When constructing stained glass panels of considerable size, it is always wise to incorporate reinforcement. Reinforecement can be either metal “rebar” bands or wire, depending on the work. Stained glass panels get fairly heavy when the total perimeter footage reaches 12. We recommend using rebar if this is the case, but the actual dimension of the piece is a determining factor whether reinforcement is required. For example, a panel which is 4 feet wide and 2 feet tall will generaly not require rebar, but a panel 2 feet wide and 4 feet tall should be reinforced. Rebar can be placed either horizontally or vertically. The number of rebar units varies with the overall size and design of the stained glass panel.

The essential purpose of using reinforcement for stained glass panels has to do with weight distribution as well as structural integrity. It also acts as a brace against wind gusts if a clear protective shield is not used. When carefully placed and fully notched into the moulding treatment holding the panel in place, rebar effectively carries the load of the entire panel by spreading out the weight in sections instead of all the weight settling to the bottom frame. Large, heavy stained glass panels, if left without proper reinforcement, can buckle and bow in time. In addition,  glass is left susceptible to cracking from excess pressure. It may take a number of years, but deterioration will eventually happen. This applies to both leaded and copper foil methods. It is possible to reinforce copper foil panels with heavy gauge wire or copper “restrip”, but when the size approaches 12 perimeter feet, there is nothing better than using rebar.

Rebar is usually made of specific steel which has been coated for use in the stained glass industry. Zinc as well as brass rebar are also used in reinforcing stained glass panels. We offer the steel type of rebar because it is very strong, yet economical. Our stock comes in either 3/8 or 1/2 inch widths. Both are 1/8 inch in thickness. When planning to use rebar, try to consider placement of it while in the design phase. It is best to directly solder rebar to intersecting joints as well as to the frame for maximum strength. Although it seems that rebar would interfere with the design of stained glass, it is actually overlooked by the eye because the beauty of the glass predominates. Note that rebar is applied perpendicularly to the surface, thus only the 1/8 inch side faces the observer.

In addition to metal reinforcement techniques, there is another step involved in the process: cement. Stained glass cement, which is similar in appearnace to puttty, is forced into the lead chanels and frame. Cementing is critical when constructing larger panels using the leaded method because it dramatically strenghtens the whole piece as it cures. Of further importance, when stained glass panels are to be exposed to the elements, cementing acts as an effective waterproofing substance. ( Cementing does not apply to copper foil work. ) Cement is specially formulated for the stained glass industry and is available at the studio.

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When cutting stained glass, there are a number of helpful ways to make your job go easier and with less unintentional breakage. Listed here are some of the more basic points to remember.

1) It is best to stand when cutting stained glass so that proper pressure on your cutter originates from the shoulder instead of the wrist. This allows more consistent pressure with much less hand fatigue.

2) Be sure that your cutter is lubricated before cutting as well as between each score of the glass. Any light-duty oil is sufficient, such as “3-in-1″ oil which is available in the studio.

3) When cutting stained glass, always cut on the smoothest side. This not only makes cutting more accurate, it also spares excess wear on the cutting wheel (and on you!).

4) Start your score close to the edge of the glass but not on it, and stop just short of the glass edge as you lift up on the cutter. This practice will ensure a much longer cutting wheel life.

5) Maintain an even pressure while scoring. The score line should be barely visable as you move the wheel over the glass while hearing a faint “hiss” sound. If you do not hear the hiss, you are not applying enough pressure. Conversely, if you hear a pronounced hiss and see a white, fuzzy line along the score, you are using too much pressure. It takes practice to know the proper pressure to use. Also, some glass requires a bit more pressure than others.

6) Never go over a score line twice. This will dull your cutting wheel very quickly and it will also make breaking the glass unpredictable or not possible.

7) Position the cutting wheel to be as perpendicular to the glass surface as possible. Slanting the wheel to the left or right will give a beveled edge to the glass which will make fitting and foiling/leading difficult. In addition, your glass may not break as intended, if at all.

8) Make it a practice to do the most difficult score first, such as the inner side of an arch. Leaving as much glass as possible on your piece while you cut the difficult score will keep the glass from getting weak so that unintentional breaks can hopefully be avoided. Sometimes it helps to lightly tap under the glass along the score line to enable a cleaner break. Use the metal ball-end of the cutter for tapping.

Cutter replacement may be necessary if these conditions are present:

1) Excessive pressure is needed to score the glass.

2) The score looks like a dotted line.

3) No audible hiss is heard while cutting, no matter how much pressure is applied.

We offer several styles of stained glass cutters…from value-priced steel Fletcher models to top-of-the-line Toyo pistol grips. We also sell replacement cutting heads for the Toyo as well as for our basic pistol grip unit. Stop in to see them all.

Thanks for reading. Stay tuned for more artices in the coming weeks.