Forget The Details?

Making stained glass suncatchers can be problematic if you're a stickler for detail. This does not mean that you should forget the details, but it does mean that many details can be omitted when making stained glass suncatchers and wall hangings.

 There are several good reasons for this that we will delve into here.

 First of all, cutting out fine details from stained glass often does not show up in the finished product as you would expect it to.

Individual feathers in a bird's wing or detailed fish scales on the body of a Koi almost never turn out as expected.

Foiling a narrow detailed cut like a single bird's feather, reduces the amount of glass that can be seen between the edges of the foil.   Wider cuts are easier to make, easier to foil, and will show up better in the finished suncatcher.

A better alternative to creating the "feathery look" of a bird feather is to create your own filigree from small diameter copper wires soldered to the main seams of a wider wing, or purchase a commercially stamped filigree.

 Commercially manufactured filigrees are made in a variety of types and sizes for almost any type stained glass project.  The examples below are only a small sample of what is available.



If you insist on having fine details in your wall hangings or suncatcher project ; use filigrees or paint in the details.

They look much more realistic than fine, narrower cuts that when wrapped with foil become indistinguishable from what you are trying to create.

Cutting fine narrow pieces from stained glass is also much more difficult to handle. Even the most expert craftsmen have a hard time with delicate, narrow glass cuts.    Breaks are a common occurrence and many times when the narrow pieces are foiled and soldered together, you completely lose the detail you toiled so long to perfect. 

Two narrow pieces of stained glass soldered together with even the narrowest foil will produce a wide seam that ultimately destroys the detail you are trying to create.

Forget the details when making stained glass suncatchers and make more use of fine copper wires to add that "special effect".  

Many newcomers try to cut out human or animal eyes from stained glass and expect the bird, cat, dog, or whatever the profile to look natural.

This can be done with larger wall hangings, stained glass windows, etc. but for stained glass suncatcher projects, which are usually much smaller, forget about cutting the eyes from stained glass.

It is easier to either purchase some commercial glass eyes, paint in your eyes, or make them from globs of solder and then paint the solder to add more realism.  

The Cat Eyes to the left is an example of what is available for purchase for highly detailed stained glass projects.

The Blue Bird suncatcher to the right is an example of using wire filigree on a

project and painting in an eye. 

Cutting a birds eye from a piece of stained glass for a suncatcher of this size is impossible.

 A painted in eye or a glob of solder painted as an eye is a much better option.

A little common sense will dictate how narrow a piece you can use in your project and still keep it looking realistic.

The Joys Of Stained Glass Plating

Stained glass plating has been practiced since late in the last century when Louis Comfort Tiffany and John La Farge began the practice in earnest. Both did a lot of plating during their lifetimes.

Plating, also called overlay in stained glass terminology, involves using more than a single layer of stained glass in your projects. The Plating of stained glass together allows you the freedom to use any color or texture combination.

Each layer of stained glass is soldered on top of other layers to provide a variety of three dimensional effects.

Plating is not commonly practiced in the construction of stained glass suncatchers for several reasons.

First and foremost, when viewed from the front, stained glass plating looks great. However, when viewed from the back of the suncatcher or panel, plating looks much less aesthetic, in fact it can look plain ugly. This is because most plating occurs on the reverse of the suncatcher or panel.

Many stained glass artisans shy away from plating for a variety of reasons, but why do they bother with plating in the first place?  Well, there are several reasons.

Plating transforms an otherwise common piece of work into a truly unique, "one of a kind" work of art like the example below that was created by Chuck Franklin Studios.

Waterfall Window

 
Typical of stained glass done by Tiffany studios in the early 1900′s, this window features plating and the attaching of pieces to the front of the window to give it a 3-D effect.   The plating of several layers of glass on top of each other produces the rich colors and depth. The logs in the foreground were rounded and protruded from the rest of the window.

When done properly, plating adds a sense of distance to a piece. It will also make your solder or lead lines look less distinct.

Plating can also be used to add "shading" and other effects to your piece.

Plating glass together does not restrict you to a single color, texture or type of stained glass. You can superimpose images on top of each other using different types of stained glass to achieve many desired effects.

To create the effect of "distance" to a piece, the layer closest to the viewer should be a thick, dense, opal glass. A dense glass diffuses the light that passes through the various layers and gives the desired diffused look.

A lot of Tiffany panels have been made with this effect.

When you want to add shading to your piece, you need a relatively dense glass or the lines become too pronounced.

When superimposing images on top of each other, you need to complete the background first. The second, "plating layer" is then superimposed on top of the completed background to create a sculptured effect that when done correctly will not have lead lines.

Another three dimensional effect that can be created by plating is a "faceted" or "ragged" effect.

To achieve this effect, multiple layers of stained glass are placed over each other. The best "faceted" effect can be achieved by organizing the different plated layers to give them a "more intense" look. The layers absorb more light and should cast shadows on other parts of the work.

You can make any piece look "rougher" by varying the angles of the plated glass on the upper layers.

There are some problems associated with Plating stained glass; accurate cuts, moisture, and weight distribution being the most prominent.

Depending on the pattern, accurate cuts become central to Plating stained glass projects; especially when one layer needs to be placed exactly on top of another layer.

Moisture can also be a problem when two layers are placed exactly on top of each other, however both problems can easily be handled by making accurate cuts and thoroughly drying each layer before soldering.  When constructing layers, dry each layer thoroughly with a hair dryer as you build up your project.  

You can also allow residual moisture to escape by providing a "vent" between layers is the layers are large.   This can be done by putting a dollop of Vaseline on the top and bottom of the plated piece before soldering. The Vaseline stops the solder from holding at these locations and allows for the release of moisture that can build up and destroy the look of your project.

Occasionally the soldering flux will spit or spatter between the layers during soldering. When this happens, you have to de-solder the piece, clean it, and re-solder.

Another problem with multilayer plating is that it becomes almost impossible to lay the project flat on your work surface to solder.  To keep your project level during soldering, you need to support the various layers of stained glass from underneath so the weight of the panel is equally distributed.

When plating only a few areas of a wall hanging or a panel, you need to take into account the weight distribution of the completed panel. The weight of the panel is no longer carried through the vertical plane of the glass.

When adding smaller more complex curves and shapes to a piece, it is more likely to have the necessary strength than when you add longer, narrower pieces which are more likely to bow or "warp". Since most stained glass Platings are a work in progress, add curves to your design to provide strength to the project.

You will encounter major weight distribution problems when the bottom portion of the panel is constructed from a single layer of glass and the upper portion is a multilayer construction. The entire project will be top heavy.

You can solve the problem by adding a clear piece of glass plate to the back of the piece, on the very bottom, to offset the weight distribution. You will have problems if you decide to frame the piece, but you can always carve away the bottom section of a frame to accommodate the increased width if you are using a wooden frame.

Because of the complexity of their design, most plated stained glass pieces have no set pattern. Their designs are modified while under construction, usually with the aid of light boxes.

 If you decide to experiment with Plating, you can either start with an existing panel and add a layer or two, or start with a design of your own and add to it as the project grows. Get a base design and add a layer or two. Try out different types and color combinations until you are happy with your outcome.

When plating onto an existing panel, reduce the solder lines on the back of the panel to a flat line. Then cut the plating pieces and solder them onto the panel.

Plating is to some extent a trial and error process. Take your time and experiment with it. You will be surprised with the results you can achieve.

How to Make Wind Chimes For Use With Your Stained Glass Suncatchers

Learning how to make wind chimes for use with your stained glass suncatcher hangings is not difficult once you have the basics down pat.

Wind chimes have been around for a long time and are used throughout the world not only for their aesthetic value but as a holistic source of mind healing.

The tones emitted by wind chimes vary considerably.  They can be gentle low bongs, to low whistles, to high pitched tings and clacks.  The material that the wind chime is made of determines what type of sound is emitted.

One thing you can be certain of is that listening to any type of wind chime will give you a feeling of peace and tranquility.

Learning how to make stained glass suncatcher wind chimes was covered in a previous post so we will not rehash that subject.  Instead, we will concentrate on how to make wind chimes to hang from your stained glass projects.

Fortunately, making your own wind chimes is a very inexpensive proposition.  You can use items you already have around your home or are ready to pitch to the scrap heap.

Regardless of the materials used, almost all round wind chimes follow the same basic design pattern, with a four part construction sequence.

Round Pipe Wind Chime

• The "lid"
• The center "banger"
• The lower wind "catcher"
• The surrounding "chimes"

The center mounted wind catcher is comprised of a "banger" attached to a lower wind "catcher"

The center "banger" hangs in the middle of the wind chime and bangs into the surrounding sound producing materials (chimes) as the wind "catcher" is moved around by the wind.

The "lid":

Because most wind chimes are circular in design, you need a lid at the very top of your wind chimes to spread apart the sound producing materials.  Without a lid of some sort you would have a tangled mess.

Pick any colorful round lid for this purpose.  If you don't have one of the color you desire, pull out a can of spray paint and give it a shot of paint to your liking.

When your lid is dry, locate the center and punch a tiny hole through it with an awl.

Next, slide a piece of fishing monofilament or nylon thread through the hole and tie a bulky knot in it on the top side of the lid.

Measure the monofilament or thread to the length you desire and cut it.

Next, decide on how many hanging chimes you are going to use in your wind chime.

The number should be even numbered; 2, 4, 6, 8 or more in order to maintain balance.

Each hanging chime should have another chime hanging directly opposite to it.

Lay out the position of the holes needed on the outside of the lid and punch the holes through the lid as evenly as possible with the awl.

The center "banger":

The next step is to install the center "banger" of choice in the center of the lid.

The material you choose for the "banger" is important.

It must be of sufficient mass and hard enough to create a noise when it hits the chime material, yet light enough to be easily pulled into the surrounding chimes by the lower wind catcher.

If it is too large or too heavy, the wind catcher below will not be able to move the "banger" with the breeze and the wind chimes will not work effectively.

Once you have a suitable material, (preferably something round or circular) install your chosen banger at the center point of the center string in the lid.

The lower wind "catcher":

that is surrounded by several chimes.   The beautiful sounds you hear are made when the banger is pulled by the lower wind pickup into the sound producing chimes.

Just below the "banger" at the base of the center string, install your wind catcher.

The wind catcher can be anything that has the ability to catch a breeze.  Anything with a large flat surface will work just fine as long as it has some weight to it.

A wide piece of stained glass, a small plastic lid or even a large cut off spoon will work just fine.

The surrounding "chimes":

The next step is to hang the chimes at the proper distance from the lid and at the same height as the center "banger".

The hanging height is important because in order to make the chime sound pleasant, the center "banger" must be able to hit the chimes with enough force to create a pleasing sound.

To give your finished wind chimes a unique look, the string length of your chimes can vary but in order to work properly, it must be balanced.

If you have one chime 6" long, the chime opposite it should also be 6" long if it is made from the same material.

If using hollow pipe, bamboo, etc. you can vary the lengths of each chime to offset the weight and length of each piece of string.  This gets a bit complicated and requires a lot of trial and error to keep everything in balance.

If you use the same materials and match up the lengths of each chime with the chime opposite it, you should have no problems.

Drill holes through the tops of each of the chimes and the wind catcher before you attach them to the string.  This way they will hang evenly when the job is complete.

Hanging the Wind Chime to the Suncatcher:

Punch two more holes in the lid spaced evenly apart from the center.  Slide a length of monofilament through one hole and tie a large knot at the bottom to hold it in place.

Measure the amount of mono you want for the hanging loop, and cut it to length.  Then thread the end of the monofilament through the second hole and again tie a large knot to hold.

Your wind chime is now complete and can be hung alone or from the bottom ring of your reinforced stained glass suncatcher project.

Sit back and let the sounds of the chimes heal your soul.

Stained Glass Suncather Wind Chimes

The construction of stained glass suncatcher wind chimes is similar to the basic construction of stained glass suncatchers.

Almost any stained glass suncatcher pattern can be modified  into a beautiful sun reflecting wind chime.  

It's just a matter of strengthening, balancing, and adding the appropriate sized wind chimes.

In general, suncatchers are some of the smallest projects made from stained glass. 

They are created for hanging in a window or from some point in the ceiling to gather and reflect light into the room.  

Their function is strictly decorative like Christmas balls on your Christmas tree and are usually free-form, round or constructed in small frames.

When constructing stained glass suncatcher wind chimes, you are adding audio functionality to your creation.  The pleasing tinkling of the wind chimes contributes to the aesthetic quality of the stained glass suncatcher.

In addition to adding another ring below your suncatcher pattern, there are three other changes you need to keep in mind when making stained glass wind chimes.

1. You need to strengthen the outside edges of the suncatcher pattern you choose to use.
2. You need to select the correct wind chime material to use with the pattern you chose.
3. You need to correctly balance the finished stained glass suncatcher wind chime.

The top part of the Chinese suncatcher wind chime (pictured below) is made from relatively larger panes of glass which adds additional weight to the project.


The outside edges are fabricated from a copper foiled steel rod which strengthens the entire project.  

A copper or brass channel could also have been used by the artisan to strengthen the project with equivalent results.  

Round U came is produced in lead, copper or brass and can be purchased in bulk from a variety of suppliers.

The added ring below is centered for balance to hold the wind chimes
in line with the upper hanging ring.

With a free-form suncatcher like this one, centering is not much of a

problem however, it takes some finesse to locate and solder the rings of a square or rectangular stained glass suncatcher wind chime.

Selecting the correct wind chime material can become a challenge but regardless of what materials you choose to construct your wind chime with, they all follow a certain set design.

Most wind chimes are circular in design, like the example above.

They will all have a lid and a center mounted wind catcher surrounded by several sound producing hangers.  

You can use almost anything for the hangers; bells, pipe sections, old keys, marbles, stained glass pieces, seashells, bamboo, old silverware, etc.

The center mounted wind catcher hangs below what is called a "banger".  This is the object, usually round and hard, that actually creates noise and causes the chime effect.

The wind catcher hanging below the "banger" picks up the slightest breeze and moves the "banger" into contact with the surrounding chimes. 

In order to be effective, the center banger must be light enough to be easily moved by the wind catcher, yet hard enough to make a noise when it bangs into the surrounding chimes.

We will provide more on wind chime construction in upcoming posts.

When your wind chime is completed to your specifications just hang it from the lower ring of your reinforced stained glass suncatcher pattern, check for balance, and hang the completed stained glass suncatcher wind chime assembly in a breezy location.

Enjoy!

Transforming Your Ideas Into Stained Glass

Transforming your ideas into glass suncatchers or wall hangings is entirely possible when you have something to work with.

Creating stained glass suncatchers is fun and profitable but like anything else you can get tired of replicating the same patterns (with slight modifcations) that everyone else is making.

Creativity making stained glass suncatchers is limited only by your imagination and your ability to transform them into a real products.

Here are some ideas on how you can accomplish it.

• You went deep sea fishing with friends and was lucky enough to land a beautiful Mahi Mahi (dolphin).  Idea: Dolphin Suncatcher
  
• You went for a drive in the local wildlife refuge and saw a beautiful pair of Wood Ducks.  Idea: Wood Duck Suncatcher
• You took a walk and saw some beautiful Monarch butterflies on a milkweed plant.  Idea: Butterfly Suncatcher
  
• On a spring walk in the woods you noticed a beautifully colored salamander under a rotted tree stump.  Idea: Spotted Salamander Suncatcher
• You spotted some waterfowl while on the beach.  Idea:  Pelican Suncatcher

All of the above have potential and are great prospects for transforming your ideas into stained glass suncatchers. 

The first step is to record your idea to some sort of media you can work with.

If you are artistic, you can simply draw or etch your ideas on paper, wood, etc. for future use.  If you are totally void of artistic abilities, just take a picture or video of your ideas for future reference.

Original Picture of Pelican

A cheap, pocket size digital camera is a great way to record things you have seen for future reference.

Snap pictures of your ideas and when you get home transfer the pictures to your computer. 

Then use any simple picture viewer to manipulate your images.

There are many free software programs available that can manipulate pictures, but IrfanView is one of the best and easiest to use.

Edge Detected Photograph of Pelican

It has an "edge detection" feature in the "effects" menu that you can use to more easily trace patterns from the copied pictures or photos on your computer. 

The next step is to make a copy or copies of the pictures you choose to transform into stained glass suncatchers.

If you do not already have a home copy machine, I strongly recommend purchasing any brand of "all in one" copier. 

These units have a copy, scan and fax feature built into one machine.  There are many brands available and most are reasonably priced.

Use heavy card stock paper so you can cut out and re-use the pieces after you trace and transfer the pieces onto the stained glass.  Office Depot or Staples has the paper available at reasonable prices.

Once you have copied the "edge enhanced" picture that you manipulated from the original photograph, you can use a led pencil or magic marker to trace out the glass pieces. 

Make sure the pieces you trace from the copy can be easily cut from stained glass.

During this step you do not need to get fancy with ornate close cuts, impossible angles or sharp edges.  Trace pieces that can be easily cut from the glass and assembled into a suncatcher.

(Note:  There are several software programs that claim they can make a photograph into a stained glass pattern.  Look for additional posts on this topic.)

Once the tracing is complete, just proceed with your project as you would with any other stained glass suncatcher pattern.  Reference

• Cut
• Foil
• Tack and solder
• Clean
• Patina
• Enjoy!  

How Much Is Too Much?

How much is too much to pay for a stained glass suncatcher? 

On occasion we have been asked about stained glass suncatcher pricing.

Often a small stained glass suncatcher project may seem overpriced to consumers who are used to purchasing similar mass produced items from Wally's World or other such outlets.

If you have your eye on a hand crafted stained glass item and are wondering if you are paying too much, perhaps you should continue reading and see what it takes to make a hand crafted stained glass suncatcher.

Stained glass costs vary greatly on the type and color of glass used but in general, glass sells from $4.00 to $8.00 a square foot.

Red, leaded and iridescent colors are the most expensive.

In addition to the cost of the glass used in the project, other items such as solder, foil, flux, patina and polishes need to be included in the cost.

Even though the cost for these items is nominal, a suncatcher project with a large number of pieces can eat up some copper foil.

Time is the greatest cost in determining what a hand crafted stained glass suncatcher project is worth.

The more pieces used in the project, the more time it takes to cut out the glass, foil the pieces and solder them together.

To give you an example:

• A simple five piece star pattern requires four straight cuts per piece. To score and break five pieces takes about 3 or 4 minutes if you don't make any mistakes.
  
• You then need to grind the pieces to ease the sharp edges in preparation for foiling. This only takes about a couple of minutes.
  
• Next you need to wash and dry each piece in preparation for the foiling process. This takes about two or three minutes.
•  Foiling and burnishing each piece takes about 2 minutes per piece.
• Next you need to tack and solder all the pieces together. The total time required for fluxing, tacking and soldering is about 5 or 6 minutes (if you're good).
  
• You will need to make and solder a "hanging ring" to the center of balance of your suncatcher. This takes about a minute or so.
  
• Assuming you are going to apply a patina to your project, you will need to re-wash and thoroughly dry the project. This takes another couple of minutes.
• Applying a patina takes another couple of minutes, depending on the color and time required to attain the tone you are after.
  
• Polishing and drying the finished project will eat up another couple minutes of your time. 

Roughly speaking you have just put in at least a half hour of work to create a simple five piece stained glass suncatcher project, and this does not include any bad cuts or re-cutting.

Also remember that the above example is based on performing straight cuts. Projects with curved edges require much more time for cutting and grinding to shape.

So, what is a half hour of your time worth these days?

When you consider the cost of materials, the time and the effort involved in creating a hand crafted stained glass suncatcher or wall hanging; most of the time you are getting a good deal for the price you pay.

 I'll let you be the judge of how much is too much.

Take A Walk By The Seashore

You can always take a walk by the seashore if you're running out of ideas for creating stained glass suncatchers.

Sound stupid?  Not at all.

If you live close to the ocean like I do and walk the beaches, you can often find a plethora of shells and rocks washed up during the high tides.

The ocean is a giant natural rock tumbler and whatever is washed ashore during the high tide is usually found in a somewhat polished condition.

An ordinary oyster shell or a broken piece from a larger shell is often unrecognizable as a shell.  Instead it takes on the aura of a piece of art that can be incorporated into your stained glass suncatchers.

An hour walk by the seashore can load you up with enough treasure to keep your mind occupied with new creations for some time.

Shells for use in stained glass suncatchers, wind chimes or in mobiles are prepared in the same manner as your stained glass.

You may need to grind the edges of shells thinner to accommodate foiling but you foil the shell the same as your glass.

Once foiled and burnished, you can tack the pieces to the glass pattern and solder as you normally would.

Ocean "tumbled" oyster shells make a beautiful unique addition to any stained glass suncatcher, wall hanging, wind chime or mobile pattern and they don't cost you a thing!

Next time you have the opportunity to take a walk by the seashore, be sure to bring along a couple of gallon size freezer bags to put your shells into.

What To Do With Scrap Glass

What to do with scrap glass is something we all have to contend with if you have been creating stained glass projects for any length of time.

But what exactly is scrap glass?

In our society where waste is commonplace; I believe that there is no such thing as scrap glass or scrap anything for that matter.

Scrap glass is nothing more than unused small pieces of beautiful colored glass.  Like garbage, scrap to one individual is a gold find to another. 

I'm quite sure that L.C. Tiffany didn't regard the tiny pieces left over from his lampshades as scrap.  He simply used them to create other more intricate patterns.

Other than the obvious uses for "scrap glass" (mosaics, wall hangings, small suncatchers, etc.) the real problem is how to organize unused pieces so you can easily find them in the creation of new projects.

Organization by size, the type of stained glass and the color will bring some order to the chaos of your scrap glass box.

Once order is achieved, you can use your fertile mind to create uses for each category or mixture of stained glass categories.

Now, what to do with scrap glass?

• Most stained glass artisans use their scraps in mosaics of some type.  

Smaller scraps can be glued to a variety of bottles, plates, trays, objects, etc. to create unique mirrors, picture frames, stepping stones, suncatchers, wall hanging, table tops, or even to fill in small floor areas.  

If you are using small scrap glass for any floor area where there is a danger of being cut by the sharp edges, it pays to "ease" the edges of the glass shards by tossing them in a rock tumbler like the  Lortone 3a Tumbler - 3lb Capacity - TUM-110.00 pictured at the above left.
 

• If you are into creating unique lampshades like L.C. Tiffany;  scrap glass already has a great end use for the creation of intricate lampshade patterns.

• Smaller sized stained glass suncatchers are always a great end use for smaller pieces of scrap glass. 

• Windchimes and mobiles are a great end use for scrap glass pieces.   

The smaller pieces are perfect for making small birds, butterflies, crosses, free style pieces, etc.  

Small wire loops can be used for the hangings or you can drill the glass when practical to do so.

• Scrap glass can be slumped and fused to create a variety of projects  if you happen to be the owner of a kiln. 

Finally, if you have run out of fresh ideas you can always sell your scrap glass on eBay, donate it to a shcool or a church group, or just give it all away to someone who really needs it.

Remember, there is really no such thing as scrap glass.

What Is A Mega Blade?

Some followers have emailed us questions about the Mega Blade for the Taurus 3 ring saw.

Specifically, what is the Mega Blade?

The Mega Blade is a "super duty" ring saw blade that is intended to cut thick glass, stone, marble, granite, etc.


Because of it's unique profile, the ring saw blade cannot cut in all directions like conventional ring saw blades.

It only cuts in the forward and backward direction.

The profile of the Mega Blade looks like a teardrop if you could view a cross section of it, with the rounded part of the teardrop cutting in the forward direction.

Mega Blades are interchangeable with conventional Taurus ring saw blades and are replaced in the same manner as described in this short video clip.

Installing the Taurus "mega blade" 

Since I primarily work with stained glass suncatchers, wall hangings, panels and Tiffany style lamp shades; I have no need for one, and have not yet purchased a Mega Blade.

However, I have heard from others that they work very well cutting thicker glass into intricate shapes and also for making blanks for beveled glass pattern pieces.

Any comments on the blade and their effectiveness would be greatly appreciated.

How To Clean A Taurus Ring Saw

The ring saw is a necessity if you are into making intricately designed stained glass suncatchers and learning how to clean a Taurus ring saw in particular, is much easier than you might think.

There are several steps to cleaning a Taurus 3 Ring Saw. 

• First, remove the clear plastic face shield by simply pulling it off.

• Next, remove the upper door side plate again by pulling it off and out.

• Lift out the work table surface, remove the saw from the tub and set it aside.  

• Pour out about half of the cooling water from the tub and leave the remaining water in the reservoir to help loosen the remaining glass residue when you scrub it out . 

• Wash out and rinse the reservoir of any remaining glass particles. 

That's all there is to it. This video from Delphi shows how easily it's done.

 

If you want to really clean up the saw, add some liquid dish detergent to the reservoir after cleaning out all the debris and run the saw for several minutes before rinsing it out again.
 
If you currently have a Taurus 3 Ring Saw, feel free to comment on your experiences using it both pro and con.

The only complaints we have to date is how noisy it operates.  Unfortunately, you can't put a muffler on a saw!

12 Tips To Make Your Glass Cutting Easier

These 12 tips will make your glass cutting easier to accomplish.

 
1 - Always purchase the best glass cutter you can afford to buy.

A good glass cutting tool is an absolute necessity and will save you money in the long run.  In addition, a good glass cutter will help you make accurate cuts more comfortably over a long period of time.

You will appreciate a good glass cutter if you get into making Tiffany style lampshades where tedious multiple cuts must be made over a long period of time.

Get a cutter with a comfortable handle and a high quality carbide steel wheel.  These cutters are long lasting and contoured to fit your fingers so more downward pressure can be easily applied to the score line.

Cheap steel cutters have neither of these features.

2 - Always use some sort of cutting lubricant on the wheel of your glass cutter.

If you purchased a good self lubricating cutter, use a name brand stained glass cutting oil in the handle reservoir or as a last resort, mineral spirits. 

It's also a good idea to occasionally dip your cutting wheel into the oil to ensure a frictionless score.

Mineral spirits is easier to clean up but unless you get the odorless type, it has an objectionable odor to it.  A good cutting oil doesn't smell, is a smoother lubricant and is less harmful to your skin.

3 - Always use the right size wheel for the glass you are cutting.

The smaller the wheel, the less pressure is needed to make a crisp score line. 

Wheel size is the determining factor in how much pressure is needed to penetrate the surface of the glass.

For thin or standard thickness stained glass, a small 1/10th of an inch diameter wheel is what is needed.

The wheel angle also affects how glass is cut. 

For thin or standard thickness stained glass, a 120 degree or 135 degree wheel angle is what is required and for glass thicknesses over 10 mm, a 160 degree angles is what is recommended.

Among others, the Silberschnitt Adjustable Oil Wheel Easy Grip Cutter and Toyo Pistol-grip Supercutter are recommended for professional cutting of standard and thinner stained art glass.

4 - Always cut your glass at room temperature.

Believe it or not, the temperature of the glass affects how easy it is to cut. 

Warm glass is less brittle and cuts easier than cold glass so if your glass is in a colder storage area, consider letting it achieve room temperature before cutting.

5 - Always score the smooth side of the glass you are cutting.

Ripple glass, glue chip, artique and some other types of stained glass often have one side smoother than the other.  Always score the smoother surface of the glass for ease of cutting and cleaner breaks.

6 - Always apply even pressure and move at a uniform speed when cutting stained glass.

You should hear a consistent sound as you make your score.  If your score sounds scratchy or crackly, too much pressure is being placed on the cutting wheel and the glass is actually breaking apart around the wheel from the excess pressure.

When done properly, you should hear a smooth "zinging" sound as you make your score.

Obviously when cutting thicker glass, more pressure is needed to make a good score. 

Some instructors suggest measuring the amount of pressure exerted by placing the glass on a scale while making a score line however, experience is the best teacher. 

7 - Use you whole body when scoring glass

If you stand up and slightly away from your workbench when making a cut, you have a tendency to keep your cutting wheel more perpendicular to the surface of the glass.  This stance gives you a more even score than if you are sitting next to your workbench cutting with just your arm or your hand.

If you use your whole body you'll find that cutting circles, arcs and close cuts become much less of a chore.  You can move around as you make your cut and apply pressure more evenly to the glass as you score.

8 -  Always keep your score line as close to the middle of the piece you are cutting as possible.

Try to position your score so that there's is an equal amount of glass on each side of the score.  This prevents the glass from breaking below the scoreline.

A break below the scoreline always moves to the side where there is less glass.  This gives you an edge that flares out from the score line. 

If you are cutting a bunch of narrow strips as you would for wind chimes, start with a piece of glass that is much larger than the amount of thin strips needed.  Then cut each piece exactly in half, and then each of the other remaining pieces in half, until you have all the strips you need.

Keeping an equal amount of glass on each side of your score line will give you perfect strips that are as narrow as the glass is thick.

9 - Always make your score from the interior of the sheet when cutting curves.

Glass always tends to run as directly as possible to the edge of the piece that you are cutting.

It stands to reason then, that when you are cutting a complex shape, start running the circle or complex curve away from the edge of the glass you are cutting.

10 - Always break out your glass immediately after making your score

If you walk away and let the glass sit too long, the scoreline will begin to develop fractures that will radiate along the entire length of the scoreline.  This will give you a "dirty" jagged edged cut.
If you break out your glass right after you make your score, you will achieve a clean cut almost every time.

11 - Always avoid tapping your scoreline

For some reason many of us were taught that tapping the scoreline before breaking out the glass helps with the break.

The truth is that tapping the scoreline usually leaves you with a jagged edge.  If you feel you just have to "tap" a thick piece of glass, tap it directly underneath the score line; not from the top.  This minimizes any jagged edges.

12 - Never score twice over the same line.

When you score over the same scoreline twice you will dull your cutting wheel and probably still not make a clean cut.

A better solution to a bad score is to turn the glass over and carefully score along the same line and break the glass apart as you normally would.

This saves your cutting wheel and will give you a more professional cut.

Most of the above 12 tips to make your glass cutting easier  you already know about however, some of them you may not have been aware of could save you time and money with your stained glass suncatchers.

Using Pre Cut Stained Glass Patterns

More and more newcomers to stained glass have begun using pre cut stained glass patterns for suncatchers, plant stakes, wall hangings and other relatively simple projects.

Pre cuts for stained glass and mosaics are relatively new in the marketplace.  The patterns used for stained glass suncatchers are usually small and seldom contain less than a dozen pieces as you can see by this Pre-cut Rooster Ring Kit.

Pre cut stained glass patterns, like beveled glass insert patterns, are an easy alternate to cutting the glass yourself.

For those who desire "instant gratification" and have the extra green to spend, using pre cut stained glass patterns can definitely be the way to go.

Pre cut projects take the first step out of the creation process, glass cutting. However, you still need to foil, solder and patina the pieces to finish your project.

Many newcomers have a difficult time cutting glass. Others feel that glass cutting is the most difficult and time consuming aspect of the creation process.

Both are candidates for using pre cut stained glass patterns for their projects.

In many instances we believe that using Pre Cut Stained Glass patterns can be helpful, especially if the pattern you have chosen has many small pieces.

The nominal cost for purchasing a pattern is often less than the time it takes to make a lot of small precise cuts, especially when the pattern is to be used as an integral part of a larger glass panel or wall hanging.

Beveled glass pattern inserts also fall into this category.

The cost of purchasing a beveled cut glass pattern is infinitely less than the amount of time it would take for you to create a beveled glass pattern on your own; providing you have the equipment to make one.

For beginners the same principle applies.

There is one drawback to using using pre cut stained glass patterns and that is the practice you lose cutting glass to size.

When working with glass; practice, practice and more practice is necessary.

The more you practice, the closer you get to achieving perfection.

 In closing, we recommend using pre cut stained glass patterns as a time saver but in the long run, the more glass you cut yourself, the faster and better you become.

Stained Glass Suncatchers

Stained glass suncatchers have become an important part of interior decoration and almost a "fashion trend" in terms of artistic representations in our society.

Stained glass suncatchers can be hung either indoors to reflect sunlight from a window, or outdoors from a patio or porch enclosure.

Handcrafted stained glass suncatchers add a unique dimension to almost any decor and can be fabricated in a multitude of themes and abstract designs.

Stained glass suncatcher design themes are wide ranging.

A simple Google search will find you design themes like birds, fish, floral patterns, animals, abstract designs, cartoon characters, insects, etc. that are applicable for use in any decor.

Because the colors of the glass are chemically inside the glass molecules; stained glass suncathers are indelible, waterproof, safe and will forever retain their original color and clarity.

This makes them perfect for use in decorating kitchens, patios, children's rooms, etc. without having concerns that the colors will peel or flake off the project.

Stained glass wind chimes or stained glass hangings used in conjunction with wind chimes can make an interesting, inexpensive, decorative audio/visual improvement to any breezy outdoor patio.

Because of the interaction of colors and lights that stained glass suncatchers provide and their ease of construction, they have become one of the most popular DIY projects for hobbyists in the United States.

Suncatchers, wall hangings, church windows, lamp shades and a myriad other projects are cut from colored stained glass and fabricated in accordance with specific time enduring techniques that are easy to learn and master.

Quality stained glass tools makes all the difference when cutting, grinding, adding copper foil, and soldering stained glass suncatchers.


Using the proper supplies makes it much easier to create pieces you can be proud of giving to your friends or selling to customers.

Inexpensive stained glass tool kits are a great option for beginners. 

This site will continue to promote the innovative art of fabricating unique stained glass suncatchers in future posts by offering time saving tips and information on new products and techniques as they become available.

All constructive comments are greatly appreciated.   

Two Cutting Tips For Creating Professional Looking Stained Glass Suncatchers

These two cutting tips for creating professional looking stained glass suncatchers are basic and easy to remember.

Inevitably, even professional glass cutters make a bad score now and then.

When you do make a bad score, remember not to re-score the same line on the same side of the glass.

All this does is make the cutting wheel on your glass cutter dull.

Re-scoring the same line also reduces your chances of making a clean break.

When you do make a bad score and must follow the original score line, just turn your work over and follow the original score on the reverse.

99 percent of the time you will get a clean break when you follow this simple tip.

Listen for a crisp, smooth consistent sound as you score your glass.

You can get the "crisp" cutting sound by applying even pressure on the score and running the score at a uniform speed.

If you get a scratchy sound when scoring, you are applying too much pressure and are probably moving to slow.

Always concentrate on applying an even pressure and a uniform speed when scoring stained glass. Remember that all cutters are not equal.

Different size cutting wheels require different cutting pressures, as do cutting wheels with different cutting angles.

Experience using each individual glass cutter is the only way to learn how much pressure is needed to make a perfect score.

If you're in the mood, you can always pull out a bathroom scale and actually measure the amount of pressure needed to make a score, but experience is the best teacher.

The type of glass you are cutting also makes a difference when scoring.

Some types of glass like opalescent, will not make any sound when correctly scored, while others like window pane glass will make a unique crisp "zinging" sound.

These two cutting tips for creating professional looking stained glass suncatchers should help you out if you're having trouble getting clean edge cuts.

Does Size Really Matter?

Does size really matter when cutting stained glass?

When I discuss size, I mean using the correct wheel size for the glass you are attempting to cut.

In short, the size of the wheel you are using in your glass cutting tool determines the amount of pressure you need to exert to penetrate the surface of the glass you are attempting to cut.

Part of learning how to cut stained glass suncatchers correctly is learning how to make clean cuts and in order to make a clean cut, you need to choose the correct size wheel for your glass cutting tool.

Does size really matter? You bet!

The smaller the wheel you use in your glass cutting tool, the less pressure you need to exert to penetrate and "score" the surface of the glass.

In general, small wheels with a diameter of about 1/10" are best for most thin and standard stained art glass thicknesses.

The 1/10" wheel  Silberschnitt Adjustable Oil Wheel Easy Grip Cutter below is a top of the line Bohle cutter that allows users to adjust the cutter length to fit your hand size properly.  You simply twist the blue handle to adjust the length.

Wheel angle also affects how much pressure you need to exert to cut glass.

For standard thickness and thinner stained glass, (1/16th to 1/8th of an inch) the suggested perfect cutting angle is 120 degrees.

A wheel angle of 135 degrees is the most versatile and will score glass up to 10 mm in thickness.

For scoring glass over 10 mm thick, a glass cutter with a cutting wheel angle of 160 degrees is needed to do the best job.

Although using the correct wheel size and angle for cutting stained glass is not often discussed or even paid attention to, it is important to professionals who make many cuts on various thicknesses of glass daily.

When you find yourself pressing too hard to make a score or make too many bad cuts on your stained glass suncatcher projects, you might want to take a look at your cutting wheel size and angle of your wheel to remedy the situation.

Does size really matter?  Yep!