just above the annealing point and close the kiln. If the temperature rises back into the forming temperature range, flash cool again. Twice should be sufficient to ensure that the glass does not move any further.

Cutting Flashed Glass

Some recommend cutting flashed glass on the clear or non-flashed side. This is based on the idea that the flash is only laminated to the main body of glass. My view is that flashed glass has proved to be very stable over many centuries, and so is firmly a part of the whole sheet.

What is more important is to observe that flashed glass often has a bow. If you place the glass on the bench, you may find that it rocks or sits up from the bench. If you cut the glass on the convex side, that is the side which is not resting on the bench except at the edges, you may find that you break the glass during the scoring, unless you are using the lightest of pressures. It is more certain to get a good break if you score the glass on the concave side - that is where the edges are slightly raised from the bench. So the important element in deciding which side to cut is to score the concave side whether that has the flashed colour or not.

This does not occur with all flashed glasses, and is more important on large sheets than small ones. On the small ones, the curvature is so small as to be immaterial.

Keeping Flashed Glass the Right Side Up

Once you have determined the flashed side on a sheet of glass, mark it with a felt tip or wax marker of some kind so that you will not have to perform this action each time. This should be carried over to each piece as you cut it away from the main piece.

When you have cut a piece from the main sheet, it is easy to turn it over and work on the clear rather than the flashed side. It is essential to know which the flashed side is if you are going to do any etching of any kind. So, as soon as you have cut the piece, mark the flashed side. This will keep you certain that you are working on the flashed side.

Another method to keep track of the flashed side is to mark across the intended score line. After scoring and breaking you will have both pieces of glass marked. All you need to do is make sure you always mark the same side - flashed or clear. Some like to cut on the clear side and some the flashed side. All you have to do is to determine which your practice is.

Distinguishing the Coloured Side of Flashed Glass

On smaller pieces of flashed glass you can determine which the flashed or coloured side is by putting it to the light and viewing it through the edge. If the flash is very thin or you cannot determine which the flashed side is, you can alter the angle a little. If you tip the glass down slightly and the light is coming through the clear side, there will be very little variation in what you see.

If you tip it down and you see the colour very distinctly, then the flash is on the upper side.

Also note that on the left side of the glass you can see the effect of the cutter pressure on the glass.  These little hook like marks are evidence of the stress caused by scoring the glass.  This is the kind of mark you will see on glass that has adequate, but not excessive pressure applied during the scoring.

Now back to the subject of the flash.

On larger pieces this is more difficult, and dangerous to you and the glass, as you risk breakage by holding large sheets horizontally. So you can use your grozers to nip a little glass off the edge. If there is no change in colour of the chipped edge, you have taken glass off the clear side. When you chip off the flash, there will be a little bit of clear showing which the coloured side is. Here are two examples.

Once you have determined which the flashed side is, mark it and all off-cuts with a felt tip or wax marker of some kind so that you will not have to perform this action each time.

Effect of Mould Size on Firing Schedules

The size of the opening of the mould has a significant effect on the schedule you will need to use for slumping. This often referred to as the span of the mould, because the glass spans the mould from one edge to the other. In larger span moulds, the glass drops more easily, because the weight at the centre is effectively more than in smaller span moulds. This means that the glass in large span moulds can be fired at lower temperatures than small span moulds. The difference between a 130mm diameter mould and a 400mm diameter mould can be 40C and 30 minutes - the larger one taking less time and temperature to conform to the mould.

Ball moulds - one of 130 mm and the other of 290 mm dia.

The depth of a mould in relation to its span can have an effect on the schedule required. This is for two reasons: The deeper a mould, the greater the tendency for the sides to become steep, which presents problems as described elsewhere. Deep moulds also require slow careful firings, to help keep the glass from distorting too much from the horizontal and stretching too thin to be robust.

180 mm dia by 75mm deep flared mould

Effect of mould shape on firing schedules

Each time you get a new mould, you should think about the firing schedule that will be needed. The existing schedule you use may need to be changed, so you need to observe the first few firings to be sure you have the correct heating pattern for the mould and the glass.

• Simple curves such as ball mould, square slumper are easiest to slump into, as they have only easy curves to take up. They need only low temperature slumps, and possibly not very long soaks. Although it is best to achieve the slump with approximately a 30 min soak, so that you are using the lowest practical temperature and so minimising mould marks on the glass.

Simple ball mould and slump mould with flat bottom

• Compound curves are those such as an ogee curve that starts in one direction and then moves into another. These require more heat or time than the simple curves. The glass begins to fall into the centre of the mould first, which will be the steepest/deepest part of the mould. The glass will first of all take up a simple curve, and only later conform to the other part of the curve. It is best to start with a low temperature slump and add time (only later increasing temperature) until you find a temperature and time that is practical for the mould.

Moulds with ogee curves and one with an angle at the foot

• The same procedure is needed for moulds with sharp curves or angles. Bowl moulds that have a sharp angle at the foot need much more time than the simple curve. The glass falls to the bottom of the mould first and then has to relax into the sharp angle at the edge of the foot. This takes considerable time. If you add lots of temperature to achieve this relaxation, you run the risk of getting an uprising of the glass near the middle of the bowl. So considerable care is needed to find the right combination of time and temperature for this kind of bowl.

• Draping moulds – those you want the glass to form over rather than into – have other requirements. The mould on which the glass rests forms a heat sink. This means the mould drains heat from the glass in that area while the rest of the glass heats up more quickly. This can lead to breakage. Draping requires more observation to get the forming right than slumping does. Each difference in span of the glass requires a different amount of time to complete the drape even though it is on the same mould. Drape moulds with steep sides require quite different considerations.

Complications in Moulds

Moulds that are easy to slump into are more complicated than they appear. When choosing a mould or making one yourself, there are some things that should be considered.

Steepness, Draft and Undercuts are three elements that can make a mould easy or difficult to use, or make it a one use mould, or a reusable one.

Steepness of the sides or any part of the mould are considerations that make it easy to form the glass to. The steepness of the sides, affect how the glass slides down it. The steeper it is the more likely the glass is likely to hang up on it. This will promote uneven slumps, and needling along the areas where the glass has hung on the mould. The steepness or sharpness of curves within the mould determines how much time and heat is required to allow the glass to conform to the mould. So the steeper the curves, the more time and the less heat is required. For moulds with lots of detail, more time is needed – the amount of heat will be determined by the steepness of the draft of the mould.

Draft relates to the angle of the sides of the mould. A mould with perfectly parallel sides will not release from the mould. In order for the glass to be released from the mould, there must always be an angle making the bottom smaller than the top. The nearer the draft is to parallel the more difficult the piece will be to remove.

Undercuts are the places where the bottom or lower parts of the mould are wider than the upper parts of the mould. This means the mould must be destroyed to allow the glass to be removed. These are therefore single use moulds. If the shape needs to be repeated, a master mould needs to be taken so the mould can be repeated in a material that can be easily broken away from the glass. This is of course, getting into the region of casting moulds.

House Paint on Glass

Windows that have been painted several times over the years often have paint drops or smears on the glass. There are at least two ways of getting it off the glass.
Mechanical means are possible and should be the first trial on unpainted glass. Use a flexible, sharp blade to scrape at the paint. Often there was enough dirt on the glass that the paint will pop off easily. Where you have painted glass – that is glass paint rather than house paint - you need to test how secure the glass paint is. Find an area where any loss of paint will not be noticed and try the mechanical method. If the glass paint does come off, you need to go to a glass conservator who will have a range of chemicals suitable.

The most common chemical removal method is to use an alkaline paint remover. Glass is also an alkaline material, so the paint remover does not affect the glass. Any commercial paint and varnish remover can be used.

Put on a fume mask and rubber gloves. Apply the chemical with a brush and let it work for a while. Agitate the chemical after this pause to see if the paint has been removed. If not, add some more chemical and wait. When the paint has been loosened, rinse with lots of water.

This should not be used on areas of vitreous glass paint due to the risk of removing it.

Growing Panels

What can be done to keep leaded glass panels from growing beyond their original cartoon lines?

I find that most people, who are not used to lead came, cut the crossing pieces too long so the whole panel grows. Each piece of came that is a fraction too long pushes the passing came out, making the glass apparently too large. You can and should make sure that you have pressed the came snugly against the glass. If the next piece of glass you place goes over the line allocated to it, something is wrong with the previous piece. Undo the came and check the size of the glass against the cartoon. If the glass fits inside the lines allocated, the problem is the way you have fitted the came to it.

Another check you can do is to run a felt tip pen at the side of the came onto the glass. Take the glass out and examine the space between the line and the edge of the glass. This will tell you where the glass and came are not fitting equally. A narrow space does not immediately mean the glass is too large, it may mean the calme is not tucked against the glass properly. So check that first, before any grinding.

Nails, push pins or other things that you can push into the work board will keep things stable. If you are working with a rectangle you can use wood battens. If not, multiple close spacing of nails will help. Also you could cut a piece of glass into a shape that will hold the outside of the panel.

Glass Colours

Glass normally has little or no colour because the electrons in the material are tightly bonded so no electronic movement in the energy range of visible light is possible. Glass is given colour by addition of various materials to selectively absorb light in the visible spectrum.

There are three processes: addition of ions of transitional metals; addition of colloidal particles; and addition of coloured crystals.

Ions of transition metals provide electronic excitations in the visible light range. Some of the common ions are:

• Chromium with two positive ions gives a blue, but
• Chromium with three positive ions gives a green.
• Cobalt with two positive ions gives pink.
• Manganese with two positive ions gives an orange.
• Iron with two positive ions gives a blue-green, as can be seen by looking at the edge of much of modern window glass.

Addition of colloidal particles of various sizes causes absorption of some parts of the visible spectrum and reflects the complimentary colours. These are very small particles ranging from 4 to 170 nanometers. For example,

• Gold of 4-10 nanometers will give a pink.
• Changing the size to the range of 10-75 nanometers will produce a ruby.
• As the size of the gold increases to the range 75-110 nanometers a green is produced.
• Between 110 and 170 nanometers browns are produced.

The addition of very small coloured crystals that are dispersed throughout the glass will produce coloured glass.

• The Egyptians made scarlet glass by the addition of red copper oxide. Other examples are
• Lead hexachrome (Pb2CrO6)which produces red, and
• Green is produced with chromium (III) oxide (Cr2O3) crystals, often called viridian.

Based on MIT Solid State Chemistry Notes, p.15-16

Powder Shapes and Clean Up

The crispness of the lines of images made with sprinkled powder depends on the neatness of the edge of the powder. If you are using Bullseye black, you need to use stiff black 000101-0008 rather than the normal which spreads much more than the stiff black does.

There are various ways to create crisp edges, but in some cases it is better to remove the powder than to push it about.

I have adapted a key board cleaning attachment for my vacuum sweeper to clean up the edges of the powder. The narrow head just needs to have a nozzle put in. I used the casing of a ball point pen and filled the remainder of the head with blue tac. Turn the suction of the vacuum all the way down. If you do not have an adjustable power vacuum, make a hole in the hose that you can control the size of to vary the suction.

Manipulation of Frits and Powders

A variety of tools can be used to move frit and powders about to get the shape and edges you want.

One simple tool is a brush. It seems that a soft water colour brush is suitable for very delicate manoeuvring. There are various shapes and sizes for more and less delicate shaping. A stiffer hogs hair brush will move greater volumes.

You can also use a brush to pick up stray pieces of frit. Get the brush damp and touch it to the grains of frit to pick them up. If you do not have excess water on the brush, you will leave no mark behind.

Colour shapers with shaped, rubber tips are good for stroking and pushing frit and powder into place. There are a variety of tip shapes for various uses. Wooden tools as used for shaping clay can be useful in the same way, although they are not flexible.

Another tool that can be used is an adapted keyboard vacuum.

Stencils for Powder Sifting

Use stiff card for the stencil. Make two little holders by sticking tape together in the middle and use the wings to attach it to the card. This makes it easy to lift the stencil straight up from the piece. Do not stick the stencil to the glass. Make the stencil with only enough surrounding card to keep the whole stiff, but ensure you can pick it up easily.

If you want to use multiple stencils on the same piece you need to ensure the stencils are all of the same size to ensure you do not mark the already laid down powder or frit. You also need to make some kind of registration mark on each stencil. Registration marks are used to align subsequent stencils in the same orientation as the first. You can use notches in the stencils and always orient them to 12 o’clock or toward some other indicator. You can also use the notch in combination with a small ink mark on the glass for accurate registration.

Placing Clear on the Top

One effect of placing clear under a coloured glass, especially a dark one, is that the bubbles rising will thin the colour, even to the extent of giving a small clear circle in the midst of the colour. Placing clear on top almost completely eliminates this effect.


An additional effect of placing clear over colour, especially opals, is that it reduces devitrification.

Glass Transition Point

This is the temperature range at which a super cooled liquid becomes a glass. At higher temperatures the molecules are able to reorganise quickly as in a liquid. At temperatures below the transition range, the movement among the molecules virtually ceases and the resulting material is known as a glass.

Two characteristics should be noted here. The temperature range for the transition phase is dependent on the speed of cooling. The slower the cooling, the more time there is for reorganisation and so there is a lower transition temperature. The quicker the cooling of the material through the transition phase, the greater the volume of the material, i.e. it is less dense, although the more slowly cooled glass is still much less dense than the crystalline material.



Based on MIT Solid State Chemistry Notes, 7, pp.7

Formation of Glass

There are a lot of glasses – natural and laboratory created – in addition to the silica based one that we work with. However understanding how glasses in general are created helps to understand “our own”. In general, when the liquid phase of a material is cooled below its freezing temperature it usually transforms into a crystalline solid. But some materials do not crystallise when cooled to their freezing temperatures. Instead they create a rigid network which is known as glass. It is very similar in structure to a liquid – hence super cooled liquid.

At temperatures just above their freezing points, most materials have viscosities that are similar to water at room temperature. They are so fluid that the molecules can rapidly form crystalline structures. But many inorganic silica materials form glasses on cooling because their viscosity at and above their freezing points is very high. There are also high energy bonds between the silicon and oxygen molecules. The viscosity increases very rapidly as the temperature is reduced. These prevent the flow required for crystallisation. In organic glasses, e.g. resin, crystallisation is difficult because of the long chain molecules that the material is composed of, preventing the molecules from sliding past one another, i.e., the difficult structural re-arrangement that would be required to form crystals.


Based on MIT Solid State Chemistry Notes, 7, pp.5-6

Reinforcing Panel Lamp Shades

When constructing large or heavy lamp shades, reinforcement needs to be an integral consideration in the construction. With panel lamps the reinforcement is relatively simple – it can be along the seam lines. In fact, if you do not bevel your panel edges, it can be in the upper seam lines, as the solder filling the open joint will cover the wire. If the panels are bevelled, the wire can just go on the inside along the joint.

The wire should end at the edge of the bottom of the skirt so that it does not extend beyond, but will still be in contact with the edge reinforcement. The upper wire should extend beyond the top of the shade, so that it can be soldered to the vase cap. If there is not one, the wire should be dealt with as for the bottom, and there should be edge reinforcing.

The wire that is easiest to use is single strand copper or brass. It should be of a size to fit at the bottom of the “V” of each joining panel.

Also look at the ways of reinforcing the bottom edges of lamp shades

Flat Bottoms for Bowls

There are at least three ways to achieve flat bottoms to bowls without the use of external supports.


Using drop out rings will enable you to get a flat bottom of whatever diameter you wish depending on how long you let the aperture drop run.

You can put some dry kiln wash into the bottom of the mould, then firmly press it flat with a round piece of glass. You will need to make sure it is horizontal, so the use of a small round levelling bubble can make this easier.

Grind a flat spot on the bottom of the otherwise finished bowl. It is a good idea to use a two way leveling bubble while grinding. The round bubble is easier to use, while the two way bubbles – two leveling bubbles placed at right angles – are more accurate.

Getting Water to the Mini Work Surface of a Glastar G8

Sometimes the water does not rise to the mini work surface. There are a number of things to check. These, in order, are usually the reasons the water does not get to the Mini Work Surface.

• Ensure there is enough water in reservoir, right up to the overflow

• Ensure channel from impeller to the up tube is clear

• Ensure the up tube is clear

• Ensure tap at the top is clear

• Flush the feed lines with a syringe or bulb instrument

• look at the position of the impeller on the shaft. It can move up or down. Repositioning it can improve the flow of water to the top story.

Supports for round bottomed bowls

A number of useful moulds for slumping do not have flat bottoms. There are a number of possibilities to have the bowl sit firmly without grinding the bottom flat. Remember that you do not need to surround the whole bottom to give the bowl stability.

Some of these include things like:

• A rubber “O” ring, although they usually come in black only.

• Thin slices of wide-diameter tubing.

• Wok support rings.

• Plastic tubing with a small joining dowel allows you to make any size. You can then paint it with the appropriate colour.

• Macramé, embroidery and curtain rings can be suitable.

• You can make them using hole saws. Cut out the big ring first so you can use the pilot hole to line up the smaller hole. Then bevel the inside to fit the bowl.

• Use three bumpons on the bottom. Be sure that the bottom of the bowl is perfectly clean, dry and free from oils. Then use some weight pressing on the bumpons for a day or more so that they stick permanently. You can do this by turning the bowl upright and fill it with some heavy objects.

Firing schedules – what are they for?

Firing schedules or programs are the means of controlling the temperature rises, soaks and falls to accommodate the needs of the glass. They consist of a number of segments –or steps - each of which includes: rate of temperature rise, target temperature, and soak time. They vary according to the thickness of the glass and the forming and annealing needs of the glass. Read and understand the Bullseye Technical Note on the way glass behaves at different temperatures. This will give you a good understanding of what happens to the glass at the different temperature ranges and will help you design a suitable schedule for what you want to achieve.


To assist in visualising what the numbers in a kiln programmer do, you can graph the temperature changes indicated by the numbers in the controller. Visualised from the start of the schedule, it appears as a mountain with a steep cliff on the left rising to a ledge. There is then a steeper rise to the top where there is a small plateau. The mountain then has a very steep face on the right, falling to a broad ledge a bit lower than the one on the left. There is a long shallow slope to the right of the ledge that leads to a much steeper drop to the level again. This is the shape – with variations - that you are attempting to achieve in each program/schedule.

The variations have to do with the type of glass being used and thickness of the glass. These variations determine the amount of heat and the speed with which it is put into the glass. It sets the points at which any soaks are introduced to allow the glass and associated moulds or kiln furniture to equalise in heat or to allow air to ease from between sheets of glass. It sets the top temperature and determines the length of soak at that temperature. It controls the temperature fall to the annealing soak - to equalize the temperature throughout the glass. It then controls the rate of fall to anneal the glass – removing the stress and follows up with the fall to room temperature.

A description of each of these stages includes the heat rises and any soaks required, the temperature fall, annealing soak and cool, and the cool to room temperature.

Initial heating rise

In the simplest form, the initial heating is a relatively slow rise to a point about 50C above the annealing point. This allows the glass to gain heat without thermal shock. The initial heating may be achieved in several segments, depending on what you are doing. A thick piece, or one fired many times, might be taken up in a number of stages - initially very slowly (with or without soaks - also known as holds), and then at more rapid increases. A 6mm piece being slumped into a simple curve mould would need only one segment to the top temperature.

Another example of variations required would be a 6mm piece suspended over a cylindrical mould for a drape. My experience has shown that there is a requirement for multiple segments. This starts with an initial rise of 50C/hr to 100C with a 10min soak, then 100C/hr to 250C, 10 mins, then 150C/hr to 500C, with 10mins and finally 200C/hr to forming temperature - in the region of 630C - 677C with an appropriate soak to achieve the effect desired - peeking is required to determine the length of this soak. The point being that some circumstances require much more complicated arrangements. Here it is because the mould drains the heat away from the centre of the glass while the edges heat up.

Final heating rise

Above the annealing plus 50C temperature is when the rise can be much faster up to the working/top temperature. This speed should not be as fast as possible, because it has a number of drawbacks. The speed of this rise is influenced by the amount of heat work you wish to put into the glass. This in turn will influence the top temperature and length of soak at that point.

You most often want to insert a bubble squeeze in this rise to avoid large bubbles due to trapped air.

Cooling phases

The cooling phases are several: fast drop to annealing soak, annealing cool, cool to room temperature.

Fast drop

Once the soak at top temperature is finished the requirement is to cool the glass and kiln as fast as the kiln will allow. This is to avoid the devitrification that can occur in the range of 650C to 760C.

Annealing soak

This soak at the annealing point is to allow the glass to reach the same temperature throughout from side to side and top to bottom. The length of this soak will depend on the thickness of the glass. More information on annealing is here.

Annealing phase

The slow steady cool from the annealing point to about 55C below the annealing point is where the annealing of the glass is done. What is required is a gradual, but steady decline in temperature to allow the glass to reduce in temperature evenly throughout its thickness. This even reduction in temperature should continue to the strain point and slightly below. So this phase must not be done quickly. For a 6mm piece 80C/hour is usually adequate. More on the annealing phase is available here.

Cooling to room temperature

Cooling to room temperature should be done at an even rate, although faster than the annealing cool. Too fast a cool below the strain point can cause thermal shock and therefore breakage. Typically the cool to room temperature from the strain point can be two to three times faster than the annealing cool. It is a good idea to control this cool to at least 100C. If your kiln cools more slowly than this, it will not be using any electricity, but it does protect against too rapid cooling if you open the lid or door.

Ceramic Mould Repairs

Most moulds have a long but limited life due to cracks appearing and accidents. However the life of moulds can be extended with repairs. Most moulds can be repaired, unless shattered.

Cracks can often simply be ignored. If the glass is not getting marked by the crack, then you can keep using it until it widens or goes completely across the mould. If you feel the need to protect the mould before it completely fails, you can add a layer of cement on the back of the mould to support it.

The cement can be a high temperature product like “Sairset” or any other high temperature ceramic cement. The one I like is cement fondu. It comes as a powder – often from sculptural suppliers – which you mix with water to a paste. Wet the mould well to ensure it does not pull the water out of the cement, causing it to fail. Then apply the cement liberally to the back of the mould over the crack.

If you feel the need, you can fill the crack from the front also. Again insure the mould is wet and then press the cement into the crack. Wipe the excess cement off immediately or it will stick leaving blemishes on the mould. Use a wet cloth to do this. You can smooth the filler by using a wet finger to run along the filled crack. These notes apply to which ever kind of cement you use.

Divots or little chips from the surface of the mould can be ignored, if there is no effect on the glass at your operating temperatures. If they need to be filled, you can use a temporary patch by making a paste of batt/kiln wash and smoothing it over the divot. This will last a couple of firings probably. A more permanent repair is to use cements. Prepare as above and smooth into the depression. When cured, particular attention will need to be paid to getting a good coating of batt wash, because the cement surface will reject the water carrying the powder more than the ceramic surface does.



If the mould has broken you will need to stick it all back together. Do not attempt to smooth the edges, they are needed to make as close a match as possible to each other. The rough edges provide a key to location as well. Soak the mould pieces very well. Prepare the cement and apply a little to one edge of the matching pieces. Press together firmly and then apply a backing of the cement as for a crack. Clean off the face of the mould with a wet sponge or cloth until it is smooth and level with the working surface of the mould. Bind this as tightly as the shape permits and leave for several days.

Curing requirements

When using refractory cements, it is best if you can give it a wet cure for a day. This is often easiest to achieve by putting the cemented mould in a plastic bag. After the one day wet cure, it needs to dry for several days. Finally, it needs to have a permanent cure by firing to a temperature of about 25C above the operating temperature for the mould.

Making Powder Designs Crisp

Tidying up powder designs is often a time consuming process using brushes. One way of cleaning the edges of lines and the bottoms of furrows in the midst of the powder designs is to use a modified keyboard vacuum.

I use a Miele vacuum sweeper –it has a variable suction - with a keyboard cleaning attachment.

I have modified the finest nozzle by putting the end of a ball point pen in it and filling in the remainder of the rectangle with blutac or a similar material. Turn the suction on the vacuum down to minimum and you can be very accurate about the amount of powder you remove to achieve crisp lines.

Creating your own Iridescence

Often iridised surface details are created by using iridised sheet glass and then masking and sandblasting off the unwanted portions. But you can make your own iridised surface detail much more cheaply by using pearlised  mica powder.

One way to apply the mica in areas of detail is to make a stencil from stiff card and sift a smooth relatively thin layer of mica onto the area of glass you want to be iridised.

A second is to mix the mica and powdered clear glass in equal amounts and sift that onto the glass through the stencil. This can help more of the mica to stick to the surface. 

A third is to sift clear powder on first and then a coat of mica. This works less well for me than the other two.

It does not matter if you put too much mica on, as the excess will not stick and can be brushed back into your container for future use. The firing should be at full fuse temperatures to allow the mica to sink into the surface of the glass. When you have poured the excess powder off you are left with an iridised surface where the mica has sunk into the glass. You can, of course, use any of the coloured micas for this purpose.

Cutting Bottles

Cutting bottles seems to have a fascination for many people. There seem to be three methods – heat and cold, scoring, sawing.

There are various ways to apply heat and cold to assist with breaking the bottles.

- A string tied around the bottle and soaked in a flammable liquid is a common way to apply heat. As soon as the flame has gone out, you immerse the bottle in cold water; the temperature differential should crack the glass where the string was.

- Filling the bottle with water to the level where the break is wanted and then applying gentle heat with a torch flame at that level should promote a crack.

- Alternatively, the bottle can be scored and put into the freezer for a while and then into hot water.

Scoring is the common method to start a crack.

- This is followed by tapping from inside the bottle with tools from a purchased kit or home-made tappers – a metal ball on the end of a curved piece of metal.

- The score line can also be the preliminary step in the application of heat or cold.

These provide the cleanest edges to the cuts. However there is quite a high failure rate using these methods.

Sawing is method that provides a higher success rate, but is wet, and leaves rough edges to the cut, requiring further cold work.

- Band saws designed for glass can be used, but usually do not have a high enough throat to allow the thickness of the bottle to pass through.

- Most tile saws cut from underneath, so rotating the bottle can lead to a cut completely around. This requires a lot of skill to do free hand, so you need a jig to keep the bottle at right angles to the blade and the bottom the same distance from the blade while rotating the bottle all the way around.

Float Glass Characteristics in Relation to Kiln Forming

A reported 90% of the world's flat glass is produced by the float glass process invented in the 1950's by Sir Alastair Pilkington of Pilkington Glass. Molten glass is “floated” onto one end of a molten tin bath. The glass is supported by the tin, and levels out as it spreads along the bath, giving a smooth face to both sides. The glass cools as it travels over the molten tin and leaves the tin bath in a continuous ribbon. The glass is then annealed by cooling in a lehr. The finished product has near-perfect parallel surfaces.

An important characteristic of the glass is that a very small amount of the tin is embedded into the glass on the side it touched. The tin side is easier to make into a mirror and is softer and easier to scratch. It also becomes apparent when compressed.
Float glass is produced in standard metric thicknesses of 2, 3, 4, 5, 6, 8, 10, 12, 15, 19 and 22 mm. Molten glass floating on tin in a nitrogen/hydrogen atmosphere will spread out to a thickness of about 6 mm and stop due to surface tension. Thinner glass is made by stretching the glass while it floats on the tin and cools. Similarly, thicker glass is pushed back and not permitted to expand as it cools on the tin.

The heat characteristics of Float glass depend in large part on which company manufactures the glass being used, so the temperature characteristics are given in ranges.

The softening point is around 760C

The annealing point is around 560—540C

The strain point is around 525-505C. The strain point being the temperature below which no further annealing can occur, but the glass can still be thermally shocked below this range.

The characteristic of float glass having a molecular level of tin left on the “tin side” but not the “air side” is important to distinguish. If any forming of the glass is planed after fusing, the tin side in compression will show a “tin bloom” similar to devitrification.

The fact that there are many manufacturers of float glass means that they are not all made to the same specifications. It is not advisable to fuse float glass from different suppliers in kiln forming, so the best advice is to fuse only from one sheet for each piece.

Due to the robustness of float glass, it can be fired with a quicker initial temperature rise than glasses formulated for kiln forming. The down side is that it devitrifies very easily and very badly. Rarely can you perform more than two firings before the devitrification begins to become troublesome.

Application of devitrification solutions

Smooth and complete coverage of the piece is the aim when applying devitrification solutions. A soft brush, an air brush, a mouth atomiser are some of the ways to apply the solution. Some even use a sponge - all these application methods will do the job.
It is a pretty simple process, but requires concentration to ensure the piece is evenly covered. If it isn't, there will be areas of devitrification left after firing.

Longevity of Borax as a devitrification agent

It is true that Borax is water soluable. However, the borax has done its job by preventing the devitrification, so it does not matter whether it has or has not disolved, nor whether it is inside or outside.

Borax as a flux for paint in excessive quantities has the effect of corrosion on the paint or enamel it is mixed with. It is not actual corrosion, just that its effects are like that. The borax expands when wet. The expansion is very little, but over time "pops" off the paint - the time scale is 50-80 years. This happens on the inside of windows where the paint is. So it is not an inside/outside issue, just one of moisture.

But this irrelevant in kiln forming applications when attempting to prevent devitrification, or even to correct existing devitrification. The subsequent possible disappearance of the borax will not matter to the appearance of the piece. It has been reported that borax covered sushi dishes going through dishwasher cycles in a restaurant for years show no devitrification after the presumed disappearance of the borax. In fact, the proprietary devitrification solutions that contain lead would not be applicable in this food containing situation.

Other references to devitrification are:
Homemade devitrification solution
Description of devitrification
Temperature range

Devitrification Prone Glasses

"Are there specific glasses that are more prone to devitrification, and knowing that, what steps can you take to try to avoid it?"


Glasses that are formulated and tested compatible for kiln forming are less likely to devitrify than other art glasses.

Opalescent glasses even if tested compatible for kiln forming are more likely to devitrify than their compatible transparent counterparts.

Yes, you can fuse some of the transparent glass made by a single manufacturer - Spectrum transparent and especially the water glasses are most often compatible within certain limits. But you will find that the edges show devitrification almost always. When using glass untested for compatibility, capping with clear glass often helps in reducing or preventing devitrification, as the clears seem less prone to devitrification than coloured glasses

You can clean very well and hope for the best, or you can clean and then use a devitrification agent - normally a flux or low firing glass in suspension - and spray or brush it on. If it is one of the low firing glasses in suspension, make sure you put it on before taking it to the kiln, as it will stick to other things when fired.

Another method is to avoid staying in the devitrification range of temperatures very long - both during temperature rise and cooling.

A description of what devitrification is


The temperature range in which devitrification occurs


A homemade devitrification solution

Annealing

Stress is induced into glass during cooling through the outsides of the glass cooling more quickly than the interior. This contraction causes residual stress. Annealing is the process to relieve that stress. The annealing soak temperature is determined by a number of factors, of which coefficient of expansion, viscosity, exposed surface, and thickness are some. “The relief from stress happens because of a process of viscous flow. At the annealing point it can take place within a few minutes whilst at the lower annealing temperature…. It can take a few hours.” (Dictionary of Glass, Charles Bray, p.27)

The above statement is applicable to glass of a single colour from one manufacturer. When combining colours in kiln forming, the colours absorb and give off heat at different rates and so you need to allow more time for the annealing – relieving of heat induced stress – to occur. 

The annealing soak has the purpose of allowing all the glass to be the same temperature (within 5°C) from top to bottom, and side to side. The annealing occurs during the slow cool past the lower strain point.  The manufacturers give annealing and strain points for their glass. These should be observed, rather than anything pre-programmed into your kiln’s controller.

Note that the stress of incompatible glass cannot be relieved by annealing.

Also, each time the glass is taken to a temperature above the annealing point, it must be annealed again.  There is no short cut to this.

There are more notes on annealing here.

Achieving a Matte Finish by Cold Working

Although sandblasting and then firing a piece can achieve a matte finish, there are several other ways to improve the quality of the final finish.

One of these involves the use of manual sanding after sandblasting in order to smooth out uneven spots and achieve a better final finish.

• Start with a 400 mesh diamond hand pad. It shouldn't be necessary to start out with a lower mesh (coarser) pad.

• Alternatively use wet/dry silicon carbide sandpaper. A combination of 400 mesh paper, followed by 600 mesh paper will work well.

• If you're using sandpaper, place a sponge between the paper and your hand for improved comfort and to improve the evenness of the final finish.

• An alternative to hand sanding is to use a electric sander or grinder, but be careful with the pressure you use, as it is possible to grind into the surface with a rapidly spinning surface. You also need to keep the surface wet to avoid heat build-ups.



You can also use a lathe with appropriately shaped wheels to give decorative effects to the object.