• Art Glass Resources, and some business information
  • Helpful hints and tips that we find online, in books and from our own personal experiences
  • Lots of great information for Stained Glass (Tiffany and Leaded), Lampworking, Fusing, Slumping, Glass Painting, Sandcarving, Mosaics and more
  • Lastly, HARRACH is pronounced, Hair - wreck

Sunday, February 12, 2012

How to draw an oval

Need to draw an oval for a panel? 

Here's how:
Calculate half the measurement of the longest line. Measuring from the end of the shortest line, mark off this amount on the longest line, top and bottom.

Insert a pin at both these points.

Place a piece of thread round one pin.Tie a knot in the thread at the far end of the longest line.

Put a pencil inside the loop. Pull the thread taut and begin to draw the oval.

Click here to find more excellent art glass information by this author!

Saturday, February 11, 2012

Color wheel

You will need to decide which colors combine well, whether they are toning, harmonious or complementary. By getting to grips with the rules of color, you can give your work a professional look.
Primary Colors  Primary colors are three key colors - Red, Blue and Yellow. They cannot be made from any other color.
Secondary Colors  If you mix equal amounts of the primary colors, you get the Secondary colors - Purple, Green and Orange.
Red + Yellow = Orange
Red + Blue = Purple
Blue + Yellow = Green
Tertiary Colors  If you mix a primary with a secondary color, in a ratio of 2:1, you get a Tertiary color. Red-Orange, Blue-Green etc.
Cool versus Hot  Look at the color wheel and you will see the left hand side of the colors are 'warm' or 'hot' and the ones on the right are 'cool' or 'cold'.  This is useful when you want to create a mood in a particular room or need to make your space cosier or lighter.
Neutrals  Neutrals are one of the easiest groups of colors, or non-colors to work with. They don't appear on the color wheel and include Black, Grey, White and sometimes Brown and Beige. They all go together and can be layered and mixed and matched. No neutral color will try to dominate over another.
Accent Colors  An accent color is a color used in quite small quantities to lift or to add punch to a color scheme. An accent color should be in a complementary color. It works best if it's a bright, vibrant color. Accent colors are perfect if you're scared of using strong color - simply add a splash of an accent color. Keep most of your piece in shades and variations of one single harmonious color. Then pick out just a few objects in an accent color.
Clashing Colors  To use clashing colors is thought to be a no-no in formal settings. But in more informal or vibrant settings they can look fantastic, if they are used carefully. If they are of equal tonal strength, you can mix them together. Don't stop at two, you could try three or four. But if one is paler or weaker than the rest it will get lost in the overall scheme.

Wednesday, February 8, 2012

Shipping glass info

Wrapping the item
Panels –
Wrap each panel in several layers of bubble wrap or corrugated paper, then add a layer of foam board insulation at least 12mm (1/2”) on each side.

3-D -
Make sure you have padding (bubble wrap, corrugated paper, or foam sheets) between each item. Then make sure they are fastened tightly together in one bundle. Make multiple nested pieces into one big unit, then wrap that so it's well padded.
Panels -
Ship stained glass panels in a wooden crate. Make a wooden box and line it with foam, on all sides. The ends of the box should be of substantial timber, making the box at least 100mm (4") thick.  Use lightweight, thin wood, but stiff enough that it remains durable. Screw wood on the front and back of the edge of the framing timbers.  Fill the space so the glass is in the middle of the box. The most important thing is to minimise flex. You also must minimize shock from a drop.
3-D -
Line the box in bubble wrap or corrugated paper.  Put a layer of filler in the bottom.
Set the piece in the middle of the box, then fill all around with more filler. Press the filler firmly so the packaged items can't move and shift in the box. Allow at least 50mm (2”) of packing around the contents and ensure the contents cannot settle through the box filler perhaps by placing a cardboard pad on top of the fill before placing contents in the box.
Filler is material that will fill the space between the wrapped items and the sides of the box.  This can be shredded paper, bagged peanuts or foam sheets.  Bubble wrap with peanuts is sufficient, but don't use peanuts unassisted. They have a habit of vibrating off to one side of the package, leaving the cargo unprotected on the other side. Mix the peanuts with either wrapped newspaper or excelsior (shredded paper) or place them in numerous small bags so they can't shift.
Double boxing
Many people double box everything. This involves putting the boxed items inside another bigger box. Suspend the inside box within a larger box, bigger by at least 50mm (2”) on all six sides.  You can use cardboard strips to make an 'X' to put in the bottom and top and small pieces of foam on the four sides to keep the inner box from shifting.   Fill the spaces in between the two boxes with something that will absorb shock or impact, like shredded paper.    For a very fragile piece the outside box might be made of 6mm (1/4") plywood.
One caution on packing: Don't overdo it. If you force so much packing material (peanuts, bubble wrap, etc.) into the boxes, the whole thing (inner and outer box) becomes a solid mass and the force may still transfer to the piece and break it.
When packers say "float," they mean it. You want enough packing material to hold the stuff in place well, not so much that it becomes part of the piece.
This information was found on the IGGA web site.  

Tuesday, February 7, 2012

How to turn over a stained glass window panel.

This tutorial is for stained glass artists that need to flip over a large window panel so that they can work on the other side.

Panels should be turned by supporting as much of the panel as possible. In general this means that the panel should be moved until about half of it is off the bench and supported by one hand. Then pivot the panel on the edge of the bench until it is vertical. Lift and set it on the bench. Turn it around, keeping it vertical. Lift it off the bench and set the middle against the edge of the bench. Pivot the panel on the edge and set it back on the bench.
If the panel is going to be a large one, make it on a board placed on top of your bench. Then when it is time to turn the panel, you can tip the board, set the panel together with the board on the floor. Move the board to the other side of the panel, turn the board around, placing it against the edge of the bench and raise it while pivoting it on the bench. Additional help is to have two short pieces of wood to set the panel and board on, so you can get your fingers under easily and without getting them trapped.
If you have the space and spare boards, you can place a second board on top of the panel. Make sure the panel is at the edge of the boards next to you. You can then, with the help of another person, turn the whole panel in one movement (although your arms will be in a bit of a twist). This removes the danger of the panel wobbling too much while shifting the supporting board.
A panel of any size with one or more long lines going through the panel should be made on a board, so that it can be turned without the danger of breaking any of the glass or folding along the lead lines.

Monday, February 6, 2012

Got questions, chat with Harrachglass live!

Have you ever had glass art questions and needed someone to talk to online for help?  We have just added a live chat feature to our blog to allow our readers to easily communicate with us!  To find this chat box section, scroll down in the center of our blog and you will find the chat box.  (Or, if you find this post,  you can click on the link below!)  Type in the lower rectangular box,  and if we are online we will be able to answer your questions live!  

Sunday, February 5, 2012

How to make your own bronze colored patina

Go to your local feed store where they sell hay, etc...  There should be available bags of copper sulfate crystals used to keep pond scum down.  Use an old food blender (never again to be used for food) to turn these crystals into powder.  In a large jar (mayonnaise is good) blend several tablespoons of this powder with a pinch of salt in warm tap water.
Before cleaning your copper-foiled work with detergent (but after a light windexing) use an old sock to sop this copper sulfate mixture over your solder lines and "magic." An aged bronze effect is instantly produced.
A bag of copper sulfate crystals will last a very very long time and is considerably cheaper than the commecial products sold in bottles.

Friday, February 3, 2012

Does Glass Flow?

This article was found in the tips section of The International Guild of Glass Artists, Inc. 
Does Glass Flow? Most people seem to want to believe it does.
Glass Is a Liquid, and Naturally Flows, Right?
Why the Myth Doesn't Make Sense
There are at least four or five reasons why the myth doesn't make sense.
Although the individual pieces of glass in a window may be uneven in thickness, and noticeably wavy, these effects result simply from the way the glasses were made.
One also wonders why this alleged thickening is confined to the glass in cathedral windows.
Why don't we find that Egyptian cored vessels or Hellenistic and Roman bowls have sagged and become misshapen after lying for centuries in tombs or in the ground?
Speaking of time, just how long should it take—theoretically—for windows to thicken to any observable extent? The calculation showed that the time required for the glass to flow down so as to thicken 10 angstrom units at the bottom (a change the size of only a few atoms) would theoretically be about the same as the age of the universe: close to ten billion years.
This brings us to the subject of viscosity. The viscosity of a liquid is a measure of its resistance to flow. Estimates of the viscosity of glasses at room temperature run as high as 10 to the 20th power (1020), that is to say, something like 100,000,000,000,000,000,000 poises, As for cathedral windows, it is hard to believe that anything that viscous is going to flow at all.
It is worth noting, too, that at room temperature the viscosity of metallic lead has been estimated to be about a billion times more fluid than glass. Presumably, then, the lead came that holds stained glass pieces in place should have flowed a billion times more readily than the glass. While lead came often bends and buckles under the enormous architectural stresses imposed on it, one never hears that the lead has flowed like a liquid.
Glass Doesn't Flow
When all is said and done, the story about stained glass windows flowing—just because glasses have certain liquid-like characteristics—is an appealing notion, but in reality it just isn't so.
The full article by Robert H. Brill, Research Scientist, Corning Museum of Glass can be found at:http://www.cmog.org/dynamic.aspx?id=5728

Thursday, February 2, 2012

Breaking Pieces From Large Sheets of Stained Glass - Straight Lines

Use a cutting square or other non-slip straight edge to guide the cutter. You can push as in normal stained glass cutting, or you can draw the cutter toward you as glaziers do. In either case, the pressure needs to be even and the speed consistent.

In moving large scored sheets, avoid pulling by the end. The score may run suddenly and not always along the line. Instead, move the sheet with support on both sides of the score. After the glass is scored, you have choices about how to run the score:
One easy way is to move the sheet so the scored line is just inside the edge of the bench. The biggest piece will be on the bench and the smaller piece in your hands. Give a quick, sharp downward push with both hands on the overhanging glass. Having the glass score inside the bench edge gives you a place for the broken off piece to rest, rather than pivoting toward the floor.
You can slide the straight edge under the glass on one side of the score, and press firmly, but not sharply on each side of the score. The glass will break evenly along the score line. This is a more gentle method of breaking the glass. A variation on this is to place a couple of match sticks or glass painting brushes at each end of the score and apply the pressure.
If the glass sheet is of a size that you can hold it in both hands with the score between, you can draw it off the bench, let it hang vertically, and bring your knee up briskly to hit the score line, and it will break easily. This is a showman's way of breaking glass sheets when the score line is approximately centered on the sheet.
Cut running pliers often do not work very well on long straight scores on large sheets of glass. However, if you try this, tapping along the score line before squeezing the running pliers will help the score to run the way you intend. (And defeat the purpose of getting a clean break, as each time you tap the glass you get a ledge on the side of the score line that you tapped). This is sometimes the only way to achieve the break of the score.

Wednesday, February 1, 2012

Primo Primer video

We just happened to see this video today for Primo Primer.  If anyone is having trouble with either their glass sticking to their molds or if they are losing mold detail because of thick shelf primer, they should check this video out!  We use the pink colored Primo Primer so this new purple color is different!



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