How should stained glass creators document cartoon geometry and cut-line offset for Patreon?

The cartoon in stained glass is the full-scale paper pattern drawn to the finished lead-line dimensions — the center of each came heart line. But each glass piece must be cut smaller than the cartoon shows, because the came itself occupies space between adjacent glass pieces. The critical measurement is the came heart width: the width of the flat web connecting the two flanges of an H-came profile, measured with a ruler in the channel. Standard 3/16 inch came has a heart width of approximately 3/32 inch; 1/4 inch came has a heart width of approximately 1/8 inch. Each glass piece bordered by H-came on two opposite edges must be cut inward from the cartoon cut line by one heart width on each side — so a piece flanked on both sides by 3/16 inch came loses approximately 3/32 inch from each edge, and must be cut approximately 3/16 inch narrower than the cartoon dimension. Document the came size for each section of a design and the resulting cut-line offset calculation for that section. The mechanical solution is pattern shears: a three-blade scissors tool with two cutting blades spaced exactly one came heart width apart, which automatically removes a strip of paper from each cut line as the pattern is cut, producing pattern pieces that are already offset to the correct glass size. Document the pattern shears blade spacing used and whether it matches the came heart width for the design — different shears are calibrated for different came sizes, and using a 1/8 inch shears with 3/32 inch came leaves glass pieces 1/64 inch too small per edge, producing loose joints that move before soldering and splay after. Patrons who understand the came heart width and pattern shears relationship can avoid the most common beginner error of cutting glass to the full cartoon dimension and then wondering why the panel will not fit within its frame.

How do stained glass creators document lead came selection and stretching for Patreon?

Lead came selection documentation covers two independent decisions: the came profile type (H-came for interior joints vs U-came for perimeter borders) and the came heart width (which determines the visual lead line width in the finished panel). H-came has two flanges connected by the heart — one flange grips each face of the glass piece, and the channel accepts the glass edge in the heart. U-came has only one flange plus the heart, and is used at the perimeter of a panel where one face of the came is exposed: the heart accepts the glass edge, one flange grips the front face, and the outer edge is the border of the panel. Document the came size used per design area: 3/32 inch heart for very fine detailed work with small glass pieces (3/32 inch lead lines are nearly invisible at viewing distance and suit intricate geometric or painterly designs); 1/8 inch heart for standard residential and decorative panels (the most common size, balancing structural support and visual proportion); 3/16 inch heart for larger decorative panels where thicker lead lines provide structural rigidity across spans above 400mm; 1/4 inch heart or larger for architectural panels, exterior installation, or traditionally styled ecclesiastical work where the lead line is a deliberate visual element. Document also the came came came height or channel depth: standard profile came typically accepts glass 3mm thick; deep-heart or thick-glass came accepts bevels and glass up to 6mm. Lead came stretching is required before use: came as manufactured is slightly bent from the coil and contains internal stress from extrusion. Unstretched came has slack in the channel flanges — the flanges splay rather than gripping the glass edge uniformly, and the came buckles when pressed into curved design sections. Stretching procedure: secure one end of a came length in a lead vise (or hook it over a nail driven into the edge of the building board), grip the other end with parallel-jaw pliers wrapped in tape to prevent channel damage, and pull in a single smooth continuous motion until the resistance increases noticeably — approximately 10 to 15 percent elongation, which is typically 30 to 50mm gained on a 300mm piece. The visual and tactile test: lay the stretched came on a flat surface. It should lie completely flat with no wave or curl. The channel flanges should be parallel and tight when viewed from the end — not splayed outward. The came feels noticeably stiffer and more rigid than before stretching. A correctly stretched H-came holds glass firmly in its channel and follows curved lines without buckling. Stretched came also solders more cleanly because the work-hardening from stretching raises the came surface slightly in Brinell hardness, improving solder wetting.

How should stained glass creators document solder alloy ratios and bead behavior for Patreon?

Solder alloy ratio documentation for stained glass Patreon covers the alloy composition, the melting range, and the working behavior that each alloy produces in the bead. 60/40 solder (60 percent tin, 40 percent lead) is the most common solder for stained glass work. It has a melting point close to the eutectic (the single temperature at which a solid converts directly to liquid) at approximately 183 to 190 degrees Celsius — it flows freely in liquid form and then transitions rapidly to solid with a small or negligible pasty range. The result is a bright, reflective, smooth bead that sets quickly. The quick setting behavior means the creator has a narrow window to shape the bead: the iron must move smoothly and continuously because stopping produces a pooled flat spot. 50/50 solder (50 percent tin, 50 percent lead) has a liquidus temperature of approximately 216 degrees Celsius and a solidus temperature of approximately 183 degrees Celsius — a pasty range of about 33 degrees in which the solder is neither fully liquid nor fully solid. This wider pasty range allows the creator to drag and shape the solder line while it is in the semi-molten state, producing a more consistently rounded dome profile (the classic raised bead) before the solder sets. The trade-off is that 50/50 requires a higher iron tip temperature, approximately 315 to 340 degrees Celsius versus 260 to 315 degrees for 60/40, and the bead surface is slightly less bright on cooling. Document the alloy ratio and the iron temperature range used, because patrons replicating technique on a different iron brand need to understand that the dial position does not equal the tip temperature — tip type and tip condition both affect actual temperature. Lead-free solder (typically tin-copper-silver SAC alloys, e.g., SAC305 at 96.5 percent tin, 3 percent silver, 0.5 percent copper) has a melting range of approximately 217 to 221 degrees Celsius and requires an iron tip temperature of approximately 340 to 370 degrees Celsius. Lead-free solder wets copper foil less readily than leaded solder, produces a matte rather than bright surface, and is significantly less forgiving of poor flux application. Document which solder was used and the specific reason: 60/40 for its fast-setting bright bead, 50/50 for bead shape control in decorative work, or lead-free for environmental preference or specific installation requirements.

How should stained glass creators document flux chemistry and post-soldering neutralization for Patreon?

Flux documentation for stained glass Patreon covers the flux chemistry, its mode of action on the metal surfaces, and the complete post-soldering neutralization and cleaning protocol that prevents long-term corrosion of the solder joints. Zinc chloride flux (ZnCl2) is the most common active flux for stained glass work. Its mode of action: zinc chloride in solution reacts with and dissolves the zinc oxide, lead oxide, and copper oxide layers that form on solder, lead came, and copper foil surfaces, exposing clean reactive metal underneath. Solder will only wet and bond to clean oxide-free metal; flux enables this bonding. The critical documentation is the post-soldering treatment: residual zinc chloride on the finished panel is hygroscopic — it absorbs moisture from the air and holds it against the metal surface. This moisture, with dissolved ZnCl2 acting as an electrolyte, drives ongoing galvanic corrosion of the solder and came surface. Document the neutralization protocol for your Patreon posts: while the solder is still warm (not hot), apply a paste of baking soda (sodium bicarbonate) mixed with water to all solder lines using a soft brush — the baking soda is alkaline and neutralizes the residual acid (ZnCl2 in aqueous solution produces hydrochloric acid). Scrub with the paste brush, covering every solder line and intersection. Rinse thoroughly with clean water, removing all baking soda paste residue. Dry completely with a clean cloth and then allow to air dry for 15 to 30 minutes before applying patina, because residual surface moisture prevents the patina from reacting uniformly. Document the flux brand and type, the application method (brush vs flux pen for foil work, where a pen allows precise application without flooding the foil), the neutralization product, and whether any historical pieces have shown joint corrosion that was traced to incomplete flux cleaning. Some stained glass creators use a water-based, no-clean flux that is less corrosive than zinc chloride and does not require neutralization — document which type was used because the post-soldering treatment differs entirely. Oleic acid flux (a fatty-acid based flux used in some copper foil work) requires a different cleaning protocol: soap and warm water to saponify the flux, rather than a baking soda neutralization.

How does the Apple Tax affect stained glass creator Patreons starting November 2026?

Stained glass creator iOS rates by platform: YouTube stained glass cutting, foiling, and soldering tutorial content: 55 to 68 percent iOS. YouTube stained glass attracts a mixed audience of active learners who often watch while working in the studio (moderately high desktop and tablet share) and casual craft discovery viewers (high iOS). Instagram stained glass finished panel photography and light-transmission photographs: 70 to 80 percent iOS. The distinctive visual appeal of stained glass lit from behind is strongly mobile-first content — the play of light through colored glass photographs well and performs on the Instagram grid and Reels format. TikTok stained glass process videos (scoring and breaking, foiling sequences, soldering reveals): 72 to 82 percent iOS. The assembly transformation format is effective on TikTok and reaches an iOS-majority audience. The Apple Tax on November 1, 2026: Patreon applies Apple's 30 percent in-app purchase fee to all iOS subscriptions. At $300/month with 60 percent iOS (YouTube-primary tutorial creator): approximately $54/month ($648/year) lost to the Apple Tax. At $400/month with 65 percent iOS (mixed YouTube and Instagram stained glass creator): approximately $78/month ($936/year). At $250/month with 72 percent iOS (TikTok-primary stained glass process creator): approximately $54/month ($648/year). The fix: enable Patreon's web-only billing toggle before October 31, 2026. Update YouTube description links, Instagram bio link, and TikTok bio link to the Patreon web URL. Verify with a test subscription from Safari on iPhone before the November deadline.

Explainers · 2026-07-02 · ~3,900 words

Patreon for stained glass creators: complete 2026 guide — cartoon geometry and cut-line offset, lead came selection and stretching mechanics, solder alloy documentation, patina chemistry, and the Apple Tax

Stained glass Patreons retain when they deliver the calculation and documentation layer that finished-panel photographs and soldering technique videos structurally omit: cartoon geometry and cut-line offset so patrons cut glass to the correct size rather than fighting ill-fitting came; lead came selection and stretching mechanics so channel flanges grip rather than splay; solder alloy ratio documentation so bead behavior is predictable rather than inconsistent; flux chemistry and post-soldering neutralization so solder joints survive decades rather than corroding in the first two years; and patina chemistry at the reaction mechanism level. Stained glass audiences skew moderately to heavily iOS depending on platform — Apple Tax exposure begins November 1, 2026.

Who stained glass creators are on Patreon

Stained glass on Patreon covers a wider technical range than most craft categories. Copper foil artists (working in the Tiffany method) wrap each glass piece in adhesive-backed copper foil tape, then solder along the foil seams to create the finished panel or three-dimensional form. Their documentation covers foil width selection relative to glass thickness, the foiling sequence and crimping technique, flux and solder selection for copper foil work, and the finishing sequence including patina. Copper foil is suited to complex curves, intricate designs, small glass pieces, three-dimensional lampshades, and jewelry. Lead came artists work in the traditional method: glass pieces are fitted into H-shaped lead came channels and the came intersections are soldered to create a structural matrix. Lead came suits straight-lined and gently curved designs, larger pieces, architectural-scale panels, and exterior or structural installation. Some creators work in both techniques depending on the design. Glass painters and kiln artists add vitreous paint or enamel to glass before kiln-firing, then combine the fired glass pieces into a panel using either foil or came. Their technical documentation covers paint grinding, gum arabic binder, firing temperature and schedule, and the integration of painted sections with unfired colored glass in the same panel. Fused glass creators who work with stained glass panels use kilns to fuse individual glass pieces together without came or foil — the glass itself becomes the structural matrix after fusing.

A two-tier Patreon structure suits most stained glass educators: a Technical Documentation tier ($12–20/month) delivering the geometric calculations, came selection rationale, solder and flux notes, and construction sequence for each project; and a Pattern and Design Consultation tier ($28–45/month, capped at 8–10 patrons) adding original pattern delivery (sized to the project, with cut-line offsets already applied for the came size specified), the cartoon with came-heart annotations, and a quarterly project review where patrons submit photographs of in-progress work for assessment.

The value proposition for patrons is precise: commercial stained glass courses teach soldering mechanics and glass cutting technique but almost never cover the geometric calculation layer (cut-line offsets, came heart measurements, pattern shears selection) or the chemistry layer (flux reaction mechanism, neutralization protocol, patina reaction products). These are the elements that determine whether a panel holds together for decades or develops corroded joints, warped came, and ill-fitting glass in the first few years. A Patreon Technical Documentation tier at $12–20/month delivers the documentation that prevents those failures.

Cartoon geometry and cut-line offset

What the cartoon represents and what it does not

The cartoon in stained glass is the full-size paper working drawing from which the glass pieces are cut and the came is fitted. The lines on the cartoon represent the center of each came heart — the midline of the lead line as it will appear in the finished panel. Each line on the cartoon is the theoretical center of the came joint at that location. The actual glass piece must therefore be cut inside the cartoon line by a specific amount, because the came occupies physical space between glass pieces. If a patron cuts glass to the cartoon cut line without accounting for this offset, the glass piece will be too large by exactly one came heart width on each side, and the panel will not fit together.

This is the single most common source of first-project failure for new stained glass makers who follow tutorials that demonstrate cutting but do not explain why the glass must be cut smaller than the drawn line. The cartoon line is a design tool; the cut line — the actual line on the pattern piece that the glass cutter follows — must be inset by the came heart width. Documenting this calculation in explicit, per-project form is among the highest-value content a stained glass Patreon can deliver.

Came heart width measurement and offset calculation

Came heart width is the width of the flat web portion of an H-came profile — the horizontal bar connecting the two vertical flanges, measured through the channel opening. Standard came sizes are specified by the total came width (the full dimension across both flanges), but the heart width is the operative number for the cut-line offset calculation because it represents the amount of space the came occupies between two adjacent glass pieces. For a typical 3/16-inch H-came, the heart width is approximately 3/32 inch (approximately 2.4mm). For 1/4-inch H-came, the heart width is approximately 1/8 inch (3.2mm). Measure the heart width directly with a ruler in the channel, not from the manufacturer’s specification, because manufacturing tolerances vary.

The offset calculation: a glass piece bordered on two opposite edges by H-came loses one heart width from each edge. If the came heart width is 3/32 inch and a rectangular piece in the cartoon measures 50mm wide, the glass must be cut to 50mm − 3/32 inch − 3/32 inch = 50mm − 4.8mm = 45.2mm wide. Document the offset calculation for each came size used in the project because a single design may use different came widths in different sections — 3/16-inch came for interior joints, 3/8-inch U-came for the perimeter border — and each section requires a different offset applied to the pattern pieces in that area.

Pattern shears: the mechanical offset solution

Pattern shears are a three-blade scissors tool in which two parallel cutting blades are spaced exactly one came heart width apart, with a third blade between them that removes the strip of paper equal to the heart width. When the pattern shears cut along the cartoon lines, they automatically produce pattern pieces that are already offset by the correct amount: the strip of paper removed represents the space the came heart will occupy in the finished panel. The pattern pieces produced by pattern shears can be traced directly onto glass and cut on the outer edge of the traced line without further calculation.

Document the pattern shears used: the blade spacing (typically marked on the tool as the came size it is calibrated for), the came size the project uses, and whether the shears blade spacing matches the came heart width. Using 1/8-inch pattern shears with 3/32-inch came leaves each glass piece 1/64 inch undersize per edge — small, but visible as a loose fit in the came channel; using 3/32-inch shears with 1/8-inch came leaves each piece 1/64 inch oversize per edge, which prevents the panel from fitting together. For Patreon documentation, the shears-to-came match confirmation is a one-line note that prevents a category of patron errors that are otherwise invisible until the panel assembly fails.

Lead came selection

H-came vs U-came by location in the panel

H-came is the interior came profile: the H cross-section has two flanges, one gripping each face of adjacent glass pieces, and a heart connecting them. H-came is used for every joint between two glass pieces inside the panel area. U-came (also called round-back or border came) is the perimeter came: it has one flange, a heart, and an open outer edge that forms the border of the panel. U-came accepts one glass piece edge in the channel and presents a clean rounded or flat back to the frame or border.

Document whether the project uses H-came throughout (including at the perimeter, which requires a U-came step at the border to clean up the edge) or H-came for interior joints plus U-came at the perimeter. Many experienced makers add U-came at the perimeter as a final step after the interior H-came assembly is soldered, both for appearance and because U-came provides a clean, consistent edge for fitting the panel into a zinc or wood frame.

Came heart width selection by design scale and load requirements

Heart width selection is an aesthetic and structural decision that should be documented explicitly. 3/32-inch heart (approximately 2.4mm): nearly invisible lead lines at normal viewing distances. Suited to small, intricate geometric designs, portrait panels, and work where the glass color and pattern are the primary visual element and the lead line is meant to recede. Structural limitation: 3/32-inch came is thin and lightweight; panels using only this size require internal reinforcement bars (zinc or steel came bars soldered across the panel at intervals) for any dimension above approximately 300 × 400mm. 1/8-inch heart (3.2mm): the most common size for residential decorative panels, smaller window inserts, and jewelry box panels. Visible as a moderate lead line, appropriate for most designs in the 200–600mm range. 3/16-inch heart (4.8mm): a distinctly visible lead line that becomes a design element in its own right. Suited for larger decorative panels, Arts-and-Crafts-style designs where geometric simplicity is the aesthetic, and panels where structural rigidity is needed without adding reinforcement bars. 1/4-inch heart or larger (6.4mm+): architectural came, traditionally associated with ecclesiastical stained glass and exterior installation. The lead line is a prominent visual element and contributes substantial structural weight to the panel.

Document the came heart width used and the reason for the choice — whether it was driven by the design scale, the viewing distance, the structural requirements of the panel dimensions, or the aesthetic tradition the piece is working in. Patrons who understand this reasoning can apply it to their own design choices rather than defaulting to a single came size regardless of the project.

Lead came stretching mechanics

Why stretching is required

Lead came is manufactured by extruding molten lead alloy through a die, then coiling the extruded came for shipping. The coiling process bends the came and introduces a slight memory of the coil curve. The extrusion process also leaves internal stress in the metal. Unstretched came has two visible problems in use: the channel flanges are not fully parallel (they splay slightly outward from the channel center), which means they grip the glass edge loosely rather than firmly; and the came tends to buckle or kink when pressed into curved sections of a design, because the internal stress causes it to resist bending uniformly. Stretching eliminates both problems by work-hardening the lead: as the came elongates under tension, the crystal structure of the lead is deformed and the internal stress is redistributed, producing a stiffer, flatter, channel-consistent length.

The stretching procedure

Secure one end of a came length in a lead vise — a bench-mounted vise with serrated jaws that grip the came firmly without crushing the channel flanges — or hook it over a nail driven into the edge of the building board at a low angle. Grip the other end with parallel-jaw pliers with the jaws wrapped in a single layer of masking tape to prevent the plier teeth from crushing or marking the came flanges. Pull in a single smooth continuous motion, maintaining consistent tension until you feel a distinct increase in resistance: the lead is work-hardening and the pull required to continue elongation increases. Release and lay the came on the building board. The target elongation is approximately 10 to 15 percent of the original length — for a 1-meter length, approximately 100 to 150mm of added length. Over-stretching will produce a came that is work-hardened to brittleness and will crack when bent into curved sections.

The visual and tactile test: the stretched came should lie completely flat on the building board with no residual coil wave. Looking at the H-came profile from the end, the two flanges should be parallel and the channel should be uniform in width throughout its length. When you hold the came horizontally and let it drape, it should show some resistance to draping rather than collapsing limply. The channel should grip a scrap of the target glass thickness firmly enough that the glass piece does not slip out when the came is held vertically with the glass inside. Unstretched came passes the drape test but fails the channel-grip test: the flanges splay and the glass piece slides out. Document the stretching procedure as a checklist in project notes so patrons can verify they have completed it: came laid flat (yes/no), flanges parallel (yes/no), glass scrap grip test (yes/no).

Solder alloy ratio documentation

60/40 solder: the standard and its working characteristics

60/40 solder (60 percent tin, 40 percent lead) is the most widely used alloy for stained glass work, both in copper foil technique and lead came work. Its eutectic-adjacent melting point of approximately 183 to 190 degrees Celsius means that at the correct iron tip temperature, it transitions from solid to fully liquid in a very narrow temperature window, with little pasty range. The practical effect: the solder flows freely onto the prepared surface and then sets quickly as the iron moves away. This produces a bead that follows the iron tip cleanly, cooling to a smooth and bright surface.

The working characteristics to document: the iron tip temperature for 60/40 (approximately 260 to 315 degrees Celsius at the tip for correct flow; below 260 degrees, the solder flows sluggishly and may produce a grainy bead indicating incomplete melting; above 340 degrees, the solder flows excessively and spreads beyond the foil or came width, producing flat pools); the bead formation motion (smooth, continuous movement of the iron tip along the solder line, with solder fed from the roll at a consistent rate to build the bead height; stopping produces a flat pooled area; moving too fast thins the bead and may not fully wet the foil or came surface); and the cooling appearance (60/40 cools to a bright, reflective, slightly rounded bead; a dull or granular-looking bead surface indicates the solder was disturbed while cooling, the iron temperature was too low, or the flux was insufficient).

50/50 solder: the pasty range and bead shape control

50/50 solder (50 percent tin, 50 percent lead) has a wider pasty range than 60/40: its solidus temperature (the point at which it begins to melt) is approximately 183 degrees Celsius, but its liquidus temperature (the point at which it is fully liquid) is approximately 216 degrees Celsius. Between these temperatures, the solder is in a semi-molten paste state — neither rigid solid nor free-flowing liquid. This pasty range is the operative difference for raised-bead technique.

In the pasty range, 50/50 solder can be shaped and dragged: as the iron tip moves along the solder line at a temperature slightly above the solidus, the bead moves with the iron, allowing the creator to build a more consistent dome profile by controlling the iron pressure and speed. Experienced stained glass artists use 50/50 specifically for the decorative raised bead on copper foil work because the wider working range gives more control before the bead sets. The trade-off is that the higher iron temperature required (approximately 315 to 340 degrees Celsius tip temperature for 50/50) increases heat transfer into the surrounding glass, which can crack small or thin glass pieces if the iron dwells too long in one area. Document which solder was used per application and the reason: “used 50/50 for the decorative front bead on the foiled copper panel, 60/40 for the flat back bead on the lead came panel perimeter soldering.” This level of notation tells patrons not just what happened but why the alloy was selected for each function.

Flux chemistry and post-soldering neutralization

Zinc chloride flux: mode of action and why it must be removed

Zinc chloride (ZnCl&sub2;) flux works by dissolving the oxide layer that forms on all metal surfaces exposed to air. Lead oxide on came surfaces and copper oxide on foil surfaces prevent solder from wetting and bonding to the metal; ZnCl&sub2; in aqueous solution reacts with these oxides and removes them, exposing clean reactive metal. The chemical reaction produces zinc oxide and the metal chloride as byproducts. This is why newly fluxed surfaces show a clean, bright metallic appearance — the oxide layer has been chemically removed.

The problem with ZnCl&sub2; flux is that it does not neutralize itself. After soldering, residual zinc chloride remains on and around the solder joints. ZnCl&sub2; is strongly hygroscopic: it absorbs water vapor from ambient air and holds it in a liquid film on the metal surface. This liquid film, with dissolved ZnCl&sub2; acting as a conductive electrolyte, drives electrochemical corrosion of the solder and came. The visible result over months or years is a white or grey powdery corrosion product (zinc oxide and lead carbonate) at solder joints and came intersections, and in severe cases, pitting of the solder bead. For a Patreon post, the critical statement is: incomplete flux removal is the most common cause of stained glass panel deterioration within the first decade, and it is entirely preventable with a documented post-soldering cleaning protocol.

The baking soda neutralization and rinse protocol

Neutralization protocol for zinc chloride flux: while the solder is warm but cool enough to touch (approximately 5 to 10 minutes after the final solder line is completed), prepare a paste of baking soda (sodium bicarbonate, NaHCO&sub3;) and water — approximately 2 tablespoons of baking soda per 250ml of water, mixed to a thin paste. Apply the paste to all solder lines and came intersections using a soft brush with dense bristles (a natural bristle brush is less reactive with the alkaline paste than a nylon bristle brush). Scrub the paste along each solder line, covering the joints and the adjacent came flanges where flux may have spread during application. The baking soda reacts with the residual acid: ZnCl&sub2; in aqueous solution produces HCl (hydrochloric acid) and the baking soda neutralizes it as CO&sub2; gas (a slight fizzing may be visible on heavily fluxed areas). Rinse thoroughly with clean water, removing all baking soda paste. Then rinse again with clean water. Dry with a clean cloth and allow to air dry for at least 15 to 30 minutes before applying patina.

Document the cleaning products used, the scrubbing sequence, and the drying time observed. For Patreon, also document historical observations: if a piece was made without this protocol and showed joint discoloration at a specific age, note it — it demonstrates the consequence of incomplete cleaning more concretely than the chemistry explanation alone. If you use a no-clean or water-based flux that does not require the baking soda step, document which flux it is and confirm the manufacturer’s cleaning recommendation.

Patina chemistry documentation

Black selenium patina: reaction mechanism and safety requirements

Black patina for stained glass solder and lead came produces the characteristic dark grey-to-black appearance of antique stained glass panels. The most common product for this is a selenium-based patina solution: a dilute solution of selenium dioxide (SeO&sub2;) in a phosphoric acid or acetic acid carrier. The reaction mechanism: selenium dioxide reacts with lead solder to form lead selenide (PbSe, a black compound) and with the copper foil surface to form copper selenide (Cu&sub2;Se, also black-grey). The reaction occurs rapidly on freshly cleaned surfaces — typically within 5 to 15 seconds of application, which is why the product must be applied quickly and consistently to produce a uniform result.

Ventilation requirement: selenium dioxide releases selenium vapor during reaction and from the concentrated product. Selenium vapor is hazardous even at low concentrations: exposure causes garlic breath, fatigue, and at higher exposures, neurological symptoms. Work outdoors or with strong cross-ventilation (an open window with a fan drawing air from the work area outward). Do not use in a closed room. Document this requirement prominently in every Patreon post that covers patina application — it is the most significant safety note in stained glass work outside of glass-cutting edge handling.

Application mechanics: apply with a cotton ball or soft natural cloth (not a synthetic pad, which may react with the selenium compound). Wipe along the solder line in one direction without scrubbing; scrubbing lifts the patina before it has bonded and produces an uneven result. Allow the solution to react for 5 to 15 seconds (the surface transitions from silver/bright to grey-black visibly during this window), then wipe away the excess with a clean dry cloth before the reaction over-proceeds and produces a powdery, poorly bonded patina layer. A second pass can be applied if a deeper black is desired; allow the first pass to dry before re-applying. Do not apply to areas where the glass surface was contacted by the applicator — selenium patina can etch some glass types and may leave a permanent residue on painted or flash-glass surfaces.

Copper patina options and sealing protocol

For copper foil work, the copper foil surface can be patinaed separately from the solder. Liver of sulfur (potassium polysulfide, K&sub2;S&sub5; in aqueous solution) reacts with copper to form copper sulfide (Cu&sub2;S), which progresses through a color sequence from warm gold through russet-brown to near-black depending on concentration, temperature, and application time. Prepare a working solution of 1/8 teaspoon dry liver of sulfur per 500ml warm water (approximately 40 degrees Celsius); the solution degrades in approximately 2 hours. Apply with a cotton ball in a single wipe, allow 5 to 10 seconds, rinse with cold water to stop the reaction. This sequence produces a warm amber to light brown patina on exposed copper foil; repeating produces darker tones. Document the concentration, solution temperature, dwell time, and the resulting color at each stage.

Phosphoric acid-based patinas (products such as JAX Brown and JAX Black, which use phosphoric acid as the active component) are significantly less hazardous than selenium-based patinas: phosphoric acid is the active acid in many food-safe applications (it is an ingredient in cola beverages) and does not produce hazardous vapor at the dilutions used for patina work. These products produce a brown-to-black oxidation layer on lead solder and copper foil through a different chemical mechanism than selenium products but with comparable visual results. Document which patina product category was used, the application method, and the observed color shift.

Sealing after patina: apply carnauba paste wax to the completed panel using a soft cloth after the patina has fully dried (at least 30 minutes after the final water rinse). Work the wax into the solder lines and over the glass surfaces in a thin, even layer; allow to haze for 3 to 5 minutes, then buff with a clean soft cloth. Carnauba wax forms a moisture-resistant barrier over the solder and came, slowing re-oxidation and making the surface easier to clean over time. Document the wax product and whether a second coat was applied. For panels with black patina, a second wax coat deepens the appearance of the black and provides additional corrosion protection.

Glass selection and batch documentation

Glass type and optical properties

Stained glass is divided into three broad optical categories that affect the visual character of the finished panel and the documentation required. Cathedral glass (fully transparent, high light transmission): light passes through with minimal diffusion, producing saturated color and visible depth of the glass texture. Cathedral glass textures (smooth, lightly hammered, seedy with small bubbles, antique swirl with visible variation from the manufacturing process) are chosen for the light character they produce at the intended installation location. Document the glass manufacturer, the color name as it appears in the manufacturer’s catalog, the texture name or code, and the sheet dimensions. Opalescent glass (partially opaque, designed to transmit and reflect light simultaneously): opalescent glass contains calcium fluoride or other mineral additives that scatter light internally, producing a milky to fully opaque appearance that glows with reflected light rather than transmitted light. Opalescent glass often shows strong directional grain — the glass appears lighter or darker depending on the orientation of the grain relative to the light source. Document the grain direction on the sheet and the orientation the piece was cut in, because the visual result of the finished panel depends on this. Mouth-blown antique glass: produced by blowing molten glass into a cylinder and cutting and flattening it; this process produces natural variation in thickness (2.5 to 4mm within a single sheet), bubbles, striations, and surface character that is irreproducible in rolled glass. Document the sheet as a batch-specific piece, note the thickness range measured with a micrometer at five points, and retain a sample piece for color matching.

Batch number documentation and its critical importance for repairs

Stained glass is batch-produced: the same color name from the same manufacturer can vary significantly in hue, saturation, and texture between production batches. This variation is inherent to the process — slight changes in the mineral composition of the glass batch, the temperature profile of the furnace run, and the annealing schedule all affect the final glass character. For any panel that may require future repair — which includes all residential installations and any architectural-scale work — batch documentation is essential for matching replacement glass to the original.

Document the glass batch number from the sheet label (most professional glass manufacturers print a batch number and/or a production date on the label attached to the sheet). Record this number per sheet used, associated with the color and texture names in your project notes. Retain at least one scrap piece from each sheet used in the panel — stored flat in a labeled envelope — for visual matching if replacement is needed in future. For Patreon documentation, this means your project notes include a table: glass manufacturer, product name, color code, texture, batch number, sheet dimensions, and the areas of the design each sheet was used for. This documentation makes the panel restorable even decades later when the original creator is no longer directly available. It is also the kind of explicit, actionable documentation that differentiates a Patreon project post from a tutorial video: the video can show the glass being cut, but only the post can record the batch number.

Tier structure for stained glass creators

Technical Documentation tier ($12–20/month): for each project, document: the cartoon geometry (overall panel dimensions, glass piece count, design description); the came selection (came type and heart width per design area, and the cut-line offset calculation for each came size); the stretching protocol confirmation (stretched from coil length to working length, channel grip test passed); the glass selection table (manufacturer, product name, color code, texture, batch number, sheet dimensions, assignment to design areas); the solder alloy used (60/40 or 50/50, iron tip temperature); the flux type and application method; the post-soldering neutralization sequence (baking soda paste, rinse, drying time before patina); the patina type, product, ventilation method, application sequence, and visual result; the wax sealing product and coat count. This documentation is the technical record of the build, comparable in function to a watchmaker’s bench notes or a goldsmith’s alloy log.

Pattern and Design Consultation tier ($28–45/month, capped 8–10 patrons): all of the above plus original patterns for each project with cut-line offsets already applied for the specified came size (patrons receive ready-to-use pattern pieces, not cartoon lines requiring manual offset); the cartoon with came-heart annotations identifying each came size assignment; and a quarterly project review where patrons submit photographs of in-progress or completed work — came fit, solder bead quality, patina uniformity, glass batch matching for multi-session projects — with a written assessment of technique and suggestions for the next build. The consultation tier delivers value that scales with patron experience: beginners use the ready-to-cut patterns most; intermediate makers use the technical documentation most; advanced makers use the project review most.

Platform conversion mechanics for stained glass creators

Stained glass on Instagram converts through the light-transmission photograph: a photograph of a finished panel held up to a window or photographed with a backlight source produces the saturated color and glow that is the defining visual appeal of stained glass. These images perform well on the Instagram grid and Stories because the color saturation is immediately striking on a mobile screen. The Patreon conversion mechanism is specific: viewers who are learning or actively making stained glass see the result and want the documentation that produced it. An Instagram caption that names the Patreon Technical Documentation tier explicitly — “came selection, cartoon geometry, and glass batch documentation in my Patreon” — converts better than a generic link because it names a specific deliverable.

YouTube stained glass converts through the troubleshooting and diagnosis video: titles such as “why your lead came buckles and how to prevent it,” “why solder joints corrode on stained glass panels,” or “how to calculate the cut-line offset for any came size” attract viewers who are experiencing a specific problem and cannot resolve it from basic tutorials. The flux chemistry post — explaining why incomplete neutralization causes the white corrosion powdering that shows up on solder joints two to three years after completion — is a particularly effective hook because the failure pattern is very common and the solution (baking soda neutralization) is not intuitive from watching soldering demonstration videos.

TikTok stained glass converts through the assembly sequence reveal: a time-lapse or fast-cut sequence showing the progress from raw glass pieces on a light table to assembled and soldered panel performs well because of the clear before-and-after transformation. The Patreon hook appears at the end of the clip naming the Technical Documentation tier as the source for the construction notes on the piece shown.

Apple Tax for stained glass creator audiences

Stained glass creator audiences skew moderately to heavily iOS depending on the primary content platform. YouTube stained glass cutting and soldering tutorials and technique breakdowns: 55–68% iOS. Stained glass tutorial content attracts active makers who often watch on a screen in the studio — laptop or tablet propped next to the cutting table — and casual craft-discovery viewers who are iOS-heavy; the studio screen use slightly increases desktop and non-iOS tablet share relative to purely entertainment-format content. Instagram stained glass panel photography and Reels: 70–80% iOS. Light-transmission photographs and process reels for stained glass reach a strongly mobile-first audience consistent with Instagram’s overall user demographics. TikTok stained glass assembly and panel reveals: 72–82% iOS. The assembly-sequence format performs on TikTok with a predominantly mobile iOS audience.

The Apple Tax begins November 1, 2026: Patreon applies Apple’s 30% in-app purchase fee to all subscriptions processed through the iOS Patreon app. The fee is deducted from creator revenue, not added to the patron’s subscription cost.

At $300/month with 60% iOS (YouTube-primary stained glass tutorial creator): 60% of $300 × 30% = approximately $54/month ($648/year) lost to the Apple Tax.

At $400/month with 65% iOS (mixed YouTube and Instagram stained glass creator): 65% of $400 × 30% = approximately $78/month ($936/year).

At $250/month with 75% iOS (Instagram and TikTok-primary stained glass creator whose audience discovers through visual content): 75% of $250 × 30% = approximately $56.25/month ($675/year).

These are monthly losses to a platform fee. A stained glass creator at $400/month who does not address iOS billing before November 1, 2026 loses the equivalent of more than two months of patron revenue per year to the Apple Tax — revenue that goes to Apple rather than to the creator.

The fix before October 31, 2026: enable Patreon’s web-only billing toggle in the Creator settings dashboard. iOS subscribers are then directed to a web checkout flow that bypasses Apple’s IAP system. After enabling: update Instagram bio link, TikTok bio link, and YouTube description and community post links to the Patreon web URL. Test the complete subscription flow from Safari on iPhone before the October 31 deadline: tap the link, load the Patreon page, tap Join, and confirm the payment screen is a Patreon web checkout, not an Apple IAP dialog.

KeepTier is a self-hosted membership page for creators who want 100% of their tier revenue and zero Apple Tax. Payments are collected through a browser-based Stripe checkout with no iOS IAP pathway. Plans from $9/month.

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