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E. Using a Diamond Band Saw

Impossible cuts are possible with a band saw. No other cutting tool gives you the creative freedom of a band saw. You can cut any shape you can imagine.

Save money and frustration by making the cut on the first try. pattern pieces can be placed closer together creating less waste. you don’t have to worry about getting that piece out of a one-of-a-kind sheet. you can cut multiple layers at once, making quick work of projects with repeating pattern pieces. There’s no need to grind: The pieces have smooth edges that are ready to foil.

A band saw won’t replace your cutter and grinder for every situation, but it makes a great addition to any workshop! Many saws available also work with wood and metal cutting blades which greatly enhance their versatility and use.

Sawing Tips

• Always wear proper eye protection when using your band saw!
• Don’t push too hard when cutting with a band saw. let the diamond on the blade do the work as you guide the glass. If you are pushing like you do with a grinder, you are pushing too hard.
• You won’t saw any faster and all you are doing is putting undue stress on the blade.
• It is important to keep your band saw clean. When ground glass dries, it gets very hard. Make sure that your band saw is flushed clean after each use.
• When uncoiling a new band saw blade, very careful not to twist or kink it. This can create a potential weak spot in the blade.
• If you are getting a white build up on your glass, you are not getting enough coolant to the blade. Check your reservoir level and flow rate. Too much coolant will cause excessive over spray.
• Use a paint pen to mark pattern lines on glass. it’s more likely to stay on while you saw. You can also use a light coating of “chapstick” or similar material over the line to help it stay on the glass while you saw.
• Use light pressure and/or a lower speed when sawing tight curves and exiting your cut.
• Turn the saw off between cuts to help prolong blade life.

F. Working with Copper Foil

“How do I choose between copper foil and lead?”

Choosing is really a matter of looks and technique preference. Either method is equally strong when properly reinforced. Copper foil is more appropriate for projects with many small pieces, intricate details, patterns that are more organic in nature and larger 3-dimensional pieces.

You can use different sizes of foil to create different width solder lines and increase the depth of your piece. As a rule, larger pieces have larger solder lines, smaller pieces have thinner lines. There are decorative foils that can add interest and create unique looking solder lines. You can combine copper foil and lead construction in the same piece to get detail in some areas and uniform lines in others.

“How do I choose the right foil for my project”

Most copper foil sold for stained glass use has an adhesive side protected by a peel-a-way backing and comes on a roll. When you foil your glass pieces, the backing is peeled away as you press the foil to the glass, centering it as you go. You want the foil to extend out over the edges of the glass equally. The foil is then pressed down over the edges, essentially wrapping the entire piece of glass. It is then pressed down or “burnished” to seal it against the glass. This process is repeated for every piece of glass in a copper foil project.

• Foil tapes come in wide range of sizes, or widths. Choose the width that will properly wrap the glass and give you the solder line width you want.
• Foil tapes come in different thicknesses:
  • 1 mil is very thin and works well for intricate cuts and tight inside curves because it easily bends and “stretches”.
  • 1.5 mil is thicker and won’t tear as easily. It works well for beginners, on unground edges and around sharp edges.
  • 1.25 mil is a middle weight foil suitable for most projects.
• Foil tapes also come with different colors on the adhesive side. If you are using glass that you can see through, choose a foil with the same color on the adhesive side as the patina you intend to use. This will help make foil disappear into the solder lines.
• There are also a variety of specialty tapes that make decorative effects or specific projects
• easier:
  • Foil tapes with a patterned edge enhance add to the interest and appearance of a project and can create interesting solder lines.
  • Double silver tapes have a silver coating on both sides. They are useful in projects where not all pieces or edges will be soldered and the solder seams will be left a silver color.
  • Brass foil is useful for clear glasses where the solder seam will be plated or colored a brass or similar color.

Foiling Tips

• Burnish your foil down tightly, leaving no air bubbles. This will help prevent flux from seeping under the foil.
• If you have to put a project away when it’s partially foiled, tape a small piece of foil to it so you use the same size later.
• Store opened copper foil in a zipper type bag to help prevent oxidation.
• To avoid splits in the foil when foiling deep inside curves, start and end the foil at the deepest part of the curve, overlapping slightly. Use your finger to gently stretch and roll the foil over the edges.
• You can use an old toothbrush to help burnish foil to textured glasses.
• On highly textured glass like ripple and herringbone, you may want to run the glass through an edge removing bit to make foiling easier.
• You can use a knife to trim unevenly foiled edges instead of re-foiling.
• Warm, clean and dry glass foils easily. Make sure to remove all grinding residue from your pieces before foiling.

G. Working with Lead Came

Lead construction lends itself nicely to geometric, straight line or gently curving patterns. The nature of lead channel or came makes it easy to create uniform width lines in your project. Lead came is soldered at joints - the intersections of different lead pieces and then the piece is cemented or puttied to seal the glass and impart strength. You can combine different widths of came in the same project for additional depth and emphasis. Panels that will be exposed to the elements are best made of lead. They can be weatherproofed and the lead allows for expansion and contraction. It is not advisable to make large 3-dimensional projects from lead came.

Lead like foil, is available in different types and sizes:

• Lead came comes in “H” and “U” types and their names reflect their overall shape. H cames are used both between pieces of glass to connect them together and around the perimeter. U came is used on the perimeter only.
• The entire width of the came is refereed to as the “face”. The center portion of the came is referred to as the “heart”. This is the distance between the two faces and determines the thickness of the glass that can be inserted.
• There are also different face profiles available in each type of came. “Flat” is just that, the face is completely flat. “Round” has an upward curving face, similar to that of a soldered seam.
• There are also many specialty profiles available and used in specific styles or applications like Prairie style or restoration work.

You will need a few additional tools for lead came construction:

1. A pair of good lead nippers or “dykes”. These have a special shape and extremely sharp edge for making clean precise cuts in the lead came.
2. A glazing hammer. This special hammer has two different faces. Use the soft rubber face for seating the glass in the channel. Use the hard plastic face for driving the nails that hold your project as you assemble it.
3. Horse shoe nails. These are used to hold the pieces of glass and came in place as you assemble.
4. A fid for opening the channel of lead and metal cames, flattening lead came to the glass and cleaning excess glazing
5. A brass wire brush for cleaning and removing oxidation from your came and joints prior to soldering.

“What is cement and why do I need it?”

Cementing is necessary in lead or metal came constructions to secure the glass in the channels and prevent them from rattling. It finished the project making it solid and weather proof.

There are many different products available for cementing. Check with your stained glass retailer to choose the one that’s right for your particular application and installation.

How to cement a stained glass panel

1. Cementing can be messy, so cover your work surface with newspaper. Mix the cement thoroughly according to the manufacturers instructions. Use a natural bristle brush to force the cement under the face of the cames. By working perpendicular to them. Repeat the process on the other side. Make sure to work cement under all the cames and edging.

2. Sprinkle whiting powder over the entire panel. Whiting is used to absorb and remove excess cement and start the curing process. Using a natural bristle brush, rub whiting over the entire panel working parallel to the came. This will remove excess cement and clean the panel. Repeat on the other side. use a fid to clean cement from the corners.

3. Allow the panel to dry flat for 24-48 hours. Check for cement that may have seeped out and remove with your fid. Allow the panel to finish drying according the manufacturers instructions before applying patina and installing.

Lead Construction Tips

• Wear a dust mask when using whiting.
• For small projects, try putting your project in a plastic trash back when cementing and cleaning.
• Used cement brushes can be stored in a zipper bag in the freezer. When needed simply thaw and use.
• To prevent damage, don’t cut wire or chain or anything except lead with your lead dykes.
• Large brushes can be cut in half. Use one half for cementing process and the other with the whiting for cleaning. The smaller size is easier to use on small in midsize projects.

H. Soldering

“Which iron should I use?”

The best irons for stained glass are between 80 and 150 watts. A wattage lower than 80 won’t melt solder fast enough for stained glass projects. The iron should have a chisel style top to distribute solder evenly and consistently. You can match tip size to the width of the copper foil seams or lead came or for the specific decorative effects you want. The iron you choose should be comfortable to hold. Consider the weight, balance and handle style. See if you can “test drive” different irons at your local retailer. Consider no only the type of work you’re now doing but what you might be doing in the future. Buying a model or two up now may say you from frustration in the future.

Consider the type of temperature control you want. Some irons have a single operating temperature controlled by the temperature of the tip you put in. They work like the thermostat in your house. When the tip temperature drops below the threshold, they kick on and then off when the tip temperature is regained. Other irons use a temperature control device called a rheostat. This works similar to a dimmer switch. You control the amount of electricity supplied to the iron and therefore the tip temperature by turning the dial up or down. Some irons have a built in rheostat while others plug into a separate unit. Rheostats allow you to match the soldering temperature to solder type, construction method, your soldering style and allow you to create decorative effects in the solder itself.

“What are ceramic core irons and why would I want one?”

Ceramic core irons use a more electrically efficient way to generate and maintain heat than conventional wound wire heaters. The heater core extends into the tip for faster heat transfer. This keeps the tip hot longer so you can solder faster. Ceramic core irons pull in a burst of power and distribute it as needed to maintain the tip temperature without a heat recovery lag time. This is where you are working faster than the iron can melt the solder.

Ceramic irons heat up to soldering temperature much faster, often in 30 to 60 seconds. Tips can’t freeze into the barrel on a ceramic core iron. You can use most ceramic irons with a rheostat for increased flexibility in your soldering.

“Which solder should I use?”

Your choice of solder depends on ow fast you work, what you are soldering and the look you want to achieve. Stained glass uses a soft solder mix of tin and lead. The numbers on the roll identify the percent of tin and lead, the first being the amount of tin. Sometimes you’ll find other metals such as silver listed. Stained glass solders are a solid core wire solder and generally come on 1 pound rolls.

Different solders melt and re-solidify (pasty stage) at different temperatures. 50/50 melts at the highest temperature followed by 60/40 and 63/37. 60/40 is more liquid than 50/50 and solidifies slightly faster than 50/50. 63/37 has no pasty stage, going directly from solid to liquid to solid making it useful for decorative soldering. Many people find 60/40 gives a higher, shinier bead while 50/50 works better on three-dimensional projects.

Soldering Safety

• ALWAYS solder in a well ventilated area!
• Never eat, drink or smoke while working the stained glass. Wash your hands thoroughly with soap and water before doing anything else!
• Keep your work area off limits to children.
• Never leave your soldering iron plugged in when not in use or unattended!
• Never override the grounding system on your soldering iron (or any other tool)!

Soldering Tips

• After each soldering session, unscrew the iron tip with pliers. It’s not necessary to remove it, but loosening the nut or screw will help keep it from fusing to the barrel of the iron.
• If you use an iron control (rheostat, mark the spot that seems ideal with a permanent marker for quick reference.
• If your solder spits and sputters while soldering, you may be using too much flux.
• To keep from applying too much flux, trim the bristles of you flux brush to about 1/4″.
• For neat solder seams, avoid stopping and starting the solder line at an intersection or joint.
• Pre fill large gaps with solder before trying to run the final solder bead.

I. Cleaning & Finishing

“How do I use patinas?”

Solder and lead change color naturally over time, but you can change their color instantly by using patinas. There are many different formulas producing a variety of colors.

Patinas are easy to use. Make sure your project is thoroughly clean and free of soldering, flux and cutting residues. There are many commercially available cleaners made specifically for stained glass. Make sure you select the correct type of patina for your application. Some patinas only work on solder, others only on lead. Follow the manufacturers instructions and use a brush or soft rag to apply the patina until you reach the desired color. Wash the piece again to remove any patina from the glass.

Finishing compounds (or wax) are the final step to completing your stained glass project. They polish the glass and solder while helping to prevent oxidation.

Finishing Tips

• When using Antique Brass patina, first scrub your solder seams with fine steel wool. apply the patina sparingly with a clean brush, using only a few strokes until you reach the desired color. Quickly move on to the next area.
• Spotting on the edge of mirror is caused by oil, flux, patinas and other chemicals penetrating the silvered back. Avoid grinding mirror and apply a mirror edge sealant before foiling or leading.
• Never mix patinas and always use proper ventilation and skin protection.
• To patina brass black, add a dash of table salt to a little black patina in a glass or plastic container. Mix well, apply to brass and let it dry. Clean and finish as usual.
• For best results, plan your time so that you can clean and patina as soon as you’re done soldering.
• When patina won’t take evenly, remove it using fine (0000 gauge) steel wool, clean, rinse and reapply the patina.
• Use a clean coffee filter to dust and remove finger prints from you waxed projects.

Part 1 | Part 2 | Part 3

source: www.thestorefinder.com, photo from brandonblinkenberg.com

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