There are many techniques that can be used to create beautiful and interesting works of art in stained glass. This article deals with stained glass painting. This technique has been used for centuries and was the most popular form of stained glass during the Renaissance era due to their keen aspiration for intricate details in artwork. Painting of stained glass became so popular, in fact, that the earlier stained glass arts of using “pot metal glass” almost disappeared entirely.

You will need several items handy to do stained glass painting. Obviously you will need paint and paintbrushes, if you cannot afford the specialized stained glass type you may be able to improvise with regular artist’s paintbrushes. You will also need access to a kiln to set your work. Many professional studios will allow you to use their kiln for an hourly rate. Next, you will need a palette for mixing your paint. A piece of sandblasted glass is the most suitable choice for mixing you stained glass paints. A palette knife is a helpful tool in mixing the paint. The paints are made from a mixture of powdered oxides, gum arabic and water.

As with other forms of stained glass art, you will want to start with your design on paper. Make sure there is some definition to your design and that the differently colored areas are outlined in a darker color. You may tape your design to the bottom of your glass so that it will remain in place during painting. Begin painting the dark outlines of your design with a tracer or rigger (long brush with a slender point). You will want your trace paint to be dark enough to block out light and provide contrast with your lighter colors. You must apply the outlines in long, smooth, continuous strokes. Do not try to “go over” your lines once they have dried (which does not take long!).

The information about Stained Glass presented here will do one of two things: either it will reinforce what you know about Stained Glass or it will teach you something new. Both are good outcomes.

If you do you will cause the paint to bubble and separate (fry) when the glass is fired in the kiln. You should not touch the line at all once it has been painted, although you may correct some mistakes and overages by gently scraping the paint off with a toothpick AFTER it has dried completely.

Next, your stained glass trace paint is fired in the kiln at approximately 1150? F.

After your trace paint has been fired, you are ready to apply your shading colors. The shading color may be dropped into a particular area of the stained glass and then brushed or “mopped” over the entire area where that color is desired. You may then use various brushes with different strokes or techniques to create a stippled or otherwise textured look. Keep in mind that the color of the shaded area will appear lighter in your finished stained glass project after it has been fired in the kiln.

You may also wish to enhance the look of your project with silver stain. Silver stain will be applied to the back side of your stained glass project (the opposite side from your painting) and will actually change the color of the glass rather than simply cover it. Silver stain can be corrosive as it contains silver nitrate so use with caution and please use clean brushes for this portion of the project. The effect of silver stain is a lovely yellow to amber-colored hue to the stained glass and provides a lovely background to your stained glass artwork.

Your skill and technique in painting stained glass will improve over time, as with any new endeavor. Be patient and allow yourself to enjoy the process. Painting stained glass can be a rewarding hobby and with a little practice you may even create a masterpiece someday!

About the Author
By Anders Eriksson, author of this Free Adsense eBook — make sure to claim your free adsense ebook download!

Unlike a coloring book page which is colored once and then maybe taped to the refrigerator for a few days before finding its way to the garbage can, a stained glass creation can bring enjoyment and help boost a child’s self-esteem for many years to come. There is nothing better than a beautiful constant reminder of the child’s great “achievement”.

In its early days, long before Christ was born, stained glass was made by mixing different metals with sand and soda and heating them at high temperatures so that the colors were actually a part of the glass. This type was thicker and the colors were rich and dark. Throughout the decades styles and tastes changed and new ways of using stained glass were needed. As people wanted to get more detail in their stained glass windows and also allow more light in, they began to use the technique of painting on the glass, rather than mixing the colors into while making it. This would be the easiest way to introduce a child to the art of stained glass. Many craft stores and mass marketers carry ready made stained glass kits that allow the child to make beautiful sun catchers or Christmas tree ornaments.

You can see that there’s practical value in learning more about Stained Glass. Can you think of ways to apply what’s been covered so far?

These kits are very easy to use. Most have kid friendly designs with raised metal borders and the child can use an eye dropper to add a stain to the different areas of glass.

These kits are basically fool-proof and allow the child to easily create something beautiful without any smudges or smears.

Another idea to capture the feeling of stained glass is to use black colored paper as your “lead came”. You will need to go through two sheets at once to create your design with various shapes cut out. You may use either thin colored crepe paper or two sheets of waxed paper that have had crayon shavings ironed between them as your “stained glass”. This is something that can be created easily with objects you probably already have laying around the house.

Children love to learn and using a stained glass project provides the opportunity to teach them on a variety of topics such as art appreciation, the history of religion, architecture for the older students and things as simple as colors and shapes for pre-school and kindergarten ages children. Any project that allows a child to be creative, spend time with their parents and develop their self-esteem is worthy of taking into consideration and stained glass craft making certainly meets those requirements. So why not make some cookies grab a stained glass art kit and your favorite child or children and spend some quality time creating stained glass art?

Those who only know one or two facts about Stained Glass can be confused by misleading information. The best way to help those who are misled is to gently correct them with the truths you’re learning here.

About the Author
By Anders Eriksson, feel free to visit my latest acquisition: Free Google Traffic System and make sure to visit my bonus site!

All stained glass art projects, big and small begin with a cartoon. The cartoon is a drawing on paper of what you would like your stained glass artwork to look like. The fact that you are translating your artwork into a stained glass piece provides some extra challenges. You will have to take into consideration the strength and integrity that the different sized pieces of stained glass will create. You will need to keep in mind the copper or lead “skeleton” that is created by your came. This skeleton needs to be thought of as not only a strength or support to the stained glass, but an integral part of the design itself. This can be an advantage as you are forced to stretch your creativity and add extra lines where you might not have initially considered, unexpectedly adding more depth to your design.

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There are many places you can and should look for inspiration for your stained glass design. You will find many books and websites about stained glass from which you may find ideas. Paintings, magazines, your home furnishings or any interesting pattern you see may provide insight. Your stained glass art may be a scene from a family photo, a familiar landscape or a completely abstract design.

Once you have decided on a design for your stained glass it is time to draw it out on paper. Think of the size your finished piece will be and draw the perimeter and begin planning the stained glass design within it. Once you have made the initial drawing, look it over and think about whether any of the pieces will be too difficult to cut and consider changing the lines slightly to avoid difficult cuts. Remember that smaller pieces with more leading between them will make the stained glass stronger, so consider adding lines in areas that are too large. When working on your first design, keep it simple so you can gain experience and build your confidence before moving on to more difficult pieces.

Remember that even the great American stained glass artists like Tiffany and La Farge started with small jobs before they adorned America’s great churches!

Once you are satisfied with your pencil drawing, ink it in and make several copies. You will need one for cutting the stained glass design out and at least one other for checking that the pieces fit together. When placing your pattern pieces to cut your glass take into consideration any irregularities or streaks in the glass and consider how to use them to your advantage such as a streaky blue being used for a cloudy sky. Most importantly, relax and trust you intuition. Your stained glass will be a one-of-a-kind and an expression of your unique personality.

When word gets around about your command of Stained Glass facts, others who need to know about Stained Glass will start to actively seek you out.

About the Author
By Anders Eriksson, feel free to visit my latest acquisition: Free Google Traffic System and make sure to visit my bonus site!

When you go to a stained glass artisan, don’t expect to walk in and tell him/her you want a window put in your front door and then ask, “How much will it cost?” The stained glass artisan cannot give you a quote off the top of his/her head. There is a process to arriving at a price for a stained glass window.

When you know that you want a custom stained glass window, you should arrive at the stained glass studio with some facts and ideas before you ask a stained glass artisan for a price quote. The first thing you need to know is the exact measurement of the opening. The base price of a custom built stained glass piece begins with pricing based on square footage, and then per piece. Therefore, the more intricate the piece is, the more costly.

Each stained glass artisan has his/her own pricing scale. An example of just the basis of the quote would be: $125 per square foot plus $1.50 per piece in the pattern for a stained glass window constructed with lead came. A lower charge of $110 per square foot plus $1.50 per piece might be given for a stained glass window constructed with copper foil.

But that’s just the beginning.

If you don’t know what design to settle on and you request full-size cartoons (patterns) to look at on your opening, the stained glass artisan might charge $50 or more per cartoon to cover his/her extra time – especially if you decide not to have the stained glass window made.

The type of glass used in a stained glass window has bearing on the cost. For instance, red glass is more expensive than some other colors because gold is a metal used in making red glass. The brand Kokomo glass is generally more expensive than Spectrum glass. Some of the “art” glass is more expensive than other glass.

If your Stained Glass facts are out-of-date, how will that affect your actions and decisions? Make certain you don’t let important Stained Glass information slip by you.

Beveled glass and bevel clusters (especially if they have to be custom made) are often far more expensive than stained glass. For an individual stained glass artisan to custom make bevel clusters, it requires a lengthy process. This would increase the quoted price for your custom stained glass window.

If you decide to have gems, glass globs or faceted jewels or rondels added to the design, these will increase the price of your custom stained glass window. Some gems are more expensive than others, and these add to the intricacy of the work to be done.

Other considerations in the overall cost of your stained glass window are installation and how it will be framed and whether or not the artisan will be responsible for framing and installation. The stained glass artisan may refer you to a framer or a carpenter if the artisan does not do the installation. Other costs include things like whether or not a storm window is included or if the stained glass piece will be sandwiched and weather-sealed between two pieces of glass.

It will help the stained glass artisan to know what type of glass to choose if you know whether or not you need glass that will provide total privacy. Is there anything that you would like to bring into the stained glass design like nature or flowers? Do you want colors or just clear textures? Do you like Prairie style or Art Nouvea?

When you have a design and the glass chosen and the finished size, your stained glass artisan will be able to give you a price on your beautiful custom stained glass window.

About the Author
By Anders Eriksson, feel free to visit my latest acquisition: Free Google Traffic System and make sure to visit my bonus site!

Accounts vary on the earliest use of stained glass mainly because it was invented before recorded history. Some historians claim it was first used as a domestic luxury in the homes of wealthy Romans in the first century. Stained glass eventually gained recognition as an art form sometime in the fourth century as Christians began to worship openly and built elaborate churches to celebrate their religion. Other historians point to evidence in ancient ruins that implicate the use of stained glass in pagan traditions and decor. While we may never know the exact origin of the medium of stained glass it is clear that the spread of Christianity is directly related to the expansion of stained glass across the globe.

The twelfth century began what is known as the Gothic Era and stained glass windows took center stage in elaborate and monumental cathedral designs. Beginning with the innovative designs on the St. Denis, stained glass windows were used to bring light, both literally and metaphorically, into cathedrals to enhance the worship experience. Most of the stained glass from the St. Denis Cathedral was destroyed during the French Revolution but a few select fragments and even some entire windows can be found on display in varying locations throughout Europe.

The bold lines and strong figures of Gothic style stained glass were eventually phased out as Renaissance artisans leaned toward greater detail, more delicate coloring and increased realism. Stained glass windows evolved into something more like a painting on glass than an architectural element and some of the notable elements such as lead lines disappeared.

Although there were numerous pieces created and even some masterpieces, due to the difficulties in expressing the great detail of requisite to the Renaissance era, true stained glass became somewhat of a lost art.

If you don’t have accurate details regarding Stained Glass, then you might make a bad choice on the subject. Don’t let that happen: keep reading.

Stained glass had been primarily used by the Catholic Church and much of the precious art form was destroyed during the 1600′s by order of King Henry VIII after his break with the Church. Not only were cherished stained glass windows recklessly destroyed, but many of the glass making facilities were ruined as well. Religious unrest was not the only factor in the decline of stained glass. During the Baroque period the fashion leaned toward more intricately detailed interiors and elaborate wall painting which necessitated the use of clear glass in the architecture. Many of the remaining stained glass windows were left unmaintained and allowed to decay during this period and very few new stained glass windows were created.

During the late seventeenth century the hearts and imaginations of the people returned once again to the Gothic style of architecture. This revival was apparently motivated by the need to escape the harsh realities of “modern” life including the daily grind of factories. With the return of Gothic architecture emerged a newfound interest in stained glass. Artists initially continued to use the technique of painting on glass, but eventually realized the superiority of the old pot metal glasses used in medieval times. Since the old techniques had not been used for such a long time, the technique used for making the lead lines had been lost and the artisans of the period floundered when trying to recreate the dynamics of the Gothic stained glass. This coupled with a reluctance to give up the newer more detailed “modern” depictions of scenes and figures lead to windows with an interesting design with the old architecture and an unusual blend of the old and new stained glass styles.

During the nineteenth century, artisans La Farge and Tiffany created new variations of opalescent stained glass. La Farge tended towards architecture and window designs with a small private studio, while Tiffany boasted a larger studio that branched out into other areas, like the Tiffany Lamp which has become a household name. Today’s stained glass artists are bound by no particular style or religious themes. Much of the work they do involves restoration, but can also be seen in both small and large decorative touches in homes of people from almost any economic background. New and innovative techniques are constantly being discovered and stained glass continues to add interest to our lives.

About the Author
By Anders Eriksson, feel free to visit my latest acquisition: Free Adsense eBook and make sure to claim your free adsense ebook download!

The lead came method of stained glass construction gives an appearance of uniform lines and an antique look. The lead channel is wrapped around the glass and then joined at the “seams” or joints by a bead of solder.

Lead came, used for joining pieces of stained glass, comes in one channel, called “U came,” or two channel, “H came,” strips about six feet long. “U” lead strips are used to frame the outside edges of stained glass, especially on small suncatchers or ornaments with only two or three glass pieces. In larger stained glass projects, the “H” lead strips are used to join two pieces of glass together, placed inside the grooves.

Stretching the lead strips before fitting it around the stained glass makes the lead more rigid and stronger. Some lead is pre-stretched, but might have acquired some kinks or bends in packaging, so you may want to stretch it a little to get the kinks out. Do not over-stretch as it will narrow the grooves in the channel, making it too narrow to fit around the stained glass. Lead that is stretched too much will break.

The lead is soft enough that after fitting it on the stained glass and making sure that you have good connections, you can easily cut it with lead nippers, a lead knife or even scissors. Be careful to make sure the joints you have cut butt so that it will be strong throughout the stained glass piece. Filling gaps between the joints takes a lot of solder and makes the joints look sloppy and unprofessional.

Your stained glass work will be laid on a pine board, beginning at two strips of wood nailed at right angles to each other. These wood strips will act as a support for your project. Your alternating pieces of lead and stained glass will be temporarily held in place by horseshoe nails as you progress across your stained glass pattern.

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Each piece of stained glass and the lead strip around it has to fit within the pattern lines before you move on to the next piece. If one piece is too large and crosses over the pattern line, then every other piece will be off and your entire stained glass piece will be off.

Before you begin soldering the lead joints on your stained glass project, you should practice on some scrap pieces of lead first. Lead melts so you want to check your soldering iron’s temperature on the lead scraps first. If it is too hot, a rheostat can lower the temperature enough to prevent unwanted melting of the lead. A 40 watt soldering iron is hot enough.

Before you solder the lead joints, prepare the metal with flux, then move your soldering iron tip quickly over the lead, creating a pool of the 60/40 solder. The pool of lead should smoothly flow over the seams and lie flat. It is not necessary to raise a big ball of solder at the joints.

Solder all joints on both sides of your stained glass panel. Clean the flux away with warm, soapy water. Reinforce the stained glass panel by forcing a glazing compound or putty into the lead channels. Clean away all excess putty with whiting or sawdust, and then a soft cloth.

Another method of joining stained glass, created by Louis C. Tiffany, is the copper foil method of stained glass construction. The glass crafter can choose which method he/she prefers based on each individual stained glass project. Both methods of stained glass construction generally work equally well.

There’s a lot to understand about Stained Glass. We were able to provide you with some of the facts above, but there is still plenty more to write about in subsequent articles.

About the Author
By Anders Eriksson, feel free to visit my latest venture: GVO and make sure to claim your $1 trial membership!

If you have some experience in stained glass handi-crafts repairing your old or damaged stained glass window is a project you may consider doing yourself. This article assumes you have at least some experience in this craft. If your window is very valuable, if you do not have any experience in stained glass window making or if you lack confidence in your abilities this is a task you may want to leave to the professionals. Otherwise, the process is very much like creating a new stained glass window and even a little easier in the sense that you do not have to do much, if any, glass cutting.
Problem #1: The leaded stained glass window cames are around seventy years old (or older) and have become brittle causing bulging or breaking.

This usually begins to happen in a stained glass window over seventy years old. Lead does not rot or rust, but it does lose its elasticity and become brittle over time. If left unattended it may cause the stained glass pieces to fall out or break as well.

The Solution:

Re-leading the window. This is time consuming, but very worthwhile to restore your stained glass window to its original beauty and integrity. The following steps must be taken:

1. Take a photograph of the window and measure lead cames to help with reconstructing it later.

2. Take the panel out of the window frame and remove panel framing.

3. Next, you will need to take the entire panel apart using the soldering iron to loosen solder and gently pry the old cames from the glass pieces.

4. Dispose of old lead in an environmentally friendly way, you should probably take it to a metal recycling facility.

5. Next each piece of glass should be thoroughly cleaned and dried. Lay the pieces in place so as not to become confused later.

I trust that what you’ve read so far has been informative. The following section should go a long way toward clearing up any uncertainty that may remain.

6. Reassemble panel using with new lead cames in the same width as the original.

7. Broken stained glass pieces should be traced and matched as closely as possible to a new piece of glass cut with the pattern you create. Another option if you have all the broken pieces and either cannot match the stained glass closely enough or do not want to put new pieces in, is to use thin lead cames to hold the broken pieces together. This option will likely make it obvious that the window has been repaired, so use with care.

8. New cement should be applied to both sides

9. New reinforcement bars should now be attached.

10. The stained glass panel is now ready to be re-framed and re-hung.

This process should be done when the window is nearing seventy years old. Following the steps above should result in a complete restoration of your stained glass window and it should be as structurally sound as a brand new one.
Problem #2: One stained glass panel in a window less than 70-years-old is broken.

The Solution:

This will depend on the location of the broken piece. If it is near the outer edge, you may be able to get away with carefully breaking the damaged piece out of the frame and using the soldering iron to loosen the lead cames and then re-soldering the new piece in place as in #7 above. If the broken piece is in a difficult location or if there are several broken pieces, you may want to re-lead the entire window following the above instructions. If there is a small crack, you might consider using a glass repair kit from the automotive shop. These are used to fix small chips and cracks in windshields and if the damage is slight, may be a suitable way to repair the crack and prevent further damage.

There are a number of other small repairs that you can do yourself such as re-painting areas that have flaked off, but these will need to be removed and re-kilned and you may want to consult with a professional for help with that. Restoring your stained glass window may be a painstaking process, but it is worth it to preserve its original beauty and make it last for future generations.

Take time to consider the points presented above.

What you learn may help you overcome your hesitation to take action.

About the Author
By Anders Eriksson, feel free to visit my latest venture: GVO and make sure to claim your $1 trial membership!

Tiffany had studied painting in Paris and when he returned home, he studied Medieval techniques in glassmaking. From his experimentation of many techniques of glassmaking, he came up with his beautiful “drapery” stained glass which he used to represent the folds and ripples in the robes and gowns of figures in his stained glass windows.

Tiffany’s first figure stained glass window was built in 1878 using opalescent glass from the Heidt glasshouse. He made his first glass tiles at Heidt glass house, his factory in Brooklyn. Tiffany’s stained glass designs were unique and constructed with an aim for stability so that they would last and be enjoyed for generations.

Much of Tiffany’s work no longer exists. Without a thought, people threw away Tifffany stained glass lampshades; and, church and cathedral stained glass windows have been destroyed over time. Some of Tiffany’s stained glass lamp shades, when found, are now valued up to tens of thousands of dollars or more.

Tiffany’s stained glass products were not intended to be mass produced but, rather, were created for individuals or church memorial gifts. Probably only less than half of Tiffany’s stained glass products are still in existence. Those are mostly already in museums or are kept by prominent collectors. So, it is unlikely for you to accidentally run across a Tiffany stained glass lampshade or stained glass window panel that will make you wealthy.

You may not consider everything you just read to be crucial information about Stained Glass. But don’t be surprised if you find yourself recalling and using this very information in the next few days.

Tiffany was an avid painter who painted all his life.

His painting ability was very useful to him in designing his significant stained glass windows. His “cartoons” were not merely patterns on paper, but often they were full-size oil paintings on canvas. For Tiffany, stained glass windows were simply another form of painting.

Interestingly, Tiffany’s stained glass windows for public buildings were signed, but stained glass windows he built for individual homes were not signed. He thought the families who lived in the homes would be able to attribute to the fact that he or his company had made their stained glass windows. This has caused problems proving stained glass windows were his.

One of Tiffany’s better known designs was the Wisteria Table Lamp (c. 1900) of which many reproductions have been made. The beautiful stained glass lamp shade is a resemblance of a vine, leaves, and wisteria blossoms dripping all over in beautiful colors.

Tiffany’s stained glass works can be seen in various places. One such place is the Charles Hosmer Morse Museum of American Art at Rollins College in Winter Park, Florida where the interior of the chapel Tiffany designed is assembled. It had been designed for the 1893 World Columbian Exposition in Chicago. After the exposition, it had been stored in Tiffany’s mansion until the mansion burned down. The chapel parts and all its stained glass windows were salvaged and rebuilt in the museum at Rollins College.

There are several of Tiffany’s stained glass windows in New Jersey. Stained glass windows at Saint James Church in Fordham, Bronx, New York represent some of Tiffany’s best work from the late 19th century through 1929. Other Tiffany stained glass works can be seen at the Metropolitan Museum of Art in New York, City.

Many references to locations where Tiffany’s stained glass windows and other art can be seen can be found online.

About the Author
By Anders Eriksson, feel free to visit my latest venture: GVO to claim your $1 trial membership!

Glass Cutters- One of the most important tools you will use in stained glass making, good glass cuts will make or break your project. These range from very inexpensive carbide steel wheel cutters (you will need to add cutting oil as you go along) to slightly more expensive self-oiling tungsten carbide or pistol grip wheel cutters.

Cutting Oil- This helps to reduce friction allowing a smoother cut and also keeps glass debris from encumbering the cutting wheel’s progress.

Soldering Iron- (pronounced like soddering) This is used to melt lead solder which in turn is used to join pieces of metal, such as the lead cames or copper foil that will hold your stained glass pieces together.

Solder- The type you will be using in stained glass making should be an alloy (mixture) of tin and lead. This usually comes in a spool of either a 50/50 or 60/40 blend. The 60/40 is slightly more expensive, flows more smoothly and is therefore preferable for making a stained glass project.

Sal Ammoniac- This is soldering iron tip cleaner made from a naturally occurring mineral that reacts to the heat of the soldering iron and removes debris when the iron is gently rubbed on it.

Flux- Helps remove oxidation and other dirt and debris from the metal surfaces so that the solder can adhere to it. This is an absolute necessity to keep your stained glass pieces together; the solder just won’t “stick” without it!

Flux Brush- A very inexpensive brush used to apply the flux.

Flux Remover- Can be used to neutralize flux or patina and is often used at the end of projects to clean up small errors and over-flow.

Cutting Square- Helpful when drawing squares or other designs requiring a right angle.

Ruler- Used for measuring project dimensions as well as for drawing or cutting a straight line. A non-skid backing such as cork or rubber will help keep it from sliding on the glass.

Pattern Shears- These are special scissors that automatically cut the proper size strip of paper between pattern pieces to allow room for the lead cames or copper foils to be placed between the various stained glass pieces of the design.

Grozing Pliers- These pliers have narrow, serrated jaws for picking up small chucks of glass and can be used to remove uneven or jagged pieces of stained glass after cutting.

Running Pliers- These thick pliers help to carefully break stained glass pieces that have been scored on the design lines.

Needle Nose Pliers- A good all around tool to keep handy, can be used for small detail work.

Wire Cutters- These can be used to cut reinforcing wire or the picture hanging wire to hang your finished stained glass art project.

Hammer or Mallet- A good rubber headed mallet can be used to gently tap stained glass pieces into place.

Carborundum Stone- A trademarked name for a grinding tool used to smooth the edges of cut pieces of stained glass. Should be wetted periodically to make smoothing easier.

Electric Glass Grinder- A bit more luxurious way to smooth the glass edges; this is a machine that will do the job faster and more efficiently. This is definitely nice, but optional.

Copper Foil- One of the choices of material to hold the pieces of stained glass together. Comes in various widths depending on the look of your project-make sure your pattern shears are the same width as your foil or came.

Copper Foil Dispenser- Another nicety, this makes handling the copper foil easier, much the way a tape dispenser makes tape easier to handle.

Lead Cames- The original choice in stained glass support systems. These come as long strips of lead with grooves or channels on either one side or both, depending on whether it is to be used as an inside or outer edge piece of the stained glass.

Lead Vise- Holds the lead came in place to allow it to be stretched before use.

Lead Cutters- Also known as lead pliers these snips are especially helpful when cutting cames for use in the corners of your stained glass project.

Hopefully the information presented so far has been applicable. You might also want to consider the following:

Lead Knife- Can be used to make clean straight cuts on lead cames.

Horseshoe Nails- Great for holding frames in place when assembling your stained glass project.

Dustpan and Brush- Helps to keep your workplace clean which is important in making stained glass projects because debris will prevent things from sticking properly.

Safety Goggles- Keeps pieces of lead or glass from damaging the eyes during cutting, always remember “safety first”!

Wooden Block Holder- Can be helpful for holding pieces of stained glass.

Masking Tape- Always handy in the workshop; may be used to hold pattern pieces together or many other uses.

Picture Hanging Wire or Other Fasteners- For hanging your completed stained glass project.

Lead Board with Right Angle Support- Useful in holding a lead stained glass project in place during assembly while keeping the edges clean and straight.

Wood or Plastic Fid- Great as a burnishing or spreading tool when applying foil to stained glass.

Glazing Cement- Seals and strengthens the joint areas of the lead cames.

Whiting- Helps to dry and set the glazing cement. Can also be used to remove excess putty from the stained glass.

Stiff Bristle Brush- Used for applying glazing cement.

Patina- Liquid solution that changes the appearance of solder, can give a more antiqued appearance.

Rubber Gloves- Absolutely necessary when applying patina or any other solvents to the project; you do not want these penetrating your skin!

Mirror Sealer- This aerosol spray is used on the back of mirrors to keep the reflective coating from being scratched or damaged.

Finishing Compound- Provides the finishing touch to your stained glass project, adding polish and shine while providing a protective finish to help prevent oxidation and tarnish buildup.

Pushpins, Tacks and Jig Material- Items that may be helpful in holding certain pieces together while assembling your stained glass project.

Craft Knife- Perfect for correcting small errors in copper foiling and other small tasks.

Steel Wool- May remove oxidized material from solder and other metal parts.

Plastic Basin and Sponge- With warm soapy water to clean glass and metal debris from your stained glass workspace.

Carbon Paper- For making pattern copies.

Tracing Paper- For tracing the original design unto a clean copy.

Rubber Cement- For holding pattern pieces on glass to make cutting them out easier.

Pens, Pencils, Markers and Colored Pencils- Needed for drawing and coloring in pattern pieces.

There you have it, a not-so-condensed shopping list to get you on your way to a new hobby in stained glass art making!

It never hurts to be well-informed with the latest on Stained Glass. Compare what you’ve learned here to future articles so that you can stay alert to changes in the area of Stained Glass.