How To Do Stained Glass | by Randy Wardell

AN 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 Stained Glass - 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 otherwise without permission in writing from the copyright owner.
PREFACE 1. The Information Station 2. Let's Talk about Safety 3. The Exquisite Glass 4. Tools of the Trade 5. Definitions & Descriptions -Tools 6. Definitions & Descriptions -Materials 7. Let's Just Do It! 8. Ok, Here We Go 9. Scoring the Glass 10. Breaking Out the Score 11. Your First Project - The Copper Foil Method 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 I discover 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, a few 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 to acquire 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 alone instruction 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

mind is because I wrote both of these books). In addition to a how-to book, there is no substitute for a faceto-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 creative inspiration. 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 caution is 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, but for 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, especially glass, 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 way to 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 stained glass 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 own special 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 bubbles or 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 glass is 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 dark and light areas within a single sheet creating opportunities for shading and other subtle design possibilities.

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 of tools and and other items that you will need to get started. Tools

Materials 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

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

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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 the cutter 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 designed for 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.

Soldering Iron: Soldering is the act of melting an alloy (solder) to join metals, such as copper foil. To sustain 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 for occasional-duty to professional-duty. They feature a diamond embedded grinding head, which rotates in a reservoir 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 for the 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 while soldering. 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) to 1/2" (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 crafters usually 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 about safety" 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.

Antique Patina: This chemical is applied to the metal seams of a completed project to change the color from silver (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 pick up 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 to moving 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 or hinge 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 from the edge closest to you. Now, place the thumb of your other (guide) hand behind the cutter head to prevent it from 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 by pulling 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

the jaw 90 to the score and as close to the end of the score as possible. Hold the glass firmly in your hand and 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 fullsize patterns, complete and ready to use (please refer to the Wardell Publications page elsewhere on this web site). However, you still need to create the actual glass cutting templates and the assembly drawing. This is done 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 special glass 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 on top 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 all pieces fit as accurately as possible. Foil Wrapping: Before starting the foil wrapping process, each piece of glass (and your hands) must be clean. Pull a length of foil tape from the roll and peel back 2" (5cm) of the protective paper backing. Press the 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 foil down 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 from the 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 hot soldering 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 as you 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.

Hanging loops: If you plan to hang your project in a window you should solder wire hanging loops (16-18 gauge 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 to purchase 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 web site'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.
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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 "How To" instruction, take a look at the "Learn How" section here and then locate your local stained glass retail store or studio for supplies, classes and a wealth of information! Pattern Preparation Working with Copper Foil Scoring Glass Working with Lead Came Breaking Glass Soldering Grinding Glass Cleaning & Finishing Using 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 pattern shears and use the other for layout and assembly. Why use pattern shears? Both copper foil and lead came take up space around your pieces of glass. If you don't compensate for this now, you're project will "grow" ending up larger than its original dimensions. This is especially troublesome if your making a piece that will be installed into an opening such as a window or door. Framing and reinforcing so soon? The best time to consider your framing and reinforcing options is during pattern preparation. Framing varies slightly with each manufacturer. Choose your material and adjust the pattern before you cut it apart.

Now is the time to plan for reinforcement. A general rule of Pattern shears have three blades that automatically thumb is to reinforce panels over three square feet. Mark remove the right amount of the pattern to allow for the you pattern for placement of reinforcing bars or strip to copper foil or lead came. This allows your glass pieces to remind you of their location during cutting and construction. fit together properly. Because the amount of space taken up by foil and lead differs, pattern shears are made in foil and lead versions. Make sure that you use the right one for your type of 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 it highlights the edge. I then apply glue stick to the underside of the pattern. This is the same paste type glue

children use in school. The glue is sticky enough to hold while cutting out your glass pieces. It also holds while grinding if you allow the glue to dry for about an hour. The good thing about using Mylar is that it is waterproof.
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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's right for you. Look for a cutter with a carbide steel cutting wheel and axle. These wheels hold their cutting edge longer and produce a cleaner score. Some cutters have an oil feed system. This not only keeps the cutter head lubricated and free 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 a nightmare. Occasionally clean out the space where the wheel turns with an old toothbrush. Tiny chips of glass can get wedged in the opening causing the cutter to scratch instead of score the glass. Once the wheel is turning freely, score a piece of mirror which makes the score line easier to see. A damaged wheel will leave a dot-dash pattern instead of a smooth, even line. Scoring Safety ALWAYS wear safety glasses when cutting glass. Place glass completely on a flat, firm surface when scoring. NEVER leave glass hanging off the edge of a table. NEVER hold a sheet of glass by its sides. Hold sheets from the top. If they slip out of your hand, you'll still have your fingers.

If you suddenly can't run a simple score and you've done the above, your wheel is probably dull and it's time to NEVER lift a sheet above you "see what it looks like." replace the head. Keep glass safely stored away when not working. How to get a good score How to use a Strip/Circle Cutter

There are several preliminary steps to making a good To cut strips: score. use a good, sharp cutter. A dull or damaged wheel will not score properly. make sure you lubricate the wheel Nail a 1" x 2" wood strip to your work so it rolls freely. Clean the glass of debris and surface film. surface. Insert the measuring bar Always score on the smoothest side of the glass through the strip cutter base, adjust the wheel turret for size and tighten in To score: place. Dab the cutting wheel in cutting oil. Put the glass edge against Start at an edge placing the cutter perpendicular to the the wood strip. Use one hand to apply downward pressure glass. Apply consistent, light to medium pressure while to the cutting wheel and the other to guide the strip base pushing the cutter across the glass. A good score appears along the wood edge as you pull the cutter across the as a continuous scratch on the surface. A furrow of slivers glass. indicates too much pressure. Break each score as you make it To cut circles: To see if you over-score (use too much pressure): Make a series of scores on a piece of scrap glass about 1/2" apart, applying less pressure each time. When you think you haven't pushed hard enough, make 5 more scores using less pressure each time. Use your running pliers to break out the scores in the same order that you made them. Discard any pieces that didn't follow the score and any that wouldn't break. (If they all followed the score, do some more and lighten up!) Look at the edge of the pieces. A good score has a smooth cut edge. An overnsert the measuring bar into the tripod base and adjust the wheel turret for circle size, remember that this is the radius of the circle! Dab the cutting wheel in cutting oil. Hold the base in the center of the glass using firm, downward pressure with your left hand. Position the turret at about "7 o'clock" and hold with your right hand. At this point your right hand will be crossed over your left. Apply downward pressure and push the turret clockwise around the circle until you come to the point where you

scored piece has a rough edge with pits. Practice until you started. consistently get a clean edged break. To break out the circle, turn the glass upside down on a firm, flat and slightly padded surface like a section of newspaper. Use your thumb and gentle pressure to start the score and then run it around the circle, always pushing at the point 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 make your stained glass experience easier and more fun! Breaker/Grozier Pliers are dual purpose pliers with a flat jaw and a curved jaw. Both jaws are serrated 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. Use your 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 glass edge against the serrated teeth. Use the tips in a chewing motion to remove small sections of glass or nibble out deep inside curves.

Breaking Pliers have a smooth, flat jaw used for breaking long, thin pieces of glass. They allow you to reach into a piece of glass and hold it firmly at the score line without chipping the edge of the glass. To use, firmly hold the glass close to one side of the score line with the pliers and close to the opposite side of the score line with your other hand. use a downward, rotating motion with your hands 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 pressure to both sides of the score line causing the score to 'run'. There is an adjustment screw on some 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 broken out by running the score slowly from one end to about half way and then from the other end until the scores meet. To use, place the jaws (with the center indicator line facing up) squarely onto the glass with the score line centered in the jaws. Turn the adjustment screw until it just touches the bottom handle, then back if off 1/2 a turn. Squeeze the handles 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 the glass 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. Consult with your stained glass retailer before you buy for additional information and advice.

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

The most familiar method of rating a motor is horsepower, but ALWAYS wear safety glasses when grinding!. horsepower doesn't necessarily tell you how well a grinder works and is only part of the motor rating equation. A face shield is extra protection, but is not a substitute for safety glasses. Torque is a measure of how hard the grinding bit turns against the glass. At a constant speed (RPM) the more torque the more Always use your grinder in a properly grounded grinding power. When everything else is equal, the higher the outlet. Never remove the grinding plug or try to torque rating, the better the motor. override it. Grinding Tips Always wear 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 when not 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 will most efficiently do the job at hand. Super Fine Grits: for mirror, very soft and delicate glasses where maintaining the smoothness of the edge is critical. Also use when the edge will be left exposed.

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 How to drill holes 1. It is best to drill under water. Use a cake pan or something similar. Place a piece of cardboard between the glass and the pan to protect the glass and the bit end when you drill through. When using a hand drill, start drilling at and angle to the glass. 2. Once the hole is started, bring the drill to vertical and drill through the glass. Make sure you keep the bit wet. If a white build up forms, add more water. Use less pressure as you come through the back of the glass.

Lamp Bits: A reversible bit with two different angles sides to grind lamp pieces that fit on a miter. Mitered edges meet better giving a thinner, more professional looking solder seam. Pick the angle that comes closest to the 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 make them easier to fit into the channels of lead and metal cames or to make pieces easier to foil. It tapers the glass edge by passing it through or under the groove in the bit.

For larger diameter drills, you will probably find it Drilling Heads: Start by holding the glass at an angle to the top easier to use a drill press. of the bit with a sponge held against the bit and the underside of the glass. As you grind, work the glass round the point of contact. It's important to keep the bit and glass wet. Frequently remove the bit from the hole to wet the hole and remove residue. Just before the bit comes through the glass, decrease grinding pressure to prevent chipping. 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 of capfuls 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.
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Using a Diamond Band Saw

Impossible cuts are possible with a band saw No other cutting tool gives you the creative freedom of a band saw. You can cut any shape you can imagine. Save money and frustration by making the cut on the first try. pattern pieces can be placed closer together creating less waste. you don't have to worry about getting that piece out of a one-of-a-kind sheet. you can cut multiple layers at once, making quick work of projects with repeating pattern pieces. There's no need to grind: The pieces have smooth edges that are ready to foil . A band saw won't replace your cutter and grinder for every situation, but it makes a great addition to any workshop! Many saws available also work with wood and metal cutting blades which greatly enhance their versatility and use. Sawing Tips Always wear proper eye protection when using your band saw! Don't push too hard when cutting with a band saw. let the diamond on the blade do the work as you guide the glass. If you are pushing like you do with a grinder, you are pushing too hard. You won't saw any faster and all you are doing is putting undue stress on the blade. It is important to keep your band saw clean. When ground glass dries, it gets very hard. Make sure that your band saw is flushed clean after each use. When uncoiling a new band saw blade, very careful not to twist or kink it. This can create a potential weak spot in the blade. If you are getting a white build up on your glass, you are not getting enough coolant to the blade. Check your reservoir level and flow rate. Too much coolant will cause excessive over spray. Use a paint pen to mark pattern lines on glass. it's more likely to stay on while you saw. You can also use a light coating of "chapstick" or similar material over the line to help it stay on the glass while you saw. Use light pressure and/or a lower speed when sawing tight curves and exiting your cut. Turn the saw off between cuts to help prolong blade life.

Working with Copper Foil

"How do I choose between copper foil and lead?" Choosing is really a matter of looks and technique preference. Either method is equally strong when properly reinforced. Copper foil is more appropriate for projects with many small pieces, intricate details, patterns that are more organic in nature and larger 3-dimensional pieces. You can use different sizes of foil to create different width solder lines and increase the depth of your piece. As a rule, larger pieces have larger solder lines, smaller pieces have thinner lines. There are decorative foils that can add interest and create unique looking solder lines. You can combine copper foil and lead construction in the same piece to get detail in some areas and uniform lines in others. "How do I choose the right foil for my project" Most copper foil sold for stained glass use has an adhesive side protected by a peel-a-way backing and comes on a roll. When you foil your glass pieces, the backing is peeled away as you press the foil to the glass, centering it as you go. You want the foil to extend out over the edges of the glass equally. The foil is then pressed down over the edges, essentially wrapping the entire piece of glass. It is then pressed down or "burnished" to seal it against the glass. This

process is repeated for every piece of glass in a copper foil project. Foil tapes come in wide range of sizes, or widths. Choose the width that will properly wrap the glass and give you the solder line width you want. Foil tapes come in different thicknesses: 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 foil disappear into the solder lines. There are also a variety of specialty tapes that make decorative effects or specific projects easier: Foil tapes with a patterned edge enhance add to the interest and appearance of a project and can create interesting solder lines. Double silver tapes have a silver coating on both sides. They are useful in projects where not all pieces or edges will be soldered and the solder seams will be left a silver color. Brass foil is useful for clear glasses where the solder seam will be plated or colored a brass or similar color.

Foiling Tips Burnish your foil down tightly, leaving no air bubbles. This will help prevent flux from seeping under the foil. If you have to put a project away when it's partially foiled, tape a small piece of foil to it so you use the same size later. Store opened copper foil in a zipper type bag to help prevent oxidation. To avoid splits in the foil when foiling deep inside curves, start and end the foil at the deepest part of the curve, overlapping slightly. Use your finger to gently stretch and roll the foil over the edges. You can use an old toothbrush to help burnish foil to textured glasses. On highly textured glass like ripple and herringbone, you may want to run the glass through an edge removing bit, 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 of different lead pieces and then the piece is cemented or puttied to seal the glass and impart strength. You can combine different widths of came in the same project for additional depth and emphasis. Panels that will be exposed to the elements are best made of lead. They can be weatherproofed and the lead allows for expansion and contraction. It is not advisable to make large 3-dimensional projects from lead came. Lead like foil, is available in different types and sizes: Lead came comes in "H" and "U" types and their names reflect their overall shape. H cames are used both

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

You will need a few additional tools for lead came construction: 1. A pair of good lead nippers or "dykes". These have a special shape and extremely sharp edge for making clean precise cuts in the lead came. 2. A glazing hammer. This special hammer has two different faces. Use the soft rubber face for seating the glass in the channel. Use the hard plastic face for driving the nails that hold your project as you assemble it. 3. Horse shoe nails. These are used to hold the pieces of glass and came in place as you assemble. 4. A fid for opening the channel of lead and metal cames, flattening lead came to the glass and cleaning excess glazing 5. A brass wire brush for cleaning and removing oxidation from your came and joints prior to soldering. "What is cement and why do I need it?" How to cement a stained glass panel

1. Cementing can be messy, so cover your work surface Cementing is necessary in lead or with newspaper. Mix the cement thoroughly according to metal came constructions to the manufacturers instructions. Use a natural bristle brush secure the glass in the channels to force the cement under the face of the cames. by and prevent them from rattling. It working perpendicular to them. Repeat the process on the finished the project making it solid other side. Make sure to work cement under all the cames and edging. and weather proof. 2.Sprinkle whiting powder over the entire panel. Whiting is used to absorb and There are many different products remove excess cement and start the curing process. Using a natural bristle brush, available for cementing. Check rub whiting over the entire panel working parallel to the came. This will remove with your stained glass retailer to excess cement and clean the panel. Repeat on the other side. use a fid to clean choose the one that's right for your cement from the corners. particular application and installation. 3.Allow the panel to dry flat for 24-48 hours. Check for cement that may have seeped out and remove with your fid. Allow the panel to finish drying according the manufacturers instructions before applying patina and installing. Lead Construction Tips Wear a dust mask when using whiting. For small projects, try putting your project in a plastic trash back when cementing and cleaning. Used cement brushes can be stored in a zipper bag in the freezer. When needed simply thaw and use. To prevent damage, don't cut wire or chain or anything except lead with your lead dykes. Large brushes can be cut in half. Use one half for cementing process and the other with the whiting for cleaning. The smaller size is easier to use on small in midsize projects.
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Soldering
"Which iron should I use?"

The best irons for stained glass are between 80 and 150 watts. A wattage lowe than 80 won't melt solder fast enough for stained glass projects. The iron should have a chisel style top to distribute solder evenly and consistently. You can match tip size to the width of the copper foil seams or lead came or for the specific decorative effects you want. The iron you choose should be comfortable to hold. Consider the weight, balance and handle style. See if you can "test drive" different irons at your local retailer. Consider no only the type of work you're now doing but what you might be doing in the future. Buying a model or two up now may say you from frustration in the future. Consider the type of temperature control you want. Some irons have a single operating temperature controlled by the temperature of the tip you put in. They work like the thermostat in your house. When the tip temperature drops below the threshold, they kick on and then off when the tip temperature is regained. Other irons use a temperature control device called a rheostat. This works similar to a dimmer switch. You control the amount of electricity supplied to the iron and therefore the tip temperature by turning the dial up or down. Some irons have a built in rheostat while others plug into a separate unit. Rheostats allow you to match the soldering temperature to solder type, construction method, your soldering style and allow you to create decorative effects in the solder itself. "What are ceramic core irons and why would I want one?" Ceramic core irons use a more electrically efficient way to generate and maintain heat than conventional wound wire heaters. The heater core extends into the tip for faster heat transfer. This keeps the tip hot longer so you can solder faster. Ceramic core irons pull in a burst of power and distribute it as needed to maintain the tip temperature without a heat recovery lag time. This is where you are working faster than the iron can melt the solder. Ceramic irons heat up to soldering temperature much faster, often in 30 to 60 seconds. Tips can't freeze into the barrel on a ceramic core iron. You can use most ceramic irons with a rheostat for increased flexibility in your soldering. "Which solder should I use?" Your choice of solder depends on how fast you work, what you are soldering and the look you want to achieve. Stained glass uses a soft solder mix of tin and lead. The numbers on the roll identify the percent of tin and lead, the first being the amount of tin. Sometimes you'll find other metals such as silver listed. Stained glass solders are a solid core wire solder and generally come on 1 pound rolls. Soldering Safety ALWAYS solder in a well ventilated area! Never eat, drink or smoke while working the stained glass. Wash your hands thoroughly with soap and water before doing anything else! Keep your work area off limits to children. Never leave your soldering iron plugged in when not in use or unattended! Different solders melt and re-solidify (pasty stage) at different Never override the grounding system on your temperatures. 50/50 melts at the highest temperature followed by soldering iron (or any other tool)! 60/40 and 63/37. 60/40 is more liquid than 50/50 and solidifies slightly faster than 50/50. 63/37 has no pasty stage, going directly from solid to liquid to solid making it useful for decorative soldering. Many people find 60/40 gives a higher, shinier bead while 50/50 works better on three-dimensional projects. Soldering Tips After each soldering session, unscrew the iron tip with pliers. It's not necessary to remove it, but loosening the nut or screw will help keep it from fusing to the barrel of the iron. If you use an iron control (rheostat, mark the spot that seems ideal with a permanent marker for quick reference. If your solder spits and sputters while soldering, you may be using too much flux. To keep from applying too much flux, trim the bristles of you flux brush to about 1/4".

For neat solder seams, avoid stopping and starting the solder line at an intersection or joint. Pre fill large gaps with solder before trying to run the final solder bead.
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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 are many different formulas producing a variety of colors. Patinas are easy to use. Make sure your project is thoroughly clean and free of soldering, flux and cutting residues. There are many commercially available cleaners made specifically for stained glass. Make sure you select the correct type of patina for your application. Some patinas only work on solder, others only on lead. Follow the manufacturers instructions and use a brush or soft rag to apply the patina until you reach the desired color. Wash the piece again to remove any patina from the glass. Finishing compounds (or wax) are the final step to completing your stained glass project. They polish the glass and solder while helping to prevent oxidation. Finishing Tips When using Antique Brass patina, first scrub your solder seams with fine steel wool. apply the patina sparingly with a clean brush, using only a few strokes until you reach the desired color. Quickly move on to the next area. Spotting on the edge of mirror is caused by oil, flux, patinas and other chemicals penetrating the silvered back. Avoid grinding mirror and apply a mirror edge sealant before foiling or leading. Never mix patinas and always use proper ventilation and skin protection. To patina brass black, add a dash of table salt to a little black patina in a glass or plastic container. Mix well, apply to brass and let it dry. Clean and finish as usual. For best results, plan your time so that you can clean and patina as soon as you're done soldering. When patina won't take evenly, remove it using fine (0000 gauge) steel wool, clean, rinse and reapply the patina. Use a clean coffee filter to dust and remove finger prints from you waxed projects.

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 radiating out from the scored circle. 2. Use glass pliers to run the scores on the glass, removing the scrap and exposing the circle. A glass grinder will help smooth any rough edges on the glass circle. Use denatured alcohol or a powdered cleanser to remove any fingerprints, dust, or oils from both sides of the glass. Choose the side of the glass that does not have the tin separator on it for painting. The easiest way to do this is to drag a brush full of water over the glass. If the water 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 black paint using the squeeze bottle and decorator tip. When dry, fill in the different elements of the pattern with color and the outline black will not bleed or smear. This will save a firing. 4. Start to paint the design. The paint should be the consistency of milk. Colors will tend to settle in the jar and will have to be stirred before and during use. These colors dry slowly to allow brush marks to level out. Puddle on the paint using a soft, round brush. One coat is all that is necessary. If the color is accidentally applied over the outline, immediately use the tip of your finger to push it back across the line. 5. Using the light and dark green paint will add depth and realism to the leaves. On the flower petals, apply the main color, leaving the area to be shaded empty. While the first color is still wet, apply the second color and blend together with a fine brush. On the petals, the black is pulled back into the main color, leaving an irregular line, which gives a natural look to the flower. 6. Place the painted piece in the kiln. Fire this project on a prepared kiln shelf to 1500-1525. When the glass if fired this hot, the surface will devitrify, which means that the glass surface will look frosty when finished. To eliminate devitrification, flash-vent the kiln lid after the firing process until the glass starts to lose its red appearance. Do not disturb and do not remove the

glass until the kiln has reached room temperature. 7. Lead, zinc, or brass came can be used for the edge of the finished piece. U-shaped brass filigree is used as the finished edge on this project. Wrap the brass around the outer edge and cut to length. UNIQUE GLASS COLORS LEAD FREE PAINTS #GC-1070, Outline #GC-998, Golden Orange Black #GC-969, Gloss Black #GC-1956, Dark #GC-961, Dark Green Blue #GC-1997, Leaf Green #GC-9710, Deep Red #GC-974, Sun Yellow

GLASS 3/4 Sq. Ft Double Strength Window Glass for base OTHER MATERIALS NEEDED: Squeeze Bottle with Decorator Tip, #4 Round Brush, #1 Fine Brush, Denatured Alcohol, Kiln and Kiln Supplies, Flux, Solder, and U-Shaped Brass Filigree

How To Make Stained Glass

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

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

If you want to find out more about selecting patterns, glass, or tools see Randy Wardell's How 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 the tools, see Randy Wardell's How to do Stained Glass" or the " How to Use Stained Glass Tools" section by Inland Craft.

Step 3: Trace the pattern onto the glass.

If you want to find out more about transferring patterns onto 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.

Step 4: Score the glass.

If you want to find out more about scoring 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.

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

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's How to do Stained Glass" 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 can also 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 tools you use, see Randy Wardell's How to do Stained Glass" or the " How to Use Stained Glass Tools" section by Inland Craft.

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's How to do Stained Glass" or the " How to Use Stained Glass Tools" section by Inland Craft.