Monday, November 30, 2009
Thursday, November 12, 2009
Wednesday, November 11, 2009
glass painting step by step
This interesting and unusual painting technique is also known as :
-Reverse painting on glass
-Glass painting
-Reverse painting
-Painting on glass
-Reverse glass painting
-Glass art
Step 1. GLASS AS A PAINTING SUPPORT
Both glass (or plastified glass) are non-absorbant painting supports which do not allow paint to easily adhere to them, apart from through the paint's own drying process.
For this reason the outline of a subject painted on glass needs to be simplified when applied to an extremely smooth surface.
Working the paint or changing outlines without smudging the surrounding areas of undried paint requires patience, as well as a certain amount of skill.
Simplifying a subject does not necessarily detract from the end result after the painting is completed. The final result often has an appearance similar to that of naive art, in which composition and form and a certain number of other details are simplified. Many artists will find that such simplification can actually be very appealing.
With patience and the development of their skills while using this painting technique, artists will find that applying and mastering the use of glass as a support will become easier as time progresses.
Step 2. PREPARING THE PAINTING SUPPORT
Choose a piece of clear glass (or plastified glass) in the dimensions you would like to work with and check carefully to make sure the surface is neither scratched nor flawed.
It is worthwhile remembering that a flaw in the glass itself will often detract from the finished appearance of a painting and may be impossible to remove after the completion of your artwork.
The sheet of glass that is to become your artwork constitutes the following:
(1) The ‘painting side’ - or the side you will be painting on.
(2) The ‘viewing side’ - or the side you will be looking at (or through) as you progress with your work, and after it has been completed.
To render the cutting edges of the glass safe, take a length of cellotape that will correspond to the length of one edge. Apply it carefully along that length (ideally so that it is folded equally over each side of the glass). Repeat this procedure for the other 3 glass edges. The edge of the cellotape will also help mark the outer limits of your artwork.
Clean the surface of the glass thoroughly with a glass-cleaning product. Use paper towelling or any cleaning material that will not leave dust or threads on your painting surface.
Store the glass where it will be safe. If placed between sheets of newspaper it will be protected from scratches and dust.
Step 3. MATERIALS REQUIRED FOR REVERSE PAINTING
Glass
Choose clear unflawed glass (or plastified glass) in the shape and size you wish to use. It is advised to choose smaller sizes to begin with.
Paints
It is necessary to use a paint that will adhere properly to the surface of the glass. Oil based paints or acrylics are often used for this reason. There are also opaque and transparent ceramic artist colours that have been especially manufactured for using on a non-absorbant surface. Metallic oil-based colours (eg. gold, silver or copper) can also be interesting to work with.
Paintbrushes
Choose a selection of small or medium-sized paintbrushes with fine, flat and pointed tips. Larger brushes can be used for working on a larger scale.
A penholder
It can be an advantage to use interchangeable nibs suitable for creating both thick and thin outlines.
A painting palette
Or something similar to mix your paint on.
A palette knife
(Optional) for mixing paint.
Artists paint cleaner or thinner
Used for cleaning or sometimes for thinning.
Fine linseed oil or drying agent
For mixing with oil paints to help speed up the drying process
Paper towelling
Or some clean rags
A mirror
(Optional) It can be used to check the progress of your painting while you are continuing to work. Place the mirror in a position where it will reflect your artwork from its viewing side. In this way progress can be observed without needing to turn the glass artwork around.
Cellotape
Or a similar average-width sticking tape
An easel
(Optional) to prop your work on
A glass-cleaning product
Step 4. CREATING OUTLINES
Art products in liquid form that are suitable for creating outlines on glass may be readily available in some countries. Oil-based paint, water-based acrylic and ceramic paint can also be used for this purpose. In order to create fine lines these paints must sometimes be thinned down in order to use with a pen nib or similar line-drawing tool.
To prevent lines from being effaced too easily use a paint that is oil based for creating the outlines of your subject if the paint you will be applying over the top of it (after it has properly dried) is water based.
Reverse this procedure if your outlines are created with a water-based paint.
Always use a liquid paint product that will provide the best adhesion possible to a glass surface.
Due to pen nibs clogging relatively easily attention must be paid to cleaning the nibs regularly.
Method 1.
If you have a steady hand you can use a freehand method for applying outlines directly onto the surface of the glass.
Method 2.
Use an original subject for your painting (e.g. a drawing) and place this under the glass, then copy it onto the glass surface.
Method 3.
Place a layer of carbon-paper on top of the glass then place your drawing on top of the carbon paper and with a pointed object trace the subject onto the glass.
Method 4.
A tracing table can be used for creating outlines.This is a table with a sheet of clear glass inserted into the top and with an electric light source situated beneath it. For those who frequently need to trace their work a tracing table can be very practical and useful.
Method 5.
You can omit outlines altogether.
Most artists have a preference for how to work when creating an artwork. Once you have decided whether to use a table easel, a standing easel or prefer placing your artwork either slightly propped up on a table or flat down, you will find it necessary to view your artwork regularly from its observation side in order to see its progress. Some artists simply take the glass in their hands and turn it around to look at it directly from its observation side. Others prefer to use a mirror placed directly opposite their working area so that they can observe their progress while they paint.
Mixing and blending
If you are blending colours, always do so on your palette before applying them to the glass. If colours are not well blended or mixed the result will be a streaky appearance in the paint on the observation side of the glass.
Avoiding smudges
It is important to watch out for smudges of paint, or particles of dirt or dust that may accidentally be transferred onto unpainted areas of your artwork as you are progressing. Unless removed these may appear as flaws that will show when viewing the artwork from its observation side. If they are also inadvertently covered with a layer of paint removing them afterwards may become very messy and difficult. When lifting off any smudges always be careful not to damage outlines or other areas of paint you have already applied.
Step 5. APPLYING THE PAINT
Once the outlines of your subject have thoroughly dried you can begin to apply paint to fill in the remainder of your artwork. Keep in mind that applying layer on layer of paint on a non-absorbant surface needs to be done carefully in order to avoid one layer lifting off the preceding one. For this reason ample drying-time should be allowed between layers.
Painting the subject of a reverse painting on glass requires a different approach to that of a normal painting method. In the case of a reverse painting on glass it is necessary to paint the subject or subjects situated in the foreground first, and those in the background afterwards. You will therefore normally begin by painting more detailed objects first, e.g. eyes, faces, figures or other foreground objects. This also means that if you wish to sign your artwork you will need to begin by applying your signature.
For practical reasons it is best to begin working from the centre of the artwork outwards in order to avoid your hands having to touch the glass surface more than necessary. To watch your progress from the viewing side of the glass, carefully turn your artwork around from time to time, or use a mirror as indicated in Step 3.
Keep in mind:
- That your artwork will be observed from the opposite side to the one you are painting on.
- That you are painting in reverse, therefore foregrounds precede backgrounds.
When applying the reverse painting method it is best to think carefully about the sequence in which your painting will develop before beginning to apply your paint. This will help create the methodical approach that is necessary for this particularly interesting and also intricate painting technique.
-Reverse painting on glass
-Glass painting
-Reverse painting
-Painting on glass
-Reverse glass painting
-Glass art
Step 1. GLASS AS A PAINTING SUPPORT
Both glass (or plastified glass) are non-absorbant painting supports which do not allow paint to easily adhere to them, apart from through the paint's own drying process.
For this reason the outline of a subject painted on glass needs to be simplified when applied to an extremely smooth surface.
Working the paint or changing outlines without smudging the surrounding areas of undried paint requires patience, as well as a certain amount of skill.
Simplifying a subject does not necessarily detract from the end result after the painting is completed. The final result often has an appearance similar to that of naive art, in which composition and form and a certain number of other details are simplified. Many artists will find that such simplification can actually be very appealing.
With patience and the development of their skills while using this painting technique, artists will find that applying and mastering the use of glass as a support will become easier as time progresses.
Step 2. PREPARING THE PAINTING SUPPORT
Choose a piece of clear glass (or plastified glass) in the dimensions you would like to work with and check carefully to make sure the surface is neither scratched nor flawed.
It is worthwhile remembering that a flaw in the glass itself will often detract from the finished appearance of a painting and may be impossible to remove after the completion of your artwork.
The sheet of glass that is to become your artwork constitutes the following:
(1) The ‘painting side’ - or the side you will be painting on.
(2) The ‘viewing side’ - or the side you will be looking at (or through) as you progress with your work, and after it has been completed.
To render the cutting edges of the glass safe, take a length of cellotape that will correspond to the length of one edge. Apply it carefully along that length (ideally so that it is folded equally over each side of the glass). Repeat this procedure for the other 3 glass edges. The edge of the cellotape will also help mark the outer limits of your artwork.
Clean the surface of the glass thoroughly with a glass-cleaning product. Use paper towelling or any cleaning material that will not leave dust or threads on your painting surface.
Store the glass where it will be safe. If placed between sheets of newspaper it will be protected from scratches and dust.
Step 3. MATERIALS REQUIRED FOR REVERSE PAINTING
Glass
Choose clear unflawed glass (or plastified glass) in the shape and size you wish to use. It is advised to choose smaller sizes to begin with.
Paints
It is necessary to use a paint that will adhere properly to the surface of the glass. Oil based paints or acrylics are often used for this reason. There are also opaque and transparent ceramic artist colours that have been especially manufactured for using on a non-absorbant surface. Metallic oil-based colours (eg. gold, silver or copper) can also be interesting to work with.
Paintbrushes
Choose a selection of small or medium-sized paintbrushes with fine, flat and pointed tips. Larger brushes can be used for working on a larger scale.
A penholder
It can be an advantage to use interchangeable nibs suitable for creating both thick and thin outlines.
A painting palette
Or something similar to mix your paint on.
A palette knife
(Optional) for mixing paint.
Artists paint cleaner or thinner
Used for cleaning or sometimes for thinning.
Fine linseed oil or drying agent
For mixing with oil paints to help speed up the drying process
Paper towelling
Or some clean rags
A mirror
(Optional) It can be used to check the progress of your painting while you are continuing to work. Place the mirror in a position where it will reflect your artwork from its viewing side. In this way progress can be observed without needing to turn the glass artwork around.
Cellotape
Or a similar average-width sticking tape
An easel
(Optional) to prop your work on
A glass-cleaning product
Step 4. CREATING OUTLINES
Art products in liquid form that are suitable for creating outlines on glass may be readily available in some countries. Oil-based paint, water-based acrylic and ceramic paint can also be used for this purpose. In order to create fine lines these paints must sometimes be thinned down in order to use with a pen nib or similar line-drawing tool.
To prevent lines from being effaced too easily use a paint that is oil based for creating the outlines of your subject if the paint you will be applying over the top of it (after it has properly dried) is water based.
Reverse this procedure if your outlines are created with a water-based paint.
Always use a liquid paint product that will provide the best adhesion possible to a glass surface.
Due to pen nibs clogging relatively easily attention must be paid to cleaning the nibs regularly.
Method 1.
If you have a steady hand you can use a freehand method for applying outlines directly onto the surface of the glass.
Method 2.
Use an original subject for your painting (e.g. a drawing) and place this under the glass, then copy it onto the glass surface.
Method 3.
Place a layer of carbon-paper on top of the glass then place your drawing on top of the carbon paper and with a pointed object trace the subject onto the glass.
Method 4.
A tracing table can be used for creating outlines.This is a table with a sheet of clear glass inserted into the top and with an electric light source situated beneath it. For those who frequently need to trace their work a tracing table can be very practical and useful.
Method 5.
You can omit outlines altogether.
Most artists have a preference for how to work when creating an artwork. Once you have decided whether to use a table easel, a standing easel or prefer placing your artwork either slightly propped up on a table or flat down, you will find it necessary to view your artwork regularly from its observation side in order to see its progress. Some artists simply take the glass in their hands and turn it around to look at it directly from its observation side. Others prefer to use a mirror placed directly opposite their working area so that they can observe their progress while they paint.
Mixing and blending
If you are blending colours, always do so on your palette before applying them to the glass. If colours are not well blended or mixed the result will be a streaky appearance in the paint on the observation side of the glass.
Avoiding smudges
It is important to watch out for smudges of paint, or particles of dirt or dust that may accidentally be transferred onto unpainted areas of your artwork as you are progressing. Unless removed these may appear as flaws that will show when viewing the artwork from its observation side. If they are also inadvertently covered with a layer of paint removing them afterwards may become very messy and difficult. When lifting off any smudges always be careful not to damage outlines or other areas of paint you have already applied.
Step 5. APPLYING THE PAINT
Once the outlines of your subject have thoroughly dried you can begin to apply paint to fill in the remainder of your artwork. Keep in mind that applying layer on layer of paint on a non-absorbant surface needs to be done carefully in order to avoid one layer lifting off the preceding one. For this reason ample drying-time should be allowed between layers.
Painting the subject of a reverse painting on glass requires a different approach to that of a normal painting method. In the case of a reverse painting on glass it is necessary to paint the subject or subjects situated in the foreground first, and those in the background afterwards. You will therefore normally begin by painting more detailed objects first, e.g. eyes, faces, figures or other foreground objects. This also means that if you wish to sign your artwork you will need to begin by applying your signature.
For practical reasons it is best to begin working from the centre of the artwork outwards in order to avoid your hands having to touch the glass surface more than necessary. To watch your progress from the viewing side of the glass, carefully turn your artwork around from time to time, or use a mirror as indicated in Step 3.
Keep in mind:
- That your artwork will be observed from the opposite side to the one you are painting on.
- That you are painting in reverse, therefore foregrounds precede backgrounds.
When applying the reverse painting method it is best to think carefully about the sequence in which your painting will develop before beginning to apply your paint. This will help create the methodical approach that is necessary for this particularly interesting and also intricate painting technique.
Sunday, November 8, 2009
GLASS CUTTING
Work Surface.
Your work surface should be absolutely flat. Any unevenness may cause your glass to break. An uneven work surface will also cause you to score unevenly, resulting in breaks that do not follow the score lines. A workbench covered with commercial or outdoor-type carpeting is ideal if you work with large sheets of glass, but for most hobbyists, a thin padding of newspaper is sufficient.
Keep your work surface free of small glass chips. A small bench brush will do the job and prevent you from being tempted to sweep away glass chips with your hands.
How to Hold Your Cutter.
Hold your cutter however it feels comfortable for you. You may score away from or toward yourself. It may feel a little awkward at first, but with a little practice and experimenting, you will find a way that feels "right" for you.
It does not take brute strength to cut glass, since glass is not actually cut, it is scored. Exerting about 15 pounds of pressure, the wheel of the cutter "scratches" the glass, created a stress point. When pressure is applied to this score line or stress point, the glass should break along the line.
The care and use of your cutter. Keep your cutter in a jar filled with enough lubricant to cover the wheel. Pad the bottom of the jar with a small piece of cloth or paper towel. It is recommended that you store your cutter in this jar of lubricant whenever it is not in use. Before each score, dip your cutter in this solution.
Cutting the Glass.
Gorgeous Glass: Sparkling Ideas For Painting On Glass & China
Stand to cut glass, so that you may see what you are doing and so that you can get the proper pressure from your shoulder rather than your wrist.
Lubricate the cutter before you begin, and between each score.
When cutting stained glass, always score the glass on its smoothest side.
Hold the glass securely with one hand while scoring with the other.
Begin to cut 1/8" from the edge of the glass.
Maintain an even pressure while scoring. Failure to do so could result in the glass not breaking properly. Your score line should be visible, and a gentle "ripping" sound should be heard. If you don't hear or see it, pressure is too light. A heavy, white, fuzzy line indicates that you are using too much pressure.
Never go over the same score line. Doing so will dull your cutter, and the glass will not break properly.
Make sure the wheel is perpendicular to the glass at all times. Slanting the wheel will give you a beveled edge, or even worse, you will not be scoring the glass at all.
STOP SHORT of the edge of the glass for longer cutter life.
Always do the most difficult scores first.
Creative Glass Painting
If you have to use excessive pressure to score, your cutter is probably dull, or you are using the wrong cutter for the type of glass you want to cut.
If your score line looks like a dotted line, the wheel of your cutter is probably dented, and it should be discarded.
Your work surface should be absolutely flat. Any unevenness may cause your glass to break. An uneven work surface will also cause you to score unevenly, resulting in breaks that do not follow the score lines. A workbench covered with commercial or outdoor-type carpeting is ideal if you work with large sheets of glass, but for most hobbyists, a thin padding of newspaper is sufficient.
Keep your work surface free of small glass chips. A small bench brush will do the job and prevent you from being tempted to sweep away glass chips with your hands.
How to Hold Your Cutter.
Hold your cutter however it feels comfortable for you. You may score away from or toward yourself. It may feel a little awkward at first, but with a little practice and experimenting, you will find a way that feels "right" for you.
It does not take brute strength to cut glass, since glass is not actually cut, it is scored. Exerting about 15 pounds of pressure, the wheel of the cutter "scratches" the glass, created a stress point. When pressure is applied to this score line or stress point, the glass should break along the line.
The care and use of your cutter. Keep your cutter in a jar filled with enough lubricant to cover the wheel. Pad the bottom of the jar with a small piece of cloth or paper towel. It is recommended that you store your cutter in this jar of lubricant whenever it is not in use. Before each score, dip your cutter in this solution.
Cutting the Glass.
Gorgeous Glass: Sparkling Ideas For Painting On Glass & China
Stand to cut glass, so that you may see what you are doing and so that you can get the proper pressure from your shoulder rather than your wrist.
Lubricate the cutter before you begin, and between each score.
When cutting stained glass, always score the glass on its smoothest side.
Hold the glass securely with one hand while scoring with the other.
Begin to cut 1/8" from the edge of the glass.
Maintain an even pressure while scoring. Failure to do so could result in the glass not breaking properly. Your score line should be visible, and a gentle "ripping" sound should be heard. If you don't hear or see it, pressure is too light. A heavy, white, fuzzy line indicates that you are using too much pressure.
Never go over the same score line. Doing so will dull your cutter, and the glass will not break properly.
Make sure the wheel is perpendicular to the glass at all times. Slanting the wheel will give you a beveled edge, or even worse, you will not be scoring the glass at all.
STOP SHORT of the edge of the glass for longer cutter life.
Always do the most difficult scores first.
Creative Glass Painting
If you have to use excessive pressure to score, your cutter is probably dull, or you are using the wrong cutter for the type of glass you want to cut.
If your score line looks like a dotted line, the wheel of your cutter is probably dented, and it should be discarded.
About Stained Glass
Many different types of stained glass are available. There is a vast selection of colors, textures, and degrees of transparency from which to choose. These factors, as well as the cutting characteristics, differ from manufacturer to manufacturer.
Your supplier can help you choose the colors and textures that are appropriate for your projects. Allow a 25% waste factor when purchasing glass.
Full Antique Glass, so called because it is made using antique methods, is made by blowing molten glass into a cylindrical mold. The top and bottom of the cylinder are removed and the glass cylinder is cut lengthwise and placed into an annealing oven where it gradually unrolls and flattens out into a sheet of irregular thickness. Full antique glass is very transparent and is most often used for painting and staining.
A few of the special types of full antique glass are: CRACKLE, FLASHED, SEEDY, AND STREAKY.
Semi- or Sheet Antique Glass is also mouth blown like full antique, but the molten cylinder or bubble is elongated by swinging it on the end of a blowpipe. The elongation of the bubble causes semi-antique glass to be thinner than full antique. The individual sheets are also somewhat larger.
Machine-made antique, which is uniform in thickness and color, has an appearance similar to mouth blown antiques. It is commonly referred to as "Drawn Antique" or "New Antique."
Cathedral and Opalescent Glasses are machine or hand rolled to a uniform thickness. Cathedral glass is usually one color. Opalescent glass is made by adding one or more colors to a milk white base. During the rolling process, engraved rollers give teeters and uniform thickness to the glass.
Some common textures of machine-made glass are: figure c, granite, dew drop, moss, water, seedy, ripple, hammered, double-rolled, and flemish.
Glue Chip is a very popular texture. Clear or double rolled stained glass is sandblasted on one side and the fern or "jack frost" design is achieved by the application of animal glue to the sandblasted surface. It is then allowed to dry and exposed to heat the glue "chips" the surface of the glass.
Other Types of Stained Glass
Basic Stained Glass Making: All the Skills and Tools You Need to Get Started (Stackpole Basics)
Jewels are made of stained glass pressed into many different shapes. The most common ones are multi-faceted, convex, and sparkle like prisms. Glass jewels, faceted or unfaceted, add beauty to many types of projects.
Nuggets or Globs are rounded blobs of stained glass that are also used for decorative purposes. They are not as refined as jewels, varying in size and are irregularly shaped
Your supplier can help you choose the colors and textures that are appropriate for your projects. Allow a 25% waste factor when purchasing glass.
Full Antique Glass, so called because it is made using antique methods, is made by blowing molten glass into a cylindrical mold. The top and bottom of the cylinder are removed and the glass cylinder is cut lengthwise and placed into an annealing oven where it gradually unrolls and flattens out into a sheet of irregular thickness. Full antique glass is very transparent and is most often used for painting and staining.
A few of the special types of full antique glass are: CRACKLE, FLASHED, SEEDY, AND STREAKY.
Semi- or Sheet Antique Glass is also mouth blown like full antique, but the molten cylinder or bubble is elongated by swinging it on the end of a blowpipe. The elongation of the bubble causes semi-antique glass to be thinner than full antique. The individual sheets are also somewhat larger.
Machine-made antique, which is uniform in thickness and color, has an appearance similar to mouth blown antiques. It is commonly referred to as "Drawn Antique" or "New Antique."
Cathedral and Opalescent Glasses are machine or hand rolled to a uniform thickness. Cathedral glass is usually one color. Opalescent glass is made by adding one or more colors to a milk white base. During the rolling process, engraved rollers give teeters and uniform thickness to the glass.
Some common textures of machine-made glass are: figure c, granite, dew drop, moss, water, seedy, ripple, hammered, double-rolled, and flemish.
Glue Chip is a very popular texture. Clear or double rolled stained glass is sandblasted on one side and the fern or "jack frost" design is achieved by the application of animal glue to the sandblasted surface. It is then allowed to dry and exposed to heat the glue "chips" the surface of the glass.
Other Types of Stained Glass
Basic Stained Glass Making: All the Skills and Tools You Need to Get Started (Stackpole Basics)
Jewels are made of stained glass pressed into many different shapes. The most common ones are multi-faceted, convex, and sparkle like prisms. Glass jewels, faceted or unfaceted, add beauty to many types of projects.
Nuggets or Globs are rounded blobs of stained glass that are also used for decorative purposes. They are not as refined as jewels, varying in size and are irregularly shaped
TOOLS AND SUPPLIES
When working on stained glass, the right tool for the job facilitates developing your skills. Tools not only make learning easier and more enjoyable, but they will save the waste of glass and time.
Glass Cutters. There are many different types of glass cutters on the market today. Choosing the proper cutter is the most important decision you must make as you embark on your new hobby.
Steel Wheel Cutters are inexpensive but usually not long-lasting. They must be replaced frequently as they become dull. There are steel wheel cutters which are good for general purpose cutting, production cutting, or pattern cutting. Some are good for cutting soft glass, others for hard glass. The size of the wheel and the angle of the bevel on the wheel determines this and differs from model to model. Pistol grip cutters produce more pressure than others.
Tungsten Carbide Cutters are more expensive than steel wheel cutters, but far outlast them in durability. Self-lubricating cutters, a rather recent innovation, eliminate the need to constantly lubricate your cutter between scores.
Circle or Lens Cutter. Several varieties of circle cutters are available which will cut circles 1/2" to 24" in diameter. Some types also have detachable strip cutting guides to cut straight strips of glass.
Lubricant. Glass cutting lubricant or oil is generally a half and half mixture of kerosene and a light oil. This cutting lubricant serves to clean off little slivers of glass that cling to the wheel of your glass cutter and interfere with the wheel spinning freely. It also helps prevent the score line from sealing itself which can prevent you from breaking the glass even though the score line is still visible. Commercially prepared lubricants are available.
Breaking Pliers (Nippers)Glass breaking pliers are used to break off pieces of glass at the score line. The widths of the jaws of breakers range from 1/4" to 1". Breakers with smaller jaws can more easily handle narrow angles and sharp curves. The wider-jawed models will break off long strips of glass best. A breaker with 1/2" jaws is very versatile. Breakers with serrated jaws also double for grozers.
Running Pliers. The concave and convex jaws of running pliers will "run" a score line from one end of the glass to another. The score line in the glass is lined up directly with the notch in the upper jaw, and the handles are squeezed gently, resulting in a clean break along the score line. Some models of runners are adjustable for thickness of glass.
Grozing Pliers. The jaws of grozers are serrated and used to gently remove small pieces of glass which remain after the glass has been scored and broken.
Carborundum File. Smooths the sharp, rough, jagged edges of your glass.
Grinder. Water-fed grinders, mounted with diamond bits, quickly and efficiently remove and smooth rough edges of glass without chipping. Grinders are available in many different models and price ranges.
Lead Came. A material used to hold glass pieces in place. Generally sold in 6 ft. strips.
Copper Foil. Used as one method of wrap and bind glass pieces. Generally sold in 36-yard rolls. Available in 5/32", 3/16", 7/32", 1/4", 5/16", 3/8", and 1/2" widths.
Lead Vise. This inexpensive tool can be attached to your workbench for quick and easy straightening and stiffening of lead came.
Lead Knife. A good lead knife is a valuable tool to cut and miter lead came. Lead knives can perform many functions. A knife with a weighted handle doubles as a hammer to tap a piece of glass in place.
Lead Cutting Pliers. Cuts lead came straight or at mitered angles.
Sharpening Stone. Use a carbide stone to keep your lead knife sharp.
Solder. Used to join lead or copper foiled edges together. Solder is 1/8" in diameter and is sold in one to 25 pound spools. The best solder is made from pure, virgin metals and should be 60% tin and 40% lead (60/40). 50/50 is also acceptable. DO NOT USE solder which has a resin, rosin, flux or acid core.
Soldering Irons. An 80-150 watt iron will suffice for lead or foil methods. The Weller W-100 and GT7A Tempmatic are suitable.
Fids or Lathkins. Fids or lathkins are available in hardwood or plastic in a variety of shapes. They are used to open the channel of lead came, press the leaves of the lead tight against the glass, and burnish the copper foil against the glass.
Flux. Available in paste or liquid, this substance cleans and prepares the surface to be soldered. Apply it with an acid brush wherever you will be soldering.
Sal-Ammoniac Block. Used to clean and re-tin the tip of a soldering iron.
Horseshoe Nails. Used to hold pieces of glass in place while leading. The flat sides of these nails will not mar your lead channeling. Two dozen horseshoe nails are sufficient for most projects.
Putty. Used to weatherproof and strengthen lead projects. Use DAP-33 Metal Sash Putty or any putty preparation made specifically for use with stained glass.
Small Wire Brush. Deoxidizes lead came.
3/8" Sharpened Wooden Dowel. For removing excess putty from leaded pieces: dowel may be sharpened in common pencil sharpener.
Whiting, Plaster of Paris, or very fine sawdust. Any of these can be used in the final clean-up process of leading.
Patina. Patinas are chemical mixtures that will produce a bright copper, weathered copper, dull gray, or black finish when applied to lead came or soldered copper foil pieces.
Copper Wire. 18-20 gauge can be used to make loops for hanging lightweight projects.
Ruler or Straight Edge. To help you draw and cut straight lines.
Safety Glasses. It is always a good idea to wear safety glasses to protect your eyes from any flying glass particles.
Light Table Box. Light tables are great additions to any stained glass workshop. They facilitate cutting dark and opalescent glasses which you can't normally see through to cut. They are also used in layout. With light coming through the glass you can juxtapose pieces of your glass to check for color and texture compatibility.
A light table or box is usually made of wood fitted with fluorescent or other light fixtures and covered with frosted glass. The inside is usually painted white or lined with tine foil to reflect the light upwards. If a light box is used to cut on, make sure the glass is thick enough to withstand the pressure exerted in cutting. One-fourth inch plate or acrylic glass is commonly used for this purpose.
Pattern Shears. Pattern shears are specially designed three-bladed scissors which are used to cut out patterns. The middle blade cuts out the allowance for the heart of the lead came or copper foil. Different shears are available for lead or foil work. The allowance for lead came is usually 1/16"; foil allowance is 1/32".
Pattern Knife. Knives with double razor blades properly spaced for the lead came or foil allowance are also available for pattern cutting.
Stiff Bristle Brush. Used in puttying and cleaning up process of leading.
Bench Brush. Keep one handy to clean chips from your work surface!
Glass Marking Pen. A fine-line felt tip pen with permanent ink can be used to mark your pattern directly on the glass or to mark areas that need grinding or grozing. Use black for light-colored glass; white, gold or silver for darker glass.
Workboard with lath strips. Plywood or soft particle board, larger than the size of your project, is a good work surface.
Use the links to your left to search through the Warner-Crivellaro inventory for many popular brands of tools. Also, many glass shops, studios, and community colleges offer instruction and workshops to help you get started.
Glass Cutters. There are many different types of glass cutters on the market today. Choosing the proper cutter is the most important decision you must make as you embark on your new hobby.
Steel Wheel Cutters are inexpensive but usually not long-lasting. They must be replaced frequently as they become dull. There are steel wheel cutters which are good for general purpose cutting, production cutting, or pattern cutting. Some are good for cutting soft glass, others for hard glass. The size of the wheel and the angle of the bevel on the wheel determines this and differs from model to model. Pistol grip cutters produce more pressure than others.
Tungsten Carbide Cutters are more expensive than steel wheel cutters, but far outlast them in durability. Self-lubricating cutters, a rather recent innovation, eliminate the need to constantly lubricate your cutter between scores.
Circle or Lens Cutter. Several varieties of circle cutters are available which will cut circles 1/2" to 24" in diameter. Some types also have detachable strip cutting guides to cut straight strips of glass.
Lubricant. Glass cutting lubricant or oil is generally a half and half mixture of kerosene and a light oil. This cutting lubricant serves to clean off little slivers of glass that cling to the wheel of your glass cutter and interfere with the wheel spinning freely. It also helps prevent the score line from sealing itself which can prevent you from breaking the glass even though the score line is still visible. Commercially prepared lubricants are available.
Breaking Pliers (Nippers)Glass breaking pliers are used to break off pieces of glass at the score line. The widths of the jaws of breakers range from 1/4" to 1". Breakers with smaller jaws can more easily handle narrow angles and sharp curves. The wider-jawed models will break off long strips of glass best. A breaker with 1/2" jaws is very versatile. Breakers with serrated jaws also double for grozers.
Running Pliers. The concave and convex jaws of running pliers will "run" a score line from one end of the glass to another. The score line in the glass is lined up directly with the notch in the upper jaw, and the handles are squeezed gently, resulting in a clean break along the score line. Some models of runners are adjustable for thickness of glass.
Grozing Pliers. The jaws of grozers are serrated and used to gently remove small pieces of glass which remain after the glass has been scored and broken.
Carborundum File. Smooths the sharp, rough, jagged edges of your glass.
Grinder. Water-fed grinders, mounted with diamond bits, quickly and efficiently remove and smooth rough edges of glass without chipping. Grinders are available in many different models and price ranges.
Lead Came. A material used to hold glass pieces in place. Generally sold in 6 ft. strips.
Copper Foil. Used as one method of wrap and bind glass pieces. Generally sold in 36-yard rolls. Available in 5/32", 3/16", 7/32", 1/4", 5/16", 3/8", and 1/2" widths.
Lead Vise. This inexpensive tool can be attached to your workbench for quick and easy straightening and stiffening of lead came.
Lead Knife. A good lead knife is a valuable tool to cut and miter lead came. Lead knives can perform many functions. A knife with a weighted handle doubles as a hammer to tap a piece of glass in place.
Lead Cutting Pliers. Cuts lead came straight or at mitered angles.
Sharpening Stone. Use a carbide stone to keep your lead knife sharp.
Solder. Used to join lead or copper foiled edges together. Solder is 1/8" in diameter and is sold in one to 25 pound spools. The best solder is made from pure, virgin metals and should be 60% tin and 40% lead (60/40). 50/50 is also acceptable. DO NOT USE solder which has a resin, rosin, flux or acid core.
Soldering Irons. An 80-150 watt iron will suffice for lead or foil methods. The Weller W-100 and GT7A Tempmatic are suitable.
Fids or Lathkins. Fids or lathkins are available in hardwood or plastic in a variety of shapes. They are used to open the channel of lead came, press the leaves of the lead tight against the glass, and burnish the copper foil against the glass.
Flux. Available in paste or liquid, this substance cleans and prepares the surface to be soldered. Apply it with an acid brush wherever you will be soldering.
Sal-Ammoniac Block. Used to clean and re-tin the tip of a soldering iron.
Horseshoe Nails. Used to hold pieces of glass in place while leading. The flat sides of these nails will not mar your lead channeling. Two dozen horseshoe nails are sufficient for most projects.
Putty. Used to weatherproof and strengthen lead projects. Use DAP-33 Metal Sash Putty or any putty preparation made specifically for use with stained glass.
Small Wire Brush. Deoxidizes lead came.
3/8" Sharpened Wooden Dowel. For removing excess putty from leaded pieces: dowel may be sharpened in common pencil sharpener.
Whiting, Plaster of Paris, or very fine sawdust. Any of these can be used in the final clean-up process of leading.
Patina. Patinas are chemical mixtures that will produce a bright copper, weathered copper, dull gray, or black finish when applied to lead came or soldered copper foil pieces.
Copper Wire. 18-20 gauge can be used to make loops for hanging lightweight projects.
Ruler or Straight Edge. To help you draw and cut straight lines.
Safety Glasses. It is always a good idea to wear safety glasses to protect your eyes from any flying glass particles.
Light Table Box. Light tables are great additions to any stained glass workshop. They facilitate cutting dark and opalescent glasses which you can't normally see through to cut. They are also used in layout. With light coming through the glass you can juxtapose pieces of your glass to check for color and texture compatibility.
A light table or box is usually made of wood fitted with fluorescent or other light fixtures and covered with frosted glass. The inside is usually painted white or lined with tine foil to reflect the light upwards. If a light box is used to cut on, make sure the glass is thick enough to withstand the pressure exerted in cutting. One-fourth inch plate or acrylic glass is commonly used for this purpose.
Pattern Shears. Pattern shears are specially designed three-bladed scissors which are used to cut out patterns. The middle blade cuts out the allowance for the heart of the lead came or copper foil. Different shears are available for lead or foil work. The allowance for lead came is usually 1/16"; foil allowance is 1/32".
Pattern Knife. Knives with double razor blades properly spaced for the lead came or foil allowance are also available for pattern cutting.
Stiff Bristle Brush. Used in puttying and cleaning up process of leading.
Bench Brush. Keep one handy to clean chips from your work surface!
Glass Marking Pen. A fine-line felt tip pen with permanent ink can be used to mark your pattern directly on the glass or to mark areas that need grinding or grozing. Use black for light-colored glass; white, gold or silver for darker glass.
Workboard with lath strips. Plywood or soft particle board, larger than the size of your project, is a good work surface.
Use the links to your left to search through the Warner-Crivellaro inventory for many popular brands of tools. Also, many glass shops, studios, and community colleges offer instruction and workshops to help you get started.
Sunday, November 1, 2009
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