How to Do Stained Glass

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How To Do Stained Glass | by Randy WardellAN INTRODUCTORY GUIDE COURTESY OF

Copyright 1996 by Wardell Publications Inc. ALL RIGHTS RESERVED.

Sections of this guide were extracted and condensed from Randy's book titled - "Quick Success StainedGlass - A Beginner's Instruction Guide" published by Wardell Publications Inc. and used by permission of

the copyright owner. No part of this guide may be reproduced or redistributed for any reason or by any

means including, but not limited to, digital printing, electronic downloading, photocopying, or otherwisewithout permission in writing from the copyright owner.

PREFACE

1.The Information Station 5.Definitions & Descriptions -Tools 9. Scoring the Glass

2.Let's Talk about Safety 6.Definitions & Descriptions -Materials 10. Breaking Out the Score

3.The Exquisite Glass 7.Let's Just Do It! 11. Your First Project - The Copper Foil Method

4.Tools of the Trade 8. Ok, Here We Go 12.PostScript Message

PREFACE

I have been involved in The Craft of Stained Glass for over 20 years and I still get excited every time Idiscover a stained glass installation that I have never seen before. There is something about the interplay of

the vibrant colors, textures and designs which has a mesmerizing effect that pulls me in. You may have felt

the magnetic draw of a stained glass object that you've seen, an ecclesiastical window at a place of worship, a

tiffany style lampshade in an antique shop, a contemporary room divider at a restaurant, a jewelry box,terrarium or suncatcher in a gift store. If you have experienced the wonder of stained glass, then it may be

time for you to find out how you can get started creating your own exciting projects in The Craft of Stained

Glass.

One of the great things about stained glass crafting is just about anyone can do it. It only takes a few tools, afew hours of instruction and a little practice. Before you know it you will be producing your first stained

glass piece. Unlike many other crafts, the excitement doesn't stop after a couple of introductory projects. As

your craftsmanship and skill level increases, the possibilities and challenges continue to grow with you.Some crafters choose to specialize in windows, lampshades or gift items like boxes, planters, mirrors,

suncatchers etc. Other crafters strive to become a "jack-of-all-trades" and take on all types of projects. No

matter what level of involvement you choose, you will be proud to answer your friends questions by saying;"Yes, I did do that beautiful stained glass piece - thank you very much!"

THE INFORMATION STATION

The Craft of Stained Glass is fun and easy, but you will need quality instruction and information in order toacquire the skills. I am pleased that you have found our web site, this is a great place to start your quest for

quality information. This learning section in particular will give you an overview of the materials, tools, and

basic steps that you can expect to encounter along the way, however it is not designed as a stand aloneinstruction course. For more complete and detailed instruction I recommend that you purchase a step-by-step

instruction book. Two titles that come to mind are "Introduction to Stained Glass - A Teaching Manual" and

"Quick Success Stained Glass - A Beginner's Instruction Guide" (I must confess that the reason they come to
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mind is because I wrote both of these books). In addition to a how-to book, there is no substitute for a face-to-face hands-on instruction class, available from any one of hundreds of stained glass stores worldwide -

many of whom are listed elsewhere in this web site. [See Storefinder] These stores will also be your source

for pattern books, magazines, instructional videos, tools, glass, supplies, and a great deal of creativeinspiration. In addition to entry level instruction most stores offer advanced glass courses and speciality skills

seminars. Your local stained glass shop has some of the most excited, friendly, and willing-to-share folks you

will ever meet. Get to know these people and don't be afraid to ask them questions. They can guide you

through almost any glass problem. They are a resource; use them!

LET'S TALK ABOUT SAFETY

Almost every craft or activity has its share of possible hazards and The Craft of Stained Glass is no different.However with a little common sense and organization these hazards can be minimized. Everyone knows that

broken glass edges are extremely sharp and dangerous. Stained glass crafting, by its very nature, produces

many exposed glass edges and minor cuts do occur (This is not to scare you, only to demonstrate that cautionis in order). It only stands to reason that if there are small children in your home you should make your glass

work area inaccessible to them, including while you are working at your project. There will be slivers and

shards of glass, a hot soldering iron, corrosive flux, and other chemicals, solder (which contains lead),

assorted tools, knives, and a power grinder. You must take responsibility, not only for your own safety, butfor all those who may enter your work studio. The most important advice I can give to prevent injury is in

fact an old adage: "A Place for Everything and Everything in its Place!" In other words, get your space

organized with shelves, racks, and containers. Use them as a matter of habit. Don't leave things, especiallyglass, lying around. Put the lid on chemicals immediately after use, always place the hot soldering iron in its

holder and please, always. THINK ABOUT SAFETY! I will remind you to "Think about safety" throughout

this section - only because being aware of the hazards and "thinking" of ways to avoid them is the best wayto safely enjoy The Craft of Stained Glass.

THE EXQUISITE GLASS

The luscious colors and dazzling textures of the glass itself is the reason many of us were drawn to stainedglass in the first place. We are fortunate to have literally hundreds of glass types, styles, and surface textures

to choose from. Manufacturers have developed unique varieties of glass textures and colors with their ownspecial descriptive names, far too many to list here. However, to simplify the explanations, we can fit them

all into three main categories. Cathedral Glass: This glass is transparent or semi-transparent, and available in

single or multi color mixtures. A combination of two or more colors is called a streaky cathedral. Often this

glass is given a surface texture, which can range from rain drops to fern patterns or it can have small bubblesor large swirls within the glass.

Opalescent Glass: This glass is easily identified by a milky or opal-like appearance. It is available in a wide

range of styles, from a solid single color to as many as 5 or 6 colors swirled and streaked throughout the

sheet. When an opal color is mixed with a transparent cathedral color on the rolling table, the resulting glassis called wispy or streaky opal.

Full or Sheet Antique: Produced in the time honored mouth blown method, this glass features brilliant,

transparent colors with a distinctive fire-polished finish. Typically, irregular sheet thickness result in darkand light areas within a single sheet creating opportunities for shading and other subtle design possibilities.


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TOOLS OF THE TRADE

There are a few special purpose tools that are necessary for The Craft of Stained Glass. Here is a basic list oftools and and other items that you will need to get started.

Tools Glass cutter

Glass pliers

Soldering iron

Glass grinder

Workboard

Lathekin or Fid

Glass pattern shears

Glass marking pens

Push pins/Layout kit

Drawing equipment

Straight edge/Glass square Safety glasses or goggles

Bench brush or Whisk broom

Materials

Copper foil tape

Solder

Flux & Applicator brush

Antique patina

Pattern paper, Pattern card, Carbon paper

Standard clear glass - for practice - 3 square feet (.3m2)

Stained glass - for your project, refer to the project

pattern specifications. Glass cleaner & Soft rags

Return to Top

DEFINITIONS AND DESCRIPTIONS:

The following is a brief description for some of the tools and materials in the preceding lists.

TOOLS

Glass Cutter: Selecting your first glass cutter is an important decision. Experienced teachers know that thecutter you choose can often make the difference between quick success and total frustration. You must

consider hand comfort as well as budget and anticipated frequency of use.

Self Lubricating with Tungsten-carbide Wheel: These cutters are by far the most popular among stained

glass enthusiasts. They have a long lasting tungsten-carbide wheel with the added benefit of self lubrication(cutter lubricant is purchased separately). The higher initial cost of this cutter will be quickly offset by lower

accidental glass breakage.

Traditional Cutter with Steel Wheel: These kinds of cutters are the least expensive and sometimes are

referred to as "beginner" cutters due to the low cost. They are available in a variety of handle shapes made of

metal, wood or plastic and must be lubricated prior to each score (cutter lubricant is purchased separately).While these cutters can produce a satisfactory score, they take considerably more practice to master than the

self lubricating tungsten-carbide wheel models.

Glass Pliers Combination Breaker-grozer Pliers: As suggested by their name, these pliers were designedfor a double duty and will quickly become the most versatile "must-have" tool you own. They have one

curved jaw and one flat jaw which meet only at the tip. Their primary function is to grasp the glass securely

on one side of a score when breaking it apart. Both jaws have serrated teeth to assist in their other duty,called grozing, which involves removing small bits of glass from an irregular edge.
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Soldering Iron: Soldering is the act of melting an alloy (solder) to join metals, such as copper foil. Tosustain the proper melting temperature required for stained glass soldering, you will need an iron between 80

and 150 watts. A wand or rod-style iron with a steel-clad chisel-point tip between 1/4" (6 mm) and 3/8" (10

mm) wide is the best choice for stained glass crafting..

Glass Grinder: Experienced glass crafters know that no matter how accomplished they become at glass

scoring and breaking, some adjustment will be necessary for a precision fit of the glass pieces. A glass

grinder makes this task seem almost effortless. These special machines are offered with models foroccasional-duty to professional-duty. They feature a diamond embedded grinding head, which rotates in areservoir of coolant. The coolant reduces chipping and helps eliminate harmful glass dust. The use of a

grinder will instantly increase the quality of your work while reducing the frustration. Please "think about

safety" & use safety glasses or goggles while grinding.

Workboard: You will need a work surface for glass cutting and project assembly. A piece of 1/2" (12mm)plywood 24" x 48" (.5m x 1m) or similar size will be sufficient for most projects.

Lathekin or Fid: This tool is used to burnish (flatten) the foil to the glass edges, among other uses.

Glass Pattern Shears: The special triple blade design of these scissors automatically removes a narrow strip

of paper while cutting the pattern template pieces. By removing this narrow strip, an allowance is made forthe foil and also provides a margin for error in glass cutting & fitting.

Glass Marking Pens: A medium point black ink marker is necessary to trace the pattern onto most glass, but

darker glass will need a special white-paint marker.

Push Pins, Strips & Nails: You will need push pins, tape, small nails and wood strips to hold the glass whilesoldering. A prepackaged kit called the Morton Layout Block System contains the items you will need for

most projects.

Drawing Equipment: Pencil, eraser, ruler 18" to 36" (.5m to 1m), drawing paper, pattern card, carbon paper,

drawing square, and masking tape.

MATERIALS

Copper Foil Tape: This is very thin sheet-copper with a sticky-tape back. It is wrapped around the outside

edges of the glass pieces as a soldering base. Available on a 36 yard roll (33m), in widths from 1/8" (3mm) to1/2" (13mm). The width of the foil used must be matched to the thickness of the glass being wrapped, to

allow a minimum 1/32" (1mm) overhang that is folded down onto both the top and bottom glass surfaces.

The three most common foil widths are 3/16" (5mm), 7/32" (5.5mm), and 1/4" (6.2mm). New craftersusually find a wider foil easier to work with.

Solder: Solder is an alloy (mixture) of metals. It melts at relatively low heat and readily fastens one metal to

another. The common Tin/Lead alloys used in glass crafting are 60/40 (60% tin / 40% lead) and 50/50 (50%

tin / 50% lead).

Flux & Applicator Brush: Flux is a chemical used to deoxidize and clean the copper foil tape. "think aboutsafety" and exercise great care when using flux, as it is a corrosive chemical. Ask for (and read) the

Manufacturer Safety Data Sheet (M.S.D.S.) available from your flux supplier.


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Antique Patina: This chemical is applied to the metal seams of a completed project to change the color fromsilver (the color of solder) to antique brass, antique copper, or classic black, depending on the patina used.

Standard Clear Glass: This low cost standard window glass is unquestionably the easiest and most

forgiving to cut, making it the best glass for practice scoring. Available in 3/32" (2mm) or 1/8" (3mm) thick.

Glass Cleaner: Use a commercial glass cleaner (without ammonia).

LET'S JUST DO IT!

We'll get started momentarily but before we do, let's look at some glass handling safety tips. Always carry

glass in a vertical position. Never pick it up or move it in a horizontal (flat) position. The correct way to pickup and carry a glass sheet is to grasp it with both hands by the top edge or, for a larger (heavier) sheet, pick it

up with one hand on the top edge and the other hand supporting the weight on the bottom edge. Never run

your hand along a glass edge. Always release your grip to move your hand to a new position. Just prior tomoving a glass sheet, check it for cracks. First, check visually, then lift it slightly and tap the sheet with a

finger tip and listen for a crisp ring. If you hear a dull clank, it has a crack. Do not attempt to move a cracked

sheet! Get expert advice. To place a sheet safely on your work bench, carry it with one hand on the top edge

and the other hand on the bottom edge and place the center of the sheet against the bench edge. Then roll orhinge the glass onto the table top, and slide it on fully.

OK, HERE WE GO!

For practice in scoring and breaking, use standard clear glass as mentioned earlier. Try shorter length scores

at first, as they are generally easier to break out. Continue practicing until you get the feel for scoring and

breaking.

SCORING THE GLASS

Hold the cutter in your favored (tool) hand and place the cutter wheel on the glass about 1/8" (3mm) in fromthe edge closest to you. Now, place the thumb of your other (guide) hand behind the cutter head to prevent itfrom rolling back off the glass edge. Apply a firm, constant pressure straight down onto the cutter with your

tool hand and push it away from you, all the way across the surface of the glass, with your guide hand.

BREAK OUT THE SCORE

After having made your first score, it is time to run the score. The break starts at one end and should run(follow) along the score line to the other side.

Breaking with Hands only: Form both hands into fists and place the glass between your thumbs and index

fingers with the score line between your thumbs. Your fingers should be clenched underneath the glass with

knuckles touching. Hold the glass firmly at the end of the score. Apply a quick even "snap" pressure bypulling outward, and roll your knuckles by spreading your thumbs apart.

With Breaker-grozer Pliers: Form one hand into a fist, placing the glass between your thumb and index finger

and close to the score line. Position the flat jaw of the breaker-grozer pliers on the top side of the glass with


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the jaw 90 to the score and as close to the end of the score as possible. Hold the glass firmly in your handand apply a quick, even pressure by first pulling outward, then snap down with the pliers.

YOUR FIRST PROJECT - THE COPPER FOIL METHOD

Pattern Making: After you are confident with your glass scoring and breaking skills, choose a novice skill

level pattern for your first project. You will find thousands of stained glass designs available in books as full-

size patterns, complete and ready to use (please refer to the Wardell Publications page elsewhere on this website). However, you still need to create the actual glass cutting templates and the assembly drawing. This isdone quite simply by tracing two copies of the original design. Use carbon paper to trace one on standard

paper and one on heavier pattern card. After tracing, number each piece to keep track of your pattern pieces.

The final step is to cut the pattern card into the actual templates for glass cutting. Do this using the specialglass pattern shears to make an allowance between each pattern piece for the foil and solder.

Trace and Cut the Glass: Trace one of your pattern templates onto the selected glass with a marker,

remembering to transfer the code number. Cut that glass piece out by scoring on the inside of the traced line,

not down the middle. Periodically check the accuracy of your scoring by placing the pattern template back ontop of the cut-out glass piece. Continue scoring and breaking until all pieces in your project are cut out.

Assembly Jig: If your project is square shaped build an assembly jig around the outside line of your working

drawing; if your project is free-form use push pins. Arrange all your glass pieces on the drawing inside the

jig. Some pieces will require grinding to make them fit properly.

Fitting and Shaping: Starting with a corner glass piece, compare its shape carefully with the lines on the

working drawing. Mark all areas that are over the line with your marker, then take that piece to the grinder

and selectively remove the extra glass. Place the piece back into the jig, position an adjacent piece, mark the

areas which are oversize, grind and replace it. Position the next adjacent piece, mark, grind and so on until allpieces fit as accurately as possible.

Foil Wrapping: Before starting the foil wrapping process, each piece of glass (and your hands) must beclean. Pull a length of foil tape from the roll and peel back 2" (5cm) of the protective paper backing. Pressthe sticky end of the foil firmly onto the glass edge, leaving exactly the same amount of overhang on either

side. Peel slightly more backing, move further along the piece and press the foil to the edge, peel more

backing and press firmly as you continue around the glass perimeter. When you get back to the starting point,

cut or tear the foil, leaving enough length to overlap the two ends at least 1/4" (6mm). Crimp (fold) the foildown over the glass edges with your thumb and index finger by pinching and pressing toward the center.

Wrap and crimp all glass pieces in the project. Finally, burnish the foil tightly against the glass on both front

and back sides using the rounded edge of your lathekin (fid) to ensure that the foil does not pull away fromthe glass. When all pieces have been foiled and burnished smooth, place them back into the assembly jig

where they should be snug but not bulging. Do a final quality check and make any last minute adjustments.

Soldering: All foiled joints must be completely soldered (not just at the corners) to create the metal web

which will hold the project together. Soldering begins by brushing flux on the foil seams. Now, with the hotsoldering iron in one hand and solder in the other, place the iron tip directly on a foil seam and touch the

solder to the top surface of the iron tip. The solder will immediately melt and coat the foil under the iron tip.

Move the iron slowly along the seam, continuously adding more solder, filling gaps and covering the foil asyou go. The idea is to build up solder on the seams until it forms a rounded bead. When you have finished

one side, remove the assembly jig, turn the project over and completely solder the back side. All exposed foil

must be coated with solder, including the outer edge.


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Hanging loops: If you plan to hang your project in a window you should solder wire hanging loops (16-18gauge un-insulated copper wire) to the top edge. Be sure to attach them at a solder seam only, a foil-only

edge will not be strong enough to hold the weight over a long period of time.

Cleaning & Antique Patina: Thoroughly clean your project with glass cleaner & a soft rag. If you plan to"antique" the solder seams, apply the patina solution with a cotton rag immediately after cleaning. Patina is a

corrosive chemical, so please use caution, "think about safety", wear rubber gloves and carefully follow the

safety instructions on the patina container and in the M.S.D.S.

POSTSCRIPT MESSAGE

The goal of this learning section was to get you interested in, and hopefully excited about, The Craft of

Stained Glass. You now have an overview of the materials, tools, and basic steps that you would encounter in

an introductory stained glass class. As I pointed out in the opening paragraphs, this overview was not

designed as a stand alone instruction course, for an in-depth description of the process I encourage you topurchase a copy of "Introduction to Stained Glass - A Teaching Manual" or "Quick Success Stained Glass -

A Beginner's Instruction Guide" both of these books were written for do-it-yourself learning and include

numerous patterns for entry-level crafters. Or better yet, purchase the book at your local stained glass retail

store and enquire about their introductory glass class schedule. Since you have read to the end of this website's learning guide you are showing great promise and should not delay making that phone call to find out

where you can sign up to get started at The Craft of Stained Glass.

|More in Stained Glass|Find a Retailer| Find a Studio | Visit our Sponsors|StoreFinder Site Home
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How To Use Stained Glass Tools

This "How To" contains information on stained glass construction and helpful tips for all the basic steps. For more "HowTo" instruction, take a look at the "Learn How" section here and then locate your local stained glass retail storeorstudiofor supplies, classes and a wealth of information!Pattern Preparation Working with Copper Foil

Scoring Glass Working with Lead CameBreaking Glass Soldering

Grinding Glass Cleaning & FinishingUsing Diamond Band Saws

Pattern Preparation

About Your Patterns

Some stained glass patterns come full sized and some need to be enlarged, but all will need a little preparation.

Make two copies of your pattern and keep the original for future projects. Number the pattern pieces on both copies.Add glass color, streak direction and other helpful reference notes. Cut one copy apart using stained glass patternshears and use the other for layout and assembly.

Why use pattern shears?

Both copper foil and lead came take up space aroundyour pieces of glass. If you don't compensate for thisnow, you're project will "grow" ending up larger than itsoriginal dimensions. This is especially troublesome if yourmaking a piece that will be installed into an opening suchas a window or door.

Pattern shears have three blades that automaticallyremove the right amount of the pattern to allow for thecopper foil or lead came. This allows your glass pieces tofit together properly. Because the amount of space takenup by foil and lead differs, pattern shears are made in foiland lead versions. Make sure that you use the right onefor your type of construction

Framing and reinforcing so soon?

The best time to consider your framing and reinforcingoptions is during pattern preparation.

Framing varies slightly with each manufacturer. Choose yourmaterial and adjust the pattern before you cut it apart.

Now is the time to plan for reinforcement. A general rule ofthumb is to reinforce panels over three square feet. Markyou pattern for placement of reinforcing bars or strip toremind you of their location during cutting and construction.

Pattern Preparation Tips

When cutting curves, stay in the throat of the shears and use short, quick strokes to keep your pattern stock

from jamming the shears. Rub the single blade of your pattern shears with a candle to keep the thin strips of paper from sticking in

between the blades. Always use the same side of a ruler when measuring and drawing. Make extra copies of your pattern and use colored pencils to try out different color schemes before buying your

glass. Photo copies can distort images. Check copies for accuracy before cutting. Patterns cut from transparency film let you see the details in the glass before cutting. They can also be held on

the glass while grinding. Contact paper makes a great single use pattern that stands up to grinding. Drafting tape is handy for holding pattern pieces in place for placement and tracing onto your glass. It removes

easily for pattern storage. From Gary Zoskey: I use Mylar as pattern material when cutting glass. I purchase it from a local blueprinting

shop. After cutting out my pattern pieces, I ring the edge with gold permanent ink pen. As Mylar is transparent ithighlights the edge. I then apply glue stick to the underside of the pattern. This is the same paste type glue
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children use in school. The glue is sticky enough to hold while cutting out your glass pieces. It also holds whilegrinding if you allow the glue to dry for about an hour. The good thing about using Mylar is that it is waterproof.

Back to Menu

Scoring Glass

It's important to use a quality glass cutter that is comfortable to hold. Try out different handle styles to find the one that'sright for you. Look for a cutter with a carbide steel cutting wheel and axle. These wheels hold their cutting edge longerand produce a cleaner score. Some cutters have an oil feed system. This not only keeps the cutter head lubricated andfree rolling, it also deposits a thin line of oil along the score which makes it easier to break.

When to replace your cutter head

A dull or damaged cutter head will turn any project into anightmare. Occasionally clean out the space where thewheel turns with an old toothbrush. Tiny chips of glass canget wedged in the opening causing the cutter to scratchinstead of score the glass. Once the wheel is turningfreely, score a piece of mirror which makes the score lineeasier to see. A damaged wheel will leave a dot-dash

pattern instead of a smooth, even line.

If you suddenly can't run a simple score and you've donethe above, your wheel is probably dull and it's time toreplace the head.

Scoring Safety

ALWAYSwear safety glasses when cutting glass.

Place glass completely on a flat, firm surface whenscoring. NEVER leave glass hanging off the edge of atable.

NEVER hold a sheet of glass by its sides. Hold sheetsfrom the top. If they slip out of your hand, you'll still haveyour fingers.

NEVERlift a sheet above you "see what it looks like."

Keep glass safely stored away when not working.

How to get a good score

There are several preliminary steps to making a goodscore. use a good, sharp cutter. A dull or damaged wheelwill not score properly. make sure you lubricate the wheel

so it rolls freely. Clean the glass of debris and surface film.Always score on the smoothest side of the glass

To score:

Start at an edge placing the cutter perpendicular to theglass. Apply consistent, light to medium pressure whilepushing the cutter across the glass. A good score appearsas a continuous scratch on the surface. A furrow of sliversindicates too much pressure. Break each score as youmake it

To see if you over-score (use too much pressure):

Make a series of scores on a piece of scrap glass about1/2" apart, applying less pressure each time. When youthink you haven't pushed hard enough, make 5 morescores using less pressure each time. Use your runningpliers to break out the scores in the same order that youmade them. Discard any pieces that didn't follow the scoreand any that wouldn't break. (If they all followed the score,do some more and lighten up!) Look at the edge of thepieces. A good score has a smooth cut edge. An over-

How to use a Strip/Circle Cutter

To cut strips:

Nail a 1" x 2" wood strip to your work

surface. Insert the measuring barthrough the strip cutter base, adjustthe wheel turret for size and tighten inplace. Dab the cutting wheel incutting oil. Put the glass edge againstthe wood strip. Use one hand to apply downward pressureto the cutting wheel and the other to guide the strip basealong the wood edge as you pull the cutter across theglass.

To cut circles:

nsert the measuring bar into the

tripod base and adjust the wheelturret for circle size, remember thatthis is the radius of the circle! Dab thecutting wheel in cutting oil. Hold thebase in the center of the glass usingfirm, downward pressure with your left hand. Position theturret at about "7 o'clock" and hold with your right hand. Atthis point your right hand will be crossed over your left.

Apply downward pressure and push the turret clockwisearound the circle until you come to the point where you
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scored piece has a rough edge with pits. Practice until youconsistently get a clean edged break.

started.

To break out the circle, turn the glass

upside down on a firm, flat and slightly

padded surface like a section ofnewspaper. Use your thumb and gentle

pressure to start the score and then run it

around the circle, always pushing at thepoint where the score stopped running.

Turn the glass back over and using your

glass cutter, make several scores starting at the edge of the circle

and going outward to the glass edge in a pinwheel fashion. Make

sure that your scores don't cross into the circle. Use running

pliers to break out these scores and release the circle.

Glass Scoring Tips

Always use your cutter with the head screw facing up or forward for the best cutting angle.

Before starting a score, position the glass so that you can comfortable complete the whole score. Always score glass on the smoothest side. This is not always the 'front' of the glass. Highly textured glass, like

ripple or granite, is scored on the back side. (Don't forget to turn your pattern piece over!) If you get stuck in a bump or pit, gently ease your cutter out and continue scoring. At the end of a score, lift your cutter up instead of rolling it off the glass. This prevents damage to the cutter

head and the glass. It is easier to follow your pattern line by pushing your cutter instead of pulling it. When scoring along a ruler or

bar, it is easier to ride the cutter head along the edge if you pull instead of push. Over-tightening the oil cap on your cutter can crack the barrel of your cutter. Use a bench brush to keep your work area free of small slivers and cutting debris that can scratch your glass or

yourself. Make sure one wheel of your strip cutter is centered to the bottom on the turret head. A spot of red nail polish

on each used wheel tells you when it's time to replace the entire turret.

Breaking Glass

Choosing the correct pliers

Each type of pliers has a different purpose and is used in different situations. Using the right pliers for the job will makeyour stained glass experience easier and more fun!

Breaker/Grozier Pliers are dual purpose pliers with a flat jaw and a curved jaw. Both jaws areserrated for removing flares and tiny points of glass

To break out a score, hold the glass firmly near the score line with the pliers, flat jaw up. Useyour right hand to hold the other half of the glass near the score line opposite the pliers jaws.Use a downward, rotating motion to break the score.

To groze, hold the piers curved side up and use a rolling motion to gently scrape the glassedge against the serrated teeth. Use the tips in a chewing motion to remove small sections of glass or nibble out deepinside curves.


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Breaking Pliers have a smooth, flat jaw used for breaking long, thin pieces of glass. Theyallow you to reach into a piece of glass and hold it firmly at the score line without chipping theedge of the glass.

To use, firmly hold the glass close to one side of the score line with the pliers and close to theopposite side of the score line with your other hand. use a downward, rotating motion with yourhands to separate the pieces of glass. If you don't get a nice clean break of the glass is

chipping and shattering, you may be squeezing the pliers too hard.

Running Pliers let you break difficult scores with ease. The curved jaw applies equal pressureto both sides of the score line causing the score to 'run'. There is an adjustment screw onsome types for adjusting to the glass thickness and amount of force needed to run the score.more pressure runs a score more quickly, less pressure more slowly. Curves are easily brokenout by running the score slowly from one end to about half way and then from the other enduntil the scores meet.

To use, place the jaws (with the center indicator line facing up) squarely onto the glass with the score line centered inthe jaws. Turn the adjustment screw until it just touches the bottom handle, then back if off 1/2 a turn. Squeeze thehandles gently until the score runs. You must have the jaws fully on the glass for the pliers to work properly.

Breaking Tips

Always wear proper eye protection when breaking glass. Prevent tools from rusting by storing them away from any corrosive chemicals. Wash and dry your tools if they

come in contact with flux or patina. Holding and bending is the correct action when using breaking or breaker/grozier pliers. Squeezing too hard

causes the glass to chip and shatter. Instead of holding the glass in your hand when using breaking pliers, try holding the glass flat on the table with

the score line just off the edge. use your breaking pliers to grasp the piece hanging over the edge and bend theglass down to separate the score. This is most useful for straight cuts.

You have more control over how your glass breaks when you squeeze gently with your pliers. Apply pressure in

small, increasing amounts until the score runs or breaks. From Dan Nolan: I have found that on tough inside cuts, after you run the glass it is sometimes helpful to turn

the runners over and repeat the process. This creates opposite pressure and helps the glass break away. Try

it, it works for me.

Grinding

"Do I need a glass grinder if I'm just starting out?"

YES A grinder lets you easily create projects that you will be proud of from the start. YES Grinding lets you alter the shape of your glass. You will waste less glass because of inaccurate cuts. Your

pieces will fit better and look more professional. YES Copper foil adheres better to a ground edge because the adhesive has a rougher surface to grab to.

YES Specialty bits make jobs like drilling holes, mitering edges and removing glass texture much easier.

Which grinder is right for me?

Consider the following to help you decide which features are the most important to you, now and in the future. Consultwith your stained glass retailer before you buy for additional information and advice.


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Size- Grinder are made in two basic sizes, "large" with a 12" x 11" work surface and "midsize" with a 10" x 9" worksurface. consider your bench space and the type of projects you'll be making. large pieces of glass are easier to workwith on a large grinder.Power- The more torque (measured in oz.-in. your grinder has, the faster and more efficiently it grinds. More powerfulgrinders operate larger diameter grinding heads more effectively.Accessories/Bits - Additional work surfaces, face shields and upgrade kits are a few of the many useful grinderaccessories. There are many different grits, sizes and types of grinding heads. Buy a machine that doesn't limit futurechoices and options.

Why is torque important in a grinder?

The most familiar method of rating a motor is horsepower, buthorsepower doesn't necessarily tell you how well a grinder worksand is only part of the motor rating equation.

Torque is a measure of how hard the grinding bit turns againstthe glass. At a constant speed (RPM) the more torque the moregrinding power. When everything else is equal, the higher thetorque rating, the better the motor.

Grinding Safety

ALWAYSwear safety glasses when grinding!.

A face shield is extra protection, but is not asubstitute for safety glasses.

Always use your grinder in a properly groundedoutlet. Never remove the grinding plug or try tooverride it.

Grinding Tips

Alwayswear proper eye protection when grinding glass! Position the grinder at a comfortable height to work at. Elevating one foot on a foot stool can alleviate back

strain during extended grinding sessions. Good over head lighting makes it easier to work and helps reduce eye strain.

Use a backdrop or splash guard around your grinder to help contain over spray.

Hang a towel below your grinder for drying pieces before putting them on your pattern

Use a paint pen to mark pattern lines on glass. it's more likely to stay on while you grind.

Lay glass flat on the work surface while grinding to prevent angled edges. (Unless you want them!) White build up around the grinding head means there is not enough water/coolant in the bit. Make sure the

sponge contacts the bit and the water/coolant in the reservoir below. Keep your reservoir correctly filled and

add more water/coolant if needed. If you are pushing so hard that the glass cuts your finders when grinding, ease up and check the bit for wear. It

may be time to reposition it or replace it. Always secure the bit to the flat side of the motor shaft. To prevent your bit from seizing on the shaft, use a

water insoluble lubricant like petroleum jelly, regularly when changing and replacing buts. Remove the bit whennot using the grinder for extended periods.

Clean the water reservoir out after every use. Glass dust is harmful to you and your grinder motor. Use a

rubber spatula to scrape out the majority of your grinding residue. Remove hard water deposits from the grid and reservoir by cleaning with white vinegar or a lime removal

product.

Rinse plastic face shields clean under cool water after every use. Be careful not to scratch it by rubbing glass

dust into the surface while cleaning.

"How many bits do I need?"

The best selection of bits for you depends on the type of work you do and your personal taste. Grinder heads (bits)come in a variety of sizes and shapes for different types of grinding or to create certain effects. Pick the ones that willmost efficiently do the job at hand.

Super Fine Grits:for mirror, very soft and delicate glasses where maintaining the smoothness of the edge iscritical. Also use when the edge will be left exposed.


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Fine Grit:For soft and delicate glasses with very minimal chipping along the ground edge.

Standard Grit:For normal grinding of most glass types. Speed Grits:For fast removal of material or grinding large surfaces where any chipping will be covered with foil

or lead. Super Speed Grit:An aggressive grit for extremely fast removal and where the edge won't be seen or will be

retouched with a finer bit. SuperBond:"A special patented bonding process for extra long wear.

DoubleDiamond:Two layers of diamond bonded to the core that last more than twice as long as conventional

grinder heads.

How to use specialty bits

Lamp Bits: A reversible bit with two differentangles sides to grind lamp pieces that fit ona miter. Mitered edges meet better giving athinner, more professional looking solderseam. Pick the angle that comes closest tothe angle between the panels in your lamp.To figure the angle, take the number of

panels and divide into 180.

Ripple Bits: Used to thin thick or textured glasses and makethem easier to fit into the channels of lead and metal cames or tomake pieces easier to foil. It tapers the glass edge by passing itthrough or under the groove in the bit.

Drilling Heads: Start by holding the glass at an angle to the topof the bit with a sponge held against the bit and the underside ofthe glass. As you grind, work the glass round the point ofcontact. It's important to keep the bit and glass wet. Frequentlyremove the bit from the hole to wet the hole and remove residue.

Just before the bit comes through the glass, decrease grindingpressure to prevent chipping.

How to drill holes

1. It is best to drill under water.Use a cake pan or somethingsimilar. Place a piece of

cardboard between the glass and the pan to protectthe glass and the bit end when you drill through.When using a hand drill, start drilling at and angle tothe glass.

2. Once the hole is started, bring the drill to verticaland drill through the glass. Make sure you keep thebit wet. If a white build up forms, add more water.Use less pressure as you come through the back ofthe glass.

For larger diameter drills, you will probably find iteasier to use a drill press.

Bit Tips

Always wear proper eye protection when grinding glass!

Store bits in their original packaging to protect the diamond and identify the grit.

Keep the set screws from worn bits for back up.

Always secure the bit to the flat side of the motor shaft.

When changing bits, lubricate the shaft with a petroleum based product to prevent seizing.

Remove bits if you're not using the machine for long periods of time.

Bits frozen onto the shaft can be removed by carefully using a plumbers faucet puller. To extend the life of your diamond bits, blades, core drills and discs, use a grinder coolant additive. A couple ofcapfuls added to the water in the reservoir reduces friction, speeds up the grinding action and adds up to 50%to the life of a grinder head.

Back to Menu

Using a Diamond Band Saw


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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 lesswaste. 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

Alwayswear 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 allyou 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 spotin 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.

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 properlyreinforced.

Copper foil is more appropriate for projects with many small pieces, intricate details, patterns that are more organic innature 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 getdetail 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 aroll. When you foil your glass pieces, the backing is peeled away as you press the foil to the glass, centering it as yougo. 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


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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:

o 1 mil is very thin and works well for intricate cuts and tight inside curves because it easily bends and

"stretches".o 1.5 mil is thicker and won't tear as easily. It works well for beginners, on unground edges and around

sharp edges.o 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 foildisappear 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, like a RippleBit, to make foiling easier. You can use an Exacto 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.

Working with Lead Came

Why choose lead?

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 ofdifferent lead pieces and then the piece is cemented or puttied to seal the glass and impart strength. You can combinedifferent widths of came in the same project for additional depth and emphasis. Panels that will be exposed to theelements are best made of lead. They can be weatherproofed and the lead allows for expansion and contraction. It isnot 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


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between pieces of glass to connect them together and around the perimeter. U came is used on the perimeteronly.

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 beinserted.

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 specialtyprofiles 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 cleanprecise cuts in the lead came.

2. A glazing hammer. This special hammer has two different faces. Use the soft rubber face for seating the glassin 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 Ineed it?"

Cementing is necessary in lead ormetal came constructions tosecure the glass in the channelsand prevent them from rattling. Itfinished the project making it solidand weather proof.

There are many different productsavailable for cementing. Checkwith your stained glass retailer to

choose the one that's right for yourparticular application andinstallation.

How to cement a stained glass panel

1. Cementing can be messy, so cover your work surfacewith newspaper. Mix the cement thoroughly according tothe manufacturers instructions. Use a natural bristle brushto force the cement under the face of the cames. byworking 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 andremove 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 removeexcess 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 haveseeped out and remove with your fid. Allow the panel to finish drying according themanufacturers 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 forcleaning. The smaller size is easier to use on small in midsize projects.

Back to Menu

Soldering

"Which iron should I use?"


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The best irons for stained glass are between 80 and 150 watts. A wattage lowe than 80 won't melt solder fast enoughfor stained glass projects. The iron should have a chisel style top to distribute solder evenly and consistently. You canmatch tip size to the width of the copper foil seams or lead came or for the specific decorative effects you want. Theiron you choose should be comfortable to hold. Consider the weight, balance and handle style. See if you can "testdrive" different irons at your local retailer. Consider no only the type of work you're now doing but what you might bedoing 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 thetemperature of the tip you put in. They work like the thermostat in your house. When the tip temperature drops belowthe threshold, they kick on and then off when the tip temperature is regained. Other irons use a temperature controldevice called a rheostat. This works similar to a dimmer switch. You control the amount of electricity supplied to the ironand therefore the tip temperature by turning the dial up or down. Some irons have a built in rheostat while others pluginto a separate unit. Rheostats allow you to match the soldering temperature to solder type, construction method, yoursoldering 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 wireheaters. The heater core extends into the tip for faster heat transfer. This keeps the tip hot longer so you can solderfaster. 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 barrelon 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 how fastyou work, what you are soldering and the lookyou want to achieve. Stained glass uses a softsolder mix of tin and lead. The numbers onthe roll identify the percent of tin and lead, thefirst being the amount of tin. Sometimes you'll

find other metals such as silver listed. Stainedglass solders are a solid core wire solder and generally come on 1pound rolls.

Different solders melt and re-solidify (pasty stage) at differenttemperatures. 50/50 melts at the highest temperature followed by60/40 and 63/37. 60/40 is more liquid than 50/50 and solidifies slightlyfaster than 50/50. 63/37 has no pasty stage, going directly from solidto liquid to solid making it useful for decorative soldering. Many peoplefind 60/40 gives a higher, shinier bead while 50/50 works better on

three-dimensional projects.

Soldering Safety

ALWAYSsolder in a well ventilated area!

Never eat, drink or smoke while working thestained glass. Wash your hands thoroughlywith soap and water before doing anythingelse!

Keep your work area off limits to children.

Never leave your soldering iron plugged inwhen not in use or unattended!

Neveroverride the grounding system on yoursoldering 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".


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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.

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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 aremany 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 correcttype of patina for your application. Some patinas only work on solder, others only on lead. Follow the manufacturersinstructions and use a brush or soft rag to apply the patina until you reach the desired color. Wash the piece again toremove 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. Nevermix 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.


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1. Cut a 7" circle from double strength window glass.Use a circle cutter to score the circle on the glass.Using a regular glass cutter, score relief lines radiatingout from the scored circle.

2. Use glass pliers to run the scores on the glass,

removing the scrap and exposing the circle. A glassgrinder will help smooth any rough edges on the glasscircle. Use denatured alcohol or a powdered cleanser toremove any fingerprints, dust, or oils from both sides ofthe glass.

Choose the side of the glass that does not have thetin separator on it for painting. The easiest way to dothis is to drag a brush full of water over the glass. If thewater beads up, paint on the other side.

3. Place the glass circle over the outline pattern.Trace the outline of the pattern with the outline blackpaint using the squeeze bottle and decorator tip. Whendry, fill in the different elements of the pattern with colorand the outline black will not bleed or smear. This willsave a firing.

4. Start to paint the design. The paint should be theconsistency of milk. Colors will tend to settle in the jarand will have to be stirred before and during use. Thesecolors dry slowly to allow brush marks to level out.

Puddle on the paint using a soft, round brush. One coatis all that is necessary. If the color is accidentallyapplied over the outline, immediately use the tip of yourfinger to push it back across the line.

5. Using the light and dark green paint will add depthand realism to the leaves. On the flower petals, applythe main color, leaving the area to be shaded empty.While the first color is still wet, apply the second colorand blend together with a fine brush. On the petals, theblack is pulled back into the main color, leaving anirregular line, which gives a natural look to the flower.

6. Place the painted piece in the kiln. Fire this projecton a prepared kiln shelf to 1500-1525. When the glassif fired this hot, the surface will devitrify, which meansthat the glass surface will look frosty when finished. Toeliminate devitrification, flash-vent the kiln lid after thefiring process until the glass starts to lose its redappearance. Do not disturb and do not remove the


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glass until the kiln has reached room temperature.

7. Lead, zinc, or brass came can be used for the edgeof the finished piece. U-shaped brass filigree is used asthe finished edge on this project. Wrap the brass aroundthe outer edge and cut to length.

UNIQUE GLASS COLORS LEAD FREE PAINTS GLASS3/4 Sq. Ft Double Strength WindowGlass for baseOTHER MATERIALS NEEDED:

Squeeze Bottle with Decorator Tip, #4Round Brush, #1 Fine Brush, Denatured

Alcohol, Kiln and Kiln Supplies, Flux,Solder, and U-Shaped Brass Filigree

#GC-1070, OutlineBlack#GC-1956, Dark

Blue#GC-9710, DeepRed#GC-974, SunYellow

#GC-998, Golden Orange#GC-969, Gloss Black#GC-961, Dark Green

#GC-1997, Leaf Green


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How To Make Stained Glass

Learn the basics of how to do stained glass here. The pictorial below takes you through the basicsteps of stained glass construction. There's also the easy to follow "How to do Stained Glass" textfrom the book "Quick Success Stained Glass - A Beginner's Instruction Guide" written by RandyWardell. When your done, find stained glass supplies, classes, and inspiration at the Stained GlassRetailernear you!

Step 1: Pick a pattern, glass, & tools.

If you want to find out more about selecting patterns, glass, or

tools see Randy Wardell'sHow to do Stained Glass" or the "

How to Use Stained Glass Tools" section by Inland Craft.

Step 2: Number the pattern and cut it apart.

If you want to find out more about pattern preparation and thetools, see Randy Wardell'sHow to do Stained Glass" or the "


Step 3: Trace the pattern onto the glass.

If you want to find out more about transferring patterns ontoglass and the tools you use, see Randy Wardell'sHow to do

Stained Glass" or the " How to Use Stained Glass Tools" section

by Inland Craft.

Step 4: Score the glass.

If you want to find out more about scoring glass and the tools youuse, see Randy Wardell's How to do Stained Glass" or the " How

to Use Stained Glass Tools" section by Inland Craft.
http://www.thestorefinder.com/glass/library/wardell.htmlhttp://www.thestorefinder.com/glass/glass_sr.htmlhttp://www.thestorefinder.com/glass/glass_sr.htmlhttp://www.thestorefinder.com/glass/library/wardell.html#exquisitehttp://www.thestorefinder.com/glass/library/wardell.html#exquisitehttp://www.thestorefinder.com/glass/library/howtotools.html#Patternhttp://www.thestorefinder.com/glass/library/wardell.html#doithttp://www.thestorefinder.com/glass/library/wardell.html#doithttp://www.thestorefinder.com/glass/library/howtotools.html#Patternhttp://www.thestorefinder.com/glass/library/wardell.html#wegohttp://www.thestorefinder.com/glass/library/wardell.html#wegohttp://www.thestorefinder.com/glass/library/wardell.html#wegohttp://www.thestorefinder.com/glass/library/howtotools.html#Patternhttp://www.thestorefinder.com/glass/library/wardell.html#scorehttp://www.thestorefinder.com/glass/library/howtotools.html#Scorehttp://www.thestorefinder.com/glass/library/howtotools.html#Scorehttp://www.thestorefinder.com/glass/library/wardell.htmlhttp://www.thestorefinder.com/glass/glass_sr.htmlhttp://www.thestorefinder.com/glass/glass_sr.htmlhttp://www.thestorefinder.com/glass/library/wardell.html#exquisitehttp://www.thestorefinder.com/glass/library/howtotools.html#Patternhttp://www.thestorefinder.com/glass/library/wardell.html#doithttp://www.thestorefinder.com/glass/library/howtotools.html#Patternhttp://www.thestorefinder.com/glass/library/wardell.html#wegohttp://www.thestorefinder.com/glass/library/wardell.html#wegohttp://www.thestorefinder.com/glass/library/howtotools.html#Patternhttp://www.thestorefinder.com/glass/library/wardell.html#scorehttp://www.thestorefinder.com/glass/library/howtotools.html#Scorehttp://www.thestorefinder.com/glass/library/howtotools.html#Score


22/22

Step 5: Break out the pieces.

If you want to find out more about breaking glass and the tools

you use, see Randy Wardell's How to do Stained Glass" or the "


Step 6: Grind the pieces to fit.

If you want to find out more about grinding and shaping glass

and the tools you use, see Randy Wardell'sHow to do StainedGlass" or the " How to Use Stained Glass Tools" section by

Inland Craft.

Step 7: Foil all the pieces.

If you want to find out more about foiling glass and the tools you

use, see Randy Wardell's How to do Stained Glass" or the " How

to Use Stained Glass Tools" section by Inland Craft. You canalso find more information on stained glass tapes by clicking on

the sponsors box and going to Venture Tapes

Step 8: Solder the pieces together.

If you want to find out more about soldering glass and the toolsyou use, see Randy Wardell's How to do Stained Glass" or the "


Step 9: Clean & finish the piece.

If you want to find out more about cleaning and finishing stained

glass and the tools you use, see Randy Wardell'sHow to doStained Glass" or the " How to Use Stained Glass Tools" section

by Inland Craft.
http://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/howtotools.html#Breakhttp://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/howtotools.html#Grindhttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/howtotools.html#Foilinghttp://www.thestorefinder.com/glass/library/howtotools.html#Foilinghttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/howtotools.html#Solderinghttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/howtotools.html#Finishhttp://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/howtotools.html#Breakhttp://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/wardell.html#breakhttp://www.thestorefinder.com/glass/library/howtotools.html#Grindhttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/howtotools.html#Foilinghttp://www.thestorefinder.com/glass/library/howtotools.html#Foilinghttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/howtotools.html#Solderinghttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/wardell.html#copperfoilhttp://www.thestorefinder.com/glass/library/howtotools.html#Finish

Documents

How to Do Stained Glass