Go to a glass shop. Tell them the size. They will cut it. They will smooth the edges.
Last I bought were about 30" x 80". They cost $75 each including transporting to our house and installing on the wall. That was about 10-12 years ago.
Kerosine? For what?
cutting oil. keeps glass chips from jamming the cutting wheel.
i have found that it also prevents microfractures from healing back up, causing cleaner snapping on float glass. i don't use oil on other harder art glasses, but do on float, especially thicker (1/4"-1") sheets than window glass (which can be done without kerosine).
i just use a paintbrush to apply a kerosine line where the the score is to go, and cut on that line. the liquid seeps into the score, and seems to work better.
regards, charlie
daughter was sick this weekend and had to take her to the doctor. On top of that i had to buy a new router and figure out how to hook it up to my old table.
are debating is whether to paint or stain it. I want to stain it to match the cabinet which is also in the attached picture. But I am open to anything.
I have cut a lot of stained glass in the past and have never heard of using kerosine. What do you use that for?
Actually the oil is simply to lubricate the cutting wheel axle so that it does not wear out. I used to do a lot of stained glass and never had issue with glass chips when cutting glass. I did have a glass cutter with an oil reservoir that lubricated the axle ever so slightly with each cut.
Still wondering why use Kerosine over regular 3 in 1 oil and or mineral oil.
Oops! You just answered my question. ;~) Now I know. I was thinking
1/8" thick cheap mirror similar in thickness to stained glass.
it's easier to cleanup off the glass than thicker oils, and reservoir cutters have a cloth wick that can get gummed up by heavier oils if they sit for a while. once that happens, the wick can't be cleaned and you can't get it to start working.
also, i can get a multi-lifetime supply in a gallon of kerosine than small containers of oil.
for lubrication of the cutter wheels, put a cotton ball in an old film canister and add a dozen drops of 3-1 oil, then cap. when you go to cut, just run the wheel in the cotton ball to get a very little bit on it, then use. other than that, i don't cut art glass with any oil, just float with kerosine.
btw: if you're getting chips when using a glass scoring tool, you're pressing WAY too hard. it usually only needs 5-8 lbs of pressure to work correctly. you're scoring, not cutting, glass with the tool. some hard art glasses don't even make a sound and it's hard to find the score to snap.
btw: if you're getting chips when using a glass scoring tool, you're pressi ng WAY too hard. it usually only needs 5-8 lbs of pressure to work correctl y. you're scoring, not cutting, glass with the tool. some hard art glasses don't even make a sound and it's hard to find the score to snap.
Scoring too hard! Probably exactly why I've never had very many clean cuts /snaps of the glass I've tried cutting, despite most of my glass cutting ha ving been on older, used glass. I had always blamed the old glass. Thanks .
Sonny
Oh, so oil. I was just wondering why Kerosine. I'm guessing of everyone with a shop, 10 would have some oil around and
1, some kerosine.
The lower cabinets don't seem to be stained. They appear clear coated.
Apply a clear coat to some scrap and compare the two. If the cabinets are a touch darker, put some toner in your finish, to darken it a tad, and apply toned coats (to the test scrap, first) creeping up on a best matching tone/color.
Sonny
Gotcha, I would have thought the kerosine would gel or gum up after a while. apparently not.
No, I did not have the problem.
WAY too hard. it usually only needs 5-8 lbs of pressure to work correctly. you're scoring, not cutting, glass with the tool. some hard art glasses don't even make a sound and it's hard to find the score to snap.
cuts/snaps of the glass I've tried cutting, despite most of my glass cutting having been on older, used glass. I had always blamed the old glass. Thanks.
Keep in mind your breaks will be better and easier if you snap the glass immediately after scoring.
How's that?
typically do a good job or should I just buy several close stains and try to mix and match myself?
touch darker, put some toner in your finish, to darken it a tad, and apply toned coats (to the test scrap, first) creeping up on a best matching tone/color.
I do not the exact reasoning other than how it was explained to me by my instructor some 30 tears ago. Glass is technically a liquid vs. a solid, it heals itself. I have never verified the next example of glass being in a liquid type state but it is said that the stained glass in old church windows is thicker at the bottom and thinner at the top.
Yep, at room temperature, glass is a super cooled liquid. Almost all glass 75yrs old and older will be visibly thicker on the bottom, with waves/wrin kles (flows unevenly) that will noticeably deflect light.
Additionally: Glass exposed to UV light for ~~75yrs starts to turn blue, has a blue shade to it, only noticeable with clear glass, i.e., an aspect to help in dating /aging glass, bottles, jars, etc.
I assume this info is fact, learned as a self taught amature bottle collect or, back in high school and a bit beyond.
I've always understood cutting older glass panes may not always cut/snap cl ean, because of its unevenness.
No telling what other mistakes I made, besides 1) scoring too hard, then 2) pausing before snapping, to inspect that the score mark was visible and, i f not, score it again. What was that thread, "Pretend you know an idi ot"? Ibid.
Sonny
On 5/2/2013 8:38 AM, Sonny wrote:> On Thursday, May 2, 2013 7:28:16 AM UTC-5, Leon wrote: >> > > I do not the exact reasoning other than how it was explained to me by my instructor some 30 tears ago. Glass is technically a liquid vs. a solid, it heals itself. I have never verified the next example of glass being in a liquid type state but it is said that the stained glass in old church windows is thicker at the bottom and thinner at the top. > > Yep, at room temperature, glass is a super cooled liquid. Almost all glass 75yrs old and older will be visibly thicker on the bottom, with waves/wrinkles (flows unevenly) that will noticeably deflect light. > > Additionally: > Glass exposed to UV light for ~~75yrs starts to turn blue, has a blue shade to it, only noticeable with clear glass, i.e., an aspect to help in dating/aging glass, bottles, jars, etc.
Ah yes! I had almost forgotten that the light will trun in color when exposed to the UV light. AAMOF my grand mother and aunts collected old looking clear glass bottles and placed them inside a wooden box lined with aluminum foil. They used a florescent UV lamp on the lid to constantly shine for several months. At the end of what seemed 3~4 months the glass would actually have a purplish cast.
A funny note, my grandmother in her 70's back in the 60's would watch the process with the lid partiality opened, no knowing that the process was going to take a long time. She ended up with a sunburn around her eyes. Not bad, just enough to appear really odd. LOL
A correct assumption although the artificial process yielded the slightly different color.
I mentioned immediately, What i should have indicated was don't score all of your glass and then break it. Breaking is the very next step in the process of cutting. Basically don't score the glass until you are ready to snap it. Also do not rescore, run the glass cutter in one continuous fluid motion. Only press hard enough to hear the cutter working.
And then cutting concave curves is another matter altogether. You do need to score the curved shape and then make several relief cuts to slowly remove material up to your desired curve. And grozing plyers are involved to literally break out chunks.
Much more fun cutting a convex curve.
is typically do a good job or should I just buy several close stains and tr y to mix and match myself?
Before visiting SW, get a scrap piece of wood and wet it with mineral spiri ts. Does the darkened wet-look color/shade match the color/shade of your c abinets?
Sherwin Williams might match stains, but do they match tones? You may be c onfusing the terms. Toning is the mixing of a color agent (usually a darke ning agent, or to enhance a color/shade), into a clear coat finish, to give the finished piece/furniture a darkened/enhanced coating/appearance, i.e., darker than its natural color.
If a stain is applied and it's not dark enough, then often a toned top coat is applied to bring the piece to the best matching color/shade, rather tha n applying more stain. Applying more stain is harder to control, to achiev e the right color/shade, than applying a/some toned coating/s.
They would need to see your cabinets or a sample (a door!). They would pro bably verify if the cabinets have been stained or toned or neither (simply clear coated). They look clear coated, not stained, at all. The present f inish might have a tone to it. If there is any different coloration, to th em, beyond the wood's natural color, then the present finish was likely ton ed, before it was applied, i.e., they would have a different color/shade be cause of toning, not staining.
Rather than recommend applying a stain, I would suspect Sherwin Williams wo uld recommend toning the finish you are to apply, to match the color/shade of the cabinets. They would, in turn, need to do some test pieces and/or t est applications, to determine the correct recipe/schedule, to match or clo sely match the shade of/on the cabinets.
If toning is to be done, you won't need very much toning agent, for the ble nd/mix. SW may not charge you for the amount of toning agent used, but the y may charge you for the testing. It may take some time for them to do th e testing and there may be a fee for this time.
I've never had any paint store blend a tone for me. I do my own toning, of clear coat applications. The only thing I've had a paint store do is matc h a paint color/shade, not a tone shade.
Sonny
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