TAKE CARE TO MAKE IT LAST--SOLDING IRONS

Ending up with a great looking project so often depends on your soldering.  Having skill at soldering is one thing and caring for your soldering equipment is another.

The part of your iron most apt to cause trouble is the tip. If the tip develops a crack or a hole, that is the end.  It will just disintegrate.  To make your tip last, keep it tinned to prevent oxidation.  A clean tip will give you better heat transfer.   Even if you are done for the day, tin the tip.  That will keep air away and keep oxidation away. 

 It is important.  The first thing is to keep the tip tinned.  Tinned means keeping it coated with a layer of solder.  This will keep your tip intact and make your solder melt and flow evenly and smoothly. 

Hakko FS 100 Soldering Iron Tip Cleaner

To tin the tip

Heat up the iron

Wipe the heated iron over your sponge or other cleaner you may be using.

Apply solder to the tip and allow it to coat the surface. 

Wipe off the excess on your sponge. 

Another useful supply for cleaning your tip is sal ammoniac. It is made of ammonium chloride, comes in a block and is great for cleaning your iron.  You still need to tin it. 

 

 

Sal Ammoniac Tinning Block

One simple maintenance tip is loosen your tip routinely and make sure it is not getting stuck in the barrel.

Despite your best efforts, you may have to replace your iron.  The cheaper the iron the quicker it will need to be replaced.  Crafters new to the craft may have purchased a low-cost iron not knowing if they will stick with it.  Most of these have a short warranty and pretty much last the length of the warranty.  Most often, parts are not available for the cheaper irons.  Once they are not working correctly—time to go. 

If you have a higher quality iron, and it is not working properly, you may want to replace it.  Some have ceramic elements and if you drop the iron the element can break and it will stop working.  They are replaceable, but I hear it is a lot of work.  If you like to do that sort of thing, it probably is worth getting the parts and making the repair.

If your tip gets frozen in the barrel you are pretty much done.  You will probably need a new iron.

If your power cord is damaged, you should get a new iron.  It may stop working and if it continues working it is dangerous.

 

Mary Harris is an artist from Wisconsin. She has a studio called Harris Art Glass. Mary came to my attention once before when she was winner in the Gallery of Excellence Art Competition at the Glass and Bead Show. This year she was a double winner in the same competition at the 2023 Glass and Bead Show. Below are her two winning entries.

Tree of Life

1^st place popular vote

Professional Stained Glass

Under the Cherry Tree

1^st place popular vote

Professional Mosaic

Below is a link to Mary’s website where you can see more of her amazing work. Portfolio | Harris Art Glass Glass Craft & Bead Expo | Las Vegas | Welcome! (glasscraftexpo.com) This is the link where you can go and see the other amazing entries in the Gallery of Excellence. Once you click on it go to the top and click on Gallery of Excellence. Red letters in the white bar.

Intermediate / Advanced

How To:

Frame Stained Glass Panels using Zinc Came

"Came" is a channel made from a variety of metals and is available in various shapes. The two most commonly used metals used to manufacture came are lead and zinc. We carry multiple sizes of both Zinc Came and Lead Came on our website. Zinc Came is available in different widths. The wider the width, the stronger it is. Zinc Came is rigid and can be a challenge to cut. It lends itself well to geometric shapes. When used as a border for a stained glass panel, it will provide a nice clean, strong edge to that panel. Choose a width based on the look of your piece as well as the size. “U” Came / Capping Came is easier to work with but has little strength. Materials & Tools Needed:

1. Your Stained Glass Panel
2. Your choice of Zinc Came
3. Your choice of hangers (we show Handy Hangers in this tutorial)
4. Ceiling Tile or equivalent heat resistant work surface
5. Push Pins (Straight Edges – Optional)
6. Sharpie
7. Ruler / Measuring Tool
8. Fine toothed Hack Saw or Came Saw (Miter Box – Optional)
9. Metal File
10. (Masking or Electrical Tape - Optional)
11. Soldering Iron, Stand, and Damp Sponge
12. 60/40 Solder
13. Flux and Flux Brush

Note: Click on photos to view them larger!

Note: Steps will not always happen in order, especially measuring and cutting. You will be going back and forth!

Measuring the Came: Cut a short piece (1” to 2”) of your Came to use as a marking gauge. Lay it over another piece of came (both pieces are laying on their side as though they were on a finished piece!) and mark the width of the gauge (both sides) onto the gauge came. Draw a diagonal from corner to corner of these marks. This will give you a 45° line to cut on.

Making an accurate mitered edge

Place a length of came on the bottom edge of your panel. Place your mitered gauge next to it so the end of the center channel lines up with the end of the glass panel. Mark the 45° angle onto the frame came piece.

Using gauge came to measure and mark frame cameAfter cutting, you can see the center channel lines up with the end of the glass panel

Cutting the Came: Note: After all this, you may find that a Miter Box will simplify this process! Place the blade of your saw over the cut line and saw straight down. Let the saw blade do the work, do not force the cut. Cut all sides and make allowances for hangers. Dress each cut with a file to remove any burrs and to fine tune the angle that you cut.

Filing the came

Look at that beautifully fitted mitered edge!

Hangers, Part 1: Plan ahead for what type of hanger you will use. We recommend Handy Hangers, which require a tiny modification to the top piece of zinc came. See the three-step photo below that shows a small notch filed off the top piece. When dry-fit together, the Handy Hanger will slide down into the side piece of zinc through that notch (note that it is shown flat in the second picture, and is then rotated sideways in the third photo to fit into the side.) Making room for a Handy Hanger Soldering the Zinc Came Frame: NOTE: Soldering Zinc requires more heat than copper foil. Dry fit the sides to your stained glass panel and secure in place with pins.

(Popsicle Sticks can be used as shims under the glass, if tipping is noticed.)

NOTE: Tape can be used to control/contain the solder. (If used, the tape must be stuck to the zinc prior to the flux application.) NOTE: Flux should be applied 1 joint at a time for best results. Side 1 : Solder each edge joint (all that are touching the side of the zinc came), working all the way around the 4 sides until all of the intersecting joints are soldered to the zinc came. Hangers, Part 2 : If using Handy Hangers, tin them and slide them into the notch you created. If using another hanging method, either make or prepare (modify) the hangers to fit into the vertical zinc channels. Tin the hangers and place them into the channels. They will be soldered in place at the same time as the corners are done. Corners : Apply a small amount of solder, using the chisel edge of the soldering iron, directly over the corner seam. Keep applying small amounts of solder in this manner until you see that it has penetrated the seam.

Details of angled soldering iron and finished and unfinished joints

Side 2 : Carefully flip your panel and repeat the same process as Side 1. Finishing : Clean the panel thoroughly. If needed, oooo Steel Wool can be used on the Zinc Came to brighten it or remove oxidation caused by the flux. If you Patina your panel, your best results will be achieved by using “JAX” Pewter Black. Wax and hang. Cleaners and Polishing (stainedglassexpress.com) Note: Completed panels can be heavy. Use a chain or cable that will easily support its weight. Sources: Everything Stained Glass – Molly Frances Ezine Articles – Maurine Summy Living Sun Glass – Samantha Calder James A Veilleux Researched, Interpreted and Arranged By: James A Veilleux 04/05/2023

SAFETY

June is National Safety month.

Hopefully it is not a surprise that we are an industry that should be tuned into our personal safety. Not only do we deal with lead, but we also deal with lots of dangerous chemicals.

FLUX

Flux is one of the worst we deal with. It contains acids, sometimes solvents and other chemicals. We heat it up and create fumes. If you are not careful, you will be breathing these fumes. Set yourself up with a fume trap or at the very least something that is blowing the fumes away from you.

Weller Fume Trap Smoke Absorber

It is a little tough to do as you don’t want to cool your solder prematurely. Every chemical has an SDS (Safety Data Sheet) that is readily available. If you are concerned about the flux you use, ask for the SDS or look it up online. You will have all (or more) the information you could possibly want.

SOLDER

Solder is made with lead (unless you are using lead-free). I don’t know anyone who wears gloves when soldering. People generally have the soldering iron in one hand and a strip of solder wire in the other. Lead is absorbed through your skin so that is the real health issue there. If you are not going to wear gloves, then wash your hands after use with heavy metal soap. Years ago, we had Safety Works in doing some safety testing for us. He told me to get the soap and have it at the sinks and then sell it and not be bashful about pushing it on people. They are touching lead and they need it! So, yes, we have it in our bathrooms and at our classroom sink and we sell it. So here it is. You need this so buy it and use it! Don’t eat where you solder. Just don’t. If you are making something that people are going to handle (jewelry, nightlight, boxes), use lead-free solder. We have gotten great feedback on this Amerway Tourmaline Lead Free Solder. It is the shiniest!

GLASS HANDLING

Stained glass people love to pick up a big sheet of glass and hold it over their head and look through it. DON’T DO THAT! If it breaks it is breaking into your open eyes! Don’t let glass slide down in your hands. That cut will need more than a band aid. In our retail store, we take care to push the glass into the display cubbies every day. We don’t put short sheets down into the record racks where people can skin their hands trying to get the pieces out. We put the taller glass to the back so people are not reaching over it. We are checking the scrap glass all the time as it is sharp and pointed. Wear glasses when cutting and grinding. Wear gloves for glass handling. Wear a dust mask when using glues and powders. This is supposed to be fun. Stay safe!

One of the very exciting things we get to do in this industry is to restore windows. These are generally from churches, and they are usually over 100 years old. It is just fascinating to see the beauty of these windows and the skill (they did not have the tools and equipment we have) it took to make these windows. One of these jobs was in 2008 when we had the privilege of restoring two windows from the First Congregational Church of Blue Hill. We were told the windows were originally made by Alfred E. Bell, a renowned stained glass artist of the 1800s. These windows were 6’ by 12’ and were exceptionally heavy because they were all plated. Each piece was at least two layers thick, and some were three layers thick. That created some interesting challenges in the restoration. Another exciting job we did was a window called the Traveling Angel. It was from the Fairfield United Methodist in Fairfield Center, Maine. This window was made by the Belcher Glass company based in New Jersey. It was a unique process. It involved placing tiny pieces of glass on a paper pattern. When I say tiny, I mean like fingernail size! The pieces of glass and the pattern were then covered on both sides with a gummed sheet of asbestos. A frame was placed around the outside edges of the glass-filled asbestos sheets to seal the glass. Molten lead was then poured between the asbestos sheets, filling the gaps between the small pieces of glass. When the metal cooled, it bound the glass pieces together. There were very few of these windows made because the process was toxic, and the workers died! There are approximately 30 of these windows in existence. This picture shows a glazier, Lisa Lucas, from Oakes & Parkhurst Glass helping us reinstall the window after we flattened the curve in it, fixed the painted the face and did some other repairs including rebar to strengthen it. For the first time we offered a class in restoration! It seems there are more pieces of glass to be restored than the time and people to do it. We hope that some of the students will continue to work on their skills and eventually start taking on restoration jobs. The pieces they restored were likely originally installed in the old Methodist Church in Fairfield, Maine (though that building burned long ago and their provenance is not definite.) There were eight panels in various states of decay, and some of them were missing several pieces of glass. They were also each unique, despite being a "matched" set. Some had round faceted crystals in the design, and all had slight variations in glass color. It was an intensive process that took some students weeks to complete. Here you can see some of the detailed steps, the immense satisfaction of a completed project, and 3 very different final interpretations of the restored windows. Want to be notified when we publish a new blog post? Sign up Here

I recently visited The Charles Hosmer Morse Museum. It was my third trip, so that tells you something. The bonus was that I took my adult daughter, Soo, and she absolutely loved it. It is in Winter Park, Florida, just north of Orlando. Winter Park is a college town and has delightful shops and wonderful restaurants. We sat on the street and had broiled oysters with cheese and luscious drinks. It is the most comprehensive collection of the works of Louis Comfort Tiffany. Things you can see are Daffodils, the Four Season, Pumpkins and Beets. The glass is just unbelievable. Tiffany would make the glass for the piece that was being made so it is amazing. In addition to these individual works are two complete rooms from the Tiffany estate. The Tiffany Chapel is breathtaking. Laurelton Hall’s Daffodil Terrace, Reception hall, living room, dining room and smoking room. Price of admission? Most Fridays free. Other days $6.00 and less. If you are in Florida, don’t miss it.

A friend of mine on Facebook posted this a picture of sandblasted panel that is in his home. He said “do any of you remember the glass artist from Canaan, Me., Fred Tenenbaum? He did this panel." My response was, “I sure do, without Fred, Stained Glass Express would not exist." Time was, we owned a glass store in Winslow, Maine, named Oakes & Parkhurst Glass. It was a full-service glass shop offering commercial glazing, residential glazing, and auto glass. (O&P is now owned and operated by two of our children, Soo and Tobias.) I am not sure of the date but sometime in the early 1980s Fred came to us and asked if we could get stained glass. We brought in a small amount, made a small glass rack, and put it in the corner. As we expanded O&P Glass, we also put a small amount of stained glass and supplies for the stained glass artist/hobbyist in each of the other 5 locations (Belfast, Skowhegan, Farmington, Glenburn, and Manchester). Then in 1988 circumstances prompted us to buy a single location and make it good enough for all our customers to travel to. We bought and renovated a building in Waterville, Maine at 10 Railroad Square. By 2015, our son had bought O&P and the business we were doing in stained glass had totally outgrown that space. We moved to our current property in Manchester which is full floor to ceiling (it feels like!) with stained glass, fusible glass, specialty cabinet glass, tools of all the glass arts and trades, and so much more. All thanks to Fred's simple request 40 years ago! Fred was a very talented artist who did not only sandblasting but copper foil and lead came work. His studio was called Northern Lights Glass Studio. While writing this blog entry, I had not been having luck finding any more pictures of his work and was feeling disappointed. When I handed over the blog to be edited by our new Glass Academy Director, however, she recognized some of the names. (It is such a small world!) Within a few days I had been connected with Fred's widow, Eve. She sent me this photo of Fred's first ever piece, and I was moved to tears. Here is Fred's obituary, published on legacy.com by Central Maine on Jul. 31, 2018: "1941 - 2018 CANAAN - Fred Tenenbaum, 77, of Canaan, died peacefully at home surrounded by his family on July 27, 2018. Fred was born in St. Gallen, Switzerland, on May 14, 1941, and immigrated with his parents to Brooklyn, N.Y., as survivors of the Holocaust. He moved back to the land in Maine in 1970 where he spent nearly 50 years building a home with his wife, Eve, in Canaan. He was an accomplished stained glass artist, creating and restoring windows all over Maine and beyond as Northern Lights Stained Glass. He also taught at the Skowhegan high and technical schools for many years. He loved to garden and travel, he was a true crafts person and was loved dearly by all that knew him. Fred leaves his wife, Eve; daughters Marissa and Aliza, sons-in-law Rob and Mike; and four grandchildren." Edited on August 9, 2022 to add a photo of Fred's window at the Skowhegan Town Office and several other photos of his work, generously shared by Eve: Edited on October 24, 2022 to add more photos of Fred's beautiful work: