Table of Contents

Introduction .................................................................................................. 4
Brief History about Stained Glass use in lamp Shades ............................. 4
WordenSystem Forms ..............................................................................5
Installing MagicStrips ..............................................................................5
Cutting & Installing FlatCartoon ........................................................... 6
Preparing Paper Pattern ..............................................................................6
Selecting and Puchasing Glass .................................................................... 7
First Time Glass Cutting ............................................................................. 7
Glass Cutters ................................................................................................ 8
Breaking and Grossing Pliers ....................................................................10
Pinning Parts to the Form ......................................................................... 12
First Time Copper Foiling Stained Glass Parts ....................................... 13
Soldering Irons ........................................................................................... 15
Tack Soldering Foiled Pieces Together .....................................................15
Tinning Outside Seams .............................................................................. 15
Reinforcing Top Aperture and Bottom Border ....................................... 17
Building Solder Seams ............................................................................... 17
Installing Spun Brass Cap or Brass Heat Caps ....................................... 18
Cleaning and Antiquing .............................................................................20
Displaying on Lamp Base .......................................................................... 20
Hanging Hardware for Tiffany Style Lamps ........................................... 22
Accessories .................................................................................................. 23
Lamp Designing ......................................................................................... 27
Index ............................................................................................................ 28

4 - Wordens Illustrated Guide

Introduction

Making small piece lamp shades can be a very satisfying hobby. The proper
tools are simple and inexpensive. Much enjoyment can be found in this easy-to-learn
craft.

This lamp construction book has been tailored for persons new to stained glass
crafting. The basic illustrated information once learned opens up all types of crafting
with stained glass.

The name [Tiffany style lamp] has become a generic word describing all small
piece rounded stained glass lamps using the copper foil method of construction.

Lamp shades constructed on WordenSystem forms are assembled the same way
that Louis C Tiffany, founder of the Tiffany Glass Co., used to make famous small
piece stained glass shades in the early 1890s.

Tiffany lamps and other Tiffany style shades manufactured at that time, such as
Handel, Wilkinson, Chicago Mosaic, Duffurner & Kunberly and other small studios.
Tiffany style lamps are variations of round, flattened globes and cones. These round
shapes lend themselves to the construction of strong, durable family heirloom type
fixtures.

The stained glass parts are held together by wrapping a very thin copper foil
strip around the edge of each glass piece, copper foiling allows intricate, delicate
designs to be made. A special solder alloyed for a low melting point will then adhere
to the copper foil to encase each part. The solder makes a durable frame work by
welding the many pieces together.

Brief History about Stained Glass Use in

Lamp Shades

Antique Tiffany style lamp shades were constructed of an opaque mixture of colored glass commonly
called opalescent or opal. Opal masks the light source from lighted bulbs and shows color in reflected light.
Cathedral glass, with varying density of transparency, was sometimes used for highlights.

In 1895 the Tiffany Studios started marketing lamps and windows using their own special Tiffany glass.
Prior to that they purchased glass from other manufacturers. Starting in 1888 the Kokomo Glass Company
supplied glass to the Tiffany Studios and other studios who also made lamps. Kokomo still makes glass similar
to glass they made at that period, as well as the Paul Wissmach Glass Company, established in 1904.

The Tiffany Glass Company closed shortly after the first World War and it wasnt until around 1968 that
stained glass crafting swept the country and new glass companies started up. Several of these new companies
specialize in Tiffany type glass in a host of new color combinations.

Today opal stained glass is available to the novice and experienced lamp craftsman in a huge selection of
color mixes, textures, color densities and price ranges.

Wordens Illustrated Guide - 5

SAFETY RULES - AVOID INGESTION, INHALATION, SKIN OR EYE CONTACT of (1) solder, flux,
antiquing solutions, or toxic fumes from melting styrene plastic (all chemicals); (2) irritant dust from grinding
stones or ground glass; and (3) glass shards from scoring, cutting, or grinding glass.
- PROTECTIVE clothing, gloves, safety glasses or face shield are recommended.
- WORK AREA should have exhaust system or adequate ventilation for grinding, soldering and handling
chemicals. Avoid accumulations of dust and airborne dust. Keep all work areas clean and hazard free. Do not
bring food into work area. Do not eat, drink or smoke in work area.
- SAFETY DATA read manufacturers safety information on required products before using.
TOOLS/SUPPLIES NEEDED Safety Glasses
Copper Foil
Breaking/Grossing Pliers
Grinder
60/100 Watt Soldering Iron
Sticky Tape
- Pattern Packet
Flux
Clear Contact Shelf
Antiquing Solution
- Matching Form
Scissors
Paper or 1 3M
Braided
Wire
- Selected Stained Glass
Glass Cutter
MagicTape (Optional)
Sequin and Glass Headed Pins

WordenSystem Lamp Forms

Installing MagicStrips

The Perfect Lamp Form

WordenSystem lamp forms are molded of
expanded Styrofoam plastic granules. This material is
not heat proof but it is heat resistant. You can tack
solder and tin the foil wrapped parts securely together
on the form, the lamp is then removed and soldering
completed off the form. Molded styrofoam lamp forms
provide a near perfect method for assembling and
designing Tiffany style lamps.
Economical to buy
The forms are mass produced in molds and are
marketed at a reasonable price.
Easy to Use
The forms have molded numbered areas
embossed on the working surface indicating where
printed cartoon strips (MagicStrips) glass
placement guides are attached.
Do Not Flex
The inject molded forms are over 1 thick. They
do not flex during use. Styrofoam is stable, light and
will last for years. It is the same durable, non-toxic
material that is used by the building trade for
insulation.
Pin Parts to Form
The pin cushion feature of the forms allows the
use of round headed glass pins to securely fasten the
cut glass parts to the form until they are foiled and
tack soldered together, tinned and removed, then the
lamp is completed off the form.
Reusable
We offer several different lamp patterns and a
special lamp designing grid pattern for each of our
form shapes.
Design Selection
Select from over 250 outstanding turn of the
century lamp designs that are built on 21 different
form shapes and sizes.

Drawing & Erasing

If you want to draw and erase on the strips; cover
with 1 wide Magic Transparent Tape before cutting
apart. It will make drawing and erasing easier and
waterproof the strips.
Cutting Apart
Flatten the sheet fold, by burnishing with a flat
tool. Cut the MagicStrips apart on the INSIDE
EDGE of each strip. In other words cut the small
dotted line - - - - or the SOLID BLUE AREA
completely away.

Cut Dotted Line or the Solid Blue Area

Completely Away

Attach the MagicStrips glass placement guide

strips (cartoon) to the curved form. Hold along the
center of the strips. The MagicStrips are flat, they
cannot fit tight to the curved mold, they will buckle.
Hold strips to the form with:
1) Common pins - Dont place them through
printed solder lines, Solder will stick to them
2) Sticky Tape - use narrow pieces near the center
of the strips. Preferred method.
Starting at bottom of FullForms install
matching letter/number on strip with letter/number on
form.
Numbered
embossed
areas for
the printed
cartoon

6 - Wordens Illustrated Guide

SectionalForms - line the center arrow with the

center raised molded line. Trim off any overhang. Line
up pattern lines from strip to strip.

If you have difficulty seeing the molded lines and

numbers outline them with a narrow felt tipped marking
pen.
Attach Sideboards (SectionalForms)
The side boards in your kit will assure the correct
width of the glass sections. Each glass section must be
made the same width as the form. If glass sections are
allowed to grow just a small amount, the completed
glass sections will not fit properly together. Leave about
3/8" of the sideboard extending above the form. Hold
with straight pins placed on a slant or glue on
permanently. Be sure to use a glue that will not melt the
form. Elmers white glue works well.

Preparing Paper Glass Cutting

Pattern (pattern printed in black)
Pattern Protection (optional)

To protect the patterns from wetness and from
tearing when removing sticky tape, cover both sides of
the sheets with 3M Magic transparent tape or Contac
clear shelf paper before cutting apart.

The paper patterns were made with about the
width of a pin separating each pattern piece. This
leaves room for the copper foil, allows nice narrow
seams to be made and still leaves room to hold the
parts on the form with pins. Use scissors to cut the
patterns apart on the OUTSIDE edge of the printed
lines; leave the line as you cut. Do not cut on the
dotted lines.
Scissors

Check for Fit - Mark Glass Color Grain

Pin the entire paper pattern on the form and test
for fit before any glass is cut. It is easier to trim and
adjust the pattern to your way of cutting glass at this

PIN OR GLUE

No Sideboard Option (preferred) To assure that there

are no overhanging parts, hold a straight edge securely
point, than to spend time grinding later.
against both the sides of the sectional form and move it
Bridging Pieces - SectionalForm Only
along the form. The edge of a small 6 metal ruler or any

Separate the pieces that are marked with dotted
straight edged tool works well.
lines. Do not cut on dotted lines. Patterns with dotted
lines are used to cut out glass pieces that bridge from
one sectional form to the other. They are fitted and
soldered in after all the sections are joined together.
for Window Hangers, etc.

Follow directions printed on each FlatCartoon
sheet (FLATTEN FOLD - CUT APART - FIT ON
WORK SURFACE - HOLD ON FlatCartoon WITH
PINS ). Separate the FlatCartoon from pattern and
pin FlatCartoon to work surface. We recommend
using a 1" thick piece of styrofoam covered with a light
poster cardboard or corrugated cardboard for the work
surface.

Cutting and Installing

FlatCartoon

Wordens Illustrated Guide - 7

Selecting and Purchasing Glass

Color Key

Included in each MagicStrip Pattern Packet is
a color key which lists the suggested color, type, and
amount of glass needed (Glass Manufactures Guide),
color and glass selection is similar to the original
antique lamps. The Glass Manufactures Guide is a
getting started guide.
Opalescent Stained Glass

There are hundreds of colors, combinations of
colors, color densities, and textures from which to
choose. Most of the glass used in lamp shade
construction is opalescent. This opaque glass masks out
the light source and glows from any angle viewed. It
also shows color when not lighted. Select rough or
smooth backed opals in single or multiple colors. Select
lighter density opals and cathedrals for highlights.
Substitute other colors if desired.

Do not hesitate to mix glass from different
manufacturers to achieve the effect you want for
example: use a light colored smooth machine rolled
opal for background; mix textured, mottled glass to
give the illusion of depth for leaves and flowers; use
rippled cathedral for borders and highlights; select
rough textured cathedral glass for tree limbs, stems and
flower centers.
How Stained Glass is Sold

Stained glass is manufactured in color mix
batches, rolled out, annealed, cut into rectangle sheets
and placed in large wooden cases that weigh hundreds
of pounds. Stained glass wholesalers purchase the glass
in case lots. The cases are broken down to fill the needs
of the thousands of large and small retail dealers,
studios and craft stores.
How to Purchase Lamp Shade Stained Glass

Try to purchase your glass and supplies from a
stained glass dealer. Most reliable dealers have sample
swatches supplied by the glass manufacturers. They
can answer any questions you might have. Retailers
have lighted tables so you can arrange the beautiful
colors as they would appear when lighted. If a dealer
doesnt have your glass selection in stock, they can
easily get it for you from their wholesale supplier.

Visit glass manufacturers websites to view
samples to help you make your glass selections.




Armstrongglass.com
Bullseyeglass.com
KOG.com
Spectrumglass.com

Uroboros.com
Wissmachglass.com
Youghioghenyglass.com

Other Types of Opalescent Glass

Hand rolled mottled and full ring mottled
opalescent glass have areas of other colors or
intensities appearing in small irregular rings like
islands of lighter color in a sea of darker or more
intense color. The color variations create the illusion of
depth and add character to a lamp shade allowing the
picking of colors for a dramatic effect. Full ring
mottled opalescent glass available today is similar to
the glass used in the original antique Tiffany lamps.

NOTE: Art glass with two or more colors is
also referred to as opal by the trade.
Cathedral Glass

Very translucent - light source can be seen
through it. Can be used as highlights in flower
designs, borders, etc. A lamp made from rough backed
cathedral and hung near a window will show its colors
like a stained glass window. If a cluster of clear light
bulbs are used, it will burst into diamond-like colorful
glitter when lighted.
Rippled Glass

Borders and backgrounds made from rippled
glass require the glass to be cut from the backside with
paper pattern reversed.

First Time Glass Cutting

Safety Tips

Wear glasses or safety goggles while cutting,
breaking, grossing and trimming. Never force a break.
If a score does not break easily, move and redo. If you
do not force the breaks, there is little danger in cutting
yourself, other than small superficial scratches. The
glass pieces should be grasped with the tips of your
fingers inside, away from the edges. Never grip with
the palm of your hand.
Work Area

Use a sturdy table high enough to allow standing
while you work, a well-lighted, ventilated area away
from children, pets, etc.
Supplies and Equipment

Small piece glass cutting (scoring and breaking)
is a very easy, simple procedure. You do not need
expensive machines and supplies but you must have
a sharp glass cutter and a pair of high quality
grossing and breaking pliers (page 8 and 10). In
addition to a glass cutter and breaking pliers assemble a
pad. A resilient pad can be made from an 8 or 10
square of old carpet or a piece of spongy place mat, etc.

As you work, shake the pad and brush off bits of
glass from the work area. To catch most waste glass as

8 - Wordens Illustrated Guide

you break and trim, set a tall waste basket on the table so
you can stand and work with your hands down inside.
Position the form to one side of the table so you can turn
and work over it as you trim and fit the pieces on the
form cartoon.

Place a table or desk lamp with shade removed at
the back of the table to use in selecting glass.
Light Box

A light box can be used two ways: (1) to help
select glass and color and grain; (2) to use as a handy
scoring platform (very helpful for dark glass).

Construct a small platform box that is open at each
end, about 3 1/2 high, that will hold one square foot of
1/4 plate glass. The plate glass is covered with Mylar
tracing plastic to diffuse the light and provide a non-slip
scoring surface. A clear 25 watt tube type light bulb is
placed on one side of the box. This positions the light
under a scoring area near the edge of the box.

Glass Easel

A cartoon glass easel allows part or all of a lamp
design to be viewed with transmitted light as it is being
cut out. This is the only practical way we have found to
select stained glass flower, leaf, sky, etc., colors.
How to make the easel

Supplies needed: Wide black felt tip pen, clear
single or double strength window glass that will cover
the paper pattern or the part of the pattern you want to
use.

Procedure: Place the paper pattern under the glass
and ink in all the spaces between the pattern parts. If you

lay out the complete lamp you will need enough clear
glass for each pattern repeat.

To use: Lay the glass easel on a light box or
hold the cut parts on the easel with clear sticky tape so
it can be held up to a window or light.

Glass Cutter
Glass Cutter

Many types of steel and carbide glass cutters are
on the market. There are cutters that oil the wheel as
you score, others have special handles for those who
have trouble getting enough scoring pressure. There is
even a machine that looks like a small sewing machine
that applies the correct scoring pressure for you.

Two popular inexpensive cutters are 7/32 wheel
diameter Fletcher No. 07 for harder glass and the small
5/32 diameter Fletcher No. 09 that has been tapered
for pattern cutting. Both have a ball end for running
the score. The notches are not used. A traditional glass
cutter with a ball end is the basic tool needed to work
successfully with stained glass. Start with a green 07
and a blue 09 gold ball Fletcher, then after you have
mastered the craft, you can invest in a cutter with
changeable carbide wheels, such as a Macinnes or
Fletcher PSO that will last a lifetime.

Caution: Never try to draw the cutter over a
score line twice; a new cutter can be ruined the first
time.
Inexpensive Fletcher Cutter

Carbide Macinnes cutter

Holding a Glass Cutter

The traditional way to hold the glass cutter is
between the first and second finger. The thumb
supports the cutter on the underside allowing a free
wrist motion as the cut is made. The cutter should be
straight up and down or tipped slightly forward, the
pressure coming from the shoulder, not from the wrist
or fingers, as you draw the cutter toward you. This is
the best way to cut long strips. Fig. C

To cut a small piece hold the cutter as for long
cuts, apply pressure from the shoulder, but push the
cutter. This allows you to see the wheel as you follow
the mark on the glass. With the other hand hold the
glass with your finger tips and use the thumb to help
steady and guide the cutter as you push it to make the
score.

Wordens Illustrated Guide - 9

Figs A & B are used successfully by individuals
who have trouble getting enough pressure with one
hand. Look at the center of the cutter wheel; score
away from you as you follow the inside edge of the
mark on the glass.

In all three examples the cutter is pushed and the
score line is made on the inside of the mark on the
glass. Use the way that is most comfortable for you.

Alternative way to hold

cutter to get more
pressure.
Fig. C

Scoring on Glass

When scoring stained glass, the pressure should
come from the shoulder and not the wrist or fingers; do
not press too hard. The glass cutter must crush a very
small groove in the glass surface. To check glass
scoring pressure hold the cutter against a bathroom
scales; 10-12 pounds pressure is the amount you will
need.

Fig. A

NEVER SCORE OVER THE SAME SCORE

LINE TWICE. You may permanently damage a good
steel or carbide cutter.

Try to leave about 1/4 between parts. This
allows enough room to grip the glass with breaking
pliers for a nice clean break.
Cutting Sheets of Glass

You will be constantly cutting larger sheets of
glass down to smaller workable pieces. Study figs. 1
and 2 . THESE ARE BASIC STEPS YOU MUST
LEARN TO WORK WITH STAINED GLASS. To cut
glass pieces, you will need to cut your larger stock
sheets down to a handy working size, approximately 6
squares. Score your stock sheet from one side to the
other. Always apply pressure away from the score line.
To break a strip from your stock sheet, hold the glass
securely with your thumb over the score line where the
score line runs off the edge; tap lightly with the ball of
the cutter underneath the score line. You will notice the
fracture widen. The piece should break along the score
line. Tapping under the edge to run the score may cause
the piece to break completely apart. As experience is
gained, you will find that most of the time the glass
will break without running the score through at the
edge. Do not tap small pieces. Use breaking pliers to
break small pieces.

The glass pieces should be grasped with the tips
of your fingers inside, away from the edges. Never
grip with the palm of your hand. Always apply
pressure away from the score line. Press the knuckles
firmly together, roll both fists out and down applying
pressure on the bottom two knuckles, bending and
pulling apart at the same time.

Fig. B

The proper amount of pressure will make a small
groove with one fracture extending down and the break
will follow the score. If too much pressure is applied,
many small fractures will run in all directions other
than the one extending down from the score line. If
tiny slivers of glass fly from the score line, you are
pressing too hard.

Fig. 1

Fig. 2

Never force a break. If a score does not break
easily, move and redo. Forcing the glass to break can
only add to the danger of seriously cutting yourself. Do
not attempt to tap small glass pieces, they may
shatter.
Cutting Glass to Paper Pattern

The smooth fire polished side of the stained glass
is usually used facing out, this helps in keeping the
lamp clean and is the easiest side to score.

10 - Wordens Illustrated Guide

Arrange the pattern in position on the glass strips
to cover the portion you have selected. Hold the pattern
in place with a small amount of sticky tape. Mark
around it with a pen that marks on glass.

Black fine line marker

Ink pens must dry fast - such as a Sanford
Sharpee felt tip marking pen for use on plastic, glass,
leather, etc. A regular felt tip pen for paper does not dry
fast enough. Use black or dark ink to mark on light
colored glass. Use gold, silver or light colored ink to
mark on dark colored glass.

glass. Breaking pliers are the next most valuable tool

after the glass cutter for use in small piece, foil wrap
work.

Every score made around each small glass part
must be griped and broken away. Grossing pliers
enable you to chip away and trim the glass with a
rolling wrist movement, to finish small inside cuts, true
up trim and bevel the edge. They are excellent for
gripping to break out small inside cuts.

The highest quality grossing pliers and the best I
have found are made by Knipex in Germany. They
come in several widths, the narrow 3/16 width is
perfect for making lamps. They are constructed of soft
iron, with teeth arranged on the gripping surface.

3/16 Narrow Breaking and Grossing Pliers

Carefully mark around pattern

To score push the cutting wheel so it will score
along the inside edge of the mark; pattern marks should
be on the scrap. Do not lay the pattern on the glass and
score around, the parts will be too large.

Push cutter score inside mark on glass

As you follow the pattern make one score at a
time. Push the cutter away from you, allowing the
cutter to run off the edge, then break apart with narrow
breaking pliers. Make the next cut allowing the cutter
to run off the edge and break it.

Glass Breaking and Grossing

Pliers

To go with a glass cutter you will need a good
pair of combination glass grossing and breaking pliers.
Breaking pliers are used to grip and break the extra
glass after the score is made. They become an
extension of the fingers to grip without crushing the

Experienced glass craftsmen use a combination
of accurate glass scoring and breaking, then use
grossing pliers for the final trimming. The less you
must use a grinder the easier glass cutting becomes.

For economy attempt the most difficult cuts first,
also cut the larger pieces first using the scrap for
smaller pieces.

Pattern mark should be on scrap

Example #1 The inside cut is the most
difficult. Each cut is numbered in sequence. A straight
cut #1 is made across the inside cut. This is broken
away leaving glass on both sides of the inside cut.
Inside cut #2 is then scored and broken out using the
corner of your breaking pliers. Work any protruding
glass down with grossing pliers, a hand stone or a
grinding machine.

Wordens Illustrated Guide - 11

Example #2 Again each cut is numbered in
sequence. Scores 3, 4, and 5, show breaking plier grip
areas marked with an X. Grip the glass away from the
narrow pointed ends so the break will be toward the
narrowest part.

Example #3 The inside cut on this piece is too
deep to break out in one piece. Two score lines are
made, then use the corner of the pliers to break out in
sequence 2 and 3.

Example #4 Leave extra glass on each side.
Make a series of score lines #1-#10. Carefully nibble
and break away glass with the corner of the pliers. Your
fingers holding the glass must grip firmly and close to
the nose of the pliers.

Cutting Grid work Freehand

without a Jig

Many lamp designs have grid work. These pieces
may be cut out separately or together. Pattern groups
allow the grain flow of the glass to extend from one
piece to another. For fast, easy cutting, background
may be assembled in strips either horizontally or
vertically. Assemble grid vertically so that color flow
and grain extends from one part to the next. Try to keep
the same amount of glass on each side of the score line.

Supplies needed: scissors, glass marking pen or
pencil, sticky tape, cellophane tape, glass cutter, ruler.
This method of cutting out grid work differs from using
a jig. All the scoring is done freehand a line is drawn
on the glass, glass is scored on the inside or center of
the line without using a straight edge.

Always push the cutter as you score so you can
see where you are scoring.

Vertical: Arrange the background pieces
together similar illustration with no space between.
Fasten together with cellophane tape. Notch out
between the pieces so a line can be drawn on the glass
with a straight edge. Score in the center of this line
between the parts.
Tape Pattern
Together
Pattern pieces
arranged to cut
gridwork vertically

Fig. 3

Compare each glass piece with the paper pattern.
The glass piece should be of equal size or slightly
smaller than the paper pattern. Use grossing pliers as
much as you can, then grind where needed. Rinse each
piece and towel dry.
Compare each glass piece with
the paper pattern. The glass
piece should be of equal size or
slightly smaller than the paper
pattern.

Score, break and check fit of one section before
proceeding with the balance of the parts. Fig. 3
illustrates how patterns can be grouped together and
then cut apart.

Horizontal: First cut a strip of glass that is equal
to the height of each piece. The height of the pieces in
each row around the lamp will be the same; however,
not all the rows in a lamp will be the same height. Mark
each grid pattern on the glass while turning the pattern
end over end until you have enough to cover one
sectional form or one pattern repeat. Make adjustments

12 - Wordens Illustrated Guide

if necessary and cut out the number you will need for
the entire lamp. Overlap the grid pattern pieces so that
adjoining pieces share a score line.

Arrange grid work pattern on strips,

mark and score

Glass Grinders and Routers

There are several machines on the market
designed for grinding away small amounts of glass in
making the final fit. By using a machine, a craftsman
new to small piece glass lamp construction can do a
professional job on the first project. Grind any uneven
edges to the score line. The marks around the
pattern should end up on the scrap. Wash and dry.

Cutting Strips

To make strips for grid work and borders.
Measure and lay out the strips in pairs of 2, 4, 8, 16,
etc. This keeps the same amount of glass (mass) on
each side of the score line. Score using a ruler or jig
starting in the center each time. Run the score to
break them apart. Use running pliers on strips that are
too narrow to run the score line with your hands

Router style grinder

Pinning the Glass Parts to the

Form
Glass head steel
shank pins

Common pin with
rubber band
Glass headed pins

Pins are necessary in the WordenSystem of
lamp construction; this round glass headed type is the
best we have found. They will not melt if touched by
the hot solder or tip. They are placed between the
seams to hold the growing glass pieces in place and
placed under small pieces to hold them up above the
form surface even with larger pieces.

Hold the glass pieces securely to the form with
pins. This is a foolproof and inexpensive part of the
WordenSystem allowing for the clean and easy
removal of your lamp shade after tack soldering. Be
sure you have an ample supply of pins - use glass
headed, or plain common pins with a piece of rubber
band KNOTTED tightly around the shank

Wordens Illustrated Guide - 13

When working with long pieces of glass take
advantage of the pincushion effect of the styrofoam
forms. Use small flat headed common pins like stilts
under the glass parts to be raised off the form. The pins
support the glass part away from the form and provide
stability until tack soldering is completed.

Flux will rust steel pins. Rinse and dry steel
pins after each use and they will last for years.

Place pins under

to hold smaller
parts up

First Time Copper Foiling

Stained Glass

Solder will not adhere to glass, copper foil is
wrapped around the edges, leaving only enough
exposed surface for the solder to stick. A neat, even foil
wrap will give a base for a neat, even soldered joint.
The solder is the framework of the shade that holds it
together, not the copper foil.

Copper foil is available in rolls in several widths,
coated with a special pressure sensitive glue which
adheres to the glass, holding it in place until the
soldering operation is completed. This eliminates the
old method of cutting strips from sheets of foil and
wrapping without the adhesive backing to hold the foil
in place.

Stained glass varies in thickness, but it is
generally about 1/8 inch thick.

Completely cover form

Hold with pins

There can be no forcing; each piece must lay
without moving or buckling the pieces next to it. Use
the natural pin cushion feature of the form by placing
pins under parts to hold them up. Slant pins into the
form to hold each part securely.

If you are a beginner at cutting glass dont be too
critical in your first cutting and trimming attempts.
Practice cutting to pattern on plain window glass. Forge
ahead and do the best you can, keeping in mind that the
form will be completely covered with glass parts and
later the spaces in between will be filled with solder.
Gaps in seams 1/8 in width and open spaces at
intersections of seams are no problem to fill. This
method allows the experienced craftsman to fit together
each part so tight that hardly any gaps show. Pin only
dont solder yet.

Glass selection and ones ability to present the
color and color tones are far more important than
extremely fine, neat seams. A combination of glass
selection, artistic ability and workmanship is the
ultimate goal. The search for glass and interpreting the
color and color tones to the design will give your
finished shade a more life-like appearance with a living
glow of transmitted light.

Organization is important. Cut out all identical
glass pieces needed for each repeat. Completely cover
full and sectional forms. Store remaining parts for each
repeat in separate containers. Mark the pattern number
on each with a felt tip pen for easy identification after
you wash and dry them.

For glass 1/8 thick or less use 3/16 wide foil

For glass up to 5/32 thick, 7/32 width tape can
be used. For heavily textured or rippled glass it is
recommend that 1/4 or wider tape be used; this allows
sufficient width to cover the edge of thicker glass and to
cover a break that has some slant.

The foil strip is easily trimmed with scissors if

the paper backing is left on. The untrimmed edge is

placed on the outside for a nice even seam. As a rule
the width of the foil for very small pieces is trimmed
much closer than for larger pieces. Make wider foil
wrap near the top aperture opening so strong solder
seams can be made.

14 - Wordens Illustrated Guide

As you remove the pieces for foiling do not pull
the pins all the way out; pull them just far enough out
so each glass piece can be tipped up, removed, foiled
and repinned.

Smooth and rub (burnish) with a pointed section
of hardwood dowel or any smooth pointed tool.
Burnishing flattens any air pockets or stubborn corners.
If you are working with rough-on-one side glass, the
pointed hardwood dowel is of great help.

Pull pins part way out

to remove parts.
Foil wrap and repin.
Smooth foil with a
pointed section of
hardwood dowel

In wrapping, remove the paper backing, position
the strip and anchor the end firmly at a corner with
your forefinger. To prevent uneven overlaps, cut the
foil at a sharp corner without an overlap.

Hold the parts edgewise; learn to look at the
corners of the piece and position the foil evenly at each
corner. The space in between will automatically be
even.

Center and wrap around

the edge of the stained
glass piece

To fold over grip the edge with the thumb and
forefinger, push toward the center, work all the way
around. Lay the piece flat against a small piece of plate
glass or other hard flat surface and press down firmly
on each side to flatten the stubborn corners.

Foiling Rippled or Drapery Glass

Examine the edge of the rippled glass. Use
copper foil that is at last 1/16 wider than the widest
point. As you wrap, look at the flat back side and leave
about 1/32 overlap. Do not crimp the rippled side
until you have contour trimmed the foil with small
pointed scissors. Trim leaving about 1/32 above the
edge on the rippled side.
Foiling Jewels

In many of the antique lamps, smooth round
glass jewels were used to represent clusters of grapes
and accent points. Ruby red was the color used most
often in the old lamps.

When installing jewels, rough the edge with a
grindstone so the copper foil will adhere better. Only a
very narrow strip of foil is needed. Copper foil is
easily trimmed with scissors.

The jewels will show up better if they are
positioned slightly above the surface of the form. Place
pins under them so the rounded part of the jewel is held
above the flat stained glass.

Hand pressed jewels, turtleback tiles and scarabs
have a lip around the base of the jewel that makes

foiling easier - just foil the prepared lip.

Care of Foiled Parts

Copper foil will oxidize and turn reddish with
age. This is not a problem, flux will clean the foil for

Wordens Illustrated Guide - 15

soldering, but if you apply flux and do any soldering,

you must clean the excess flux off with a damp cloth or
the foil will turn green from oxidation and need to be
replaced after a few days.

Tack Solder Foiled Pieces

Together

Do not attempt to build or bead up seams on the
form.
Check
to see that each foiled piece of glass is
Black and Silver Backed Copper Foil
properly
pinned
in place.

Use these foils with lightly colored cathedral and

Apply
the
flux sparingly with a small brush by
clear glass to hide the copper foil color and to create
touching the foil only at the spot where the solder tack
special effects.
is to be placed. A solder tack is a small round glob of
molten solder. Attach each piece to every other piece
with small mounds of molten solder. Remove most of

In copper foil crafting, a light handy soldering
the pins.
iron equipped with a tip that does not pit is desirable.

The solder tacks can be removed to adjust the
You can use any iron, large or small, a soldering gun,
glass parts if desired. As work progresses wipe the
or even dime store irons, but they are not very handy
surface with a wet cloth or sponge to cool and clean.
and it is difficult to obtain the temperature adjustment
needed. A soldering iron temperature control is very
handy to keep the soldering tip from getting too hot! If
you do more than just simple projects, purchase a good,
small soldering iron, such as a 60, 80 or 100 watt
Esico; they have interchangeable tips that are plated
Apply flux sparingly with a small brush
with iron, then a special alloy is overplated so they
wont pit. A good lightweight iron is a pleasure to
work with a 1/4 to 3/8 diameter pyramid type tip is
handier for copper foil work, a chisel point type tip can
also be used. Be sure the tip is tinned. The tip should
be wiped occasionally on a wet sponge or cloth to
remove oxides. Rub the tip on a solid sal ammoniac
Tack solder parts together
block to retin.

Soldering Iron

Soldering Iron

Soldering Flux

For flux, use a mild water soluble flux. Flux
cleans the copper foil allowing the solder to stick.
Apply with a small brush to prepare the foil so the
solder will adhere.

Tin Outside Seams and make

Flat Seam

Remove most of the pins, apply flux sparingly.
With a hot soldering iron flatten out the solder tacks and
tin all the exposed copper foil with a flat seam.

DO NOT attempt to fill and build [bead up]
seams on the form. The lamp does not have to be level
to tin and make flat seams. Burnish with a damp cloth
to cool and clean.

Solder

Solder should be 1/8 solid core in a 60% tin and
40% lead alloy. This alloy becomes liquid at
approximately 370 degrees and is solid at about 360
degrees. It is recommended for all lamp shades and
other stained glass work. A 50% tin and 50% lead alloy
Tinning: Apply a thin coat of solder over the foil
can also be used, it has a higher melting point, around
425 degrees.

Tinning of the exposed copper foil on the outside
will stiffen the FullForm lamp or a section of a
SectionalForm lamp enabling you to lift them off the
form. Tinning also makes it easier to build up well
rounded seams later on. It is also prevents the copper
foil from oxidizing before you have completed all the

16 - Wordens Illustrated Guide

sections of SectionalForms. Be sure and burnish

with wet cloth to clean the outside.

Tip: If you are making a FullForm shade that
turns in at the bottom you must remove the shade in
two parts. We suggest separating C16 and CF18 shades
as illustrated. Mark and carefully remove the upper and
lower parts of a C16 lamp shade from the form. Then
attach the rigid glass ring to the bottom of the shade.

long (the same solder used for seams) and bend to form
loops. Solder the ends of each loop to an outside
horizontal seam so the solder loop will span between
glass sections and temporarily hold them together.
Place the loops at the bottom, at the top and about three
or four inches apart in the middle. Before soldering the
glass sections together, gently bend the wire solder
loops using your fingers or pliers to MOVE THE
GLASS SECTIONS UP AND DOWN, IN AND OUT,
AND TOGETHER FOR A PERFECT FIT. Check for
OVERALL ROUNDNESS of the lamp to be sure there

Adjusting loops holding a six repeat glass

section lamp prior to soldering together

Sectional Form construction only

Carefully remove, and clean each glass section.
Be sure you do not solder on the inside. Each panel can
be placed back on the sectional form and pressed back
into shape if necessary. Store the first tinned glass
section. After cleaning each tinned glass section, store
them by cradling them in styrofoam peanuts or a
similar material until all are completed. Resist the
temptation to handle them.
Attach Glass Sections Together

Sectional Construction Only - Do not miss this
step - it is great time saver. Install temporary adjustable

assembly loops. Assembly loops allow the positioning

of the glass sections before they are permanently
soldered together. Cut pieces of wire solder about 2"

Loops span the

seam between glass
sections

has been no flattening of the glass sections. It is

important to keep the bottom level. Any unevenness of
the bottom is very noticeable. The FIRST AREA
soldered permanently together should be at seam
intersections. Continue to solder by placing two or
three small mounds of molten solder at seam
intersections near the top, bottom, and center. Don't try
to make rounded seams at this time. Snip or melt off the
wire solder loops.

Assembly loops also work well in the assembly
of free form projects other than lamps.
Fill in Bridging Parts

Sectional Construction Only - Follow this step
only if your lamp shade has bridging glass pieces. Before
cutting out the bridging pieces, test for fit. Some pattern
adjustment may be necessary. Do one piece at a time to
insure that they fit snugly. Foil wrap, solder and make a
flat seam. Clean by rubbing with a wet cloth or sponge.

Lamp shades made on FullForms and
SectionalForms are now at the same point of
construction. You have reached the fun part of lamp
making and can actually see how the finished shade is
going to look.

Wordens Illustrated Guide - 17

Reinforcing Top Aperture and

Bottom Border
Supplies Needed

Copper wire (No. 10, 12 or 14 gauge or braided
wire), solder, flux, heavy leather gloves, soldering iron.
Procedure

All lamp shades except those with crowns,
should have a reinforcing wire inside the top aperture

rotated while the copper wire is tack soldered in place

along the bottom.
Braided Copper Wire

You can also used braided wire to strengthen
lamp shade apertures and bottom borders. Braided wire
may be used to give added vertical support where
needed as in pool table lamps.

Building Solder Seams

Fill, build and finish the seams INSIDE FIRST
THEN OUTSIDE. It is almost impossible to fill the
space between the foiled glass parts with solder without
some solder flow through. When the inside seams are
filled and finished first it is easy to make smooth outside
seams, solder flow through will be minimal from the
outside to the inside.
opening where the vase cap will be soldered. Bend a

The portion of any seam you are working on
circle of copper wire (10 or 12 gauge) or flexible
must be positioned near level. The inside and outside of
braided copper wire and place it inside the top rim level a dish shaped lamp shade is easily leveled by propping
with the outside of the glass. Use a generous amount of it up with small blocks of wood, styrofoam, etc. See
flux; tack in the middle of the wire circle and work
LampLeveler on page 26.
out toward each end, leveling as you go. Fill in all
spaces and completely cover with solder.
The Touch-Pause-Lift Method of Building Seams

After the reinforcing wire has been securely tack
Level the seam. Dip the tip of a brush in flux.
soldered in place, the lamp is strong enough to be
Cover the copper foil only where you want solder to
propped, turned and handled.
adhere. There is no need to flood the seam with flux (an
Reinforcing Bottom

Procedure - We recommend using the same
copper wire covered with solder or braided copper wire
around the bottom border for appearance as well as
reinforcement.

Carefully lift and turn the lamp over to rest on
the top aperture opening. The lamp can now be easily

inexpensive artist brush about 1/8 wide will work

fine).

Using a hot iron, melt and spread droplets of
solder along the seam tinning the foil and filling the
gaps. Try to gauge the amount of solder that will be
needed to make each seam between seam intersections.

To smooth, brush extra flux over the droplets of
solder along the seam. Touch the droplets, wait until

18 - Wordens Illustrated Guide

that portion is liquid and has melted into the first touch
point. Touch-Pause-Lift. Try to make one pass across
the intersections and then try to work away from
intersections. Continue the Touch-Pause-Lift motion
until the seam is completed.

As work progresses, keep wiping the surface
with a wet cloth or sponge. If the solder becomes
tacky, let it cool, then apply extra flux and redo. Do not
worry about solder flow through to the outside.

Installing Spun Brass Cap or

Cast Brass Heat Cap

The copper wire soldered inside the aperture
provides a strong base to attach a cap. This is an
inexpensive, simple basic way to prepare the lamp for
use as a floor, table or hanging lamp.

Level aperture opening by using a coarse file to
remove high areas of solder. Cover the entire outside

Wipe surface with wet

cloth to cool and clean

VERY IMPORTANT

Do not try to build the seams too high. If too
much solder has been applied, push it out on the glass.
Do not attempt to pick solder up from the glass with the
iron tip. The glass piece may crack from the heat.

Too much solder

causes seam to bag
over

Tin spun brass vase

cap or cast brass
heat cap

surface of the cap (tin) with a thin coat of solder. Center

the vase cap over the top rim and temporarily hold with
two small tacks of solder, one on each side. Step back
and check to see if it is level. If level, fill in all gaps and
build WELL ROUNDED seams around the vase cap
INSIDE and OUTSIDE. Keep in mind that the leading
around the bottom of the vase cap holds all the weight
of the lamp. These seams should be rounded up for
extra strength on the inside and outside.

Correct amount of
solder for nice
rounded seams

Variations of Touch-Pause-Lift

Variations of the Touch-Pause-Lift method are:
(1) drawing the iron along without lifting it; (2) feeding
solder to the seam by touching the solder to the top of
the iron tip as the iron is drawn along the seam.
Replacing Cracked Pieces

Replacing cracked pieces is not hard to do. A
glass cutter with a ball molded on the handle is used to
shatter the broken glass pieces. Use a needle nose pliers
to remove all glass shards. A hot soldering iron is used
to melt the solder at the end of the copper foil that was
wrapped around the part. The end of the foil is grasped
with the pliers and is gently removed by pulling as the
solder is melted out with the tip of the soldering iron. A
new part is cut, foiled, pressed into place, soldered and
antiqued.

Build well rounded

seams around cap inside and outside

Cast Brass Heat Caps

Our one piece cast brass heat caps can give
your lamp that turn of the century Tiffany look at a
reasonable cost. Deburred and smoothed ready to use.
Install same as spun brass canopy vase caps.

No. HC3
3 Heat Cap

No. HC4
4 Heat Cap

No. HC5
5 Heat Cap

Wordens Illustrated Guide - 19

Installing Vase Caps and Cast

Brass Heat Caps on
FullForms

During FullForm lamp construction the cap
can be installed on the form. Wrap a 3/8 thread rod
with tape until it fits snugly in the hole in the form.

a glass band for added appearance and the ease of

construction: light shining up from below illuminates
the glass band with glowing transmitted light. A bright
glass color matching other glass colors in the lamp is
generally used.
Installing a Glass Band and Crown

Some of the pattern packets have prepared
patterns for a crown. They can be placed on a glass
band or metal band. Cut and foil wrap the proper

Secure cap to top of form to ensure it will be level

To ensure the cap will be level: If using a
positioner; place a tinned cap at the top of the form;
secure with a lock nut.
Glass parts taped
Pull ends together

If not using positioner: place a 4 threaded rod
together
through the hole in the form; place vase cap at top of
the form; put a second vase cap, check ring or washer number of identical crown pieces. Arrange them in a
inside the form; secure with locks nuts at both ends of semicircle and place pieces of tape inside to
temporarily hold them together. Test for fit. Tack solder
the rod. If necessary, trim the top of the form to fit the
cap in place.

Grind and fit the glass pieces to fit the tinned
cap. Check the first piece to be sure it fits properly
before cutting all of the pieces. Glass pieces should butt
up against the bottom edge of the cap. The tinned cap
can be tack soldered to the foil wrapped glass parts and
then removed from the form. Do not attache C16 and
CF18 caps until the lamp has been removed from the
Glass band and crown
Assembled glass band
assembled and ready
form and reattached. (For more information refer to
to install on lamp
page 16.)

each at the top and bottom. Remove the tape and fill in
and build seams.

In the RC22 series the glass band is made of

The term glass band describes a narrow band of two layers of glass rectangles, one half being the top
glass attached on top around the aperture opening. The half of the dome, the other half the bottom of the
crown is placed on the top of the band. Most antique
crown. The curved crown is made up on the form using
lamps have metal bands. We have illustrated the use of

Glass Band and Crown

Crown assembly
attached to lamp

Vase cap installed at

the top of glass band,
just above glass band

20 - Wordens Illustrated Guide

the top three or four cartoon spaces attached together,

inverted and soldered on the top aperture opening.

The P20 series band and crown can be made
two ways made at the same time as the bottom or
made separately and attached after the bottom is
completed.

Crown on a glass band

P20 band and crown

Bright color band

Install the vase cap after the crown and band
are completed. The vase cap is soldered in place at the
top of the band, just below the crown.

Trim the vase cap with tin snips if necessary, so
it will fit inside the leaded joining, just above the band.
Fill and solder it in place securely inside and outside.
Reinforce the top of the crown the same as the bottom
of the lamp.

After soldering is all completed, thoroughly
scrub with a soft brush; rinse well. If antiquing is
desired, do it immediately after the final scrub; rinse off
the excess, pat dry with a soft cloth.
Crown with Glass Band

Included in some packets is the pattern for an
optional 1 wide leaded glass band and crown. You can
substitute our 1 (2.5 cm) wide decorative BRASS
band instead of the glass band. The vase cap is placed
at the top of the glass band so it will glow when lit;
however, if you use the brass band, the vase cap is
placed in the aperture of the lamp shade near the
bottom of the brass band for added strength.

Glass band

Cleaning and Antiquing

Wash thoroughly to remove the water soluble
flux residue .

To make the solder turn dark and old appearing,
brush the exposed leaded seams with antiquing solution.
Special solutions are available at stained glass supply
and hobby stores. Prepared antiquing solutions are
available in black, copper, gray and other colors.
Antiquing with copper sulfate crystals

One easy way to make a nice coppery antique
finish is to grind copper sulfate crystals to a fine powder
(use a mortar and pestle), apply with small flux
dampened cloth and rub to desired color.

Wash lamp shade with soap and water, rinse
well and pat dry. Or clean and polish with glass cleaning
compound. The lamp is now ready to be placed on a
base or swagged.

Displaying on Lamp Base

Many reproduction Tiffany style bases are
available and specialty bases such as the World Lamp
Base are available. Mini lamps can be displayed on
mini bases.

Examples of Tiffany
reproduction bases

Light Cluster - Five-arm

cluster which takes
candelabra bulbs - use in a
hanging lamp to replace opal
globe with single socket

Mini lamps can also be used swagged, on
ceiling fans, or on student lamps. A fitter ring is
installed in the aperture rather than a vase cap or
crossbar.

Vase cap
here
Brass band

Brass Band and Crown Kit

Brass band kit is available in 4, 4.5 5, and
6 sizes. Kit includes brass band, pattern, layout guide,
and instructions.

Mini lamp
swagged from a
wall mount

Fitter ring is installed

in aperture

Mini lamp on a
ceiling fan
assembly
Mini lamp displayed
on student lamp

Wordens Illustrated Guide - 21

Swagging Information

Tighten Lock
Washers on Tube
Below Vase Cap

Use Open Top Globe

Holders for Larger Bulbs
to Dissipate Heat

NO. G13
NO. GF13

NO. G16
NO. GF16

NO. CF18
NO. C20
NO. C234
Pool Table

22 - Wordens Illustrated Guide

Wordens Illustrated Guide - 23

Accessories

Dragonfly Wing Filigree

Brass Filigree

Tiffany studios used similar filigree on their
original lamps. This filigree is etched brass
approximately 3 mil. thick. Easy to tin, antique, and
install.
Installing Filigree

We have found it best to solder the filigree in
C16-3 Dragonfly T
place after the lamp is completed, cleaned and antiqued.
Notch tip of wing filigree
Be sure and leave a flat seam around the outside edge
Build up solder to fill gaps
to match the glass wing
of each glass piece that is to be covered so the filigree
where wing is above form
will lay flat next to the glass.

Prepare the filigree for antiquing, by tinning it
first. Filigree should not be cut apart until after it has
been tinned and antiqued. Lay filigree on a flat wooden
Do not cut the small round
part, this represents the
surface, clean by rubbing with steel wool (brass
wing muscle attached at
conducts heat; use a heavy glove to hold it in place)
the top of the dragonfly
brush on a generous amount of flux, use a clean freshly
body
tinned soldering iron set on high heat. Rub the surface
with the flat part of the iron tip, use a very small amount
of solder, just enough to turn the surface a bright
aluminum color, do both sides, rinse and pat dry. Next Hop & Grain Filigree
antique the inside and outside of each filigree part, try
not to get the antiquing solution on the edge, rinse and
dry, cut apart, and solder it on top of the foil overlap
around each glass part, build up a nice rounded seam
and carefully antique the edge trying not to stain the
glass under the filigree. Use household shears to cut the
filigree apart.
Dragonfly Wing Filigree

The wings of the original lamps made by the
Tiffany Studios were constructed of flat streaky opal art
glass. The filigree was soldered on the outside giving a
natural three dimensional look to the dragonflies.
Solder is built up to fill the gaps where the wings are
above the form. Use drops of solder to build up layers
Loon Filigree
of drops (like a swallow makes a mud nest) then
smooth. On some lamps the wings appear to lay above
each other where they overlap. Use the paper pattern
and notch the tips of the wing filigree to match the glass
wing. DO NOT CUT the small round part on the other
end, this represents the wing muscle attached at the top
of the Dragonfly body. Overlap the round part near the
center of the dragonfly body.

P20-14 Pub Lamp W

Filigree gives more natural look to
hop pods and wheat heads.

RC22-18 Loon 22 W
Filigree over white art glass imitates
feathers.

24 - Wordens Illustrated Guide

How to Tin and Use Cast Brass Parts

Cast Brass Tree Limb Filigree

These intertwined brass branches are similar
to the castings on the original Tiffany lamps. The brass
branches replace hundreds of glass parts. The sectional
castings add much to the appearance and value of the
lamp. The openings between the branches were meant
to be left open to create more realism and also to vent
the heat from the light bulbs. Branches have a realistic
sculptured tree-like surface which is ready to clean, tin
and install. A 1.25 diameter brass washer comes with
each set. It is soldered solidly in the aperture opening.

Rooster Filigree

FD12 Worden Rooster W

Filigree creates bill, eye
and comb.

Tail Fin & Gill Filigree

Bass Filigree

C20-19 Bass Lamp W

Filigree gives a more
natural 3-dimensional look
to fins.

Muskie filigree

BF5 Large Tree Limb Filigree

for W18-1 Wisteria T, W18-2 Grape Vine T, W18-5

Leaf & Flower Filigree

BF3 Small Tree Limb Filigree

for W10-1 Miniature Wisteria T, W10-2 Miniature Cherry
Tree T, G13-1 Begonia T

SC20-3 Poppy T
Shown with filigree
on outside of lamp.

Cast Brass Spider Legs

Impatiens Flower Filigree

Each piece of
filigree identified
with a letter; remove
these letters before
applying filigree to
lamp

RC22-17 Impatiens Border W

Filigree provides separation and
definition to the flower petals.

Hummingbird Filigree

CF18-24
Hummingbird W
Filigree creates eyes,
beaks, and feet.

Cast spider legs similar to those used on the
original antique Tiffany Spider & Web lamps, fit our
13 diameter No. G13-3 Spider & Web lamp. They
come polished and are installed on the outside after the
lamp is completed. The spider lamp has a 3 diameter
aperture opening. A cast brass heat cap or a spun brass
vase cap represents the spider body.

Cleaning: Scrub the surface clean of any
remaining polishing compounds, oxide, or protective
oils with a degreasing detergent, hot water, and fine
steel wool. Rinse and dry.

Wordens Illustrated Guide - 25

Tinning: Use generous amounts of the same
flux you are using for copper foiling before heating.
The castings must be heated above the melting point of
solder so the solder will adhere and flow easily. Use a
large 150 watt soldering iron, a small propane torch, or
your own kitchen oven to get the filigree hot enough.

A second smaller 60 -100 watt soldering iron
with a small tip will help to spread the solder into all
the small openings. Wash, rinse, and dry.

Installing: Start with the filigree first. Treat
the filigree just like another piece of glass. To fit place
the filigree in position on the SectionalForm with
pins. It may be necessary to file or grind the edges of
the branches to get a proper fit.

If sideboards are not used: to assure that
there are no overhanging parts, hold a straight edge
securely against both the sides of the sectional form
and move it along the form. The edge of a small 6
metal ruler or any straight edge tool works well.

The first row of foiled wrapped glass pieces
may need to be modified in order to fit to the filigrees
bottom edge.

Tinning allows the brass castings to be
attached by tack soldering to the foiled glass parts
without damaging the form.
Rounded Fruit

Antique Fruit Lamp reproduction is not
complete without rounded apples and pears.
Traditional curved ruby red apples and yellow green
opal glass pears were used in many of the antique
lamps. A special opal glass, which can be refired and
slumped to form a concave shape, is used. Apples and
pears, in both large and small size, are available in
traditional colors as well as yellow and green opal. The
delicious apple shape, large size only, is made in
yellow and ruby red. Oranges, made with textured
glass, are also available. All small fruit is also
available in cathedral glass.

When using stained glass apples and pears it is
important to double-check the pattern. Some
adjustment on pattern pieces may be necessary to
make the glass pieces fit correctly around the glass
fruit.

RC22-13 Big Apple W

Large delicious shaped apples featured.

Apples available in
traditional ruby red, as well
as green and red cathedral
glass. Large apple is 3 1/4
wide X 3high. Small apple is
3 wide X 2 1/2 high.

Pears available in
traditional yellow/green
opal as well as yellow
and green opal glass.
Large pear is 2 3/4 wide
X 4 1/4 high. Small pear
is 2 1/2 X 3 1/2 high.

Large delicious apples are available in red

and yellow opal. Same size as large apple.

Oblong Pool Table Type Lamp

10 1/2" wide C20

Shape Awning &
Oblong Lamp Panel
Form

Our special shaped 10 wide flat curved panel
form is inserted between halves of the round No. C20
20 diameter sectional form.

This allows the construction of 30, 40 or
longer oblong lamps that curve gently in at the bottom.

26 - Wordens Illustrated Guide

Multiple support swag chains extending to the
ceiling are placed above each vase cap, or a board or
metal bar with short swag chains attached to hooks
above each vase cap can also be used.

Hand pressed jewels, turtleback tiles and
scarabs have a lip around the base of the jewel that
makes foiling easier - just foil the prepared lip.

Score as close as possible to the jewel, scarab,
or turtleback tile; use multiple scores. Use grossing
pliers to break and nibble off the excess glass, then use
a grinder to smooth the lip to about 1/32" wide and
wrap with copper foil.

Hand pressed jewel

The oblong lamp really is quite simple to make
and is surprisingly sturdy if at least 3/8 wide copper
foil is used around the flat top pieces, together with
good heavy seams.

Glass Jewels and Tiles

In many of the antique lamps, smooth round
glass jewels were used to represent clusters of grapes
and accent points. Ruby red was the color used most
often in the old lamps.

When installing jewels, rough the edge with a
grindstone so the copper foil will adhere better. Only a
very narrow strip of foil is needed. Copper foil is easily
trimmed with scissors.

The jewels will show up better if they are
positioned slightly above the surface of the form. Place
pins under them so the rounded part of the jewel is held
above the flat stained glass.

B24-7 Dragonfly T
Jewels accent the background and create the dragonfly eyes.

LampLeveler Positioning Tools

Designed exclusively for the
WordenSystem, this positioner system provides a
sturdy, comfortable, and level working surface for any
size Tiffany style lamp or panel lamps. This easy to use
system will tilt, turn, and rotate SectionalForms,
FullForms and partially completed lamp shades. The
universal positioner, that with one quick turn of the
control knob, allows you to securely position your
mold or lamp shade where you want it. It can be used
in all steps of lamp shade assembly and lamp
designing. Our positioners simplify glass part

No. 330 Full Form & Lamp Positioner w/340

assembly, foil wrapping, tack soldering, building

seams, and lamp designing. Secure the LampLeveler
vise to a wooden base to allow ease in clamping to a
bench or work table or use the Floor Stand Model.

No. 310 Sectional Form

LampLeveler w/320

No. 350 Floor Stand

LampLeveler

Wordens Illustrated Guide - 27

Lamp Designing Using No. 0

Series Pattern Grid
Supply List

Matching lamp designing grid pattern kit
(available for all forms), stiff cardboard pattern paper
(file folder material), scissors, eraser, sticky tape,
masking tape, 3M magic type tape (5/8 to 1 wide),
and tracing material (drafting film works great).
Procedure

To make drawing and erasing easier, cover
the MagicStrips with 3M magic transparent tape
before they are cut apart. Cut out and install the tape
covered MagicStrips. Hold them on the form with
sticky tape.

FullForm Select the number of repeats
and lamp depth for your lamp design. Use the small
numbers near the bottom of the form that are next to
the vertical lines indicate where each repeat starts and
stops.

SectionalForm cover one form.

Follow the same basic procedure that is used
in making a foiled stained glass window. Example:
Draw flowers, cut them out and arrange them on the
lamp, fill in leaves and background parts to cover one
repeat. Draw the design and trace the glass cutting
pattern. The difference is in making each pattern piece
one at a time. Trace and cut out each part separately to
compensate for the curve of the form. Use a stiff
cardboard type material that will lay flat above the
rounded form, the same as flat glass parts. The edges
of each pattern piece are made to fit together above
the curved form. Adjustments are made by trimming
and fitting for an even space between patterns. Leave
about 10 thousands of an inch (.010) between patterns
(about a common pin width).

Note: most of the Tiffany lamps and other
antique lamps were usually designed with either 3, 4
or 6 design repeats. Consider a non-repeated design if
using a FullForm.

FullForms you can sketch one complete
repeat of your design. It is not necessary to draw your
design all the way around the form; although you can
if desired.

Note: Complete one design repeat and slide
each completed glass design repeat around the form
until the first one meets up with the last glass repeat.
This procedure will allow you to draw other designs
on the remainder of the form.

Carefully trace off each bridging piece (a
pattern piece that extends from one repeat to the

other) and match them up accurately on the other side of

the repeat. Use the blue grid lines as a guide for proper
alignment. SectionalForms arrange the design repeats
for you.

Trace off the other pattern pieces and finish
your lamp per instructions.

Lamp Designing and Pattern

Making Methods

1. Pattern Shell: Use 3 mil drafting film to make

a pattern shell covering ONE REPEAT of the design.
Cut strips the width of the grid strips and attach them
together with magic tape. Draw the design and trace
repeats around the form. (To trace, draw pattern on
back side using soft lead pencil, then burnish.) Cut the
pattern shell apart to make paper patterns.

2. Draw, Mark and Trace: Draw one repeat of
your lamp design on the blue grid (cover the printed
grid with magic tape for easy erasing). Make one set of
paper patterns to cut the glass. Use the horizontal and
vertical lines on the grid, mark patterns, and place and
trace each pattern piece around the form.

3. Drafting Film Strips: Use 3 mil drafting film
and fashion strips the same width as the blue grid but
make them the same length as one repeat of your
design. Create your design and make the paper patterns.
Trace the pattern repeats by moving the strips one at a
time around the form.

4. Traditional Tiffany style lamps were made in
repeated designs. Use the prepared grid and incorporate
them into any width, shape, or repeat you desire.

5. Displaying your Lamp: This shade was
designed to be used with a lamp base or as a hanging
lamp shade.

28 - Wordens Illustrated Guide

Index
Accessories 23
Antiquing 20
copper sulfate powder 20
solution
Brass Band & Glass Crown 20
Breaking & Grossing Pliers 10
Cast Brass Heat Caps 18
Ceiling Fan Lamps 20
Cleaning 16, 18, 20, 24
Color Key 7
Common Pins 5-13
Copper Foiling 13
burnishing 14
foiling glass jewels 14
folding over 14
trimming13
wider near the top 13
wrapping 14
Filigree 23-24
bass 24
cutting apart 23
dragonfly 23
hop & grain 23
impatiens 24
poppy 24
loon 23
muskie 24
rooster 24
Fitter Rings 20
Forms, Full 5
Forms, Sectional 5
Glass 4-7
apples & pears 25
band & crown 9
breaking 9
cathedral 7
cutting 7
color grain 6, 11
drapery 14
easel 8
first time scoring 7, 8
glass headed pins 13
jewels 26
light box 8
marking 10
opalescent 7
organization 13
ring mottled 7
rippled 14
scoring 9
sectional storage 16

selection 7, 8
turtleback tiles & 26

scarabs used for lamps
Grinders for Glass 12
Grinding Glass Pieces 6-12
Hanging Hardware 21-22
Jewels
background 26
eye 26
installing 26
Lamp Bases 20
Lamp Designing 27
Lamp Forms 5
LampLeveler 26-27
Light Box 8
Light Cluster 20
MagicStrips, installing 5
Paper Pattern 6
Pins & Pinning 5
Pliers
breaking & grossing 10
running 12
Pool Table Lamps 25-26
Positioner & 26-27

Support Disks
Reinforcing Wire & Cable 17
Replacing Broken Parts 18
Running Pliers 12
Safety Rules 5
Side Boards & 6
No Side Board Option
Solder Loops 18
Soldering 16-18
applying flux 17
building seams 17
cleaning tips 18-20, 24
flow through 17
flux 15
irons 15
lampleveler 26
leveling inside 17
leveling outside 17
loops
18
sal ammoniac blocks 15
tacking copper foil 15
tinning copper foil 15
tinning vase caps 15
vase caps 18
Spider Legs 24
Supplies & Equipment 7
Swagging Information 21-22
Tape, sticky 5

Tools & Supplies 5

Vase Caps 18-19
Cast Brass 18
Spun Brass 18
Wisteria Tree Limb Filigree 24
World Lamp Base 20