Pattern Bar, Segment Slab Video

Learn how to make beautiful yet easy to create pattern bar designs for fusing in your kiln.  Use this information to develop your own unique glass art.  This is one of our favorite videos!  Made and uploaded by Bullseye Glass Co.

Watch the video here!

Using pattern bars in a fused glass piece, video

This is an excellent video showing how to use pattern bars to create a unique design in a slumped glass piece by stlglass.  The video shows how to lay out the glass, and the steps it takes to make this fused glass piece such as stacking, sandblasting, applying pumice, slumping, finally showing the completed spectacular piece!

Click here to view the video.

Introduction to Patterns Bars by Steve Immerman

We hope that you enjoy this article on pattern bars that we found online.  

First published in Glass Craftsman, issue No. 214, June/July 2009. Introduction Kilnformers are always looking for ways to create new and exciting design elements to incorporate in their pieces. One of the most commonly used design elements is a section of glass with an embedded pattern – created with a pattern bar. This article will discuss ways to make and use pattern bars in kilnformed glass work. Making Pattern Bars In order to create a pattern bar you will need a kiln, dams, fiber paper, and fusible glass. In order to use the pattern bar you will need a tile saw with a lapidary blade. It is helpful, but not necessary, to have a sandblaster and grinding tools. The basic concept in making a pattern bar is to create a “brick” of glass pieces, surround it with fiber paper, and use dams to hold it in position during the firing process. This “brick” is then kiln fired and annealed, and the resulting pattern bar is then cut into slices (like a loaf of bread). The patterned slices are subsequently used in other projects. The color and pattern in the pattern bar slices will obviously reflect the colors and layup of the glass that was used to create it prior to firing. You can create a specific pattern by planning ahead or you can create a random pattern by just placing pieces of glass into the dam enclosure without any pattern in mind. Damming the project The first step is to have a prepared kiln shelf – either kiln washed, or covered with fiber paper to prevent the glass from sticking to the shelf. You will also have to assemble your dam material. There are many ways to constrain the glass so that it stays in the shape you want and doesn’t flow over the kiln shelf during the firing process. Whichever way you choose, you will need to have fiber paper between your damming material and the glass. A common way to hold the glass in place is to use cut up strips of kiln shelves placed to surround the glass on four sides. If a cut up shelf is not available, one can purchase blocks of refractory material from fusing supply outlets. There are also stainless steel molds that can be purchased specifically for this purpose. In the absence of any of these products, the glass can be wrapped with several layers of fiber paper, and then wrapped with stainless steel or nichrome wire to hold things in place during fusing. To create pattern bars that are circular in cross section, fiber lined pipe nipples can be used as described in an article by Judith Conway and Kevin O’Toole in Glass Craftsman issue 181, Dec/Jan 04, page 27. After you construct your dams around your pattern bar construction, make sure that they are well supported so the dams do not move during the fusing process. The mass of glass that you have surrounded with the dams will want to flow when it is molten, and your dams need to be able to withstand the pressure of the hot glass as it pushes against them. The height of the dam will depend on the amount of glass that you’re using in your pattern bar. If you can predict the ultimate height of the bar by counting the specific layers of glass in the assembly try to make the height of your fiber paper about 1/8” shorter. (Editor’s note: For more information on this step, visit the Bullseye Glass website, Bullseyeglass.com, and click on Education, then TipSheet 3, for a detailed explanation on how to dam a large mass of glass.)Next, you have to decide on the size of the pattern bar, keeping in mind that thicker pieces of glass will require longer annealing times. We often think of pattern bars as square in cross section – but they don’t have to be square. They can be rectangular or even round. If the glass is laid up so that it ends up flat, and only ¾-1/2” thick – something we’d just call a fused panel – it can still be cut up and the internal pattern used the same as one would use a pattern bar (see my article in Glass Craftsman, Issue 212, page 15 of the Batch Insert or link to this page). Color and Design Of course it is necessary to use compatible, fusible glass. Pattern bars can be made of glass which is transparent, opalescent, or a combination. It is important to know how you are going to use the pattern bar slices after you create them to determine which kind or mixture of glasses you are going to need. If you want to create a specific pattern it is best to do some planning. The pattern can be nothing more than layers of alternating color – or a complex geometric design. The glass can be placed horizontally, vertically, or a combination of both. Frit and stringers can be incorporated into the design as well. Keep in mind that if you want all the slices of the bar to be identical all strips of glass have to extend from one end of the bar to the other. For geometric designs it is best to do a detailed drawing first. One easy way to draw out your design is to use graph paper. If you are using glass that is 1/8” thick – assign each square to be 1/8”. Draw the outside perimeter of the proposed shape of your bar, and then fill in your design. Once this is done, cut strips of glass the length of your pattern bar, and begin assembling. The best way to assemble the pattern bar is directly on the kiln shelf so that you don’t have to move the assembled bar. But, if this is not possible, hold the strips together with Krazy Glue or a similar product so you can move it to the kiln without it coming apart. A random pattern bar can be created by placing strips of glass in an enclosure without any predetermined pattern in mind. Often some very interesting patterns can be obtained with this technique. Keep in mind that with this technique it can be hard to predict the height of your bar after firing. I’d recommend erring on the side of making your dams too high, rather than too low. Firing Schedule Obviously the schedule will depend completely on the size and thickness of the pattern bar, the brand of glass, and the firing characteristics of your particular kiln. But, a typical Pattern bar firing schedule, for approx 1 1/4" thick bars made of Bullseye glass would be: 500 dph to 1500 F Hold 35 min. AFAP to 900 F, hold 4 hours. 100 dph to 800, no hold 200 dph to 700 F, hold 2 hours. 300 dph to 300 F Off Keep in mind that it is perfectly fine to fire multiple bars at once. This will actually save you time and electrical energy and ultimately give you a nice selection of designs to work with. Cutting the Pattern Bars Slicing up this mass of glass will require a saw of some kind. I use a tile saw with a lapidary blade, but there are other types of water cooled saws that will

also work such as a band saw or ring saw – but they may not be as efficient. The main decision to be made before cutting is what thickness you want the slices to be. It helps to know what you are going to create with these slices, how many layers your project will be, whether you plan to fuse the pattern bar slice on a sheet of glass, and whether you plan to cover it with a layer of clear glass. It is very frustrating to find out your slices are too thick or too thin for your intended use. When cutting the pattern bar, make sure your saw is providing an adequate water spray. Have some sort of guide to ensure each slice is of uniform thickness. Go slowly as you saw through the pattern bar and don’t apply too much pressure – especially at the very end of the cut. You’ll probably get some small chips at the corners of the pattern bar. These can be frustrating, but usually will not render the slice unusable. After cutting it is wise to drop the slice in a bucket of water containing some liquid detergent so that the particulate matter in the tile saw water doesn’t have a chance to dry on the glass until you can clean the slice. Preparing the Slices for Fusing In spite of your best efforts, the cross section of the bar may not be perfectly square or rectangular. A wet belt sander or lapidary wheel is helpful at this stage to grind the edges flat and to smooth out any chips at the corners of the slices. I like to sandblast all surfaces of the slice prior to incorporating it into another project. If you don’t have access to a sandblaster, the slices should be removed from the bucket of water, scrubbed with a toothbrush and rinsed thoroughly before allowing them to dry. This will minimize any haze or devitrification that can appear after the second firing. The pattern bar slice can be used in numerous ways. They can be placed on top of two layers of sheet glass and allowed to melt into the underlying sheet. This will allow the pattern bar to expand and round out. Alternatively, the pattern bar slice can be surrounded by layers of glass, which will allow it to maintain its shape and appearance. Another common way to use pattern bars it to place many of them in an array, one against the other to create a pleasing, repeating pattern. Placing pattern bars in “bookend” fashion can also give some interesting effects. Shuffling these slices around until you get a pleasing pattern is both enjoyable and therapeutic! Once an acceptable pattern is obtained, it can be dammed and fused alone, fused on a sheet of glass as a base, or a border can be added for contrast. Lisa Allen is an artist who has successfully used this technique in her work. Conclusion Pattern bars are a fascinating way to add complex designs to kilnformed work. There are some artists who use this exclusively as the major focal point in their work. I hope this article has provided you with enough information to give it a try!

Randy Comer, Glass Fusing Video

Today the video we are featuring on our blog was discovered on You Tube and features the beautiful fused glass art created by Randy Comer.  We certainly hope you will enjoy this one as much as we did.  His work is totally amazing!  Click on the link to see Randy Comer's fused glass art.  His video is very informative, as he shows how he creates his design elements and discusses where he gets his design inspirations.
View video here

Pattern shears vs Sharpie marker for patterns

Why do people use Sharpie markers to draw out the pattern they want to cut, on their stained glass pieces?  This method is inaccurate and basically a waste of time!  We can see how a person can lay a pattern on a light box, lay a transparent piece of glass on top of the pattern and trace the piece onto the glass using a Sharpie marker.  But what happens when the piece of glass is opaque and impossible to see even when using the light box?  When grinding a piece of glass that has a sharpie marker outline, what happens when the marker accidentally washes off?  Do you have to guess at the actual shape of the piece?  Do you have to go back and forth fitting the piece and then grinding, until the piece fits?

The professional method for transferring stained glass patterns, to glass,  is much different than the Sharpie marker method.  And it is faster, easier, and more accurate!  So below we have written a step by step tutorial for transferring your pattern to your glass.  This tutorial is for making a Tiffany window, yet a lot of this information also pertains to making a leaded glass window.

Transferring your stained glass pattern to your glass pieces tutorial

Step one, make a pattern to the exact size desired and number all pieces.  For reference we like to mark what color of glass each piece is, even the type of glass being used on each pattern piece as well (we also advise you to somehow mark the direction that you want the grain to go, on certain pieces of glass that you will be using- we do this by drawing an arrow) .  Once you are done marking everything, make another copy of the pattern, also using plain white paper.  Computer paper works well for smaller pieces.


We like to use regular white paper that comes in a roll that you can buy at Hobby Lobby, Walmart and a bunch of other stores.  If eventually you want to make more windows with this pattern, you should make more than just two copies!  Don't bother making mylar patterns, they are unnecessary.  We like to take our patterns to Kinko's to make our copies.

Step two, cut out all pieces on one pattern copy.  Save the uncut pattern to use later.  To cut out the pieces you MUST use either a pair of foil shears or lead shears, depending on what you are making, NEVER use regular scissors.  You can purchase pattern shears at most retail stained glass stores.  Never mix up your shears and use the wrong shears when constructing your window, because the pieces won't fit properly!

Step three, use rubber cement to glue your paper pattern pieces to your glass.  Make sure to pay close attention to the direction you want to follow on the glass.

Step four, cut and grind pattern pieces.  To confirm that the pieces fit properly, lay your ground pieces on top of the original uncut pattern to ensure correct fit.  Do not remove the glued on paper pattern until all pieces are ground and laid on top of original paper pattern.

Step five, remove and foil each piece, one by one, only after removing glued on paper pattern, and cleaning with a dry rag first.

Step six, with all foiled pattern pieces laying on original uncut pattern, tack solder pieces together.  Once done, solder all pieces.  Flip the window over and solder opposite side, then flip once again to make sure front side of window is still soldered nicely.  If not, touch up!  You're now done, add a frame, patina and clean and its completed.

Pattern Bars

A pattern bar is a thick bundle of glass that has been fused together to form a solid mass. The size of pattern bars can vary, but most are one or two inches by about an inch and several inches long. When formed, these bars can be cut into slices with a glass saw, lapidary saw, or trim saw and then re-fused to make unique items.
Pattern bars are related to murrine, mosaic cane developed to its height in Italy and often formed using lampworking techniques. Millefiori ("thousand flowers") are the best known of these canes, which can be sliced and used in fusing projects. If you wish to make similar items using a kiln, the pattern bar methods described in this section will help you get the job done.

• Cold bundling

This technique, in which strips of glass or stringer are bundled together to form one large pattern bar, works well for simple forms. The glass bundle should be wrapped in fiber paper, then tied together with a high temperature wire (such as nichrome wire) and stood on end in the kiln. Fire to full fuse, then anneal and cool. Because of the thickness of the fused glass, care should be taken not to anneal or cool too quickly.
Stacks of glass strips may also be fused to form pattern bar strips. To maximize the evenness of the strips and minimize the likelihood of distortion during firing, the stacks should be supported by fiber paper, fiber board, and kiln furniture, as illustrated in the photo to the right. This layout allows you to form a large number of patterns bars at one time.

• Using a stainless steel

A alternative to bundling, this method of making pattern bars involves the use of a stainless steel mold to hold the glass strips. For best results line the mold with fiber paper, then arrange the strips inside, fire, anneal, and cool.
This approach has several advantages over simple bundling. First, unless carefully prepared the bundled strips have a tendency to deform or even topple over in the kiln. Second, using a mold allows you to use frit and other irregular shapes that can't easily be used when bundling. Finally, the small shape allows it to use space that would otherwise be wasted in a casting or full fuse firing.

• Using a plaster/silica mold

This technique, which is really a simplified version of kiln casting, involves using a plaster/silica mixture to form a mold for containing the glass to be fused together. Wax is the best substance to be used to form the mold, but other items can be used, including small wood strips.
The section on Kiln Casting (see advanced topics) discusses how to create the model and manufacture the mold. The spaces created by this technique can be filled with strips of glass or frit, then fired to full fuse and annealed and cooled.
When cool, carefully break through the plaster/silica mold. Slice the pattern bars into cross-sections and re-fuse to form a new object.
One advantage of this technique is that round items can easily be made by selecting a round shape to form the hole. Round slices are particularly fascinating to fuse together because they deform and form hexagrams when fused together side by side.

• Using Styrofoam

This final technique builds on the plaster/silica method by using Styrofoam to form more complicated shapes. Start with a block of Styrofoam the size and shape of the pattern bar you desire. Then cut the Styrofoam lengthwise using a hot wire Styrofoam cutter.
Take the two (or more) pieces cut from the Styrofoam and use them as the models to be encased in the plaster/silica mixture. Although they fit together, mold them separately. If you burn out the Styrofoam, you'll be left with a form the shape of the Styrofoam model.
There are several ways to get rid of the Styrofoam. One method is to pour acetone onto the Styrofoam.  This will dissolve it, but care must be taken when handling acetone.  Another procedure is to use a small propane torch to burn out the Styrofoam. You can also use a well-vented kiln (fire to about 1200 F). In either case, avoid inhaling the fumes and make certain you have adequate ventilation.
Once your Styrofoam has been removed, you're ready to fill the remaining form with glass. You can use strips or frit (as in the other types of pattern bars), or you can simply fill each form with a different color of glass.
When you're ready, fire to 1500 to 1550 F, soak until the glass settles (you may want to top up the form), then anneal and cool.
Once the forms are cool, carefully break away the plaster/silica mixture. Slice the bars with your glass saw and fit the shapes together. Re-fuse this assemblage to form a uniquely patterned warm glass object.

This very helpful information was found in http://www.warmglass.com/pattern_bars.htm  an excellent site for art glass information.  We highly recommend this site to all glass artists!

So now that you know how to make pattern bars, perhaps you are wondering what you can do with them.  Cut into small pieces and used in jewelry, such as pendants and earrings, you can create beautifully stunning one of a kind pieces.  A lot of glass artists also use slices to create boarders on plates as well.  Actually the possibilities are endless, it's just up to your imagination!