This month we have a guest writer! I'm lucky to have a brother-in-law, Raymond A. Parker, that's one of those guys who not only can do just about everything, but can do everything well. When he told me he was making more leaded glass windows for his home, I asked him to document things for this column. Sometimes my "Ideas" stories show you how to do something, and other articles just show you how something a bit more complicated was done (not expecting you to try it on your own). The latter is how this month's column reads. At least you'll get an appreciation for what all is involved in a project such as this.
Ed
This arched window leaded art glass project enhanced the look of two 82” X 31” windows in a master bedroom. Following is the progress from designing a drawing of the desired art piece through the final installation. The homeowners performed all the work, employing basic woodworking and glazier techniques. A prototype glass insert was constructed to determine satisfaction. This summary then sets out the process with accompanying photographs. The total project time per art glass window ensemble was approximately 24 hours. Professional glaziers likely would complete the job in a shorter time. The project cost per window was approximately $150. The owners used glass, glazier tools, and materials available through Rainbow Art Glass (https://shoprainbowartglass.com), Delphi Glass (https://www.delphiglass.com), and others. In Central Florida, the west-facing windows are protected by hurricane-rated Bahama shutters, high-impact glass windows, gas-filled space between window panes, and 60% light-reducing window grey tinting. Hunter Douglas vertical blinds below the insert area further control light entering the window. The owners’ concern was the dark space at the windows’ top arches. The shutters attach just above the window, bringing the structures close to the windows with heavy louver blades.
Elsewhere in the house, the owners commissioned a professional glazier to design and construct full beveled glass door and window inserts. This artwork served as the basis for designing the project pieces. The owners photographed a section of the glazier’s beveled glass piece. The center section was selected for the arched project. The owners “Photoshopped” the extracted section to fit the shape and dimensions of the project space. This was printed on a home computer. The 8.5” sheets were cropped and taped to form the project template. Each glass template piece was numbered, included an “F” or “B” for front and back, and had an arrow indicating the glass “grain” direction. The cut-out template pieces were marked similarly. The glass is cut on the smoother back side of a glass pane to render the best cut. Cut glass pieces are similarly numbered.
The owners selected the European lead came glazier method over the American “Tiffany” copper tape and soldering method. The came replicates the beveled glass artist’s method elsewhere in the house. Leaded came construction is more structurally sound than soldering for larger areas such as this project. The project did not use beveled glass which is more expensive. Information on the leaded came method is at https://www.youtube.com/watch?v=qFBlY_V5XmM. An overview of the soldered copper method is at https://www.youtube.com/watch?v=CvckB6ToyQU.
The project arches were accurately measured and transferred to a cut-out cardboard template. Then the template was used to cut a precise pegboard frame inside which to assemble the project glass arch. Alternatively, pushpins or horseshoe nails can be used to form the shape. Pegboard was used so it could be easily screwed to a plywood base. The form top, bottom, and sides were separate so they could be adjusted and to facilitate inserting the glass inside the “C” shape outside edge came and the “H” came between pieces. A 3/16” spacer was inserted in the form to allow “play” for fitting the final glass ensemble into the window arch.
To render a narrow line assembly template and to draw pieces that would form glass piece cutouts, carbon paper was used. Cardstock was used for cutouts. On top of the cardstock was carbon paper. On top of the carbon paper was standard-weight paper. On top of this was another layer of carbon paper. Then, on top of the sandwich, was placed the thick line “Photoshop” design. A ballpoint pen was used to heavily press and transfer the narrow line design and simultaneously, the cutout shapes. The ballpoint followed in the center of each of the thick “Photoshop” lines. The narrow line template was needed to accurately place the edge “C” came and inside “H” came. The outside of the “C” came was set in the construction frame against the 3/16” spacers. The “H” came was placed on the narrow lines such that the center of the “H” was on the fine line.
The form and fine line design were assembled, the individual glass cut-out pieces cut and numbered, it was time to trace the shapes on the back of the glass itself for cutting. A Sharpie marking pen was used. The cut-out templates were flipped over so they could be placed on the upside-down glass. Here is where the value of the piece number, “B” for back, and arrow to match the glass grain comes in.
The next step is cutting the glass. See https://www.youtube.com/watch?v=wfI11GFZuT0 for the cutting process. Pictured at left above are • running pliers used to break the glass after using the glass cutter, • a paint can opener used to tap-crack the glass, • a glass cutter, • 3-in-1 Oil to lubricate the glass cutting wheel, • instructions for the running pliers, • a dishtowel used as a soft surface on which to cut the glass• safety goggles. Cutting the glass can be challenging. A glass grinding machine can be invaluable for the final accurate shaping of the cut pieces. Consulting a local glazier or art glass studio can be helpful. Glass was purchased in 12” X 12” sheets. Tracing templates were positioned on the backside of the glass to maximize available glass. A simple layout chart aided in purchasing the glass and drawing the templates with the correct grain orientation: Glass style A = pieces #4 & #7 on one glass piece, stylet B = pieces #2 & #11 and #5 & #9 on two glass pieces, and style C = pieces #3 & #12, #1 & #10, #6 & #8 on three glass sheets.
The owners selected clear glass with three different textures. Tinted or colored glass is available, but likely would have further diminished the amount of light coming in.
The rough-cut glass pieces then are ground to precision to fit the “C” edge came and the “H” inside came. Local glazier studios likely will have grinding or water sawing equipment to assist with final shaping. Pieces are then placed and fitted into the overall design. Intersections of “C” and “H” came are soldered ensuring the design fits the pegboard frame and window space and for strength. The soldering process is covered in the lead came process noted above, https://www.youtube.com/watch?v=qFBlY_V5XmM.
The soldered ensemble is cemented next. This process renders strength and seals openings around the glass. The process is well covered at https://www.youtube.com/watch?v=fA_tl1mHV0c.
After the cement is cleaned and allowed to be set for 24-48 hours, all came and cement is then cleaned with steel wool (0000 grade works well), fine sandpaper, or cleaners. The owners wanted dark lines on the window piece, so they used black lead as a patina solution. Many brands and sources are available.
At this point, the assembled design is ready to install in the window space. Basic finish carpentry can be used. The shape of the space dictates the required carpentry. The owners selected a white vinyl to match the inside surround of the window. The vinyl also served well on the windows to mitigate moisture and mold buildup in high-humidity locations where air conditioning is turned on and off.
Two measuring sticks, one running across the other, were used to accurately size the molding lengths. This “slip-stick” approach renders very accurate dimensions. The bottom vinyl pieces and sides required 90-degree angles and 45-degree miter cuts. Again, field adjustments with windows and doors may affect the actual angles. Careful attention is required for the miter cuts.
Finish carpentry technique for curved molding as in the subject windows often requires a 32 ½ -degree miter for the ends of the top molding piece and the top ends of the vertical stiles. The owner verified this by replicating the angle used to install the red oak wood molding around the window and at the top of the curve. Then the trick is to determine the precise length of the vinyl molding to fit the space. Again, using two bendable metal rulers, one sliding over the other, the owner bent the slip-stick to match the curve, end-to-end. Correctly fitted, the slip-stick was temporarily clamped. Carefully removing the slip stick, when straightened, it precisely established the length of the top molding vinyl piece. A 32 ½ -degree miter was cut at each end of the top vinyl. With the aid of a hairdryer or a pre-heat oven, the vinyl can be softened to allow it to be carefully bent to shape and fitted into the aperture with miters mating. White caulk can be used to fill small gaps and to secure the window piece in place. Care should be taken to clean all window and glass surfaces before caulking.
I hope all your projects go well. Thanks for reading, and happy restoring!
Ed
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