Okay, it’s not brain surgery, it doesn’t even sound that complicated, but if you follow these steps, you’ll have success when applying patina, and if you don’t, you’ll end up with very mixed results. Check out the photos that go with this article at http://www.betterstainedglass.com/Newsletter/Archives/2006Oct-cleanandpatina/cleanandpatina.htm

1. Patina is a chemical that changes the color of the outer layer of a metal. Sculptors apply it to statues to age them and copper roofs sometimes get patinas applied to them to hurry the aging process along.

The element that is common in all applications is that the metal needs to be clean for the chemical reaction to work well.

2. To get our window clean, we first apply a blue window cleaner to the window to get the major debris off of it. The flux we use in making windows is water soluble, so the blue cleaner does a good job cleaning it from the surface of the window. So squirt some on and then towel it off.

3. Next we need to clean the window even more thoroughly so that it will readily accept the patina. We apply kwik-clean brand cleaner. It chemically removes flux that might remain on the lead we want to patina. So we squirt some on and then towel it off, getting it nice and dry.

4. Now we can apply patina. The patina will dissolve the rag that is used to apply the chemical, so we use one which is very small and then toss it out when we get done. We don’t use paper towels in any of the steps because they disintegrate.

5. Here we are applying black patina. It’s important to pour a generous amount of the patina on the window. Flooding the area lets the patina react properly. If too little is used, the patina may try to turn copper instead of black.

6. Here we are applying copper patina to a panel. It needs to be applied generously or it will try to turn black. Avoid running any of the patina to the outside edges of the window if it has a zinc border. Zinc will react to the patina and turn black and then try to turn the rest of the lead black instead of copper.

7. Once the reaction has taken place we can clean the window again. We flood the window with water (or blue window cleaner) and then use kwik-clean to clean and neutralize the patina. It needs to be applied generously so that there is enough to get under and around all the places where patina might have gotten.

8. Finally, we apply wax to the window to seal the lead lines so that they won’t get corroded as easily. We use Clairity brand finishing compound. we pour a small amount on the window and rub it all over the surface.

9. We let the wax dry. And then rub it vigorously with clean dry rags. We rub and buff vigorously till the window glistens.

The only time we skip this step is when the art glass is insulated. In that case the wax prevents the binding butyl rubber from sticking to the art glass. We used black patina and the metal begins to shine and glisten and almost looks silver, but it really is black at the right angle.

So finally, we have the completed, backlit copper panels. They glisten from the waxing and the polishing. They really look like a piece of art.

David Gomm started building stained glass windows professionally back in 1983 and has become an expert at many aspects of stained glass building, design and repair. He writes a monthly newsletter at his http://www.betterstainedglass.com website. A gallery of his stained glass work can be viewed at http://www.gommstudios.com

Imagine this: you are in a quaint little shop somewhere in the mountains or at the beach, on vacation. You have been admiring a group of nice-looking wood figures on the shelf there, thinking about how nice one of them might look in your home. You know, right there in the living room near the fireplace, maybe even on the mantle!

Yes indeed, this could be the right wood carving for your home. It looks good, it’s of a figure that interests you, and it sure seems like a bargain. Is it an original woodcarving? Well, it MUST be, as this is the kind of art store that seems to sell neat-looking originals, right? Let’s look a bit closer, and learn about this woodcarving and the millions just like it all over the world.

Original vs. Reproduction Wood Carvings: The Age-Old Argument.

So this might be a reproduction, so what? Well, that is really a good point….if you don’t much care about the issue, then it probably will not be a big deal to you. However, if you DO care about the issue of Original vs. Reproductions, then to YOU it is essential to have an original piece of woodcarving whenever you have the ‘choice’.

After all, original wood carving, signed by the artist, is a joy and privilege to own. You know that it is a true one-of-a-kind. This is true even though the artist may have made other pieces in the same theme or style. You know that you will never see another one just like yours. You also know that, as an original, this piece was hand-made from start to finish. The artist took the time (often too much time) to add every detail, make every stroke personally, and perform each step in the creation process. There is not, and never will be an exact copy of your woodcarving.

On the other hand, we all know the limitations of reproductions. If you buy one for a special place in your home, you will never look at it the same way as you could an original woodcarving. You know there are hundreds elsewhere. You know that it was stamped out of a mill somewhere on a big machine. You also know that it is one in a million, not one of a kind.

A Bit Caustic?

Now all this rhetoric may seem a bit harsh to some, but it really is how I feel about art; wood carving in particular. I have seen lots of artists attempt to make the copies as ‘original’ as possible, by using tricks of the trade. Sometimes they will have originals copied, and then the artist will dab on touches of paint, thereby justifying the high prices he demands.

I’ve seen this in wood carving also. There is a process by which an original woodcarving is created over a long time; very ornate. A bronze cast of it is made, and then used to act as a template for creating hundreds of others, in wood, and then painted. Frankly they can be fabulous wood carvings!

Some sculpture is reproduced using a resin casting method. A cast is made from the original, and then hundreds are cast by pouring a wood-resin into the mold. It is a neat way to reproduced sculpture.

But, whenever I hold one of these reproductions, I know in my heart they are not original woodcarvings, they will always be copies. They do not hold the spirit of the artist, only the intention of the millwright that stamped them out.

That may be all right for many people. In fact, it has shown to be just fine for the mass populace of the planet. But for me, and maybe you, the original wood carving makes us feel the connection with the artist, and with what he was trying to convey at that moment.

Knowing The Difference

So, if you agree with me that an original, at a fair price is really worth having, I will tell you how to spot the differences between the two. Not only can this save you the embarrassment of having made a huge mistake in judgement, but also it can save you a lot of money!

Let’s go back to that shop in the mountains, or at the beach, for a moment to look at those wood carvings again. As you look at the pieces, let me whisper in your ear what to look for……..

Here are several nice woodcarving s on a variety of themes. A shelf full of them! Your eye dances over the line-up; there is an old man’s face; carved as a bust. Next to that is a small statue of a woman in a long robe. Then, there is carving of a Native American Indian. Finally, a very nice sculpture of a wolf and his prey. Each one of these wood carvings is painted in different ways, made of different woods, and even different sizes. Let’s begin with the first carving; the old mans face.

Now, a lot of this information is just plain common sense. Even as I write this, I wonder who is going to believe that ANYONE will not be able to tell the lowest level differences between original and reproduction….. but really there are lots and lots of folk that cannot tell the difference even on the most simple sculptures. Add to that the fact that factories make it their business to make copies as accurately as possible, and you can see that it isn’t shameful to be fooled anymore!

There now, having made my disclaimer, let’s discuss that first wood sculpture. In fact, let’s just talk about the ‘word’ sculpture as opposed to carving. What is the difference here? It can be as simple as price.

You know the old joke about the pronunciation of ‘vase’, right? If it is cheap, it’s a ‘vase’ if it expensive, it becomes a ‘vahhse’. That has always made me laugh. Well, it can be the same with wood sculpture. If it is cheap, it might be called a wood carving, if it is expensive, then it might be referred to as a wood sculpture. Sadly, there is a deal of truth to that. After all, art is strictly a perceptive thing. It’s all in how you like it.

Let’s look at the items in the shop today, and start placing judgement on them, making a list, to determine if they are originals or reproductions.

• Feel It
  Pick the wood carving up. How does it feel? Is it cool to the touch, or does it seem to have a warm quality? Is it heavy, or light? Does it feel smooth, or does it have jagged edges? Do you feel a ‘spray-paint’ finish, or is it smooth and slippery to the touch?
• Look At It Closely
  Think about what you are looking at. Wood grain should be visible somewhere on any original woodcarving, even if there is paint on the subject. Do you see evidence of a carving tool having been there? Do you see the tell-tale sign of a mold-seal along the sides of the item? If you see grain that is not painted, can you see ‘into’ the grain? This is almost a 3-D effect that real wood exhibits when viewed in a strong light. They haven’t figured out how to reproduce that yet!
• Signature, And More…..
  Does the piece bear a signature or mark of the artist? Some reproductions are so poor as to have neglected the all-important connection with the artist that created the piece. Does it have a “Made in China” sticker? Don’t laugh, some people don’t even look, and think they have an original. Is there a script that tells you the production number? Such as 30/1000. This means that this piece is the 30th piece that was created out of a production of 1000 pieces: not an original !
• Check The Attached Information Tag
  Look at the tag that is usually attached to an original sculpture. You should always examine these tags, and ask yourself, ”What is this tag trying to avoid saying to me?” Does the tag actually state that THIS piece is an original? Does the tag kind of waltz around that statement? Many dealers do not want to say a wood carving is a reproduction, as it will dramatically affect the price. People expect to pay less than 10% for a machine copy of a wood carving.
• Ask the Shop Owner
  Yes, ask the owner of the shop. A reputable shopkeeper will rarely lie about this, as it can surely come back to haunt him later. Keep in mind, if you are at a Flea Market, or a garage sale, your chances of getting the truth might be somewhat less!
• Internet Purchases?
  The Internet is a great source for finding wood carvings that you would never discover in your travels. When you shop online, use common shopping safety practices concerning credit cards info, and personal data. It’s not dangerous, just don’t do anything you would not normally do when buying something online other than a wood carving. Dealers of art and wood carvings are unlikely to attempt to take advantage of you online, as this is their livelihood also. Most will certainly offer you a return policy in writing. Paying with a credit card or even PayPal offers another layer of protection for you, in the event you do not like the woodcarving, you can easily return it. Once you get the wood carving to your home, you can then use all these tips to properly examine the piece.
• Do Your Research
  Above all, do your research! If you plan to spend $1,000.00 on anything, I am sure you will look into the subject deep enough to satisfy your curiosity. Conversely, most people can spend less than $50.00 on an obvious reproduction of a wood carving without having to spend days in research. There are too many resources available for you to say at the end of the day that you could not find any information on the topic. If you are like me, the Internet is the greatest resource of all, but even there, you must use your common sense!

So, there you are! Now that you have examined the pieces on the shelf, and you are satisfied that these are originals, only question that remains is, “Which one am I taking home?”

Chuck Hall is a wood carver / sculptor living in Fernandina Beach, Florida located on Amelia Island. He is the owner of Shady Oak Studio, and offers his wood carvings and wood sculptures via his website http://www.ShadyOakStudio.com, as well as art shows, and through select shops and galleries.

When applying a protective coating to your vehicle, the first thing to do is determine exactly what you are trying to achieve. For example a polish is usually a more thorough application than a wax and shine product. A polish or a wax in liquid or paste form is usually applied on a quarterly or semiannual basis, and this can vary with how and where a vehicle is used. A wax and shine product generally in spray form is typically used between polish/wax jobs to keep a vehicle looking good.

For example, many automobile enthusiasts will use a spray wax and shine product before and during car shows. Depending on the product, wax and shine products are generally not as durable as a proper polish/wax application. It should be noted; however, that there are some very durable wax and shine products. Typically, polish/wax products require more time and “elbow grease” to apply than the wax and shine products.

The application process for most polish/wax products is to clean the surface of the vehicle, apply the polish/wax with a damp soft cloth, wait for the polish/wax to dry to a haze, and then buff the wax off with a soft dry cloth. There can be variations to the application processes, and it is best to follow manufacturers’ directions for each product.

The typical application process for most wax and shine products is to spray the wax and shine product onto the vehicle surface, rub the product into the finish with a soft dry cloth, and buff the surface with a second soft dry cloth.

Choosing the right product for your particular vehicle is very important. Some products cannot be used on some surfaces. It is best to thoroughly understand the product specifications. This can be done by reading the label on the container in a store, or by looking up the specification information when ordering on line. Some products cannot be applied in direct sunlight. Some products are abrasive and contain solvents that can damage a surface. Some products can remove dirt and oxidation as a one-step process. A good consumer will understand exactly what a wax or polish will claim to do prior to purchasing it.

The saying goes: “The proof is in the pudding”, so once you make an informed wax or polish purchase, it is best to try the product in an inconspicuous area of your vehicle. Once you know that you have chosen the correct product for your vehicle, stick with it. A little wax and polish research, can get you on your way to a “Show Room” shine.

Jim Stapert is a classic car enthusiast, who enjoys learning by doing. He is an author, a project manager, and a chemical representative. Obtain more information about waxes, polishes and wax and shine products at: http://www.Parasolinc.com

There are plenty of varieties of men’s necktie and belt organizers on today’s market, all of which are designed to help you sort out and organize your tie collection. When choosing a necktie rack, first determine the depth of your closet if you will be purchasing a motorized version to make sure it’s measurements doesn’t exceed the space available in your closet after the door is closed. Select tie, belt and scarf organizers which will accommodate your present needs as well as allow extra space for future additions. Also, a good rule of thumb is to measure beneath shelves and inside closets to ensure an accurate fit.

To help you decide which one is right for you, here is a list of various organizers and brief descriptions:

• CLOTHES HANGER TIE RACK: Resembles a standard wooden clothes hanger with a flat, triangular shape. Pegs are attached on the lower piece horizontally to drape ties over. Hooks are attached to hang belts from.
• MOTORIZED TIE RACK: Mounts on closet pole and automatically rotates necktie and belt assortment for wrinkle-free storage. It is an excellent choice for the executive or the man-on-the-go. This ingenious device also features a light which runs on batteries to help select a tie quickly and easily.
• OVER-THE-DOOR HANGING TIE RACK: A metal or steel organizer with a square-shaped hook on top which hangs vertically from the top of the door and has rectangular units to drape ties through. Great choice for tight spaces.
• ROTATING HANGER TIE RACK: A long, narrow board with pegs on all four sides to drape ties over, which is attached to a swivel hook at the top. Rotates completely around 360 degrees for easy access.
• WALL MOUNTED TIE RACK: Affixes to walls, beneath shelves or inside closets using standard hardware or an adhesive backing. Some of these organizers resemble towel racks with removable hangers to neatly store scarves, ties and belts. Others are simply flat wooden or plastic bases with hooks or pegs attached.

Keeping your business attire neat and tidy saves time and energy. Rather than the morning ritual of searching desperately at the last minute for your accessories, keep them in one location and free up much needed drawer space by using one or more of the above mentioned items. Whether it’s Grad, Dad or Granddad, these items also make wonderful gift ideas!

Visit http://www.tie-directory.com Tie-Directory.com and review my picks for tie racks and necktie hangers.

Tags: neckties, designer+ties

We recommend that windows which exceed 3′ by 4′ in size be reinforced to prevent breakage. If a window is 3′ by 3′, it might not need to be reinforced, that’s usually a judgment call based on where it is to be installed.

Go to http://www.betterstainedglass.com/Newsletter/Archives/2006Aug-reinforcinglargepanel/aug2006reinforce.htm to see the photos that go with this article.

In the old days, when a panel was large and needed to be reinforced, artists actually installed big pieces of rebar, no kidding rebar, in window frames and wired the stained glass to the rebar. This was an effective method of reinforcement, but it was far from attractive.

Now, I’m not complaining, but doesn’t the art of stained glass have enough restrictions already? Are you telling me that I’m going to have to work my beautiful design around chunks of concrete reinforcement? Fortunately there’s something fairly new on the scene to help in that area.

The secret? A thin strip of copper which is thin enough to fit between existing lead lines. You solder them in place and you’ve got a substantially stronger panel.

How can that be? It’s so thin and floppy? See how easily it bends. That’s part of what’s so cool about this strip of copper, it bends easily in one direction, allowing us to follow the most meandering lead lines, but it’s fairly rigid in the other direction, adding strength to the glass.

Before this new copper strip was available, we used to go to a sheet metal shop and have them cut 1/4″ wide strips of thin gauge copper on the shear. Then we had to bend it to follow our lead lines using needle nosed pliers. It was fairly complex and when done, you still had a piece of copper that stood 1/4″ above the surface of the window. It sometimes cast a shadow on the panel and soldering the back was a challenge as well.

When reinforcing a window (using this or any other method) it is important to remember that the reinforcement must run from one side of the window to the other to do any good. If a piece of copper is run to the middle and then it just stops, you will actually be creating a place where more stress will be applied to that spot and the window could break there.

The copper strip comes in a roll and will cover a lot of glass. The idea is to run the copper back and forth along lead lines so the glass will have more strength than it did before, and will transfer the stresses on it to it’s outer edge where it is stronger since it’s installed in some sort of rugged framework. This will prevent the glass from getting cracks either from being pushed on, or from the weight of the glass being pulled down by gravity over time and sagging.

This panel is so large that we need to reinforce it a great deal. I begin by running strips up and down the length of the window. I used some spray cans which were handy to weight the strip down in between the glass. Make sure if you use this method to remove cans before soldering because heat and pressurized cans can be hazardous.

At places where the copper strip intersects another piece of copper, I have to cut the new piece so I can continue on across the panel.

I bend a little “L” on the end so the copper won’t slide as I install it. Then I gently press it in between the glass, the foil and the other copper strips. I use something to weight it down, or it will pop out from between the glass.

I then string the copper out to the edge of the panel. When doing this, I keep the roll of copper in the bag it came in and gently pull it out as I need it. I use care not to let it tangle or slip out of the bag so that I don’t have to relive the disaster with my “Slinky” when I was a kid.

I use tin snips to cut the copper, about 1/4″ from the edge of the glass.

With all the reinforcement strips in place, I begin to tack the glass together. I make sure that the glass is pushed into the right place (on pattern), the copper has a tendency to push things around. Arrows point to all the places where copper has been installed to properly reinforce this panel.

After soldering the panel, I need to clean up the areas where copper extends beyond the edges.

Using the tip of my soldering iron, I push the copper strip over the edge, which bends it.

Holding the strip in place with needle nosed pliers, I solder the copper against the edge of the foil. When it’s done, you can’t even tell that the window has been reinforced.

Since this panel is being installed in a door, once it’s soldered, it gets sent out to be encased in tempered glass and insulated. The tempered glass adds an additional amount of strength to the panel.

David Gomm started building stained glass windows professionally back in 1983 and has become an expert at many aspects of stained glass building, design and repair. He writes a monthly newsletter at his http://www.betterstainedglass.com website. A gallery of his stained glass work can be viewed at http://www.gommstudios.com

Paper bag scrapbooks are really popular now. Their small size makes them great for gift giving, for display on a coffee table, or even just as a “brag book”. They are made by using paper bags (you know the brown lunch kind) and are of a smaller size than the larger scrapbook albums, usually 5 x 5 inches. Since the paper bags are not acid free, it is important to only use copies of your photos. You can get duplicates made of your photos from your photo processing center or even make copies of photos on your home printer.

To get started you will need 3 paper lunch bags. You can use either the brown lunch bag kind or the white bags. I find mine in the regular grocery store aisles. For the cardstock backgrounds you will need 3 sheets of 12 x 12 in a solid color and 3 sheets of 12 x 12 in a coordinating color. For securing the book together you will need about 2 feet of ribbon. I use several different coordinating ribbons to add flair to the books. Finally, you will need whatever embellishments you choose such as stickers, brads, ribbons, tags, etc. to decorate the individual pages.

To begin, lay the 3 paper bags flat. Fold each bag in half so that it looks like a little “book”. Put the 3 folded books together so that you now have a 6-page book. Hole punch 5 holes in the left side of the “book” (near the fold). Then, to secure the book together use the ribbons and tie a small bow through each hole.

Once the book has been put together you are ready for the next step. Cut the background cardstock pieces into 5 x 5 shapes and adhere them to each page of the album. Leave the ends of the paper bag open, as you can use that area as additional storage space for photos, tags, and other special items. Embellish each page as you choose with special stickers, photos, journal entries, brads, tags, etc.

Enjoy your completed paper bag scrapbook!

For more ideas on making a paper bag scrapbook, be sure to visit http://www.scrapbooking-bug.com. To sign up for the free monthly scrapbook newsletter, send a blank e-mail to scrapbookingbug@aweber.com