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I just inherited an older Duncan kiln that uses cones I want to fuse answer slump glass in this as it is larger than my glass kiln. What cones do I use and how long does it need to fire there are 2 dials on kiln having low,med, and high

@LeonJBeha a window of this size is in the gray-area of what sort of reinforcement may be necessary or appropriate. The 1/2" zinc border and fixed wood sash mount will do a considerable amount to help protect your art and keep it strong for years to come. If you want the peace of mind of knowing it's reinforced, you can absolutely add reinforcement. Your options are to use reinforcing strip, started at one edge of the panel, worked across to the other border by inserting it into the lead channel as you build up and out. It will meander, but by keeping a continuous strip it helps to disperse the weight. Another option is to use zinc rebar run across the 20" span attached at the borders and tacked at each point it crosses a lead line. If opting to use zinc rebar, most artists find it less visually distracting to install 2 pieces that visually break the artwork into thirds approximately.

@It is important to avoid mixing 90 COE and 96 COE glass in a project. The COE is a simplified way of expressing the complexities of how the glass expands and contracts as it is heated and cooled, and a difference in the COE number is meant to mean that they expand and contract at different rates, so they pull away from each other at different points in the heating and cooling process. Sometimes the stress from this is enough to immediately cause the project to break, other times the project may look fine initially, but the internal stress will cause the project to break at some point in the future, often unpredictably.

I am making a 28 inch wide x 20 inch high leaded glass window. It will be exposed on the inside but will have a thermopane panel on the outside to protect it from the elements. It will have a 1/2 inch zinc channel around the perimeter and will be mounted in a fixed wood window sash. Do I need edge to edge reinforcing? If I do, since there are no straight lines all the way through the design, what do you recommend I use?

@KannieY the lead lines for lead came projects can be darkened using lamp black or black putty/cement. Typically black patina is used for darkening solder lines. To get the darkest finish with black patina it is important to make sure the solder lines are clean and free of oils, flux or other contaminants - be sure to clean your project with an appropriate flux remover. A patina buddy is a brass scrubbing tool that can be used during cleaning that won't deposit any new residue or lint. After cleaning, make sure patina is well mixed and apply liberally with a brush on solder lines. After patina color develops, rinse and dry your project, then apply finishing compound which will give your project a rich, shiny finish.

I've been seeing stained glass pieces with seams that are very deep black, like they are coated with something thicker than patina. What is being used? One artist said he brushed lamp black over all when finished, but that was lead came, not solder.

@Romykay Often the method of reinforcement is dictated by the design of your artwork. If the project is designed as a sun catcher with an irregular outside shape, then the most effective method of reinforcement may be to run a continuous strip of copper wire, braided wire or ball chain around the perimeter and solder it in to create a lovely thick solder bead on the outer edge.

I made a stained glass letter D that is about 13 inches high and 8 inches wide. What can I use to reinforce it?

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@robinsnest69 Fusing has some additional "rules" that don't exist when creating stained glass and mosaic art. It is important to ensure that all the glass that is used in the project is tested compatible (all 90 COE or all 96 COE). Van Gogh glass is not tested compatible for fusing (the COE is unknown) and the special color coating is not rated for heat work, meaning that it will burn off, and could release harmful fumes when fired in a kiln. The cracks are a result of glass incompatibility which causes stress as the glass expanded and contracted at different rates during heating and cooling - it has essentially pulled itself apart. I hope this explanation helps you to get the results you desire in your next firing.