Beginners might consider a simple panel to affix to a window, for example. You want a project that doesn’t have too many sharp edges, that doesn’t have so many parts to keep track of. A simple panel for your window can be a great start!
There are lots of free patterns out there: you can get them on the internet, in books from the library, and so on. The beauty of a pattern that’s already available is that you don’t have to figure out how it’s going to work; that work has already been done for you. Create your own pattern. You could create your pattern based on something that you saw around you, or a pattern that you saw somewhere (like in a cathedral’s stained glass window) that you’re trying to replicate on your own. Look for inspiration in books and in nature. Beginners should choose a pattern that is broad and simple, such as a flower (although, be mindful of the curves and the sharp edges).
Stained glass comes in large sheets. The smallest sheet is approximately 1 foot (0. 3 m) by 1 foot (30. 48 cm by 30. 48 cm) with the largest being four times that size. Buy enough glass for the size of your project, but keep in mind that about a quarter of what you buy will not be utilized after trimming. Cathedral glass tends to be a clear or transparent color. It’s composed of clear glass with colorants added. This glass requires less pressure to cut through Opalescent glass incorporates white, or opal glass, into the color mix. An opalescent blue is blue glass that is not entirely transparent, for example. Opalescent glass tends to require more pressure to cut through, because the opal of the glass creates a higher density than Cathedral glass. You can combine these two types together in your project if you want an interesting mix of clear and opaque. Keep in mind that they need slightly differently handling (as evidenced by the pressure needed to cut through them). There is also streaky glass which tends to be Cathedral glass with streaks of opal mixed in.
Most of the glass you buy comes in sheets about one square foot (30 cm) and one eighth of an inch thick. The sheet can be anywhere from $6 to $20 depending on the color and the detail in the glass, the strength and brightness of the colors. It can also depend on where the glass comes from. Glass that comes from Europe is simply going to cost more. This is often called Antique glass even if it was made in modern times.
Glass cutter: there are lots of different glass cutters available. The hand cutter has the best flexibility and accuracy in template cutting. The Pencil style cutter is great for beginners, as well as those doing trace cutting, because it has consistent pressure and control. The Pistol grip is great for cutting thick glass and is also a good choice for beginners whose hand strength isn’t enough. Pliers: ordinary house pliers shouldn’t be used for this. You’ll need Grozer pliers for breaking glass and nipping off edges as well as Running pliers for snapping long cuts in the glass. Copper foil comes in a variety of widths depending on the width of your glass. This is used to hold the glass pieces together through the adhesive on the one side. If you’re using Cathedral glass (clear glass) the backing will be visible so make sure you’re using the right color for your piece. Soldering iron and solder: Solder is a mixture of tin and lead. The higher the tin content, the lower the melting point, which means it will flow more quickly and with a more silvery finish. As for the soldering iron you’ll need one that is designed for stained glass projects with a minimum of 75 watts. The irons come with different sized tips, depending on your project. Grinder: if you don’t have access to a grinder you can use a Carborundum stone to grind down the edges of your glass after cutting. If you can get a grinder the Electric Glass Grinder is great for dealing with sharp edges quickly.
Leave a centimeter or less of room for the thickness of the copper foil between the pieces. Use either a specialty black pen or a permanent marker to mark the glass. If you have access to a lightbox this can be incredibly helpful for tracing the pattern onto the glass.
Make sure that you’re applying the right amount of pressure. You should hear a nice, clear “zzzzip” as you score. If you apply too little pressure, the break will not follow the score line. Too much pressure and you’ll cause unnecessary wear and tear on your cutter as well as your wrist and elbow. Move your pattern around, rotating the glass as necessary to keep proper form. Make sure that the score line goes from edge to edge.
For straight pieces, as soon as you see a line forming, place pliers in the crack and squeeze to separate the piece. You can also hold the glass on either side of the break and snap it apart with your hands. For curved sections, use the glass cutter to break through the scoring. Don’t worry if the piece breaks off slightly jagged; you can remove edges later if you need to. As long as you keep your curves gentle. If you’re dealing with deep curves, deal with it in a series of shallow curves so that it won’t break on its own.
Put the pieces along the pattern again so that you can grind down the glass into corrective lines. This will make sure that everything fits well together when you put the glass pieces together. It’s also a good idea to build a frame around the pieces when you’ve finished grinding them and fitting them together. This way the pieces won’t slip when you’re foiling the glass.
Once you’ve decided on the thickness of your copper foil, you need to peel off the protective backing of the foil. Make sure that you center your glass correctly on the tape and press it securely along all the cut edges. Press the foil down hard with tongue depressor, or other firm instrument. This will ensure the foil adheres to the glass. You will want to make sure that the tape is very securely adhered as well as even. If a section gets bunched up, tear it off and start again.
Brush each copper-foiled surface with the flux before you solder each time. The gel form is the easiest and most forgiving to use, although you can also try out the liquid form.
To tack all the pieces together apply small dots of flux to desired areas, and melt a small blob of solder on top. Once you’ve got all the pieces tacked together you can tin the seams. To tin the seams you first add flux to all of the seams, then apply a thin, flat amount of solder to all of the seams. Make sure that you completely coat all of the copper foil. Apply a new layer of flux to the tinned seams, then melt a larger amount of solder onto the seams. Run your soldering iron back and forth over to create a melted seam of solder. Once a section is completely melted you’ll lift the iron up from your piece to create a smooth bead.
Compensate for these inaccuracies by filling the gaps between your glass pieces with copper solder. Solder as you would normally.
Make sure that you’re standing for long scores. This will give you better reach by utilizing your shoulder and upper body in the scoring motion. For small scores, make sure that you stay seated so you can concentrate on following the marker score line. Use the right glass cutter. You do not want to use a five dollar cheap glass cutter as it doesn’t cut clear, thin glass very well and it certainly won’t cut much harder art glass. Get one that it has a carbide head, because the oil lubrication is very useful. Make sure that you apply even pressure throughout your scoring. Remember you should hear a zipping sound as you score. Also good to remember: Opalescent glass requires more pressure, Cathedral glass requires less pressure.
Using the wrong kind of flux can lead to charring, called ‘black tip syndrome. ’ When this happens it means that the tip of the soldering iron turns black and re-tinning becomes impossible. Use the right size soldering iron tip. Make sure that you know what the width of the glass you’re working with is and have the tip and the copper spaced accordingly.
