All posts by jsb

Glass Panel Repair II

If you decided to repair your broken glass panel – Here are some hints:

For most designs, once you begin to dismantle the pieces, the panel will become more flimsy.
Take your time, and make sure you support all pieces of what is left at all times.
A blanket or cloth over a piece of plywood will allow you to move the panel pieces to the best, most accessible position as you work on it. The blanket will allow you to lay the panel fairly level but not create stress otherwise caused by different glass thicknesses.
Pry as much of the foil and solder as you can up away from around each piece of glass that you are trying to remove. A craft knife point and a lot of patience is best.
Position the panel so that the seam you will be removing is above a “waste” area and use a temperature slightly higher than you would normally use to solder. Heat up the solder seam and push the melting solder along until it drips away from the panel. Keep doing this until most of the solder is removed. Go around the broken piece area, repositioning the panel as you need the solder to flow in a different direction.
Once all the solder (or as much as you can manage) is removed from the foil, you should be able to pry it away enough to take out the glass.
Turn the panel over and follow the same procedure to remove the solder from the back. Once this is done, it should be possible to remove the foil from the broken piece while leaving the foil attached to the surrounding pieces. If any foil tears, you can re-wrap that area before you re-solder.
Choose the glass for replacement and trace the “hole” left in the panel to make a pattern for this.
Take care to match the texture, colour and any variations in the piece you removed (this is where the photos are handy)
You are aiming for the repair not to be noticeable.
If the break was caused by a weakness in the design, add copper reinforcing strip at this point to strengthen it.
Fit, foil and re-solder the seams around the repair site as you would normally.
Choose the patina to match the original one applied – test this on a test solder seam on some scrap glass first to be sure you have the match very close.
Finish and clean – Breathe out!


© 2009 Jackie Barnaby
All Rights Reserved

Should you repair a broken glass panel?

Repair or remake? That is the question..


This should have been an “after” photo but it fell during photography!

Now it is the before photo for repairing a stained glass panel.

STEP 1 : Assess the damage

Put the panel on a well-lit flat surface for inspection. (Watch out for small glass splinters)

Take photographs – the panel will look nasty during repair.

  • How much of the panel is broken?
  • Do you have appropriate glass to repair with?

o Check colour (in natural, back-lit and lamp light), texture of both sides, and thickness.
o Are colour variations in the broken areas a part of the picture.
o If this is a vintage or antique piece – seek professional help – don’t repair with modern glass unless you HAVE to!

  • Have the breaks in the glass made the panel flimsy?

o Yes – the piece needs to be replaced and possibly reinforced.
o No – can you foil over the break and do a cosmetic repair without destroying the design.

  • Are the breaks in the glass “clean”? – no splintering
  • How much of the soldering and foil needs to be disturbed to get to the broken pieces?

At the first stage, you need to decide if it would be faster, cheaper or more enjoyable to make the entire panel from scratch; or, if a repair is even possible.

If you decide to repair, a close inspection at the beginning will make you familiar with the panel and could save a lot of trouble.

The broken peacock above is being repaired ~ The plain glass pieces are easy to match, cheap to replace and easy to get to. I have the added bonus that I still have a copy of the original pattern that I designed.

Finishing and Cleaning a stained glass panel

Finishing and Cleaning

Your panel looks a bit disgusting until it is cleaned and polished.

  • First you must remove ALL of the flux and it’s residue from the glass and the solder. There are neutralizing products that will stop the flux from being caustic.
  • One more thorough rinse is recommended once you think the panel is clean.
  • Patina is the effect on the surface of the metal caused by a chemical reaction. There are premixed solutions available to change the solder from it’s silver color to copper, bronze and black. You can also mix a solution of copper sulphate (available inexpensively as crystals) Experiment with the strength of the solution to achieve the color you prefer. This is wiped along the solder joints to leave the desired effect, which will vary with the amount of copper in solution, the temperature at which it is applied and with the length of time you leave it before rinsing again.
  • Before you apply a wax or polish finish to your panel, make sure it is completely dry. Pay close attention to the solder joints – rubbing the wax onto all of the surfaces as you apply it.
  • Once a cloudy film is seen, you can begin buffing. Start at one corner and work your way across the panel, rubbing each piece of glass and it’s borders individually. Use a soft rag (not paper towel). Pieces of old sweatshirt work well. Use a clean piece as soon as the cloth becomes blackened. You must get all of the excess wax off on both sides of each piece of glass or a haze will appear. White crud will form at corners and along the edge of seams if you have not cleaned the panel completely before waxing.

Hanging hardware

If you decide to use hardware to hang the panel, solder it to a seam and take into account that the panel will probably need to be able to hang level. If you are adding hardware to secure a panel in a frame, space the hardware as evenly as possible and make sure that the panel is clean on both sides before securing it in the frame. Desoldering and recleaning is an annoying job.


© 2009 Jackie Barnaby
All Rights Reserved

How to make a stained glass panel

The method described here is sometimes called the “Tiffany” method, after Louis Comfort Tiffany, famous glass designer and manufacturer. The basis of this technique is applying solder to copper foil-edged glass pieces. Panels can also be made using lead cames. Both techniques require practice and specialized equipment. I have made stained glass panels and objects using this method since 1992. My first panel was awful – but I kept it, and each new piece teaches me something new.

Making a Pattern

Start with a drawing or a photograph of the subject of your project. Color choices should be thought about right from the start – for example: the main subject of the panel needs to be a different color than the background. The pattern is the interpretation of the drawing or picture that makes it able to be expressed in glass. This is also the point where the structure of the panel is taken care of. If this is your first design, keep the shapes simple ! Draw as few lines as you need to show the picture. Let color differences in the glass define as much of the texture of areas as you can.It is important to consider your cutting expertise, the limitations of the equipment you will be working with, and the kind of glass you expect to use. The size of the final panel should be considered – the detail in the finished panel must still be large enough to be cut or overlaid.Simple cathedral glass cuts more uniformly and reliably than more exotic textured and mixed colored glass. Expect to have to cut pieces again (i.e. produce scrap glass !! ) more often from the latter.A very tight inside curve on the pattern has to be cut with a band saw or ground out with a small diameter router bit. Don’t design for a tight inside curve if you can’t cut it! It is best to design at the scale of the final panel. It is easier to see the curves you are drawing and to visualize the size of the soldering between. Draw the lines on your pattern with a heavy pencil line and finalize with a wide marker. The wide lines will give a better idea of the finished solder lines. You may wish to remove or adjust lines to balance the pattern. You need to locate the subject of the panel onto a background that will provide the means to cut the shapes you need for the design in a way that won’t distort what you have chosen as your feature but will prevent weakness in the whole piece. This is also a good time to consider where you might like to position hangers or attachment areas. It is best to be able to add attaching devices behind solder – i.e. where they won’t show when light is behind the panel. The final panel needs to stay together without warping and especially without cracking. The pattern lines provide the strength in the panel and can be used for reinforcing on larger pieces. Glass is a heavy, plastic medium that likes to “sag”! Vertical lines will strengthen the panel. T-junctions and X-junctions of pattern lines will stop the panel disintegrating into smaller sections. Number each piece on the final pattern. Remember to underline the bottom of the number – 6 and 9, and 2 and 5 can also be confusing. It is helpful to show with an arrow where lines should flow. For example, the direction of coat of a dog or the direction of water flow. This might not be important in every project, but it is a helpful habit to get into. Make at least 3 copies of the final pattern –

* Copy 1: Colour this pattern using approximately the colour of the glass you will be using. At this point, some adjustments may become obvious. This copy can be attached above your work area for reference as you work.
* Copy 2: This copy will be cut up to give the pattern pieces to stick onto the glass. Clear vinyl shelf liner can be used for this copy – the vinyl makes the pattern piece more durable during grinding and fitting. If the glass piece has to be re-cut, you can remove the pattern piece and reuse it. Apply the vinyl carefully to the intact pattern before cutting to prevent bubbles or creases which may distort the pattern. Cut through the middle of the pattern lines.
* Copy 3: This copy is used for layout – You will pin the pieces down while you work on them – flat plywood behind works well.

Keep the original pattern – you may want to make the panel again.

Choosing the Glass to Use

This part of the procedure overlaps with making the pattern – the pattern may be shaped by the variations in the glass you choose (or have available). When you look for the right glass for each piece on your design – look at the color in reflected light and hold it up to light that will be behind the finished panel – a window panel must have glass that looks the way you expect with daylight passing through – not just the lamp over your workbench. An interior panel will be seen with daylight hitting it, and passing through – and with lights in the room from both sides. The variations in color and transparency in different lighting conditions are incredible. A panel hung against the wall will be affected by the wall colour (or wallpaper pattern!). Unless you are incorporating this into the design, use opaque glass. Unless the main feature of your panel is VERY brightly coloured, let the background glass be just that – in the background. There should be a contrast or bold difference between glass used for the feature of your panel and the glass “filling in”. Heavy colour variations in background glass will interfere with the outline of the main feature and can make the whole panel very “dark”. An almost colorless background will bring the other glass used “forward’. The large variety of textured glass that is available can be used to good effect to define the background areas (make sure to align and match up any obvious patterns in the texture).

Cutting and Fitting the Pieces

Select the sheets of glass for each colour and clean them (window cleaner). Stick the pattern pieces onto the glass you intend to cut. If you have more than one pattern piece on a sheet, make sure you can make the cut for each piece. For areas on the glass sheet that you have chosen for a specific colour or texture, it is better to cut the piece too large and grind off the excess than to break the glass. (See the notes above regarding inside curves) Stick the pattern pieces to the glass – rubber cement or “school” glue works well. Attach a third copy of the pattern to a “layout” board (plywood works) The board needs to be a smooth, level surface able to withstand the heat of soldering, and to accept push pins or small brads. Cut the glass. Use a glass cutter or water cooled bandsaw. ALWAYS wear eye protection. A water cooled router is used for grinding, make sure the router bit is constantly wet and doesn’t become fouled with debris (glass sludge and chips).

Always, always protect your eyes.

If you grind with a coarse grit or with a worn out bit the edges of the piece will be chipped – which will be very obvious if any chipping shows on beyond the foil on the finished piece. Leave the pattern piece on the glass, clean any sludge from the piece and place it on the 3rd copy of the pattern as you finish grinding it. When all pieces are cut, check for missing pieces (especially on intricate patterns). As you are fitting the cut ground pieces onto the pattern board, remove the pattern pieces (don’t throw them away until the panel is completely finished and cleaned) – mark spots that are too big to allow a smooth fit, with a marker or wax crayon. (You should be able to see an even amount of the pattern line on the board above each piece you lay down) Regrind these high spots very conservatively until the pieces fit like a jigsaw. Keep cleaning the pieces you work on. There should be no tension between any pieces and no glass chips behind any piece. Work methodically across the board until the panel is covered. As each piece is fitted, use push pins to keep it in place – the push pin holes should be directly on the pattern lines. Check the fit and the look of the whole panel before you move on to foiling. Look especially for any texture or color mis-matching.


Leave the push pins in position around the panel and take out each glass piece individually for foiling. Make sure there is no oil on your work area, or your hands. Thin copper foil (which comes on rolls and in sheets) is applied to the clean edges of every piece of glass. The roll foil is adhesive backed. It is important to cover the glass evenly – with the same amount of foil on each side.

* Don’t start to foil at a corner – where several glass pieces meet is usually where fitting problems can occur (especially with long narrow pieces). An overlap of about 1/3″ is sufficient.
* Special attention is needed where the foil comes back to itself – make sure the edges line up – any mismatch will be very obvious. The foil is what the solder fuses to and what makes the joint strong. The width of foil on the front and back is what determines the thickness of the final soldered seam.
* Narrow foil makes for a smaller seam. Wider foil can be used to highlight a seam – for example, to define the stems of flowers or reeds.
* When you have chosen glass of different thickness, you need to use pieces of card to make the front surface level before soldering.
* Depending on the finish you use on the solder (patina) you will need to use silver or black backed foil to edge transparent glass, the standard foil is grey on the back (adhesive side) and will look very bad viewed through transparent glass with a black or silver finish.

Although soldering can be forgiving, the pieces of foiled glass need to fit together as closely as possible, but not under tension which will stress and crack the surrounding glass pieces. A close even joint will be strong and attractive. It is hard to raise a smooth bead of solder on a crumpled foil edge.

It is important to have the foil smooth onto the glass and flattened carefully at corners and the seam. This is sometimes called burnishing. It can be achieved with the fingernails but a small plastic tool called a Kwik Crimp is best. Before you use it – make sure your corners are folded neatly and lying flat to each side of the glass or they will be ripped when you burnish over them. Again, work methodically across the panel – you may need to adjust pieces as the foil increases the size of each piece.
Soldering the Pieces together

Flux will corrode metal and “eat” skin. The fumes from the flux are also very bad for you. Your work area needs to be well ventilated and you must work carefully to avoid skin contact. Flux works by removing any oxidation from the copper foil surface, leaving a clean area for the solder to fuse to. All copper must be fluxed before soldering to allow you to make a smooth soldered joint. Apply the flux just before you intend to apply the solder or dust and dirt will settle onto it and spoil the joint.

Look at the seams across the panel – if any junctions have a large gap it is best to attempt to plug it with some “crunched-up” copper foil. Although solder is quite forgiving – it will only bridge just so far. It is very frustrating moving pools of solder from front to back trying to fill a gap – and almost impossible to make a neat finished joint. Don’t use solder from the hardware store unless it is solid core 60/40 (lead/tin) The correct mix allows you to heat the solder but control the flow of it onto the areas you want. If the iron is to hot (or you have used too much flux, the solder will run through the joint and pool on the underside, or the flux and solder will spit at you !! If the iron is not hot enough the solder will not “flow” but will clump into unattractive globs along the seam. If you are right-handed, start at the top left of your panel and cover all the joints with a smooth layer of solder. You will be reworking the joints once you have soldered the reverse side, start by covering all of the foil with a smooth coating (tinning). Now it is time to solder the back of your panel. Turning a large panel can be a risky operation. it is best to cover a large panel with a cloth and then a sheet of plywood. The panel has little strength until both sides are finished. Take your time when you are “flipping” the piece. Repeat the tinning process for the reverse, then go back and add more solder; drawing it into a smooth rounded bead along the length of each seam. (this takes practice and a clean soldering bit) Flip the panel back to the front side and draw a bead along the seams as you did on the back. A good craftsman will finish both sides to the same quality.


© 2009 Jackie Barnaby
All Rights Reserved

A short article on the finishing process is continued Here

10 ways stained glass projects mirror life

  1. You will learn less from the projects you rush than from the one’s you invest your time in.
  2. Some things cannot be done any faster. Patience is a gift.
  3. Every project teaches you something new if you pay attention.
  4. Sometimes you hurt yourself. This is part of the experience.
  5. Don’t show people things half-finished.
  6. There will always be some waste. As you improve, there should be less.
  7. The things that don’t go exactly according to plan are the ones you learn the most from.
  8. Things look very different in a different light.
  9. The small, unexpected detail can be the most rewarding.
  10. Always protect your eyes.

First raised bed in the vegetable garden


My first attempt at a ‘no-dig’ bed.

Also my first attempt at attaching wood together using power tools. Very satisfying on both counts. I should be further along with this, and I would have been if the English Ivy had not covered the ground with such voracity. I had intended to work on ivy clearance and leave the veg growing for next year…. could not wait so I have ‘cracked on’ as they say.

The now infamous ‘Raised Bed B’ is 3ft by 3ft. Raised Bed A is a repurposed bookshelf poking into the left side of the photo. This will be most likely be used for herbs.

The non-bed areas where ivy has been cleared have wood chips on – perhaps a vain attempt to deter weed regrowth. Cardboard from cartons (Thanks Amazon.) covers the bed areas which have good soil from previous gardening forays and associated addition of compost – lots of it. Compost (I love compost) going on top of the cardboard in the beds next.

It was good to see that the 25-year old anti-rabbit netting that was buried surrounding the garden has stood up to the elements and will work fine if I can get the gates sorted. It will need to work as my garden is a safari park for rabbits, wild turkeys, raccoons, squirrels and chipmunks.

A small beginning, but I have some big plans.


Making History

I am taking a MOOC – Superpowers of the Ancient World through Futurelearn (highly recommended):

This is one of my posts, and describes my view of conflict in world affairs, both historical and contemporary:

“The fight for control of land and other resources seems to be the basis for much of global history, and seems to me to be a large part of human nature. If you have more stuff, your group survives and does better and makes more history… Gaining the support of your group by defining the ‘others’ as something to be opposed is the universal way to garner enthusiasm and greed. It is a simple story that causes most of the horror in the stories and interest for what we read and study so avidly, and repeat so hideously.”

Seeing how current politics move to do the same things over and over again I am astounded that we have not progressed.

Reader’s dilemma

Choosing a book to read is like walking through a minefield for me. If I haven’t read something by the author already, I risk picking up something I won’t like. Horror!
You used to be able to weed out the dross by going with a publisher you had luck with in the past, but self-publishing has become popular – even for authors who could get a publisher to take them on if they asked. The small payments from book sales means cutting out the middleman is a sensible thing for authors who want to make a living at writing novels, but it makes choosing a good author much harder.

I read over a hundred books a year, mostly novels – and I still will not impact the list of books I want to read. That list keeps growing. I am getting older, and as time goes by, so does the potential I have to read all of those lovely stories.

Don’t waste my time with a book that you took too little time writing, editing or researching (or all three)! Make your finished book worthy of the effort you will have to put into it to sell it.

I can forgive mediocre writing if I am reading a non-fiction book for information, but in a novel it is extremely distracting. Poor grammar, punctuation and sentence structure makes me focus on that and then I miss the story-line. No matter how good the plot is, it is ruined by sloppy writing.

Along with my hatred of bad writing comes the joy in the variety of topics and ideas that now come to be available in vast quantity. Maybe sacrificing quality is the result, but I hope that discerning readers will find a way to filter out the less worthy before such authors become successful and set the new and lower standard.

Early start

It was a quarter to five when an unknown operatic bird in the oak tree next to my bedroom window woke me. It was barely dawn! I was all dressed and ready to run, but it took a large mug of coffee, toast and a bit of a read (The Club  Dumas – highly recommended). I was on the path at seven thirty and back before eight thirty. I had a blast. Why is this such a difficult thing to start?

The Trunk

I was an efficient packer, back in the day. That is, when I went somewhere that I needed to pack for. When I went off to the big city for the first time, my father presented me with “The Trunk”. It may have been something from WWII, but it did the job and doubled as a sturdy item of furniture all through college. All my worldly possessions went into this heavy item, all except my electric kettle. You are not even allowed to keep a kettle in dorm rooms now!

I was reminded of the trunk when one featured in an Hercule Poirot episode I saw on Netflix recently. I remember it fondly and wonder where it ended up. A thing like that never dies! The trunk is a fantastic item of luggage if you have a porter or other strong person ( I was tempted to say ‘man’ there, but I am getting the hang of all this nonsense about gender-neutrality. I meant man. I would never ask a woman to lift things for me.) As having a porter is something requiring more cash than I will probably ever have, I am also glad of the lightweight carry-all; but am also grateful that I now have a car with an extensive flat area in the back.

On the subject of the car, I think the amount a child (young adult?) takes with them when they go to college is related to the volume of storage area made available during the exit. In retrospect, if I had rented a U-haul, my eldest daughter might not have left enough of her worldly goods in her/my bedroom to sustain a normal person for a lifetime when she ‘left’.

I managed with a trunk about four feet by three feet by two feet. Just the one. I may have packed the wellies separately… I didn’t need a pharmacy of products for hair care and skin attention because, well, I was going to college to study. And all the people I was with understood intimately that I was a poor student, not a runway model. I also paid very little attention to having coordinating linens. In fact coordinated anything was not part of my kit.  I expect I would be shunned in today’s dorm. I do remember finding a deal on a family sized instant coffee can (thank you Nescafé and Woolworths) which made my room a very popular place after classes, and before classes, and sometimes while we were supposed to be in classes.

We start our children off very young with the amassing of stuff. Most of it is rubbish, wont last, and is not even made to last as long as you might use it. We buy all these things and then feel obliged to house the stuff in ever larger houses, storage lockers and sheds. It promotes a disdain for things of real value and working towards anything, or for things. Everything must be instant and easy to get. We end up working to pay off the debts for things we bought, but no longer own; or perhaps it is just that we can no longer find them amid the rest of the rubbish we have since amassed.