Copper Foil Panel and Tiffany Style

Lamp Making Plus 3D Panel Projects

by
Michael C. Thomas

Copper Foil Panel and Tiffany Style Lamp Making Plus 3D Panel Projects combines 590 pages of text and
photos (PDF). The basic instructions are applicable to any off-the-shelf pattern or custom design. Furthermore,
by following these instructions, vase caps are well-fitted. For increased precision, this CD depicts pattern
making; whereby vellum is glued to glass for scoring and grinding. Learn the panel
sandwich flipping method to raise a shade into a 3D
configuration. Discover how to put pigtails on a spider so you
never have to bend spider arms again. If you want to customize
your shade proportions, use one of the 18 algorithms files in
Microsoft Excel. In summary, the text and photos are a valuable stand-alone
resource, but coupled with the algorithms, you can customize any design.

The different lamp shades are:

Basic Panel Shade with Skirt and Crown
Winged Shades
Panel and Tiffany Beveled Corner Shades
Pagoda Shades
Combination Shades
Pool Table Shades
Beveled Corner with Uniform Crown Shades
Globe, Bell, Mushroom, and Low Profile Shades
Panel and Conical Fan Lamp Shades
Panel and Tiffany Beveled Corner Pagoda Shades
Pleated Shades
Curved Panel Shades
Protruded Shades
Elliptic Cone Shades
Conical Shades
Banker Shades
Panel Wall Sconces
Petal Shades
Inward Bevel Shades
Ellipse Shades
Stellated Shades

Also included: 28 patterns (PDF), mostly in the Prairie style, representing the various types of panel lamp
shades, 24 patterns (PDF) of 3D panel projects (lanterns, boxes, terrariums, votives,
business cardholder, cross, night light, and more), and nine Tiffany style
patterns (PDF).
 Lamp Patterns

Desk-Size Pool Table Bell

Garden Room Hanging Bird
House

Peacock (Combination)
Winged Pagoda

Beveled Corner Pleated

Ceiling Fan Shades

Elliptic Beveled Corner Uniform Crown

Protruded Panels
 Lamp Patterns

Low Profile

Beveled Corner Pagoda Inward Bevel

Petal Panel

Fan Lamp

Christmas Trees
Ellipse

Globe
Lighted Pedestal Mushroom

Prairie
Peacock
Stellated
 Lamp Patterns

Prairie Full of Trapezoids

Twisted
 3D Patterns

Night Lights

Rose Bud Box

Eight-Side Lantern

Water Lily Votive

Terrarium Four-Sided Lantern

3D Cross (Straight & Tapered) Ring Box Hanging Votive

Business Card Holder

Three-Sided Koi Lantern
Wind Chime Birdhouse
 3D Patterns

Wall Sconce Conical Wall Clock Globe Fountain

Triple Birdhouse

Holly Berry Angels

Cross on Four-Sided Base

Gift Box Self-Standing Cross

Bird Feeder

Twisted
Easter Egg
Pyramid Cross
 Tiffany Patterns

Chickadee Birdhouse
Elliptic Tulip
Cone Grape

Tiffany Beveled Corner Pagoda

Tiffany Pagoda
Cone Birdhouse

Pleated Fan Lamp

Conical Fan Lamp
Twisted Prism Lantern
Copper Foil Panel and Tiffany Style Lamp Making

By Michael C. Thomas
Plus 3D Panel Projects
 Copper Foil Panel and Tiffany Style
Lamp Making - Plus 3D Panel
Projects
By
Michael C. Thomas

Cardinal circa 1979

Betty Lou Thomas

With greatest appreciation I dedicate this booklet and software

to my mother, Betty Lou Thomas. Her eye for color, design,
and technical expertise serve as a never ending inspiration.

Copyright 2006 and 2007 and 2008 and 2010 Michael Curtis Thomas.
All rights reserved. No part of this publication may be reproduced, stored, or transmitted
in any form or by any means, electronic, mechanical, recording,
or otherwise, without the prior permission of the copyright owner with the
exception of reproduction of the patterns for personal use.

Version 1.83

ii
 Table of Contents
Preface .vi

Chapters
1. Panel Lamp Basic Instructions
2. Panel Lamp End Notes
3. Design Algorithm
4. Winged Panel Lamp Shades
5. Beveled Corner Panel Lamp Shades
6. Pagoda Panel Lamp Shades
7. Combination Panel Lamp Shades
8. Pool Table Panel Lamp Shades
9. Beveled Corner with Uniform Crown Panel Lamp Shades
10. Beveled Corner Pagoda Panel Lamp Shades
11. Petal Panel Lamp Shades
12. Inward Bevel Panel Lamp Shades
13. Pleated Panel Lamp Shades
14. Curved Panels for Panel Lamp Shades
15. Protruded Panels of Panel Lamp Shades
16. Globe Panel Lamp Shades and Fountain Designs
17. Bell Panel Lamp Shades
18. Mushroom Panel Lamp shades
19. Elliptic Cone Panel Lamp Shades or Tiffany Style Lamp Forms
20. Conical Panel Lamp Shades or Tiffany Style Lamp Forms
21. Panel Wall Sconces
22. Tiffany Style Lamp Shade Making
23. Tiffany Pagoda Lamp Shades
24. Tiffany Beveled Pagoda Lamp Shades
25. 3D (Non-Lamp) Panel Projects
26. Banker Panel Lamp Shades
27. Conical Fan Lamp Shades
28. Three Panel Fan Lamp Shades
29. Low Profile Panel Lamp Shades
30. Kaleidoscopes
31. Stellated Panel Lamp Shades
32. Pyramid Stars
33. Ellipse Panel Lamp Shades
34. Tiffany Twisted Prism
35. Twisted Panel Lamp Shades

iii
Algorithms (Microsoft Excel)
Design Algorithm (DESIGALG.XLS)
Elliptic Cone Algorithm (ECONE1.XLS)
Conical Algorithm (CONE1.XLS)
Globe Algorithm (GLOBE.XLS)
Bell Algorithm (BELL2.XLS)
Beveled Corner Panel, Pagoda, and Beveled Pagoda Algorithm
(BEVELPAG.XLS)
Curve Algorithm (CURVE.XLS)
Beveled Corner with Uniform Crown Algorithm (BUNIFORM.XLS)
Sconce Algorithm (SCONCE.XLS)
Petal Panel Lamp Shade Algorithm (PETAL.XLS)
Inward Bevel Panel Lamp Shade Algorithm (INBEV.XLS)
Tiffany Pagoda Algorithm (TIFFPAG.XLS)
Tiffany Beveled Corner Pagoda Algorithm (TIFFBCP.XLS)
Mushroom Algorithm (MUSHROOM.XLS)
Low Profile Algorithm (LOWPROFILE.XLS)
Pyramid Star Algorithm (PYRAMID STARS.XLS)
Ellipse Panel Lamp Design Algorithm (ELLIPSE.XLS)
Twisted Panel Lamp Design Algorithm (TWIST.XLS)

Panel Lamp Shade Patterns

Desk-Size Pool Table Panel Lamp Shade
Winged Prairie Shade
Beveled Corner Shade
Elliptic Cone Panel Shade
Prairie Full of Trapezoids
Garden Room Hanging Bird House
Peacock Ceiling Shade
Prairie Ceiling Shade
Ceiling Fan Shades with Fitter Rings
Six Panel Shade with Crown and Skirt
Peacock Six Panel Shade with Crown and Skirt
Prairie Beveled Corner with Uniform Crown
Bell Panel Lamp Shade
Globe Panel Lamp Shade
Pagoda Panel Shade
Pleated Panel Lamp Shade
Protruded Prairie Lamp Shade
Beveled Pagoda Panel Lamp Shade
Christmas Tree
Lighted Pedestal Prairie Lamp

iv
 Petal Panel Lamp Shade
Inward Bevel Panel Lamp Shade
Prairie Fan Lamp Shade
Mushroom Panel Lamp Shade
Low Profile Panel Lamp Shade
Stellated Panel Lamp Shade
Ellipse Panel Lamp Shade
45 degree Twisted Panel Lamp Shade

3D (Non-Lamp) Panel Patterns

Eight-Sided lantern with Ball Feet
Twelve-Sided Terrarium
3D Cross (Straight and Tapered)
Business Cardholder
Rose Bud Box
Water Lily Votive Holder
Ring Box
Wind Chime or Mini Birdhouse
Night Lights - Cross and Three Panel
Four-Sided Prairie Lantern
Hanging Votive
Three-Sided Koi Lantern
Prairie Wall Sconce
Gift Box Lamp
Holly Berry Angel
Three Flower Bird Feeder
Conical Wall Clock
Triple Birdhouse
Globe Fountain
Self-Standing Cross
Cross on a Four-Sided Base
Twisted Prism Candle Shelter
Pyramid Star Cross
Easter Egg

Tiffany Style Patterns

Elliptic Tulip Shade
Cone Grape Shade
Chickadee Birdhouse Swag Lamp
Cone Birdhouse Swag Lamp
Tiffany Pagoda Lamp Shade
Tiffany Beveled Corner Pagoda Lamp Shade
Conical Fan Lamp Shade
Pleated Fan Lamp Shade
Twisted Prism Lantern
v
 Preface

The impetuses for this book are many:

Existing patterns produced lamp shades with ill-fitting vase caps.

Existing instructions are highly abbreviated and lacking details.

Existing literature does not discuss the use of vellum in pattern making.

Existing techniques, such as, bending spider arms and placing electrical
tape on the outside of lamp panels, are tediously laborious.

Existing commercial Tiffany style patterns and forms are expensive.

So I decided to solve these issues. In the Panel Lamp Basic Instructions my purpose
is to provide a generic procedure to create a panel lamp shade. I put specific details,
unique techniques, and helpful suggestions in the Panel Lamp End Notes. The Design
Algorithm allows users to create a panel lamp shade with custom proportions, where
vase caps do fit properly. And finally, Tiffany Style Lamp Shade Making
demonstrates that you can make your own shades without expensive commercial
products. I hope you find my ideas beneficial in your lamp making.

Beginner experience in the copper foil method is a prerequisite.

For comments, contact me at thomas5024@att.net. In your e-mail, put LAMP

MAKING in the subject line so my filter will not junk your message.

vi
 Lamp Patterns

Desk-Size Pool Table Bell

Garden Room Hanging Bird
House

Peacock (Combination)
Winged Pagoda

Beveled Corner Pleated

Ceiling Fan Shades

Elliptic Beveled Corner Uniform Crown

Protruded Panels
 Lamp Patterns

Low Profile

Beveled Corner Pagoda Inward Bevel

Petal Panel

Fan Lamp

Christmas Trees
Ellipse

Globe
Lighted Pedestal Mushroom

Prairie

Peacock Stellated
 Lamp Patterns

Prairie Full of Trapezoids Twisted

 3D Patterns

Night Lights

Rose Bud Box

Eight-Side Lantern

Water Lily Votive

Terrarium Four-Sided Lantern

3D Cross (Straight & Tapered) Ring Box Hanging Votive

Business Card Holder

Three-Sided Koi Lantern
Wind Chime Birdhouse
 3D Patterns

Wall Sconce Conical Wall Clock Globe Fountain

Triple Birdhouse

Holly Berry Angels

Cross on Four-Sided Base

Gift Box Self-Standing Cross

Bird Feeder

Twisted
Easter Egg
Pyramid Cross
 Tiffany Patterns

Elliptic Tulip
Chickadee Birdhouse
Cone Grape

Cone Birdhouse Tiffany Pagoda Tiffany Beveled Corner Pagoda

Conical Fan Lamp Pleated Fan Lamp

Twisted Prism Lantern

 Panel Lamp Basic Instructions
1. This chapter contains the basic
information to build a traditional panel
lamp. I will outline the sequential
techniques in panel lamp making.
a. If this is your first panel lamp, read
this chapter, Panel Lamp End Notes
and Design Algorithm before you
begin. These chapters provide details
and special considerations. Especially
familiarize yourself with the safety
measures at Panel Lamp End Notes
A13.
b. The remaining chapters are
discerning instructions for specialized
panel lamps, 3D projects, Tiffany style
lamps, and patterns.
2. Select your type of lamp (swag,
multi-faceted panel, or pedestal lamp
shade), lamp base, harp, the glass, bulbs,
electrical components, and other
materials that you want to incorporate
into your design. These items will
dictate the style of your shade.
3. Select an off-the-shelf pattern or
create your own pattern with the Design
Algorithm Program. The Design
Algorithm Program is a valuable tool to
insure your vase caps fit properly and to
custom design your lamp shade
proportions.
a. Recommend you make a cardboard
mock up of your shade before you
proceed. See Design Algorithm
paragraph 16.
b. Make two copies of your pattern
one for the jig and one for your glass.
Use vellum, not writing/copy paper. The
vellum will not self-destruct on the
grinder or in the jig.
c. In addition to labels for individual
pieces, use an ink pen to label your
1-1
pattern pieces specific to each panel,
even though the pattern may repeat. For
example, give all pieces of the first panel
a prefix of A, the second panel pieces a
prefix of B, etc. See Attachment A.
d. Note the direction of the glass
grain, if applicable, on the vellum. At
Attachment A the red lines denote glass
grain direction.
e. Remember to label the vellum on
the back side since it will be glued to the
backside (usually the smooth side) of the
glass.
f. On the vellum for the jig, leave at
least a half inch border around your
pattern for wood strips that you will add
at step 7.
g. Be aware photo copiers do not
make exact size copies of the original.
4. Use foil pattern shears to cut pattern
pieces from the vellum for the glass, not
the jig. Use
childrens stick
glue (water
soluble) to
adhere the vellum to the glass. See
Panel Lamp End Notes A2 and A3.
5. Score, break, and grind the glass.
6. Soak your glass with vellum in warm
water for a few minutes. Remove the
vellum. Wash any
glue residue from
the glass. Place the
glass next to the
vellum on a towel to
dry. Once the glass
dries mark it with a
water soluble
(Sharpie) pen.
Transfer the pattern label on the vellum
to the glass. Then discard the vellum.
7. Create a jig. Using the whole vellum
pattern for the jig, glue small pieces of
wood (craft/popsicle sticks, tongue
depressors, or hobby wood all work
well)
along the
perimeter
of your
pattern.
Let the
glue dry.
Other
methods of
creating a
jig are
equally
acceptable,
such as,
nailing
wood pieces directly into your work
surface or using the Morton Systems
blocks and pins. Also create a jig for
multi-piece skirt or crown sections.
8. Test fit. Place the un-foiled glass
pieces in the jig. Do not force the
pieces. If the pieces do not fit, re-grind
the glass. The accuracy of the vellum
and use of foil pattern shears should
make for a happy fit of all pieces.
9. Foil the glass. The grinder creates
glass dust on edges of your glass, so
wipe off the edges prior to foiling. I
recommend 1/4 inch or 7/32 inch wide
foil especially along the panel seams.
During construction the shade will be
under some structural stress. Smaller
size foils may pull off the glass. Burnish
the foil well. Use a razor blade knife to
trim unsightly overlapping foil. If
foiling will take a day or more, place the
foiled glass pieces in an air tight
container to prevent oxidation.
1-2
10. Place the foiled glass pieces into the
jig. Insure all glass pieces adjacent to
the jig are
in firm
contact with
the jig.
This will
create same
size panels.
Ever so
sparingly
flux the
copper foil
seams. Avoid excessive flux seeping
onto the vellum. Solder the seams. I
highly recommend using 50-50 solder.
It has a higher melting temperature than
60-40 solder. Consequently, it can take
more heat without dripping through the
seams. Create a finish bead on all
interior seams. Do not solder the panel
edge seams. Leave the copper foil un-
tinned. Double check the edges of your
panels to insure no solder has spilled
onto the edges. Remove any excess
solder. Remove the panel from the jig
and solder the reverse side. Repeat for
all panels.
11. Tin or patina the vase cap or spider
or fitter ring.
a. For small vase caps (4 inch
diameter or smaller), fitter rings, or spiders
polish the metal with fine (0000) steel
wool. Remove any lacquer, tarnish, or
blemishes. With water wash the vase cap
to remove the steel wool residue. Flux
the metal. Use a scant amount of solder
on your iron. Tin the metal by rubbing
your iron in a circular motion. Try using
more flux before adding more solder.
Then add only the tiniest amount of solder
to your iron as needed. Avoid tinning
 the metal on a wood surface. The wood Snuggly abut each lamp panel to its
will burn because of the heat required. neighbor. Use electrical tape to secure
Hold the metal with pliers or place it on the panels together. Now place your
a non-wood surface (ceramic tile or second board on top of your panels
brick). Tin both sides. Later patina the making a lamp panel sandwich. Tightly
metal when you patina your entire hold your sandwich together and flip it
project. This method can be used for over. Remove the top board. Now the
larger vase caps, but it is difficult to get outside of your lamp panels should be
a smooth finish, because the iron cannot facing up. See Panel Lamp End Notes
keep the vase cap hot enough. A24 for an alternative method. See
Panel Lamp End Notes A18 for four-
b. For larger vase caps, again polish sided lamp shades. As a further
the vase cap with steel wool. Now use a alternative expensive lamp clamps or
patina for angles can be used.
brass. At
the point of 14. Stretch a piece of wire (pre-tinned
attachment 22 or 20 gauge is preferred) long enough
of your to cover the panels top edges. Safety:
glass, When stretching wire between two pair
polish the of pliers,
vase cap with steel wool. Remove the pull the wire
patina at the points of attachment. in a
direction
12. In preparation for joining your away from
panels with electrical tape, clean your your face. If
panels to remove flux. Use a the wire Tack
commercial flux remover. Avoid tearing breaks, the Solder
the untinned foil edges. pliers may
strike any
13. This step requires two boards that object in
are not permanently affixed to your work their path.
surface and are large enough to Cut away
the crimped
ends of Wire
wire. Tack Tail
solder the
wire along
the foiled
top edges of the panels. Avoid soldering
close to each corner (red circles). Leave
a short tail of wire on one end. See
Panel Lamp End Notes A17 for larger
lamp shades.
accommodate your lamp panels. Lay
your lamp panels on one board with the
inside of the lamp panels facing up.

1-3
15. Set aside two or three pieces of seam, if installing a vase cap. Otherwise
electrical tape to temporarily secure the tack solder this
lamp length also. This
panels soldering is not
once you the final beading.
raise It is to structurally
them. stabilize the lamp
Now shade.
slowly lift
the lamp 19. Stretch another piece of wire (pre-
panels tinned 22, 20, or 18 gauge is preferred)
from the long enough to cover the bottom edges
crown to of your panels. Cut away the crimped
form a ends of wire. If your lamp shade will
cone. have a skirt, later place the base wire on
Place the electrical tape between the free the bottom of the skirt. Observe the
panels. Try not to move the lamp shade. safety precaution above concerning the
You may tear the foil. stretching of wire. Alternative edging
materials may include channel, ball
16. Tack solder the wire tail on the top chain, jewelry chain, or pre-twisted wire.
panel edge to the adjacent panel.
20. In order to attach the base wire to
17. Carefully move the panels as the bottom edges of the panels, the lamp
necessary. Inside shade must be turned upside down. I
edges should prefer to use a
align with each cardboard box
other (see lower stuffed with
photo). Tack crumpled
solder the panels newspapers,
together because I will
approximately need the
one inch from the cardboard box
bottom and top later. However,
of the seam. an empty paint can, a round basket, trash
Avoid moving can, bucket, or a bowl will do. First
the lamp shade place the bucket on the shade, then,
on the work holding both together, flip them over.
surface. Move
the work surface
if required.

18. Inspect the lamp shade to insure it is
symmetrical. Now tack solder the entire
length of all seams except for a half inch
length of seam at the top of the panel.
Tin or flat solder this half inch length of
Tin the foil along the bottom edges and
sides. Now tack solder the wire along
the bottom edges. Start your

1-4
wire in the middle of the panel edge, not 24. Position the lamp shade in the
at a corner. Insure the wire is in contact
with the foiled edge no air gaps. Next
place dollops of solder on the wire to
form a nicely beaded edge. Your
soldering iron tip must be very clean to
pick up dollops of solder. I prefer to
install the base wire before I install the
vase cap. The base wire provides
structural stability while I remove the
crown wire in preparation for the vase
cap installation. cardboard box so that one of the panel-
to-panel seams faces up and is
21. Vase Caps. If installing a vase cap horizontal. Place dollops of solder into
or fitter ring, re-orient your lamp on the the seam until it is filled and well
work surface with the crown facing up. rounded. Repeat for all seams. This is
Carefully remove the wire along the top not the final beading. If applicable,
of the panels. Avoid tearing the foil. attach the vase cap or fitter ring to all
Discard the seams. Also fill any interior panel seams
wire. Flux and that intersect the panel-to-panel seams.
tin all foil on
the edge and 25. Place the lamp shade on the work
face of the
glass along the
crown.
Position the vase cap or fitter ring.
Insure it is centered. Tack solder it at
two points.

22. Spiders. If installing a spider, leave

the crown wire in place until the spider
is installed. Orient your lamp with the
crown facing down for the spider
installation. Install your spider. See
Panel Lamp End Notes A20. surface so that the inside seams are
accessible and horizontal. Remove the
23. If applicable, install your crown or electrical tape. Be careful not to tear the
joiners or skirt now. See Panel Lamp foil. Create a final bead on all inside
End Notes A21 and A23. seams.

26. If you feel light may leak out

between the vase cap and glass, you can
flood the inside of the vase cap with
solder. This should not be necessary.

1-5
27. Re-position the lamp shade in the
cardboard box with one of the panel-to-
panel seams horizontal. Flux the seam
and then make the final bead. Start at
the top of the main panel and slowly
drag your iron along the seam. Do not
loiter or the solder will fall through the
seam. A 1/4 inch chisel tip with a 100%
80 watt iron (or 80% 100 watt iron)
works well. Orient the chisel tip so the
point goes into the seam. You should
not drag the flat side of the chisel along
the seam or you will create a flat seam.
If imperfections occur, go to the next
seam while the imperfect seam cools.
After cooling, return to the imperfect
seam to make a final bead. In a similar
manner orient any crown or skirt seams
so they are horizontal. Make a final
bead on the crown and skirt seams.
28. Let your project cool.
29. Clean your project with flux and
patina cleaner and then rinse with water.
Use a tooth brush to scrub all seams
well. Then repeat. This will help
eliminate a white crusty deposit (the
dreaded white mold) that is a flux
residue. Do not use vinegar or other
acidic cleaners. Flux and patinas are
acids. You cannot neutralize an acid
with an acid. For best results use a
commercial product designed to
neutralize and remove flux.
30. Patina your project, if you desire.
31. Again clean your project with flux
and patina cleaner. Rinse with water and
let it dry. Avoid soap because it can
leave a film on the glass.
32. Polish your project with a finishing
compound (wax) for stained glass.
1-6
a. Place a few drops of wax on a
cotton ball. With the cotton ball rub all
seams and glass. Do not soak the cotton
ball. Excess polish can seep under the
seams. If you used cathedral glass with
black backed foil, you will see the white
polish and will be unable to clean it
away.
b. Let the wax dry to a dull sheen.
c. Next perform an initial buffing of
your project with a soft cotton cloth. For
the glass adjacent to the seams I use a
small flat blade jewelers or computer
screwdriver placed on the discarded hem
of a cotton T-shirt. This cleans well
along the seams, especially any adhesive
that may have oozed from the foil. Also
a tooth brush will help in those hard-to-
get areas.
d. A final buffing with a soft cotton
cloth (the inside of discarded sweat
shirts/pants) will complete your project.
e. I do polish the inside of the lamp,
but often omit waxing the inside of the
vase cap because it can be too difficult to
buff.
33. Enjoy a lifetime with your art work!
Attachment A: Pattern Labels

1-7
 Panel Lamp End Notes
A1. Glass.
a. Inspect the glass for imperfections
and density variations. Mark those areas
with a water soluble marker (Sharpie).
b. If using cathedral glass in your
shade, be aware that you will see the
internal components (bulb, harp, socket,
etc.) of your lamp.
A2. Vellum.
a. You can obtain vellum in many
sizes at art, office, and drafting supply
stores.
b. Fade out vellum contains a grid of
light blue lines that fade out or disappear
when copied. Fade out vellum is more
expensive than plain vellum, so use fade
out vellum as graph paper. You can
trust fade out vellum to contain light
blue lines at 90 degrees, but the grid
distance is not always as printed on the
package. Therefore, measure distances
with a ruler.
c. Another nice feature of vellum is
that cellophane tape will not tear it.
While overlaying two pieces of vellum
for tracing, you can secure them with
tape.
d. You can use vellum in a printer.
However ink jet printers produce water
soluble ink. So prior to grinding you
may wish to use a ball point pen to re-
label your pattern pieces.
f. When gluing white vellum on white
or near white glass, it will be difficult to
see where to score and grind. Therefore,
2-1
color the edges of the vellum with a
marker to
create a
strong color
contrast.
g. Prior to scoring, place your cutter
next to the vellum and feel for the edge
of the vellum. Now apply pressure on
the cutter, follow the vellum and score.
You should have very little grinding to
do.
A3. Patterns and Foil Shears.
a. I use a .3 mm mechanical lead
pencil to trace my patterns. The thick
(greater than 1/32) pattern lines on
many off-the-shelf patterns are a
contributing factor to ill-fitted vase caps.
b. When using the foil shears, I place
the single blade on the line while I cut.
But be cognizant where the 1/32 inch
wide strip of paper is removed to the
right side of the pattern line in the
direction you are cutting. This is
important, because the 1/32 inch wide
strip should be removed from the
background of your pattern. This will
give sharp details to the main focus of
your pattern. If you took the 1/32 inch
wide strip from your main focus, you
will get a more rounded or cropped look
to your composition.
c. Also be consistent in your cutting
direction between pattern pieces. Your
seams will appear off center if, when
two seams meet, the 1/32 inch wide strip
was removed from opposites sides of the
pattern line. To assist me in cutting in when gluing the vellum to the glass.
Also note the green line in the photo.
The green line helps align adjacent
Off Center
pieces.
When
you
complete
your
project,
you will
see

the correct direction, I draw arrow heads
on my pattern lines.
c. If a pattern line is the center line
between two or more pieces, I draw a
circle on the pattern line. This is a
reminder not
to use foil
pattern shears
or I will
destroy the
symmetry of
my project. Instead I use regular
scissors to cut my pattern along center
lines. You will then see a semi-circle
along the cut side of each pattern piece.
This semi-circle serves as another
reminder when I am at the grinder. I
will give my glass one or two extra
passes on the grinding bit to remove
1/64 inch of glass beyond the vellum
pattern along the edge with the semi-
circle marking. Now when I put my
glass pieces in the jig, there will be a
1/32 inch space between them.
A4. Design Continuity. Two conditions
apply: firstly, two or more adjacent
pieces of glass are the same (color/type);
and secondly, the glass has a noticeable
grain. To coordinate your design, mark
with a red ball point ink, the grain
direction on your vellum pattern piece so
you can align it with the glass grain
continuity of the glass grain between
pieces. Your
design will have
a flow to it,
rather than
chaos caused by
different grain
directions from
adjacent pieces
of the same glass.
A5. When scoring and breaking glass,
spread a sheet on newspaper down, then
place your work surface on the
newspaper. By brushing or wiping glass
debris off the work surface onto the
newspaper, your scoring area will
remain clean. Cleanup is easy. Just fold
up the newspaper and discard it. Or use
a commercial gridded surface to catch
glass shards. Regardless of your surface,
it is critical to keep your scoring area
clean because, glass shards can scratch
your glass.

2-2
A6. Scoring and breaking concave
curves.
a. Make several score lines about 1/8
inch apart. See red lines in the photo.
Make all score lines before you attempt
to break the glass. The score lines can
emanate from the end points of the curve
or they can be concentric.
b. With the ball end of your glass
cutter tap the opposite face of the glass.
This will cause the score lines to run the
depth of the glass. The glass should not
necessarily break away, but a few pieces
may do so.
c. Finally, use small nosed breaking
pliers, if possible. Start at the outer most
score line and break the glass. Continue
breaking the glass at each successive
score line. If the glass will not break
with moderate pressure from your pliers,
use the ball end of your glass cutter to
run the score line. A perfect break may
not be possible; however, break as much
glass from the concave curve as possible
so as to reduce your time on the grinder.
2-3
d. You may wish to try this technique
on a piece of scrap glass before you do it
on an actual project piece. All types of
glass can be scored and broken with this
technique. But different types of glass
vary as to how tight a concave curve you
can make.
A7. Grinding.
a. If a thick white slurry develops on
your glass while grinding, stop.
Insufficient water is reaching the
grinding bit. Clean the sponge and
check for the proper water level in the
grinder reservoir.
b. If using a rapid or coarse grinding
bit, be aware it tends to chip your glass
near the edges. The chipping will be
very noticeable on cathedral glass. To
avoid the chips, put less pressure on the
glass as you push it along the grinding
bit. Or stop using the coarse bit once
you are within 1/16 inch from the
pattern. Finish grinding with a standard
bit.
c. Follow these tips to prevent glass
grit from scratching your glass. Grind in
a smooth continuous motion from right
to left. Grind on the bit just right of
center. And if necessary, have a squirt
bottle of water (contact lens bottle) to
flush glass grit into the reservoir below.
 d. To prevent cuts to your fingers
while grinding, lightly grind the entire
perimeter edge of your glass pieces.
This will remove the sharp feather of
glass. Once done you can apply more
pressure to complete your grinding.
e. If the vellum begins to loosen
while grinding, excessive water is
penetrating the vellum. Pat the vellum
dry with a towel and set it aside until the
glue again hardens. Then continue
grinding.
A8. Foil.
a. Recommend use of thick (1.5 mils)
foil. Thinner foils tear more easily
during burnishing. Also thinner foils
tear more easily when stretched around
inside curves.
b. To avoid tearing foil around inside
curves, with a fid rub the foil along the
corner of the glass (intersection of the
edge and face of the glass). This will
stretch the foil. Adjust the angle of your
fid so the foil lies over and adheres to
the face of the glass.
c. Also to avoid tearing foil around
inside curves, start the foil in the middle
of the curve.
2-4
d. To safely remove unsalvageable
foil on a piece of glass, place the foiled
glass on a flat surface. With a razor
knife at a low angle, remove the foil on
the face of the glass. Caution: push the
razor knife away from your body,
especially your fingers. Rotate the
foiled glass so you can always push
away from your body. Flip the glass
over and repeat on the opposite face. On
the glass edge slip your razor knife
between the foil and the glass. Slowly
and carefully remove the foil on the
edge. A razor knife may not be
necessary on the edge. Try using your
fingers to remove the foil.
e. For a small damaged area of foil,
install a foil patch. Place a small piece
of foil over the
damaged area at 90
degrees from the
edge of the glass.
Burnish it. Trim it
with a razor knife. With a Sharpie
mark the glass to identify the patch
location. When initially soldering this
area, rapidly solder over the patch. If
you loiter over the patch with your
soldering iron, the foil adhesive will
loosen and the patch may move. Once
the patch is firmly imbedded in cooled
solder, you can return to the area to
improve your bead if necessary. This is
the same technique used to create a foil
overlay.
 f. When using cathedral glass,
remember to coordinate your foil with
your patina. If you plan to patina your
project black, use black backed foil.
Similarly, if you plan to use no patina
(silver solder), use silver backed foil.
A9. Stay on pattern. Begin by placing
all foiled glass pieces in the jig. Position
the foiled glass pieces within their
respective jig vellum pattern lines. Do
not tightly abut the foiled glass pieces.
Remember you removed 1/32 inch wide
strip of the vellum pattern with your foil
pattern shears. Therefore, there should
be a 1/32 inch wide gap between all
foiled pieces. If any foiled glass piece
extends beyond its jig vellum pattern
lines, do not use it. Re-grind and re-foil
it until it properly fits. The photo
depicts the consequences of tightly
abutting pieces. Notice the gap between
the vellum pattern lines and the glass.
The gap will only increase with the more
pieces you use. SoSTAY ON
PATTERN!
A10. Soldering.
a. During soldering keep your hot
solder tip clean by wiping it on a wet
sponge or wire mesh tip cleaner.
b. Different solders have different
melting points, but the same freezing
points. 50-50 solder melts at 421F and
freezes at 361F. 60-40 solder melts at
2-5
374F and freezes at 361F. 63-37
solder melts and freezes at 361F.
Consequently, 50-50 solder stays pasty
over a temperature range of 60F; 60-40
solder stays pasty over a temperature
range of 13F; and 63-37 solder has no
pasty range. As a result 50-50 solder
can take more heat without dripping
through seams. However, some artists
prefer 60-40 solder for its flow-ability
based on its smaller pasty range. 63-37
solder is best for decorative soldering,
because it melts and freezes at one
temperature. Solder choice is a matter of
personal preference, but for beginners,
50-50 solder may be easier.
c. Regardless of the type of solder
you use, 100 watts of power is not
necessary for copper foil. The more
power or wattage, the more heat you
generate. And the more heat you apply
to your solder, the faster you must work
to avoid melting your solder into a liquid
state. 70-80 watts of power work well in
lamp shade making by allowing the artist
to work at a slower pace. Use a rheostat
to dial down your 100 watt iron to 70-80
watts. Or if you have a built-in
temperature control iron, try a 600F tip.
d. In conclusion skill level and
personal preference will determine your
soldering choices. Artists who use
60-40 solder with a 100 watt solder iron
must work faster than an artist using
50-50 solder and an 80 watt iron.
Regardless of your soldering choices,
you can create a great quality lamp
shade with either method.
 e. Initially, tack solder pieces together
to prevent the pieces from moving.
Place a small
drop of flux at
intersections,
then tack solder.
Pictured is a
flux-filled
squeeze bottle
with a dropper
tip. Once tack solder, switch to a flux
brush for the remaining pieces.
f. Wide panel-to-panel seams. If you
are having difficulty getting solder to
remain in your panel-
to-panel seams, try
putting electrical tape
on the underside of
the seam to hold
solder in place while
it cools. Also
consider placing brass or copper wire,
rods, or tubes in the seam. Your final
solder bead will conceal these items.
g. While soldering foil, small gooey
blobs sometimes appear on you seams,
especially at intersections or corners.
These blobs are usually foil adhesive
that has leaked into your seam, because
of excessive heat from your iron. To
prevent re-occurrences, solder at a faster
pace or use a rheostat to lower the
wattage on your iron. To remove the
blobs, place the point of your razor knife
into the blob. Now twirl the razor knife
to remove the blob and some solder
surrounding it. Be carefully not to
damage the underlying foil. Let the
seam cool before re-soldering.
h. The point at which your foil
overlaps itself can loosen during
soldering. Generally, this is a slight
2-6
movement. Use your razor knife to trim
any noticeable deviation.
i. If you are unable to complete
soldering of your lamp shade in one
sitting, cover the lamp shade with a
plastic bag. But first let the lamp shade
cool. The bag will prevent dust from
fouling your solder seams.
A11. Flux.
a. There are three types of fluxes
liquid, gel, and paste. Obviously, liquid
flux is less viscous than gel flux.
Moreover; many, but not all, liquid
fluxes are not water soluble; whereas,
most gel fluxes are water soluble. A
water soluble flux is easier to clean up.
Paste flux is often recommended for 3D
or lamp projects because it does not run
when applied. However, paste flux
clean up can be more difficult because,
most paste fluxes are not water soluble.
In my opinion, I prefer the water soluble
gel flux for my copper foil projects.
b. If your solder spits, pops, or
bubbles while soldering, it is not your
solder. You are using too much flux.
To fix the problem continue to solder
and allow the flux to evaporate or
remove the excess flux with a paper
towel or tissue.
A12. Clean and Patina. Like most
hobbyist, I clean and patina my shades in
the bath tub. Recommend you work
over an old bath mat. The mat will
protect the tub and cushion the lamp
shade while you move it about. Some
patinas may discolor the bath mat so
make sure you are OK with that.
A13. Safety.
a. Keep your work area clean. Do
not leave glass or open bottles of
chemicals where they can be knocked
over.
b. Do not eat or drink in your work
area. Glass shards, chemicals, or fumes
may contaminate your food.
c. Wash your hands after working
with solder and chemicals.
d. Wear eye protection.
e. Consider wearing one-size-fits-all
latex gloves, because you will be
handling your project often. Gloves will
protect your hands from the flux and
patina that can dry your hands.
f. When grinding, remove watches
and other jewelry that may contact the
grinding bit. Also keep loose clothing
away from the grinding bit.
g. Work in a well ventilated area.
A14. Keep tools serviced and clean.
a. Flux is corrosive on metal.
Clean metal tools and re-oil if necessary.
b. Remove solder tips and grinding
bits after each use. Otherwise, they may
seize in place.
c. Check the oil in your glass
cutter.
d. Clean grinding bits, the grinder
surface, and sponges. Replace worn
sponges.
2-7
e. Replace worn grinding bits and
grinder surface components.
f. Clean solder tips with sal
ammoniac. Do not use a wire brush or a
grinding stone. It will remove and
scratch the plating on the tip.
A15. Vase caps are not your only
options. Spiders, fitter rings, and cross
bars are also available.
a. Use a spider if you will place a
crown on your lamp. The spider will
avoid a dark shadow cast by a vase cap
and help illuminate the crown glass.
b. Manufactures label their fitter rings
as 21/4, 31/2, and 4 inch diameters.
Actual dimensions vary. Use the actual
dimension in the Design Algorithm
Program. Many fitters are found in
ceiling fan fixtures, ceiling fixtures, wall
sconces, gooseneck lamps, and swag
lights.
c. Crossbars. Insure the cross bar
hole is centered when you install it.
Attach the cross bar to panel-to-panel
seams, not just the top edge of the
crown.
A16. If you use an incandescent light
bulb, use a vented vase cap or a vented
fitter. Otherwise excessive heat can
build up and crack your glass.
A17. For larger lamps (about four
square feet or about 18 inches in
diameter or larger), tack solder short
segments of wire (one to two inches in
length) along the bottom edges of
adjacent panels across each seam. Small
gauge wire (22 or 20 gauge) is best.
Place it as close to the bottom of the
bottom edge. Avoid getting solder near
the intersection of the panels. This wire
needs a bit of room to flex when you lift
your lamp. Remove and discard the
wires before attaching the final edge
wire or skirt.
A18. Four-sided lamps are easier to
assemble.
Create a 90
degree jig by
nailing
straight
segments of
wood to your
work surface
or by gluing
straight
segments of
wood to a 90 degree corner on a sheet of
paper. Morton System users utilize your
blocks and pins. Position two panels in
the jig. Tack solder the panels together
about an inch from the top and bottom.
Leaving the first two panels in the jig,
tack solder the third panel in position.
Repeat for the fourth panel. Proceed
with the assembly as outlined in the
Panel Lamp Basic Instructions. Note:
If there will not be a vase cap or spider
in your project and your panels are
rectangular (lantern-like), consider
bracing the inside corners, because the
2-8
project may tend to flex. Use extra
solder on the inside corners or insert a
1/4 inch long brass rod as a corner brace,
or solder a perimeter wire (the larger
gauge the better) along the top and
bottom edges.
A19. Selecting the shade height, given
an existing lamp base with a harp. See
Attachments B, C, and D.
a. In general the shade height is 1/2 to
1/3 the height of the lamp base. Lamp
bases are measured from the bottom to
the top of the base, which excludes the
socket and harp. But verify the
dimensions with your vendor because
inconsistencies do exist. For those super
mini lamp bases, the shade height
approaches the height of the base.
b. If you want a standard light bulb,
the minimum harp size is 61/2 inches.
c. Harp height is the perpendicular
distance from the top of the finial screw
to the bottom of the prongs. The harp
height is generally stamp into the metal
on the underside of the finial screw. A
saddle, into which the harp is placed,
adds approximately another 1/2 inch in
height.
d. For stained glass lamp shades use a
heavy duty harp because of the weight of
the shade. Avoid the light duty harps
which allow too much motion.
 e. The shade height should be at or
extend 1/2 inch below the top of the
lamp base.
f. Vase caps also have a height,
usually 7/8 inch. So consider this
dimension when determining your shade
height.
g. Where you place a spider also
affects the shade height. Often spiders
are positioned not at the crown, but 1/2 -
1 inch lower in the shade.
h. Suggestion: Make a cardboard
mock up of your shade before you
construct it.
Often it is
difficult to
visualize a
shade in two
dimensions. I
use cardboard
from cereal
boxes to build
my mock ups. The mock up helps
determine the shades proportions.
Make adjustments as necessary.
A20. Spiders.
a. Use a 3-way (spoke) spider for 6,
9, 12 sided lamps. Use 4-way
(spoke) spiders for 4, 8, 12 sided
lamps. Tin the spokes and the center hub
of the spider.
b. First decide where you want to
install your spider at the top of your
panel or lower inside the shade. In any
case determine the radius (diameter
divided by two) at this point. Mark the
radius length on the spider arms.
Measure from the center of the hub
along the arms. Using two pair of pliers,
2-9
bend the spider arms at an angle to
match the slope of your panels. This
may take several iterations. Note where
you place your pliers relative to the mark
on the spider arms. It is important to
insure you consistently place the pliers at
the same position on each arm. This
way the arms will be of equal length and
your spider will be centered in your
shade. Insure the bent portions of the
spider arms extend one to three inches
along the interior seams of your lamp.
Cut off any excess spider arms. A
Dremel cut off wheel or hacksaw
works well. Solder the spider in place.
Insure it is centered.
c. Alternative spider installation for
lamps with four square feet or less glass.
Repeat the steps in b above, but do not
bend the arms. Cut the spider arms at
the mark you make. Using 22 or 20
gauge wire, wrap a twisted pigtail of
wire near the end of each arm. Insure
there is a two to three inch segment of
pigtail. Cut off any excess. Tack solder
the pigtail to the
spider arm. Position
the spider and tack
solder the pigtails
along the interior
panel seams. Inspect
the spider to insure it is centered and
then fully imbed the pigtails in solder
along the seams.
A21. Crown, Skirt, and Collar
Installation. (Collars are rectangular
pieces installed between the crown and
main body panels.) Place the shade on
the work surface with the top facing up.
Now holding two crown pieces together
position them on the shade to gauge the
approximate crown angle. Next take one
crown glass piece, hold it in position at
Crown
the crown angle, and tack solder it along
the inside seam. While still holding the
first crown piece in place, if necessary,
with the help of some electrical tape;
position a second crown piece and tack
solder it to the main panel and first
crown piece. Also tack solder along the
inside seams. An extra pair of hands
would be welcomed. Repeat for all
crown pieces. Then complete final
beading of all seams. Do not forget to
addSkirt
a well beaded wire along the top of
the crown edges. A collar or skirt is
constructed in a similar manner. An
alternative method using electrical tape
2-10
is to secure all crown pieces together,
similar to the main panels. Then move
them in position all at one time for
soldering.
A22. A multi-faceted panel lamp shade
is constructed by
considering each
additional row of
glass as a skirt.
Construct the first
row of facets, no
matter how small, just
like a panel lamp
shade. Next add the
second row of facets like you are
constructing a skirt. Repeat for all rows.
For ease of constructability, wait to add
a vase cap or spider or fitter ring until all
rows are tack soldered in place. Each
row of facets actually increases the
structural stability of the shade.
A23. Joiners. These are pieces of glass
that fit in between
two panels and are
not in the same
planes of the
panels. (The
yellow diamond-
shaped glass pieces
on the shade top
are joiners.) To
construct joiner pieces, assemble your
lamp shade without the joiners. Place a
three by five card or similar rigid paper
inside the shade where you will install
your joiner. Make a pattern by tracing
Skirt
the opening and label the pattern. Do
this for each joiner. Surprisingly, not all
joiners will be the same despite
symmetry of your shade. Score, break,
grind, foil, and solder your joiners in
place.
A24. As an alternative to the sandwich
flipping technique, you can place
electrical tape on the outside of the lamp
panels. However, you must leave a gap
between panels. The tape must have
enough slack to stretch around the
outside of the panels. Once the panels
are raised, this technique generally
requires adjustment to properly align the
panels prior to tack soldering.
A25. Multi-sided vase caps.
a. Vendors are inconsistent in how
they mark their vase cap sizes, especially
multi-sided vase caps. Often the marked
size is a rounded value of the actual size.
Furthermore, some vendors mark their
multi-sided vase caps with the outside
diameter dimension as measured from
one vertex (point) to the opposite vertex
(point); while other vendors mark their
multi-sided vase caps with the flat side
to flat side (inside diameter) dimension.
Because of this non-standardization,
obtain your vase cap first, and then draw
your pattern to fit the vase cap by using
the Design Algorithm Program.
b. Also be suspect of off-the-shelf
patterns that specify the sizes of a multi-
sided vase caps. Again because of the
non-standardization of multi-sided vase
cap dimensions; you risk using an ill-
fitting multi-sided vase cap. So, again,
obtain your vase cap first and then use
the Design Algorithm Program to
calculate the f value. Finally, modify, if
necessary, your pattern with the
calculated f value.
c. To calculate the f value using the
Design Algorithm Program, input the
crown radius, r; the thickness of the
glass, t; and the number of panels, n.
Ignore the other input values of R, h, j,
2-11
k, and delta, since these values have no
influence on the f value. Remember the
crown radius, r, is the diameter divided
by 2. The diameter is the distance from
one vertex (point) to the opposite vertex
(point) on the vase cap.
d. If you have already built your lamp
shade and your multi-sided vase cap is
slightly ill-fitted, modify the vase cap.
Using a Dremel with cut off wheel
#426, cut into the flange on all corners
(vertices). Bend the flange inward to
reduce the vase cap size or outward to
enlarge it. Your solder seam will
conceal the flange cuts.
e. Since off-the-shelf patterns have
very thick pattern lines, precisely
measure the f value on your pattern
before you cut your pattern. Use a very
sharp pencil, or .3 or .5 mm mechanical
pencil. Any error greater than 1/32 inch
will result in an ill-fitted vase cap.
A26. Once you have raised your lamp
panels into a three dimensional position
and, for whatever reason, you need to
remove or re-position a panel; follow
these tips:
a. Using a rheostat set your 100 watt
iron between 70% to 80%. If you do not
have a rheostat, do not loiter on the
seams. Excessive heat will loosen the
foil adhesive and may crack the glass.
 b. First remove any wire, vase cap, or
spider that is attached to the panel you
want to remove.
c. Use lots of flux with your iron to
remove as much solder as possible.
Align your seams vertically so gravity
can assist you.
d. Using a three by five card or
similar card stock or a flatten piece of an
aluminum soda can, attempt to wedge
the card into the seam. With your iron
melt the solder just ahead of the card.
The card will hold open the seam long
enough to allow the solder to cool.
e. Once the panel is remove, take care
not to move the remaining lamp panels.
Movement can cause glass to break or
foil to be torn. Replace the removed
panel as soon as possible.
A27. Lamp Components.
a. Note the lamp cord. One wire has
ribbed insulation and one wire does not.
The ribbed wire is connected to the large
prong on the plug. The other end of the
ribbed wire is connected to the silver
screw on the socket. The non-ribbed
wire is connected to the brass screw on
the socket. If you buy your socket from
a home improvement center or hardware
store, the back of the package often has
instructions and diagrams to properly
connect the wires to the socket. Or
consult an electrician.
2-12
b. In case your socket is keyless (does
not contain and on/off switch), you may
want to install a line switch. Note that
one, only one, wire is severed. The
severed wire is non-ribbed. Consult an
electrician or the line switch package for
directions and diagrams for proper
installation.
c. Finials come in two common sizes:
large (1/8 IPS [Iron Pipe Size]) and
small (1/4 -27). However, harps have a
1/4 -27 threaded screw. In the case of a
large finial, use a bushing (1/8 IPS Male
to 1/4-27 Female) to convert the finial so
it will fit on the harp. These bushings
are available at home improvement
centers or lamp parts stores.
d. If your harp is too small for your
shade, you have two choices. Obtain a
properly sized harp. Or install a shade
riser. Shade risers are generally
available in 1/2, 1, 11/2, and 2 inch
heights at home improvement centers or
lamp parts stores.
e. Some lamp bases with light
clusters do not use a harp to support the
shade. A pipe extends upward from the
light cluster to support the shade. These
lamp bases are best suited for globe-like
(multi-faceted) panel lamp shades or
Tiffany style shades. Also note the
different criteria for measuring the lamp
base height from the bottom of the
base to the top of the light cluster (not to
the top of the pipe on the light cluster).

Bushing
Finial
Shade Riser

Harp
Base
Height Socket Shell

Socket
Interior with
Silver and
Brass Screws

Cord with
UL Knot
Polarized
Socket Cap
Plug on
Harp Saddle cord

Nut and
Lock washer

1/8 IPS
Threaded
Nipple
Line Switch
(Uninstalled)

2-13
A28. Repair of a broken piece of glass. of the glass. The objective is to make
the score run the depth of the glass and
a. Firstly, identify the manufacturer not to remove the glass. However, some
and type of glass. Note the grain glass may break away.
direction, if applicable. If possible buy
the glass before you start the repairs. e. If applicable, with a Dremel and
Use a light table to view the broken glass
and the replacement glass. You will
always hear the disclaimer that there is
no perfect match, but you can get very
close. Also attempt to identify the type
of solder (50/50 or 60/40 or 63/37 or ?).
When black patina is used on 60/40
solder it appears more bronze-like;
whereas; 50/50 appears blacker.

b. If the broken piece is on the #426 cutting wheel or a came hand saw,
perimeter of cut any reinforcing wire attached to the
your broken piece of glass. Make the cut at
project, the seams between pieces.
trace the
perimeter of f. With a chisel tip on your soldering
the project iron, remove as much solder surrounding
on paper, so the broken piece on the front and back of
you can record its shape. the glass. If possible, hold your project
vertically
c. Wear eye protection! With your so gravity
glass cutter score the smoothest side of can assist
the glass you in
in a cross removing
hatched the solder.
fashion. Do not
Make the loiter with
cross your
hatches soldering iron. Excessive heat can cause
about a other unbroken pieces of glass to crack.
1/4 inch Essentially you are flat soldering the
square. In the photo I marked the cross seams on the broken piece of glass.
hatches with a pen for easy viewing. Remove any attachment points of solder
to came or vase caps. With came you
d. Take the ball end of your glass have a choice. Either cut and remove
the section in contact with the broken

cutter and gently tap on the opposite side

2-14
piece or remove the entire piece of came.
Separate the perimeter reinforcing wire
if applicable. Do not forget to flux; it
helps.
g. With your chisel tip soldering iron,
push the foil on the broken piece of glass
Push
toward the center of the solder seam.
Start on the broken piece and push so as
to lift the foil from the broken piece as
much as possible. Do this on the front
and back sides of the broken piece.
h. The actual removal of the broken
glass is messy. Insure you put down old
newspaper so cleanup is easy. Wear eye
protection!
1.) If the broken piece is
surrounded by unbroken pieces and is
cracked (no missing pieces), use the ball
on your glass cutter to gently tap the
score lines until at least one piece falls
out. Now use any number of small
nosed pliers (needle nose, grozing, dikes,
etc.) to reach in the opening and remove
2-15
pieces. Alternate using the ball on the
glass cutter and the pliers as necessary.
2.) If the broken piece is on the
perimeter of the project, use small nosed
pliers to remove pieces starting on the
outside and working inward. Use the
ball on the glass cutter as necessary. Do
not attempt to remove the foil yet.
3.) For those pieces attached to the
foil, hold the piece with your pliers and
use your soldering iron to heat the foil.
The heat should loosen the foil adhesive
so you can pull the broken piece from it.
Be slow and gentle. Do not damage the
foil on the undamaged adjacent pieces of
glass.
i. Removal of the foil. Look for a
torn piece of foil as a start point. If there
is no torn piece, then use a razor knife
and your soldering iron. Heat the area
until you can wedge the razor knife into
the seam between adjacent foils.
Attempt to get enough damaged foil so
you can grasp it with small nosed pliers.
Next wedge your chisel tip soldering
iron between the undamaged foil and
damaged foil. Hold your soldering iron
against the undamaged foil, while using
your pliers to gently pull the damaged
foil to remove it. This can be tedious.
The damaged foil may tear often. Also
do not loiter with your soldering iron for
fear of heat cracks in undamaged glass
pieces. Attempt to identify the foil
width so you can later use the same size
foil on your replacement piece.
j. Inspect the opening, especially the
edge (not the glass faces) of the glass.
Look for solder puddles on the
undamaged foil. With flux and your
soldering iron, remove the puddles and
flat solder the foil.
k. Clean up your work area.
l. Make a vellum pattern piece. If
applicable, use the tracing you made at
paragraph A28b. Place a piece of
2-16
vellum under your project. With a
mechanical pencil (they have a small
needle tip) trace the opening onto the
vellum. Do not concern yourself with
re-establishing the 1/32 inch gap created
by foil pattern shears, because the radius
of the pencil tip will create a small offset
gap. Mark the vellum with the glass
grain, if applicable. Label the vellum
orientation as FRONT or BACK.
You should read the label BACK, if
you glue the vellum to the backside of
the replacement glass. Glue the vellum
to the replacement glass.
m. Score, break, and grind the
replacement glass piece.
n. Test fit the replacement glass
piece. Note any areas (red ink in photo)
that bind or misfit. Re-grind as
necessary until the piece fits properly.
 o. Foil the replacement piece. Use
the same size foil as the original piece.
p. Place dimes (10) or similar
objects in the opening of your project.
These items will act as shims so the
replacement piece of glass can be
soldered at the same elevation as the
other pieces in your project.
q. Place the replacement piece in the
opening. Flux the seam. Solder the
replacement piece in position. Reinstall
any reinforcing wire if applicable. Re-
install and re-attach came or vase caps
where applicable.
r. Clean, patina, and polish your
project.
s. It is quite an effort to make repairs
to copper foil projects. Hopefully, such
repairs will be rare.
A29. Mirror Glass. The silvered
coating on mirror glass is delicate.
Handle mirror glass gently to prevent
damage to the coating. Follow these tips
when using mirror glass:
2-17
a. Before you purchase mirror glass
thoroughly inspect it for damage to the
silvered coating. Hold it up to the light.
There may be scuff marks on the
backing, but so long as no light
penetrates the backing, the glass is
acceptable.
b. Use an aerosol mirror edge sealant.
Spray the backing as soon as possible to
prevent damage.
c. Paste vellum pattern pieces to the
front of the glass, never on the backing.
d. Score the glass only on the front
face, never on the backing. Insure your
work surface is clean of debris. The
smallest shard of glass can damage the
backing.
e. Use your hands to break the glass
along score lines. If you need to use
breaking pliers, put sponges or another
cushion-like material in the pliers jaws.
f. After breaking, spray the backing
again with aerosol mirror edge sealant.
g. Grinding. Use a fine bit. Coarser
bits will cause the backing to flake. If
possible, grind with the backing facing
up. If the backing faces down, do not
put downward pressure on the glass,
because the grinder surface, although
plastic, can damage the backing.
h. After grinding, let the water dry
from the glass. Now use your aerosol
mirror edge sealant yet again. Spray the
backing and edges of the glass.
 i. Use the largest possible (black- or
silver-backed) foil. At least 7/32 inch
wide foil, but 1/4 inch wide foil would
be even better. The wider foil will
conceal any grinding chips to the
backing and seal the edge from flux and
patina. Burnish the foil extremely well.
Use caution when burnishing so your fid
does not wander and damage the
backing.
j. If solder drips onto the backing, do
nothing. If you attempt to remove the
solder, you may damage the baking.
You will never see the solder drips from
the front of the glass.
k. Immediately after soldering, use a
flux remover to clean the project. Rinse
in water. Next patina your project, if
desired. Use the flux remover/patina
neutralizer again. Be thorough. Rinse in
water. Dry. Polish the front of the
project, not the back.
l. If, after several weeks, black spots
appear along your projects seams; it has
black rot. The backing has corroded due
to flux, patina, or moisture seeping under
the foil. Except for replacing the piece,
there is next to nothing you can do to
repair the damage. The object is to
prevent the damage by following the
above tips.
A30. Electrical tape. Use a quality
electrical tape that is able to withstand
2-18
temperatures of 80C to 105C (176F to
221F). Otherwise the adhesive can
melt; thereby, leaving a stick messy that
is difficult to clean up.
A31. Light bulbs.
a. If using clear or cathedral glass,
consider using a clear light bulb, rather
than a frosted bulb. The clear bulbs will
not be as obvious as the frosted bulbs.
b. If you get a hot spot on your shade,
use a lower wattage bulb. A hot spot is
where the intensity of the bulb washes
out the color of the glass.
A32. For embellishments to your
projects, consult the companion booklet
Stained Glass Copper Foil Panels for
Cabinet Doors. Topics include gluing,
etching, plating, foil overlays, and more.
A33. Glass Scratches. Scratches are
most noticeable on cathedral glass. You
can scratch your glass at any step during
project construction. Follow the below
techniques to avoid scratches.
a. Inspect the glass before buying and
using it. Mark existing scratches with a
Sharpie pen. Avoid incorporating
scratched areas in your project.
 b. When transporting your glass from k. Grind in a smooth continuous
your retailer, each individual sheet of motion from right to left. Grind on the
glass should be wrapped in paper or
bubble wrap.

c. When moving your glass between

the scoring area, grinding area, and
foiling area; do not allow the glass
pieces to rub against each other.

d. Score and break glass on a grid so

bit just right of center.

l. If you have scratches close to and

parallel the edge of your glass, then
suspect glass grit near your grinding bit.

m. By far glass grit created while

shards fall into the grids.

e. Do not slide sheets of glass over

your scoring area.

f. If you do not score and break on a

grid, wipe your surface with a dry paper
towel after each break. It is best to break
your glass in an area away from your
score area.

g. At the grinder wash and rinse the

grid surface, its components, and the
sponge.

h. While grinding do not put
downward pressure on the glass.
i. At the grinder use a squirt bottle
(contact lens bottle) to wash glass grit
away from the bit area.
j. Insure your grinder reservoir is full
of water. While grinding there should
be plenty of water on the bit so that glass
grit is washed into the reservoir.
grinding causes the most scratches. The
best technique to prevent scratches is to
apply packaging tape on the glass face in
contact with the grinder surface. Apply
the tape to your glass and trim the excess
tape with a razor knife. Then proceed to
grind.
n. When soldering insure your work
surface is clean. Do not slide your glass
pieces over your work surface.

2-19
 o. After removing the vellum pattern e. Avoid creating pieces with narrow
let the glass pieces dry on a clean towel.
If you do dry your pieces, use a clean
and soft towel.

A34. Pattern Design Suggestions.

a. Minimize or avoid four-way (or

more) intersections.
When four or more necks. Likewise, these pieces are crack
seams meet, a large prone at the neck.
solder blob will
result. Furthermore, f. Although usually not a problem in
symmetry will likely lamp making, avoid straight or nearly
be compromised. straight seams between the perimeter
edges of your project, where you do not
b. Avoid long and thin pieces of use came. Straight seams create a hinge.
glass, especially along the lamp panel
perimeter. Keep the
width of the glass
greater than .75
inches. The greatest stress occurs at the
panel-to-panel seam. During assembly
this stress and high heat from your
soldering iron can cause glass to crack.

c. Avoid plunge or V-cuts. While

these cuts
can easily
be made
with a ring
or band Your project will tend to bend along this
saw, these seam. A perimeter edge wire, the larger
cuts are high risk. Vibrations during the better, will help, but depending on
assembly, transport, as well as, heat the size and weight of your project it
from your soldering iron, can crack the may not solve the hinge problem.
glass from the point of the V. Similarly,
avoid 90 degree cuts. g. On the rare event that your lamp or
lantern panels exceed two feet in one
d. Avoid creating pieces with long dimension, consider internal
and thin spikes. reinforcement. There are a few products
These pieces on the market, such as a braided copper
are crack prone strip, that you place between glass pieces
and will create
a large solder
blob.

2-20
in your solder seams. But insure the
reinforcement extends between opposite
sides of your project. The stained glass
literature is understandable vague
concerning how large a copper foil
project must be before you use internal
reinforcement. Who is crazy enough to
spend hundreds of thousands of dollars
building stained glass panels only to
destroy them? But most literature says
you should consider internal
reinforcement at about two to three feet
in one dimension. In fact some literature
says the maximum copper foil panel
should be no larger than 36 by 36.
Have you seen a larger one? In any
event perimeter came is a must and
coupled with internal reinforcement your
large panels should survive. In my
opinion, it is well worth the time and
money to properly reinforce a very
expensive project as large a 36 by 36.
Imagine the cost to repair an improperly
reinforced large panel.
h. When making curves, be aware of
their diameters and your ability to grind
or to cut those diameters. While
grinding
bits come
in many
sizes, you
may not
have the
bit size to
cut the
curve. Also consider that foil tends to
tear when burnished around a 1/4 inch
diameter curve whose circumference is
more than a quarter circle. In general
design curves no smaller than a 1/4 inch
in diameter.
A35. Lamp Bit - 9/18 degree. See
Attachment A.
2-21
a. The lamp bit bevels the glass edge
so that the panel-to-panel seam width is
reduced.
b. However, do not use a lamp bit
when using a vase cap or fitter ring. The
lamp bit will also reduce the crown
radius, causing the vase cap or fitter ring
to be ill-fitted. A spider is the best
choice when using a lamp bit.
c. The 18 degree lamp bit (bottom
portion of the lamp bit).
1.) This bit is beveled to produce
an exact alpha angle needed for a 10-
sided shade (n = 10).
2.) However, many retailers
recommend this bit for 12-sided or less
shades. While the fit is not exact, it will
reduce somewhat the width of your
panel-to-panel seams.
3.) When using this bit, the outside
or viewing side of your glass must face
up. This method only applies to
traditional panel lamp shades with a
polygon base. It is not applicable to
pleated shades to include fan lamp
shades.
4.) Of course only bevel the glass
edge along the panel-to-panel seam.
d. The 9 degree lamp bit (top portion
of the lamp bit).
1.) This bit is beveled to produce
an exact alpha angle needed for a 20-
sided shade (n = 20).
 2.) However, many retailers
recommend this bit for 15-sided or more
shades. While the fit is not exact, it will
reduce somewhat the width of your
panel-to-panel seams.

3.) When using this bit, the outside

or viewing side of your glass must face
down. This method only applies to
traditional panel lamp shades with a
polygon base. It is not applicable to
pleated shades to include fan lamp
shades.

4.) Of course only bevel the glass

edge along the panel-to-panel seam.

e. Another great use of this bit is for

Tiffany style fan lamps that have a
pleated appearance. Using the 18 degree
bit and a 72 degree jig, you can create
equal seams widths. See the pattern,
Pleated Fan Lamp Shade in the "Tiffany
Style Patterns chapter.

f. Beware not all 9/18 lamp bits are

configured as the depicted bit. Some
bits have the 18
bevel above the
9 bevel.
Furthermore, a
few lamp bits
may be beveled
at another angle
all together.
Therefore, study
your lamp bit so
you can orient
your glass to
achieve your desired result.

2-22
Attachment A: Lamp Bit 9/18

2-23
Attachment B: Shade with a Vase Cap

2-24
Attachment C: Shade with a Spider

2-25
Attachment D: Shade with a Light
Cluster

2-26
 Design Algorithm
1. The purpose of this algorithm is to
design a panel lamp shade with custom
proportions and a well fitted vase cap or
fitter ring.
2. The Design Algorithm Program is a
Microsoft Excel file
(DESIGNALG.XLS). Only the files
input cells are unlocked. You may have
to print out one sheet to view all the
output data.
3. Simply provide the input values of
the Design Algorithm Program (items
1-8) and the program will calculate the
panel dimensions. See the Design
Algorithm Program data sheet with
sketches (Attachment A) at the end of
this chapter.
a. Item 1: Select the shade height, h,
in inches. This is the vertical height of
the main panels. This height does not
include the collar, skirt, or crown
heights.
b. Item 2: Select a shade base radius,
R, in inches. The radius is the diameter
divided by 2.
c. Item 3: Select the shade crown
radius, r, in inches. If using a multi-
sided vase cap, see paragraph 11. If
using a square or rectangular vase cap,
see paragraph 13.
d. Item 4: Select the number of
panels, n. If you select an odd number
of panels, insure it is a multiple of three,
because only a three-way spider will fit a
lamp with 3, 9, 12, 15 etc. panels. There
is a five-sided vase cap, but it is rare. A
circular vase will fit any odd number of
panels, but see paragraph 7 for further
3-1
information. Regardless of the number
of panels you select, coordinate your
selection with your choice of vase cap,
spider, fitter ring, or cross bar.
e. Item 5: Input the thickness of your
glass, t, in inches. In most cases it will
be one-eighth (.125) inch. But measure
it to be sure.
f. Item 6: Select the crown height, j,
in inches. This is the vertical height of
the crown. If you do not want a crown,
input zero in the cell or ignore the output
calculations. The crown height, j, has no
influence on the design of the main
panels.
g. Item 7: Select the skirt height, k,
in inches. This is the vertical height of
the skirt. If you do not want a skirt,
input zero in the cell or ignore the output
calculations. The skirt height, k, has no
influence on the design of the main
panels.
h. Item 8: Select the skirt inclination
angle, delta, in degrees. See the sketch
at Attachment A. To vertically align the
skirt, use delta = 0. This will create
rectangular skirt panels that are vertical
to the ground. Or to incline the skirt
inward toward the center of the shade,
input a negative number in degrees.
Conversely, a positive number in
degrees will flare the skirt outward.
4. In order to make a pattern of the
main panels use graph paper and the
values of f, g, and i. Locate the corner
points and create a trapezoid (lamp
panel). For the crown use the values of
f, c, and d. For a skirt use the values of
e, q, and u. See sketches (Attachments
B and C) at the end of this chapter.
5. For a standard rectangular vase cap
(31/4 x 73/4) use the values of f, g, and i
for the small panels. Use the values of
x, g, and i for the large panels. The
input value, R, is the radius that would
be created by the four small panels.
Recommend you make a card board
mock up to validate your design. See
the sketch at Attachment B.
6. The other calculated values are
intermediate calculations and helpful
data for double checking your drafting
skills.
7. For circular vase caps remember to
use high values of n (number of panels),
n = 16
usually 12 or more, for a lamp shade
with a slope of beta > 10 degrees. If the
main panels are somewhat horizontal
(beta < 10 degrees), then smaller n
values are possible. Recommend you
n=8
3-2
make a cardboard mock up to validate
your design, because as r decreases
smaller n values are possible.
8. For aesthetic symmetry, this
algorithm uses the same inclination
angle for the crown and main panel. If
you desire to increase the crown's flare,
increase the length of the crown top, b.
Conversely, to decrease the crown's
flare, decrease the length of the crown
top, b.
9. To add a crown collar is a simple
matter. Collars are rectangular sections
Crown
Collar
f
Height
Main Panel
between the crown and main panels.
Select a collar height. The length of the
collar is the length of the crown base, f.
10. For lamp shades with vase caps or
fitter rings, do not use a lamp bit to bevel
the edges of the glass panels. Grinding
will reduce the crown and base radii.
Thus a crown vase cap will be too large
and will be ill-fitted.
11. To determine the crown radius, r,
measure all vase caps. Factory-labeled
vase cap sizes are not necessarily the
actual size. For a multi-sided vase cap
with an even number of sides, measure
the distance from one vertex (point) to
the opposite vertex (point) to determine
the diameter. Then, divide the diameter
in half to obtain the radius. For a multi-
sided vase cap with an odd number of
sides, measure the distance from the
center to a vertex to determine the
radius. For circular vase caps or fitter
rings measure the diameter and divide by
2 to obtain the radius.
12. Many output values in 16ths are
rounded. For lamp shades with multi-
sided vase caps, accuracy to a 16th of an
inch may not be enough. Recommend
you use the values in inches to two
decimal places or in centimeters to one
decimal place.
13. Again vendors are inconsistent in
labeling square vase caps.
a. The 13/4 square vase cap is often
labeled 15/8. The label notwithstanding,
the actual dimension should be 111/16
from opposite side-to-opposite side.
Recommend you measure the actual
dimension to verify the actual size of the
vase cap before using the r value below.
b. The 27/8 square vase cap is often
labeled 23/4. The label notwithstanding,
the actual dimension should be 213/16
from opposite side-to-opposite side.
3-3
Recommend you measure the actual
dimension to verify the actual size of the
vase cap before using the r value below.
c. For standard square or rectangular
vase caps use the r values below.
13/4 (15/8) Square: r = 1.15625
27/8 (2-3/4) Square: r = 1.875
31/4 x 73/4 Rectangular: r = 2.213
14. For best design results, first obtain
your lamp base or swag kit or canopy
assembly, bulbs, electrical components,
and mounting hardware (especially vase
caps, fitter rings, spiders, and cross
bars). Next take measurements from
your lamp fixture to determine r, R, and
h. Then keystroke those values into the
Design Algorithm Program. It can be
exasperating to find the proper lamp
base, if you build the shade first. So first
obtain the lamp base. Furthermore, the
style of the lamp base will dictate the
style (Victorian, Mission, Abstract, etc.)
of the shade.
15. If you need to bend spider arms
(Lamp Panel End Notes A20b), first
make a template of the angle on paper.
Draw an angle equal 180 - beta. Then
cut the angle out of paper. Hold the
template against the bent spider arms to
verify the correct angle.
c. Construction of a cardboard mock
up.
1.) With childrens stick glue, paste
a paper photo copy (not vellum) pattern
to cardboard (cereal box type cardboard)
or poster board.

16. Cardboard mock ups. Whether your
pattern is an
off-the-shelf
design or one
you create
yourself, I
highly
recommend
making a
cardboard mock
up prior to creating a stained glass shade.
a. The mock up can validate the
design proportions.
This is very helpful
in determining the
aesthetic marriage of
the shade with the
lamp base. Have a
friend hold the
cardboard mock up
in position over a
lamp base. If it does
not look good to
you, change some or
all the input values of the Design
Algorithm Program to change your
shades proportions.
b. Do not use the cardboard mock up
to judge the proper fit of a vase cap or
fitter ring. The cardboard mock up
replicates the inside of the lamp shade
panels. Whereas, the vase cap or fitter
ring aligns with the outside of the lamp
shade panels. The reason for the
difference is that the glass is much
thicker than the cardboard.
2.) With scissors cut the cardboard
pattern along its perimeter. Do not cut
individual pattern pieces.
3.) Place masking tape on the
inside face of the cardboard panels.
Continue taping panel to panel until you
have a cardboard shade. Add a
cardboard skirt and/or crown if
necessary.
d. A cardboard mock up is a quick,
easy, and inexpensive method to
guarantee your satisfaction with your
pattern.
17. Alpha angle jig. Many shade types
in the next several chapters require you
to make an alpha angle jig. But what if
you want to use an off-the-shelf design?
The alpha angle is only influenced by
the number of main panels in your lamp.
So ignore all other input values, except n
in the Design Algorithm Program
(DESIGNALG.XLS). The output value
in item #9, vertex angle, will provide
you the alpha angle value in degrees.

3-4
Some common alpha angle values for n
panels are:

n = 4 Alpha = 90
n = 6 Alpha = 120
n = 8 Alpha = 135

3-5
Attachment A:

3-6
Attachment B:

3-7
Attachment C:

3-8
Copyright 2006 Michael Curtis Thomas. All rights reserved. No
part of this publication and software may be reproduced, stored, or
transmitted in any form or by any means, electronic, mechanical,
recording, or otherwise, without the prior permission of the
copyright owner.

Panel Lamp Design Algorithm Program by Michael C. Thomas (July 2005)

File: DESIGNALG.XLS
Variable Value
Input
1. Select shade height (inches). h= 9.01

2. Select shade base radius (inches). R= 7.03

3. Select shade crown radius (inches). r= 2.03

4. Select number of panels. n= 6

5. Glass thickness in inches.

Usually, one-eighth inch. Use t = .125 t= 0.125

6. Select crown height (inches). j= 2.7

7. Select skirt height (inches). k= 2.6

8. Select skirt inclination angle (degrees). To vertically align the

skirt, use delta = 0. Or to incline the skirt inward, input a negative
number of degrees (i.e.. delta = -30). delta = 0

Value in Value in
Main Panel Calculations 16ths Centimeters
9. Vertex angle (degrees). alpha = 120.0

10. Length of panel base (inches). e= 6.811 6 13/16 17.30

11. Length of panel top (inches). f= 1.811 1 13/16 4.60

12. Length of panel side (inches). s= 10.304 10 5/16 26.17

13. Panel base angle (degrees). theta = 75.959

14. Panel top angle (degrees). gamma = 104.0

15. Length of panel perpendicular (inches). g= 9.997 10 25.39

16. Length of panel offset (inches). i= 2.500 2 8/16 6.35

17. Rectangular Vase Cap (3-1/4 x 7-3/4)

a. Top length, long side x= 7.125 7 2/16 18.10
b. Bottom lenth, long side y= 12.125 12 2/16 30.80

18. Base radius prime (inches). R" = 6.8106

19. Crown radius prime (inches). r' = 1.8106 4.60

20. Panel inclination angle (degrees). beta = 60.972

Crown Calculations
21. Length of crown base (inches). f= 1.811 1 13/16 4.60

22. Length of crown side (inches). a= 3.088 3 1/16 7.84

23. Height of crown (inches). c= 2.996 3 7.61

24. Length of crown offset (inches). d= 0.749 12/16 1.90

25. Length of crown top (inches). b= 3.309 3 5/16 8.40

Skirt Calculations
26. Length of skirt top (inches). e= 6.811 6 13/16 17.30

27. Length of skirt side (inches). p= 2.600 2 10/16 6.60

28. Length of skirt base (inches). v= 6.811 6 13/16 17.30

29. Length of skirt offset (inches). u= 0.000 0 0.00

30. Length of skirt perpendicular (inches). q= 2.600 2 10/16 6.60

31. Pleated Base Radius (inches) RPLEAT = 5.8982 5 14/16 14.98

32. Pleated Crown Radius (inches) rPLEAT = 1.5680 1 9/16 3.98

33. Cylindrical Form Radius (inches). RCF = 6.50365152 6 8/16 16.52