A leadlight panel can look sound on the bench, then reveal every material shortcut once it is lifted, cemented or exposed to sunlight. This leadlighting supplies guide focuses on the materials that determine whether your work is accurate, durable and satisfying to finish, from selecting compatible glass to choosing the right came, solder and polish.
For a first small panel, it is tempting to buy the cheapest starter assortment available and make do. That can work for learning basic cuts, but leadlighting is a construction method as much as an art form. Good materials make cutting cleaner, joints stronger and finishing more predictable. They also let you build habits that will carry into larger windows, repairs and commissioned work.
Start with the panel, not the shopping list
Before choosing supplies, consider where the finished piece will live and how it will be built. A small hanging sun catcher can use lighter came and a simple border. A larger window panel needs a design that provides structural support, suitable reinforcing and a frame that can be installed safely. Curves, tight internal details and very small glass pieces also affect the came profile you can use.
Your pattern is the best place to start. Each lead line needs enough width to hold the glass securely while still respecting the design. Avoid drawing a delicate line, then trying to force broad came through it. Equally, a large panel made with narrow came may look refined but lack the strength needed across its width.
If you are restoring an older panel, match the existing came profile and glass character where practical. New glass that is too smooth, bright or uniform can sit awkwardly beside aged cathedral or mouth-blown glass. There is often more than one technically correct choice, so visual balance matters as much as measurement.
Glass: choose for light, texture and workability
Sheet glass is the heart of a leadlight. Cathedral glass gives clean transmitted colour and is often easier to cut consistently. Opalescent glass diffuses light and can create stronger contrast where a panel is viewed against a bright background. Textured varieties add privacy and movement, but their texture can affect how easily the glass scores, breaks and sits in the came.
Hold selections to the light where possible. A glass that appears rich on a shelf may become pale in a north-facing window, while a heavily textured clear can cast lively shadows but obscure a view. Think about the panel at different times of day, not only under workshop lighting.
There is no need for all glass in a leadlight to be the same thickness, but major variations can create fitting issues. Most traditional window glass is around 3 mm, though actual thickness varies by manufacturer, texture and colour. When combining sheets, check them together before cutting the full panel. A very thick textured glass may need a wider heart in the came than the neighbouring pieces.
For decorative inclusions, such as bevels, jewels or painted glass, allow for their thickness and edge shape in the design. Bevel clusters are generally built around their supplied dimensions rather than treated like ordinary sheet glass. If you are using fusible glass in a leadlight, the concern is not COE compatibility between pieces in the same way it is for kiln work, but thickness, fragility and how the fired surface will sit in the channel still matter.
Buy enough glass for the job
Glass has variation by batch, particularly in hand-rolled and strongly textured sheets. Purchase enough of a colour for the panel, including an allowance for breakage and pattern changes. Trying to match a small offcut months later can be frustrating, especially with specialty colours or imported lines. Keep useful offcuts organised by colour and type, but do not rely on a mixed offcut box for a design that needs visual consistency.
Lead came: profile, weight and strength
Lead came is commonly described by its face width and the width of its channel, or heart. The face is what you see on the front of the finished panel. The heart holds the glass. Both dimensions need to suit the pattern and the glass.
Flat, round and decorative profiles produce different visual effects. Flat came can give a crisp, architectural line. Round came creates a softer traditional appearance, while ornamental profiles can suit period work where the lead itself is part of the design. Border came has a deeper, more substantial channel and helps protect the outer edge of a panel.
Lead came is generally supplied in different weights or hardnesses. Softer lead is easy to bend around gentle curves, but it can stretch or distort if handled roughly. Harder came holds straight lines well and offers more resistance during assembly. Most panels use a thoughtful combination: workable came for internal lines and suitably strong border came around the perimeter.
Do not make strength depend on solder alone. A well-made panel gains its stability from sensible lead lines, correctly fitted glass, a proper border and, where required, reinforcing. Copper or steel reinforcement may be incorporated into the lead channels on larger panels, long narrow sections or designs with vulnerable spans. The precise requirement depends on the panel size, orientation and installation method.
Solder, flux and a controlled iron
For traditional leadlighting, 60/40 tin-lead solder is a familiar choice because it flows well and forms neat, rounded joints. Lead-free solder is available, but it behaves differently and typically requires more heat control. Whichever solder you use, work with appropriate ventilation, wash hands after handling lead materials and keep food and drink out of the work area.
Flux cleans the metal so solder can bond correctly. A suitable liquid flux applied sparingly is usually all that is needed. Too much flux spreads across the came, leaves extra residue and makes cleanup harder. If solder beads up, turns dull immediately or refuses to flow into the joint, check that the came is clean, the flux is fresh and the iron is hot enough.
A temperature-controlled soldering iron is one of the most worthwhile workshop investments. An underpowered iron encourages prolonged heating, which can oxidise the lead and crack nearby glass. An overly hot iron can burn flux and leave a rough, pitted joint. Practise creating a small, even dome at each intersection before soldering a valued panel.
The everyday tools that save time
A reliable glass cutter, running pliers, grozing pliers, a fid or lead knife, a square, horseshoe nails and a solid cutting surface will take you a long way. Add a lead nipper for clean came cuts, a mitre box for consistent border joins, and a suitable soldering stand to keep the hot iron secure.
The best cutter is the one that gives you a confident, repeatable score. Use cutting oil if your cutter is designed for it, score once with steady pressure, then break promptly. Repeated scoring rarely improves a cut. It usually damages the glass edge and makes the break less predictable.
Keep a dedicated bench brush and rubbish container near your cutting area. Tiny glass chips travel further than expected, particularly when grozing. Closed shoes, safety glasses and a tidy bench are practical workshop standards, not optional extras.
Cementing and finishing complete the construction
Cementing is what weatherproofs and stiffens a traditional leadlight. The cement is worked under the flanges of the came, then cleaned back from the glass. It is not merely cosmetic. Skipping it can leave a panel flexible and prone to movement, even if the solder joints look excellent.
Allow adequate curing time before final polishing and installation. The panel should be thoroughly cleaned of flux residue first, as leftover flux can contribute to corrosion. A black liquid polish can give the lead a more traditional dark finish and make the lines read clearly against the glass. Apply it evenly, follow the product directions and buff carefully once dry.
Patina choices are personal. Bright solder and fresh lead can suit a contemporary piece, while a blackened finish may better suit heritage-inspired work. Test your finishing process on a small sample of came and solder first, especially if you are combining different metals or repairing an existing panel.
Supplies worth buying with guidance
Specialist materials are easier to choose when someone understands how they behave at the bench. Art Glass Imports specialises in high-quality art glass and technical supplies, with practical guidance for makers working across traditional leadlighting, copper foil and kiln-formed glass.
When ordering, describe the project rather than simply asking for a general starter pack. Share the panel dimensions, whether it is for hanging or installation, the style of glass you prefer and any concern about matching existing work. That information makes it much easier to select an appropriate lead profile, border, reinforcement and quantity of glass.
A well-stocked bench is useful, but a considered set of supplies is better. Start with materials that suit the panel in front of you, keep notes on the glass and came you enjoy using, and let each finished piece teach you what to choose differently next time.