Welcome to the IGGA Tips web page

This page will provide tips on ways to work with glass, concentrating on stained, leaded and copper-foiled glass, mosaics and surface treatments.

These tips will be added to and amended from time to time as new information becomes available. We welcome suggestions for tips and descriptions of useful things you have discovered.

Send suggestions to: Steve Richard with the heading TIPS

Tips from other Guilds

• www.craftscotland.org

The key to publicity success in business is to never take a single promotion at face value.

If you manage to score a magazine article, be sure to alert the newspaper.

If you manage to score an exhibition, be sure to send out your own news releases (don't rely on the gallery or museum to do it for you).

If you receive a very major commission, alert the media of all sorts - when you complete the very major public installation do the same.

Use each bit of publicity as a magnifier for other bits of publicity.

John C Emery, Sr

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Based on CR Lawrence and Amazing Glazing recommendations

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3--4mm
5--8mm
9--12mm
13--16mm
17--25mm
26--28mm
29--44mm
45--64mm
65--89mm
90--1220mm

Scoring small diameter circles can be assisted by using a Lazy Susan or cake decorating turntable. Draw the circle of appropriate diameter on the turntable with a compass. If the glass is too dark or opalescent to see the line, make a template and put it onto the glass. Place the glass on top of the turntable, and position your cutter above the drawn circle. Press on the cutter with one hand and turn the glass with the other.

Steady your hand with the cutter by keeping your elbow tight against your side. This enables you to make a very good, if not perfect, circle without buying an expensive small circle cutter.

You will not be able to run the score by turning the glass upside down and pressing. You will need to make a number of relieving cuts to the tangent of the circle and break them away one by one.
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There are some techniques to make leading of small circles easier, more accurate and circular.

Use oval or round came to reduce the kinking of the leaves of the came. As there is less material at the edges of the leaves of oval came, there is less kinking than on flat came, where the thickness of the leaves is constant.

Estimate the length of lead came required by rolling the circle along the heart of the came, and cut the came off a little long. Begin to wrap the came round the circle, making sure the beginning is properly tucked against the glass. Continue to wrap the remainder around until it meets the beginning.

Open the came from the circle and cut the end of the beginning of the came at about a 45 degree angle. Fold it back against the glass. Estimate where the end of the came needs to be cut to meet the beginning.

Cut it at the same 45 degree angle as the beginning. Move the two ends together. If the edges displace each other upwards and downwards, you still have too much came. So just open and trim a little more off. Try again until the angled edges meet without much movement up and down.

This provides a neat, round circle of lead around the glass. Align the cut to butt against a joint or passing came to ready it for soldering.

This technique can also be used on ovals. (return to top)

Using a Lazy Susan to make the score
Deep inside cuts can be assisted by using a Lazy Susan - a turntable affair, similar to a cake decorating turntable.

The first question you have to ask yourself is whether you should make such deep inside cuts or redesign the piece to avoid creating such fragile shapes.

Okay, you have decided to go ahead with your plan in spite of good advice. Put your cartoon onto the turntable and the glass over it. If the glass is too dark or opalescent, make a template. Adjust the starting point, put one hand on the glass and cartoon, and turn the glass instead of yourself to get round the score with ease.

You still have the task of breaking out the glass from the score line. This is the subject of another tip. (return to top)

In general, lead came is butted at the joints. However there is another way to make the joints. This is often referred to the European (as opposed to the English) method.

The came is still angled to meet the lead to which it is to be joined. However before presenting the cut came to the joint, one end is lightly tapped with a small hammer to slightly curve the end of the came. This allows it to slip inside the leaves of the came to which it will be soldered.

The came is then shaped to the glass as normal. However, rather than removing the came for the next cut, the came is cut to the length of the glass, often using the glass as a guide. This end is then supported on the lead knife and tapped with the hammer to curve the end, ready for tucking into the next piece of came. Care is required so that you don't crush the came and break the glass, nor miss the came and hit the glass or your fingers. With practice, there are few accidents.

Tucking lead provides very accurate joints with no gaps for solder to fall through. Some argue it provides a stronger panel as the hearts of the jointed cames almost meet. The main immediate gain is quicker soldering. you are in production mode, a powered table saw may be worthwhile.
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The medium of lead came lends itself to long flowing lines, and these flowing lines present very acute angles for the worker to joint, which are almost always a difficulty.

When a joint is too acute for lead dykes/nippers or a knife to cut accurately, overlapping the joint is necessary for neatness.

Use the lead dykes to cut out the heart of the lead back to the point where the meeting leads overlap. After cutting, the upper and lower leaves of the came are bent back at various points. Use a fid, oyster knife or other tool to flatten the leaf and smooth the remainder of the heart on both the upper and lower leaves.

Position the came without the heart so the lower leaf is under the came it meets, and the upper leaf is over it. You can trim the leaf to butt the meeting came now or just before soldering. To trim the leaves, first align the leaf to provide a smooth line. Mark a scratch with a nail or lead knife to give a guide for cutting with lead dykes. Smooth the leaf down, flux and solder.

The other side will be done just as the first, once the panel has been soldered on the first side and turned over.

On long joints it is not necessary to do more than sweat-solder the joint. (return to top)

Cutting came is a gentle process rather than an abrupt chopping effort. There are at least three kinds of implements in common use to cut lead came.

Lead nippers or lead dykes
Lead nippers/dykes are a kind of adapted side cutters, used for cutting wire and by electricians. These have the bevel only on one side of the jaws, making them almost useless for anything other than cutting lead. This arrangement only crushes the lead on the cut-off side and also leaves a minimum of lead next to the back of the jaws.

The jaws of the dykes are aligned in the same angle as the heart of the lead, cutting across the leaves of the lead. They do not cut from the top and bottom of the came. These are very quick for right angle or very oblique angles on the came. However they are of little use for acute angles.

Lead knives
For more acute angles, blades are more commonly used. These can be either straight edges or curved blades. The straight edge lead knives are essentially putty knives or stiff scrapers sharpened to an acute angle. This kind of knife is normally wiggled from side to side while applying pressure to work through the came.

Other knives are curved to make rocking back and forth easier. There are a variety of knives such as the Pro or Don Carlos. Some look more like a scimitar than a lead knife! These are used to rock along the line where you are cutting the came.

Saws
Of course, saws are sometimes used. The blades need to be coarse toothed to enable the soft lead to drop out of the saw teeth. These saws can be hand held or table saws. Normally, it is quicker to use lead dykes or knives. However, if you are in production mode, a powered table saw may be worthwhile.
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Think about what you want to have with you and plan ahead. Things you may need to bring with you include:

Materials

• Display material/photographs for walls
• Publicity material
• Hand outs for the public - artist's statement, contact details
• Press pack - press release, images of art work, artist's statement
• Previous publicity and brag book, showing commissions - display it on a stand.
• Postcards
• Business cards
• Price lists
• Order book
• Book for recording contacts

Tools

• Cleaning materials, ie, for cabinets etc
• Box with thumb tacks, pins, pegs, screws, for hanging material on the walls
• Extension cords, power strips, light bulbs, fuses
• Box with tools - screw drivers, pliers, knives, etc.
• Masking tape, scotch tape
• Pens, markers, product labels, price tags
• Calculator, sales receipt book, copy of your sales tax license
• Credit card equipment
• A storage facility for all the money and cheques you will take in!
• Also to keep the change box in - stocked with plenty of change, of course.
• Packaging material - Bubble wrap, boxes, bags, etc
• Seat with back rest " Small step stool
• Wheeled trolley for moving stock and booth
• Most important - your own lunch and cold drinks and water bottle

Additional things for outdoor booths

• Canvas repair tape/ Gaffer tape
• Weights for holding the booth down
• Buckets and mops for bailing out
• A pair of rubber boots
• Guy ropes and pegs for windy conditions
  
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Consignment agreements are to protect both Artist and Gallery, and ensure each understands the other's expectations.

The agreement should relate to each item and include at least the following information:

• Artist's name and address
• Gallery's name and address
• Name and signature of the owner/manager of the gallery
• Title, medium, dimensions of the work(s), edition number
• Retail price
• Artist's price
• The commission taken from the retail price

Additional information that is advisable to include:

• Each work is to be offered at the stated retail price. Any discounts shall be from the retail price, not the artist price.
• Each work sold should have a bill of sale copied to the Artist.
• The Gallery shall send to the Artist the stated retail price of each work less the stated commission, within a reasonable time after sale, and not less than 1 month after the sale. In the case of exhibitions the payment should be made not less than 1 month after the close of the exhibition.
• If a work is lost, damaged or destroyed during the period of the agreement, the Gallery must notify the Artist immediately and pay him/her the stated retail price, less the stated commission.
• Insurance of the work -a statement of when the Gallery's insurance takes effect. The Gallery normally provides insurance upon receipt of the work(s) and signs a document to indicate safe receipt of the item.
• The Artist shall retain all rights in and title to the works until sale, at which point the title shall pass directly to the purchaser whose name and address the Gallery shall give to the Artist on written request.
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It is important to remember the basic tips as they become even more important with difficult cuts:

• Keep an even/constant speed during cut
• Make sure the cutter is vertical- eye the cutter from top to wheel to cut line
• Stand behind the direction of the cut-line
• Use body to turn, do not use wrist or arm

For difficult cuts you can increase your confidence by rehearsing the score with a feather light movement of the cutter on the glass along the score line. Make any adjustments shown to be necessary by this rehearsal before beginning the score.

Start with the most difficult score first. Any break-outs or mistakes will not waste much work or glass.

Break out each score as you make it. You can store up trouble by making multiple scores before starting to break. The score lines can run across the main piece when breaking off the scored glass. Any inaccuracies will also be magnified by making all the scores before breaking. (return to top)

• The date of sale
• The place of sale
• The title of the work
• The description of the work: medium, dimensions, size of edition, and other relevant information
• The name and address of the purchaser
• The artist's name and address " The purchase price
• The term of payment

• Originality: The artist vows that the work is his/her original and that he/she shall not produce a replica of it.
• Edition: If the work is one of an edition, the artist vouches that the size of edition shall not be increased after the date of the contract.
• Reproduction: The copyright in the work is retained by the artist, but the buyer may be entitled to permit the reproduction of the work in books, art magazines and exhibition catalogues.
• Care of the work: The buyer vows not intentionally to alter, damage or destroy the work during the time of ownership.
• Restoration: If the work is damaged, the buyer shall notify the artist and give the artist a reasonable opportunity to conduct, or supervise, the restoration of the work.
• Artist's exhibition: The buyer and artist may agree to the owner lending the work (e.g., once in every twelve months for a maximum period of six weeks) for the purpose of inclusion in a public exhibition of the artist's works. The artist must give the owner reasonable written notice of his intention. The artist must provide documentary evidence of insurance coverage and prepaid carriage to and from the exhibition. The artist must ensure that the exhibiting institution identifies the work as belonging to the buyer.
• Placement of work: If the buyer places the work with any person or institution for exhibition, re-sale, or any other purpose, the buyer shall immediately write to the artist stating where the work is placed. This is especially important in jurisdictions where artists' resale rights exist.
• Addresses: Artist and buyer shall notify each other in writing immediately of any change of address.
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Breaking pieces from large sheets - 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 centred 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. (return to top)

Think of your booth at a show as a mini art gallery. It should show off your artwork in the best possible light. The "job" of a booth at any type of show is to set up an environment to do the following:

• Attract a stroller's attention so that they stop in front of your booth and look.
• Provide an appropriate environment which best shows off your artwork.
• Entices the potential buyer inside to get a better look.
• Subconsciously directs the viewer to see all of the artwork, i.e. the booth has a footpath flow.

Booths do this in a variety of ways…

The booth provides a physical barrier so that your booth is separated from your neighbour's booth. You don't want your potential client to see your neighbour's craft/artwork while they are in your booth. Make sure your booth has full-sized screens on all 3 sides to block the view to your neighbour s booth.

It provides a consistent "art gallery" environment when your potential client steps inside. Neutral walls which do not distract from your artwork are best. In fact, the walls should help display the artwork. The booth should make the environment friendly to the viewer.

Have a floor covering. This is particularly important on an inside show on concrete floors The covering should be neutral in colour so as to not compete with the stained glass.

Feature the artwork in the front. Make it easy for the client to walk up to your artwork. Nothing on the floor should impede this. Keep all non-art stuff like sales & packing stuff in the back of the booth.

Have as much lighting in your booth as possible. Glass is all about light, therefore, the more the better. Bring plenty of power strips, extension chords and extra light bulbs of the appropriate wattage.

Plan the flow for the viewer. Think like a potential buyer and place your artwork appropriately. Have your big eye-catching show pieces where they are plainly visible from someone walking down the hall. Then put the smaller, less-expensive stuff in the back. People will be drawn into the booth by the big, expensive show pieces. Then, once they are inside, the artwork should go from most outrageous to more affordable, forming a path around the booth.
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Images of Work
Make sure that you have good quality images taken of your work (35mm transparencies, digital images for CDs or email), after all, you will be competing with practitioners that have been in business for years and are firmly established as leading national and international designers. Sending poor images/presentations reflects very badly on your approach and your work.

Invest in a professional portfolio filled to the brim with beautifully laid out colour photography on a black background. Don't walk into the gallery with a handful of snapshots.

Sending Biography and Visuals
Send general descriptive information about yourself and your work to the gallery first. Then follow this up with a telephone call. Find out the contact name you need for the relevant department within the gallery. If you send something with no contact name your presentation can sit in a pending tray for months! Contact as many galleries as you can handle, rather than waiting for a reply from the first one on your list.

Research and Make Appointments
Don't just turn up at a gallery with your work. Galleries plan their exhibition schedule at least two years in advance. They are busy most days with artists and dealing with clients so it is always best to make an appointment first.

Pop in regularly to your local galleries, or research on the internet, to get an idea of the kind of designers they display, and the style and quality of work on show.

Keep in Touch
Contemporary galleries are always looking for new original designers for their exhibition programme, so update the gallery regularly by sending emails, transparencies and CD (with images).

It is especially important that the gallery can see how serious you are about your work, how it develops in style and that you are still exhibiting and producing work 2-5 years later. Make sure your work is unique and difficult to duplicate. Keep your own dated designs and patterns and own the copyright to them.

Don't give up. There's someone out there who will like your work. When you find gallery owners who are crazy about your work, stick with them.

When you have an offer of a show
Watch the papers for announcements of other openings at the gallery to see how well each opening is advertised. Ask around the arts community to see how well known the gallery and its owner are.

Check on the gallery/artist percentage agreement when calling each gallery. Your price to the public must be calculated based on this. Charge what the work is worth! Check around with other artists represented by the gallery, asking them about promptness of payment by the gallery.

Be businesslike in all dealings. Prepare a contract, if the gallery does not have one, to cover mutual expectations. It should include who does what, e.g., mounting of the work, invitations to the opening, opening night, payment terms, artist's residual and resale rights, etc.

Don't be a pain to the gallery owner. Don't pester. If you have to be anxious about the show, do it privately.

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Cutting thin strips of glass such as used in Mission Style patterns and precision fusing projects requires skill and assistance. For transparent and translucent glass you can arrange a right angle guide on a board and tape a piece of lined notepaper to the jig. Use a cutting square and move it right along the lines on the note paper making four or six scores at a time and then breaking on the last score first and then every other score, and then each one in half. Vicki Bundschu

Another method is to use the edge of the bench as a guide. With a small adjustable carpenter's square, you hammer in nails at the predetermined width (plus half the thickness of the cutter head). Align the glass to the edge of the bench between the nails. Place a straight edge against the nails and score. This gives strips of the same width every time, but works best with strips of 10mm (3/8") or more.

The thinner the strips are to be cut, the more important it is to make the scores and then divide the sheet in half - the two halves in half each - the 4 quarters in to halves, etc, until you are down to the piece that only needs to be divided in two. (return to top)

Many people have a slightly cushioned cutting surface. Some use short pile carpets/rugs, others use thin rubber or foam sheets, others use dining table protectors. All these are useful for cutting large pieces and have advantages and disadvantages. Carpets and foam can trap shards of glass, so have to be cleaned very carefully to avoid retaining sharp glass within the pile or foam. Smooth, wipe-able surfaces avoid trapping glass, but can be slippery. Choose one with a non-slip surface.

It is better to cut small pieces on smooth hard surfaces, as the flexible surface will not provide overall support, and so allow breaks, especially on long thin pieces. Clean the glass at least along the cut line, as this makes the action of the cutter smoother. The grit on the glass actually interrupts the action of the wheel, so you get a staccato effect in the score line. (return to top)

You need to be careful when handling glass. In larger sheets it is very weak in a horizontal plane. It is strongest when it is in a vertical plane. (That's why glass is always supposed to be shipped upright.) The transition between horizontal to vertical is important because it can break if it does not have the proper support. However, there is a tried and true method for laying glass down and turning it over. Rest the glass on the edge of the bench, half on, half sticking off. Then pivot it to the horizontal, still leaning the middle of the glass on the edge of the bench as your fulcrum. This provides support at the middle during the transition to the bench top. (return to top)

Cutting glass is done by "scoring" the surface of the glass with a glass cutter, then breaking it along the score line. The break you make will always follow the path of least resistance, so you want to be sure that the score you make is that easy path and glass breaks the way you want it to.

Generally, you use the cutter by moving it away from you, so you can see the cartoon lines as you score. When using a straight edge such as a cork-backed ruler to guide your cutter, you can pull the cutter toward you or push it away. The cutter should always be held at a 90 degree angle (left to right).

It is important that the work be done from the forearm rather than the fingers or the wrist. The forearm shouldbe held closely to the body. This reduces the freedom of movement, giving clean flowing score lines. It also reduces the actions that can lead to repetitive stress injuries. Any turning required by tight curves can be done by turning the body from the hips or shuffling around the bench. (return to top)