Grinding

Foiling

Cutting

Soldering

Fusing / Slumping

Lamp Construction

Bases

Lead Came

Patina

Glass Selection

Special Glasses

Patterns / Designing

Polishing / Cleaning

Signatures

Studio Design

Mosaic

Kaleidascopes

Resources

LAMP CONSTRUCTION

Filigree, Branches, and Crowns
Molds, Mold Making and Release
Lamp Construction
(including the Worden/Odyssey choice,
and miscellaneous lamp advice.)

ON CROWNS AND BRANCHES

Barbara Grollo: As far as branches, since the grape vine is the first one I'm doing, where I have to fill in branch areas, I'm cutting glass, then will cover it with sheet foil over the top, then foil the sides. It seems like a lot of extrawork, but that's the way Pat recommended doing it. I like Marie Jo's idea about using a dremel to get the branch effect. I had thought about using ultimate solder in those areas, since that's what I use for decorative soldering on boxes. I'd be very interested in how others have handled doing the branches, and what they've found works, and what doesn't.

Carol Conti: I don't know if you've checked Jennifer's FAQs, but in the soldering section she included my diatribe to the chat group on the reasons not to solder crowns and any other Odyssey hardware. Even with all my rants, some members continue the practice!! Oh, well. If you leave the crown brass, you will be able to get a green patina...no need to have it electroplated unless you want the whole lamp plated. The only part of the crown that needs tinning is the very edge where the glass will attach. We've found it best to begin with the crown on the mold and work your cutting around it...it really is tough trying to fit the crown at the end.

Carol Conti: re: Bill Callow's experience Bill's remarks are valuable since he had completed one Pony Wisteria and was about to embark on his second interpretation. Bill uses the "windows" and easels concept of planning a lamp. On his first lamp, after being satisfied with the three easels, Bill placed the completed cutout lamp on the mold - following the incised lines - then foiled the lamp and soldered it. It was at that point, as he "tried" to place the crown, he realized that the crown doesn't precisely follow the mold's lines! Yikes!!! (He had to cut that crown into several pieces to fit it to the pattern.) This is the way he will proceed with the second lamp: The lamp will be completely cut and waxed to the three easels. Tin the crown ONLY around the edges and areas where the glass pieces will be soldered to it. The glass pieces that will not be in contact with the crown will be foiled and placed on the mold. Place the crown on the mold BEFORE placing the top glass pieces in place. Decide on the CLOSEST fit (after trying out the fit of the crown at all three sections around the mold's aperture). Wax the crown in place. Do a "juggling act" with the top glass pieces as you try to fit them to their approximate places - in around the crown. Some grinding or recutting might be necessary. Foil those pieces and wax them to the mold. Now, you can start soldering the lamp! Bill also makes a "window" for the branches that extend down from the crown. After the lamp is completely soldered, he lays the "window" overlay on the lamp and then solders down copper wire along the branch area that shows through his "window". He builds up and thickens the solder (on the wire) to achieve the look of a branch. The only thing I might add is that I think you could do your solder work on the lower part of the lamp (BELOW the crown) before you start fitting the glass in and around the crown. Seems to me, that by having the majority of the lamp securely soldered, you could concentrate on placement of the pieces around the crown without worrying about the lower pieces falling off. >From Carol Conti: Mike, just tin the edge of the spider crown where the glass will meet the legs. This way you'll be able to get a magnificent greenish coppery patina. When I did this lamp, I learned that a wooden mallet comes in handy after you've failed at being able to line up the (6!) legs to the mold! Also, I leave the smaller pieces between the legs (at the top) until the last. I found it best to cut them to fit the crown rather than fitting the pattern. (Just like the Pony Wisteria)

Carol Conti: Here is another "filling the gap" material to try out on the spaces around the dragonfly wings. It has worked out really well for a few of us locals. Use bronze wool! You can obtain it at (large) lumber or marine supply stores. (It is used to sand fiberglass parts since it doesn't rust when its exposed to water.) Get the fine grade.

ON FILIGREE

Ted Hasenstaub: I seem to have stirred up some interest in making your own filigrees. So here it goes. My experience in making filigrees came out of necessity. It all started when I found a lamp in an auction catalog by Tiffany that I fell in love with. It was the Zodiac lamp. A 22" globe type lamp that had all the Zodiac signs arranged around the globe. I knew that I had to build this lamp. Thus, the filgree challenge. I assumed ( never assume ) that this would be a fairly easy task. But soon found out that there was a little bit more to it. I started out talking to my local stained glass store. They told me you could use thin brass stock, .006" - .008" thick, and nitric acid to etch them. I investigated this nitric acid method and it didn't take long to decide that this was definitely the wrong way to go. Without extremely efficient venting nitric acid fumes are lethal. Enough said. I had to find another way. I have done some electronic circuit design and have etched out my own copper coated circuit boards. I thought that this may be a way to do the filigrees. I went to a hobby store and purchased a roll of thin sheet copper .004" thick ( it was used for doll houses). I then went to Radio Shack and purchased a couple of bottles of Ferric Chloride, and an etch resistant pen. These are both used to etch copper circuit boards. I felt that I was ready to go. I cut out a small piece of the copper and drew a small design on it with the etch resistant pen. I poured the Ferric Chloride into a plastic container and then dropped in the copper piece. I came back in about 15 or 20 minutes to remove the piece. THERE WAS NO PIECE LEFT! I thought at first that I left it in too long but after a few more pieces disappeared, it became obvious what the problem was. I never protected the backside of the copper. What a dumb mistake. The ferric chloride ate through both sides of the copper sheet. On the next piece I protected the back with a piece of clear contact paper. Its plastic base made it impervious to the acid. The next piece came out ok but a little thin, I left it in too long. I adjusted the time by trial and error and finally achieved a half way decent looking piece. The next step was drawing the Zodiac filigrees. I thought that I could draw them on a sheet of paper, lay them over a sheet of clear contact paper and use a razor knife to cut them out, then attach them to the copper sheets. After drawing about 40 stick looking figures I finally was able to get one that looked pretty good. I tried cutting it on to the contact paper but with no success. The paper always ripped and I couldn't get the detail that I wanted. I had to figure out another way. Looking through glass catalogs, I came across some Zodiac stencils used for etching glass. They were called rub n etch. I purchased 3 sets. These turned out to be the wrong size so I had to modify them. I steel wooled off the copper and then transferred the stencil onto the copper by rubbing it with a small stick. I then used the clear contact paper to block out large areas. To be able to get small detail I again went to Radio Shack and purchased some printed circuit board resist material. This contained little pieces of resist material that I transfered to the copper. I then used a very small Exacto knife to cut out the designs that I wanted. By trial and error I was able to get the filigrees that I wanted. I then proceeded to the ferric chloride solution. The first few came out fine, but then it kept taking longer to achieve to etching. After talking to the people at Radio Shack, they suggested heating to ferric chloride solution to about 85' f. I placed a floodlamp over the ferric chloride solution and warmed it up to about 80' f. This proved to be an important key. The filigrees came out much crisper than before in a shorter period of time. I ended up doing the previous filigrees over again. After I had all the filigrees done I used my soldering iron to coat both sides of the filigrees with a thin coat of solder because they were very thin at this point. I kept them in a ziplock bag until I used them to prevent oxidation. If you read the last newsletter you may have noticed that this lamp was selected to be included in the 2000 calendar. I am working on revamping my website. As soon as I get it done I will post a picture of this lamp on it. I hope that this helps some of you out. If you have any questions, send them along. I'll do by best to answer them.

Chaz Smith: I just wanted to throw in a quick suggestion relating to making filigree. I also used to make pc boards at home using a resist pen, but I became aware of a film that could be used to transfer images directly to the board. Being too cheap to buy this stuff, a friend and I tried something else which seemed to work quite well. The principle is that toner from a photocopy machine or laser printer melts when heated, and is also a fine resist material. So generate a mirror image of the filigree wanted on yourcomputer and print it, or photocopy the back side of an existing filigree or artwork onto a piece of overhead transparency plastic. Make it as dark as you can. Now simply iron it onto your copper (make sure the image is face down so as not to mess up the iron!) and etch as described. It's easy to enlarge or reduce as well!

Peter Grotepass (Germany): Making filigree is really not a secret. I put one of the original size on my photocopy machine, reduce it to 65%, and make some *high contrast* copies on paper. I cut out the prints and leave 2-3 mm ( approx. 1/8 inch) of paper at the edges, then I put the patterns on a piece of black carbon. >From this I make 3 copies on transparent ppc copyfilm. To get my "film" for exposing to the etchingresist coated brass, I fix the three copies with adhesive spray exactly on top of each other. I expose the 0.2mm (under 1/8 inch) brass plate, coated with positive etching resist (bought ready to use from an electronics store) to UV light for 10 min. I develop the brass plate in a 20° C (68oF) bath with chemicals, however *which* chemicals I really donīt know. I asked in the electronics store, but they didnīt know either. It is a white powder, and there is only "Entwickler " (developer) written on the package. When the pattern appears on the brass in the developer bath, I rinse clean with water. The etching process takes place in a 50°C (122oF)bath of Natriumperoxyd (300 grams in 1 Liter of water) for 10-12 minutes. Thatīs all. The equipment costs, in total, about $350.00 US, chemicals and materials are extra. The etching tank is made from clear glass, is very small and stands upright, like a little aquarium. An electronic thermostat is necessary and a thermometer. Thatīs why it is rather expensive, but it works well.

Chaz Smith: The basic principle is that filigree is a thin metal with holes in it. We could cut or punch these holes, but this would become rather tedious! An acid solution will dissolve copper (just like the patina, only much faster.) Since we don't want to dissolve the whole sheet of copper, but rather only those portions not required in the filigree we must find some way of preventing the acid from attacking this portion we want as the finished piece. As Ted points out, we must protect the back of the copper so the acid doesn't eat away the whole sheet from the back. He suggests using contact paper. Any water/ acid resistant material will work. Now we must apply a suitable resist material to the front of the copper sheet, in the design of the desired filigree, which will prevent the acid from attacking this area. (This is the same principle used in acid etching glass.) Radio Shack sells an acid resist pen which is basically an over-priced "Sharpie" permanent marker. I used the black "fine point" Sharpie markers exclusively when I made pc boards. (pc as in printed circuit boards- the ones that are in all electronic equipment.) These Sharpie markers have a pointed felt tip and leave a heavy black line. It is important that a new marker be used so that it draws a solid heavy trace, as an old one that is partially dried up will not provide a solid line. The filigree pattern could be drawn with the marker and etched in the acid. However this could get rather tedious and does not lend itself well to multiple copies. In the early '90's I read an article in one of the electronics magazines, maybe Popular Electronics, about a film that could be used to transfer images to pc boards for etching. A friend and I tried using standard overhead transparency film and achieved satisfactory results. This was the film (clear plastic sheets) they used back in high school to project the image the teacher was writing up onto the screen. I think they sell it at Office Max or other supply stores. It comes in standard 8.5X11 sheets. OK, back to filigree- instead of using Sharpie marker for the resist, photocopy "ink" will work as well. Since I don't have a copy machine that I can run a sheet of copper through (good luck finding one at a copy store!) we must have a way of transferring a photocopied image to the copper to make the filigree. The toner or "ink" on a photocopy machine or laser printer is actually a very fine powder. It is made to stick to the paper with static electricity, then melted in place. Ever notice fresh copies are warm? What we want to do is to melt the image off the copy and onto the copper. We must remember however that the copy is flipped over to do this, so the image on the copy must be a mirror image of what we want the filigree to be so that when it is flipped over it is correct. The copy must be dark so that when it is melted onto the copper, a sufficient amount is there to block the acid. So make a dark image of your desired filigree and photocopy it onto a sheet of transparency film. This should be a solid copy. Flip this copy over so the image is on the bottom, and lie it on top of the copper. Now use a standard iron to melt the toner from the transparency onto the copper. Be sure the iron is set low enough that the transparency film doesn't melt. Now you have an image on the front of the copper, and the back of the copper is protected. Its time to etch- let acid eat away all the unprotected copper that is not part of the filigree. Again Radio Shack sells the appropriate acid- ferric chloride. It appears as a dark brown liquid. Pour it into a suitable pan- I used a Pyrex dish- about 1/2 to 1 inch deep. Submerge the copper sheet with the filigree pattern on it into the acid. Gently agitate the copper back and forth to wash away dissolved copper and keep fresh acid on the surface- a pair of plastic tongs is useful here. This agitation will speed the process, and improve the quality of the etch. I seem to remember that it worked faster if the image was facing down, or was it up? Any way try it and don't be afraid to take the copper out to check on progress. By the time it is finished you will have the filigree stuck to the contact paper. This should take 5 to 15 minutes. Wash this off well when it is done to stop the action of the acid. Now use fine steel wool to clean the marker or toner off the copper. Any slight imperfections can be trimmed with an X-acto or filled when tinning. Some points to remember- Always wear your safety glasses when playing with acid. Have a water supply available to wash any spills. I used to do this in the basement sink. Wear old cloths- acid can make holes. Oh yeah, and don't answer the phone or the acid will eat everything before you hang up! This is really a very simple process. I encourage you all to try it! Don't be scared by the acid- it's not that strong, and costs about the same as Jax patina. Experiment with a Sharpie marker to see how the etching process works. Have fun watching the copper disappear!

MOLDS AND MOLD MAKING including mold release and getting rid of tacky wax

ON ADVICE ABOUT WORDEN MOLDS

Walt Boepple: Judy, I hope I can explain this so you understand on the Worden molds. If you don't or if anyone else doesn't, just drop me a note and I will try again. You can get by with the 3 molds will do but so will 2. Do #1 first and then pin the second mold up to mold #1 and then cut and fit #2, you can then solder up #1 but don't solder it to #2, take off #1 and lay it aside. Take mold #1 and put it over next to #2 so it becomse #3. You know that edge #1 and edge #2 fit perfectly. Then you can solder up #2 and remove it over and mold #2 becomse panel #4. This way you make sure that no glass sticks out over the edge that will haunt you later. When you come around to do panel #6 you fit it to the orignal one which is #1. It is so simple and you get a perfect fit but very hard probably to visualize.

Walt Boepple: When you shrink wrap a Worden mold the key is to get it (Saran Wrap or similiar) draped over the mold with quite a bit of excess that you can wrap up under the mold and then, with any means you have, to secure it. I use "T" pins, straight pins, masking tape, duct tape and everything that I can to really get it up under there so it has something to pull on when it starts to tighten.. I did not have any need for gloves when I did it over the (stove) burner. Just raise it up a ways and you can see it start to tighten as soon as the heat hits it. I just tried too hard in two spots and it tore through. All in all it works pretty good. It happens really fast, so don't blink!!

ON MOLD IDEAS:

Walt Boepple: Ernie wrote to me today about the squirrel baffle mold. He mentioned that it was something he would not have thought of. I think he and you all would if you walked in and saw this thing. It just looks like a clear plastic lamp mold! My mind thinks in "glass". Whenever I see something I wonder if it could be done in "glass". I look at objects and wonder if they would be a good "mold" to use for a lamp. Carol did a lamp a few years ago where she used a boat buoy as a mold. There are no limitations as to what we can use. Joan Luckhurst used a white bathroom type globe for a lamp a few years ago. Just don't solder it all together so it will come off the mold. >From Joan Bengston: The subject of lamp molds comes up once in a while. Many of you have devised clever ways to reproduce mold shapes using found objects such as squirrel baffles and glass globes and bowls, etc. My way is a lot of work and takes tools that many of you probably don't have. The process isn't for the person looking for a quick and easy way. Just in case anyone is interested I'll share it here. I start out with a drawing of half the profile of the desired shade, (from the center to the outside edge), actual size. I transfer that to masonite or thin plywood and carefully cut it out with a band saw. Then I take a 4' x 8' sheet of 2" thick styrofoam insulation that I buy from the lumberyard supply. I cut circles bigger than I need for the shape of the mold and glue the layers together onto a plywood circle base. At this point it looks rather crude, five or six disks high. John puts it on the turning lathe that has been geared down to slow speed and turns it to the shape I want using the masonite template I have made for him. His lathe has a chuck on the outside end where he can shape large objects. Instead of regular lathe cutting tools he uses a planer that looks to me a lot like a kitchen food shredder/grater. It smooths that styrofoam down beautifully. Then I cover it with fiberglas cloth and put three coats of fiberglas resin on it. This gives me a nice hard surface to work on. I sand it smooth with a sanding block, dust it off well and spray paint it white. A hole the size of a threaded lamp rod is drilled through the center. I happen to need this for my shade positioner (but that's another story). And there I have a blank mold any size, shape or description I want. For this method you must use a special resin that will not melt the styrofoam. Be forewarned it is very expensive. All fiberglas has an extremely powerful smell and is best used in a garage or outdoors. Wicks Aircraft Supply 410 Pine Street Highland, IL 62249-1243 Phone: 618 654-7447 Catalog is $5, refunded with a $50 order They do have an 800 number for orders only.

Walt Boepple: Joan Luckhurst showed her method of making a mold of your lamp mold for the purpose of making a slumping mold to slump glass in the kiln. Joan went to a local pharmacy and got a small box of gauze that is filled with plaster of paris in the webbing. You place the piece of gauze in water and remove it and place over your mold. You do this similar to the discussion we had on the skins not long ago. After it hardens you have a perfec mold of your mold. You can now fill your mold with the mold mix you use for making your slumping mold. This way you don't have to pout the mold mix on your mold.

ON MOLD RELEASE:

Deb Sossi: Sue in Oz recommended Soy Release to me when I soldered the Peony Turban....and this product is EXCELLENT!!!! When we took the lamp out of the oven, Joe put the soy release on the form right away when it was still warm and it all came off perfectly. I still haven't washed the form but there is not a single sticky place on it. Then, the following day after I soldered the inside of the lamp, I took paper towels and squirted the soy release onto them and cleaned the inside of the lamp. I kept squirting the soy release onto clean paper towels and it was amazing how all the wax came right off. When I "built" the lamp, I did not paint the form with tacky wax, but placed "little balls" of wax under each piece of glass. Some of the larger pieces having 3 and 4 "balls" of wax under them. This also aided in raising and lowering pieces of glass in relation to the ones next to them. Soldering also melted some of the wax and I wiped it away when it was still warm....so I did not have huge amounts of wax built up in the final cleaning stage.

Joan Bengston: Walt asked what to use to remove wax. I'd be afraid of kerosene because of its combustibility. I use Acryli-clean wax and grease remover, a solvent used by auto body repairmen to prep the surface before painting. Another thought,though I haven't tried it, is to use the wax remover sold with furniture polishes. It is more readily available if it works. I bought Soy Release a long time ago and forgot about it. That is supposed to be really good, as others in the group have said.

Barb Grollo: As far as the tacky wax is concerned, I really haven't had a problem with removing it. At the store where I teach, when a student is taking a lamp off an Odyssey mold, Pat (who is the store owner) heats up her large kiln. When it's a bit warm, we place the mold on top of the kiln, where it rests for about 10 minutes, and the lamp lifts right off. If you immediately wipe the inside with paper towels, there's very little tacky wax left to remove later. Since Pat usually waxes the whole mold, after cleaning the inside of the lamp, we put the mold back on the kiln for a few minutes, and can wipe it clean, ready for the next student to use. (but not collecting dust, like when you leave it waxed).

Nicolle O'Neil: Thanks for the advice about Toluene; it's better to avoid such chemicals unless all safety precautions can be taken. The paper towel method works well for me, too. When I removed a 22" elaborate peony from the mold a couple of weeks ago, about 90% of the wax stuck to the mold instead of the glass. While still warm, it was not too difficult to remove the rest from the glass. A method that worked fine for this lamp was: --leave an unsoldered seam around the widest circumference --leave three vertical seams open in the lower tucked portion --with the lamp in the right-side-up position, heat one lower section at a time with a heat gun (high-powered hair dryer). The band pries off when hot, about 5 minutes. repeat with the other two bands. (I don't pre-install the rim because it doesn't position well within the lamp edge contour, but do solder the ring before removal from the mold). --place the lamp upside down, and rest the top of the mold (inside the ring) on a piece of wood or something that will allow the ring and shade to be suspended about a half-inch from your table. (cover the table with a piece of Styrofoam or something to cradle the shade when it is released). --cover the mold opening with a piece of wood or homasote to keep the heat in, and aim the nose of the heat gun to the inside. Put a towel around the heat gun to keep in the heat. The air intake should stay outside the mold. Reposition the heat gun occasionally to avoid hot spots. In several minutes, the glass will be warm and can be pushed down off the mold. --most of the wax stayed on the mold (at least this time). >From Barbara Grollo After all the discussion on the Toulene, I'm glad I didn't run out and buy any! I know I've mentioned it before, but for the newer members, Pat warms up her large kiln when a student is planning to unmold a lamp. We just place the mold on top, and within 10 to 15 minutes you can lift it right off the mold. There is enough heat to just take paper towels and wipe most of the tacky wax off. If it cools too quickly, you can always place it back for a few minutes to get some more off. I also keep paper towels handy, when soldering the inside of the lamp, and wipe excess wax, as I solder. I've got some glass easels that had quite a bit of tacky wax on them from previous projects, and decided to try some "Oops", that stuff they sell for removing dried up latex paint. The container reads "for grease, wax, crayon, etc" so I figured I'd try it. It took it right off. (I don't have the container in front of me, but it's probabaly an acetone, or something similar).

Larry: So far we have taken 2 lamps off the molds in our kiln. First we lined the kiln with aluminum foil. then heated the lamp to 200 degrees and help it there for 10 minutes. The first lamp was a 14" Tulip cut very well and soldered together very smoothly. After 10 minutes, the tacky wax had puddled around the base of the mold and the lamp lifted right off. The second one was the 16" Apple Blossom. It was not as well cut, so there were some gaps that the solder had run through. I think it must have stuck to the mold, because the lamp did not move after the first 10 minutes. It was a busy day here, and we were all helping customers, so the kiln had shut off and was cooling before we got back to it...Thank heaven for digital controllers! We gave it another 10 minutes and still nothing, so we raised the temp to 275 for a third 10 minutes. That was plenty of heat, but the lamp still did not come off. I could tell it was not the wax holding though, so we turned it over and with my grozing pliers (Everything was pretty hot by then!) I carefully pulled on the mold while Patti held the hot glass. It did come free and not surprisingly, there were big lumps of solder on the inside. I simply attributed the difficulty to beginner level workmanship. I am sure that the next lamp that student does will come off the mold easier. I received my free samples of the "Soy Solv" and "Soy Solv II"...the Soy Solv II is a concentrate that can be diluted or used full strength. I tried the Soy Solv and found that it worked real well on tacky wax...but I didn't use it enough to determine if it worked better than De-Solv-It or not. I will keep you posted on the future use of it.

Shauna Palmer: p.s for the environmentally friendly, don't forget that soy based cleaners like "Soy Release" clean up tacky wax in a snap and are completely water soluble, non-hazardous materials that are available from your stained glass suppliers and in natural food stores, too...

Carol Conti: Here is another "filling the gap" material to try out on the spaces around the dragonfly wings. It has worked out really well for a few of us locals. Use bronze wool! You can obtain it at (large) lumber or marine supply stores. (It is used to sand fiberglass parts since it doesn't rust when its exposed to water.) Get the fine grade.

Carol Conti: Some other thoughts to add to your discussion...by the "creative use of wax" I can attach each glass piece on the mold exactly the way I want it, so I don't bother tacking lamps anymore. I bead the outside of my lamp before I release it from the mold. Because of the heat passing through the beading - which is done on the inside of the lamp, the outside solder always looks smoother to me. Isn't it just as easy to remove any leaks on the outside as it would be to remove them from the inside? I use 60/40 solder.It melts faster so I can get a smoother bead.

Alex Glassman: A man in Montana wrote me to ask about my lamp on the cover of 1998 calendar. Here's my answer to his questions for your perusal too. Question: I did have a couple of questions on your "bouquet" piece....some of the pieces look long enough that they must stick out above the plane of the form, is this true or is it just a trick of the perspective? Question: On the form...you used "tacky wax" on a "generic" form? Answer: Well this was an unusual form I used. I went to an Oriental restaurant supply store and bought a 24" wok. I told the lady I was using it to make a lamp with and she looked at me funny. But the wok had just the right shape for a hanging lamp because it doesn't have a great curve so you can use longer pieces on it. They may stick up a little at their tips but you canfill it with solder (at least that's what I did). I made all the flowers as you would sun catchers but after foiling them I placed them (anywhere) on the mold to tack solder; to make sure they had the curve of the surface. Then when I had the large flowers tacked I placed them on the mold. I then filled the negative spaces with jewels, circles and squares of glass I'd foiled. Then a big job of soldering because there are a lot of gaps since you're not filling all the negative space as in a regular Tiffany lamp. Some large spaces I filled first with rolled and balled up pieces of cooper sheet so I wouldn't have to use so much solder. Reinforcing? Yes, on the inside with picture frame wire along seams. And the lamp is supported for hanging at 5 spots (One in the center and four along the edge with a contraption of brass tubing and lighting fixtures (four bulbs) which are invisible to the observer.

LAMP CONSTRUCTION ON WORDEN AND ODYSSEY:

Carol Conti: Lois wanted to pursue a comparison of Odyssey and Worden and then Jennifer wanted to hear what I thought about these methods.I've built more than 60 Worden lamps and about the same number using the Odyssey method.(I used the Worden method when I designed my first lamp and then used Odyssey blank molds with architects linen for my other 14 designs.) Odyssey uses authentic patterns by the masterful Tiffany. The patterns are made of mylar and the molds are made of fiberglass. (One of my Waterlily molds has been used by students about 25 times and it's still in perfect condition.) These molds are full molds - no guessing about how to line up sections. However, when a student is determined to do a Worden design, we buy all the sections that are necessary to make up a full mold...this can be quite expensive, considering the fact that usually the flimsy styrofoam mold cannot be used again. Another plus for Odyssey - I've found that Tacky Wax makes every part of construction so much easier. Wax is not a nuisance if you use just a tiny bit of it on the back of each piece of glass in order to hold it to the easel and then use the same wax to attach it to the mold. We even found out that by securely wrapping Worden molds with Saran wrap, you can use wax to hold the glass pieces in place. After the outside is soldered you just lift the lamp with the saran wrap still attached to it right off the mold!Mike pointed out that there are certain procedures to follow that determine the success or failure of a project. The Odyssey instruction manual is a great help. I think that my construction manual helps too, in that it stresses the IMPORTANCE of choosing wonderful glass by using windows and easels.

Jo Anna Vitale: As far as Worden Vs Odyssey....I have made both and I have taught with both and I still prefer the Odyssey for strength and ease of use and of course, authenticity. I must admit that I haven't used tacky wax but rather start at the top and "sweat solder" the first row to the brass ring. Then tack solder each piece one at a time to each other going around and around until it's all done. I flip it over (CAREFULLY!) and solder the inside while it rests inside a big box of crumpled newspaper. When that's done, I solder the outside. It seems to work for me. I recently bought some tacky wax so I will have to try it and see which method I prefer.

ON REINFORCEMENT:

Carol Conti: the rule is - lamps over 20" in diameter are reinforced. Usually the Neustadt book gives reinforcing specifics, but when I researched the Laburnum for you, I only found mention of the 28" Laburnum having three vertical wires connect with a horizontal reinforcement wire. To quote from the book about the placement of the horizontal wire: "Rather than girding the shade in one fell swoop, it circumnavigates it in sweeping curves, sometimes 3/4" from the border, then as much as 5 1/2" above it." I'm assuming that such reinforcing facts were, for some reason or other, just not included in the discussions of the smaller Laburnum lamps. Surely Tiffany Studios would reinforce such a fragile lamp...no matter what the size. Odyssey recommends using 12 gauge wire, but you would probably be O.K. even with 16 gauge.

Nicole O'Neill: The interior reinforcement wire in some of the Tiffany lamps I've seen is pretty substantial. I soldered in a 14 gauge wire in three roughly vertical lines in the Elaborate Peony last week, and it went very easily. I didn't use a horizontal one, having not seen one used in any of the four authentic 22" Peonies I've had the opportunity to examine. The glass band is probably enough. I could have used 12 gauge copper but picked 14 to make it even easier. The copper wire reinforcement in Tiffany lamps is sometimes not perfectly appressed to the lead line, and solder fills in the gap. This results in a short, vertical wall weaving around the pieces. I think this actually adds to structural strength of the lamp (inhibits flexing) in the same way that adding "fins" to a panel does. Tiffany often wove structural fins around lead lines in panels, and they stick out at right angles from the plane of the back side of the panel to keep it from flexing.

MISCELLANEOUS

Walt Boepple: I will be demonstrating a lamp positioner made by a member that is totally different than anything I have seen. This one is basically for panel lamps. There is a plate that screws to a piece of plywood, then a threaded rod is screwed into the plate, a vase cap goes onto that and is secured by a nut on both sides. On top of the threaded rod is a wheel that has some suspension rods that go out. If you have an 8 panel lamp there is 8 of them, a 6 panel lamp there is 6 of them, etc.. It begins to take on a May Pole appearance. On each one of these rods is a clothes pin that attaches to the rod and it can be slid up and down so you can obtain the proper angle for the panels. You then begin to tack solder the panels until you get them all secured at the proper angel. >

Deb Sossi: The other subject....mock-ups. Whenever I'm considering a panel lamp, but I'm not sure if the size will work where I'm planning to put the lamp, I do a mock up. I take the paper pattern and make copies of it. I then cut out the panels and tape them to cardboard and "assemble" the lamp. You see immediately what the size of the finished lamp will be. I did this yesterday with the pattern for the prairie lamp I was considering and it's a good thing I did. We were planning the lamp for here on the computer desk and it will just be too big. Better to spend $17.95 on the pattern, than get the glass and make the lamp and be disappointed with the finished lamp. Sometimes the size dimensions are hard to visualize and these mock ups are a very good idea, I think.

Joan Bengston: There have been a couple mentions about light bulbs and no one seems to be jumping in on the topic so I will. My experience is limited but I'll share what I can. I usually use GE appliance bulbs. They have standard bases. The ones in my storage box are 40W but I seem to remember buying 25W ones in the past. Appliance bulbs are small, very durable and can take a lot of turning on and off. For smaller hanging shades where I don't want to use one of those cheap looking white globes I'll use a regular one bulb socket and put in one of those larger round globe type bulbs. I don't like bulbs or globes made of milky white glass so when I want to soften the light of the bulb to disburse the light I gently sandblast it. For those of you who don't have access to sandblasting I'm sure that a jar of etching creme would have similar effect. Just be sure not to damage the metal screw base of the bulb. >

Joan Bengston: My recipe for home made tacky wax is: 1# filtered beeswax 1/2 Cup Vaseline petroleum jelly Melt over low heat just until all solids disappear, stirring once in a while. Pour into a flat pan (I use a 9" x 13" cake baking pan) lined with kitchen plastic wrap. The thickness isn't critical. When cooled and solid, turn out on a cutting board, remove the plastic wrap and cut into blocks of desired size. I buy the wax from the local nature center. It isn't necessary to get expensive candle grade wax. I think what I get is #2 grade, tan colored, and it makes the house smell heavenly when it's melting.

ON LAMP ASSEMBLY: On Positioning Jigs:

Carol Conti: Since I have two workbenches close to each other, I used to just stick a broom handle through a lamp in order to suspend the lamp between the workbenches.The broom end keeps the whole works stable and since the lamp is at a good height, you can stand up to solder.

On Constructing the Turtleback Lamp.

Carol Conti: ...copied from March '97 newsletter "Because of their thickness, the turtlebacks can't be installed until the lamp is off the mold. Carol Conti presented an easy technique for constructing this unique lamp. After soldering all the gridwork at the top and bottom of the lamp, the top ring and bottom rim are installed . Lengths of 8 gauge wire are tack soldered vertically to the top and bottom gridwork - crossing the center of each turtleback opening. These temporary bridging wires hold the top and bottom gridwork securely in place when you release the lamp from the mold. Make a cardboard template of the opening where the turlebacks will go. The template is your pattern that you follow to cut and fit each turtleback to its opening. After foiling the turtleback, remove one of the bridging wires and solder* the turtleback in place. Continue - in sequence - removing the wires and adding the turtlebacks." * Jenny (at Odyssey) said that some original Tiffany turtlebacks used lead around the turtles instead of solder...sure would be easier - not having to foil and solder them!

Peter Grotepass: ...about that problem of the 22" Dragonfly lower portion (which is under the "equator"), I would solve that problem the following way: 1. Don't solder a complete seam around the "equator". 2. Stabilize the lower portion with some wire cut from any metal coat hanger. Make sure that it is bent properly to follow the form of the lamp (ie. absolutely no tension on the wire) 3. Before heating up the mold, attach the lower section to the upper section by soldering some (minimum 3, maximum 5) connections to make some "bridges" across the "equator". Make the connections in the following way: Take a single electrical connector and solder it near the equator on a seam of the lower portion (cut the plastic off first). Open the screws and bend a small piece of wire so that it touches a seam of the upper portion when it is fixed with the connector's screws on the lower portion Fix the short piece of wire in the area where it touches a seam in the upper portion by soldering it onto the seam. Try to get all wire end directions approximately parallel. Mark both upper and lower wires of 1 of your 5 interim bridges with red nail polish. 4. Now open all screws of the connectors and heat up the mold. What will happen first is that the lower portion will drop down. Leave it on the table where it is. Move the upper portion off the mold and put it upside down on the table. Clean the mold up and put it aside. Now take the lower portion of the lamp (with four hands) and put it back exactly in its old position by fitting all wire ends into their connectors. Tightening the screws at this point allows you to put the shade on a base to view it as it will ultimately look when lit. While soldering the "equator", remove all connectors and wire ends.

Nancy Pimental: Ok - it's time to tell all about our not so secret method of lamp construction. For those of you who cannot complete a lamp in a week end, myself included, we photocopy the pattern onto full-sheet Avery label paper, making as many copies as needed. It cuts with pattern shears, and stays on at the grinder - thus eliminating the need to trace - just cut around the pattern. When we build a lamp, we tin each piece and wash it before soldering it to the lamp, starting at the top, we only need a little duct tape to get us started, from there on out we tack solder the clean pieces on without flux. If it takes a week or two years to complete the lamp, it does not tarnish from flux. If it sits a very long time, you may need to shine the solder with extra fine steel wool, but the lamp readily takes a bead with little to no oxidation. All of our students use this method and love it compared to the tacky wax. It is much cleaner, and the form looks like new when you finish