Care of Soldering Tips

Many soldering stations come with a sponge which, when wet, is used to wipe the iron's tip clean. A small amount of fresh solder is usually then applied to the clean tip in a process called tinning.

The copper that forms the heat-conducting bulk of the soldering iron's tip will dissolve into molten solder, slowly eroding the tip. As a result of this, most soldering iron tips are plated to resist wearing down under use. To avoid damaging the plating, abrasives such as sand paper or steel wire brushes should not be used to clean them. Tips without this plating or where the plating has been broken-through may need to be periodically sanded or filed to keep them smooth.

a common block form of sal ammoniac

To avoid using abrasives, cleaning with sal ammoniac is recommended. This comes in a block. You rub the soldering iron bit on the surface. As the surface becomes hot, it begins the cleaning process, noted by the smoke rising from the block. When the block under the bit becomes clear, the bit will be clean and can be tinned as above. If this is done at the end of each session of soldering, the bit will last and will be ready for soldering immediately when you next need to use it.

Other posts on maintenance are:
https://glasstips.blogspot.com/2008/08/care-of-your-soldering-iron-tip.html

https://glasstips.blogspot.com/2019/11/soldering-iron-maintenance.html

Pricing, 1 - Establishing the Cost

Pricing your work is necessary to get a fair return for your effort and to make an income.

Establishing the Cost

The first step is to calculate the amount it costs to run your business. Prepare a summary of annual outgoings including:

• Studio/workspace (or as a proportion of the house that you use for a home studio)
• Administration costs
• Equipment & loans
• Packaging
• Marketing materials
• Advertising
• Incidental expenses
• Income tax & social security payments
• Insurance for public liability, materials, equipment, and employment
• Depreciation (cost to replace things you are reliant on). The amount or proportion varies according to jurisdiction.

You will need to make some guesses about the amounts and that is OK. The value you put on some of the things above may be “zero”, but still need to be considered. All these are considered to be the overheads of your activity.


2. Step two is to calculate the time available to make your work over a year. If you are full time, start with 365 days and then subtract the weekends (104), holidays (say 10), administration time, and allow a contingency for sickness, etc.(say 10). That leaves you 241 days, less the administration time.  When you first start in business you are likely to spend 40% of your time on administration, but you should get more efficient and this time will reduce to around 30%.  So, even when fully up and running you will have about 169 days out of the 365 to spend on producing work - at best.  This means that you will have about 46% of the available time spent on production.

If you are working part time you need to do the calculations on the basis of the number of days you have available and do the subtractions and calculations as for a full time basis.  You may find your overheads are proportionally higher than fulll time, as these costs continue accrue whether you are in the studio or not.

Then do the calculation:

Overheads & personal salary (you do want to pay yourself - I insist!) divided by days available to work.

This enables you to fix a price for your time and gives you a daily rate from which you can calculate an hourly rate.


3. Step three is to estimate how long it takes you to do anything - preparation time, research, selling, marketing, packaging etc.

Add together the cost of materials and charge for the time it takes to make the item at the hourly rate you have calculated. This enables you to calculate a price for the item. Then look at how much the market will pay for your type of work.

Even if you know the market will not stand the full price, you should still do the calculations to find out the price that you should be trying to achieve.  If the price is unrealistic, you need to look at simplifying the item, or to consider different items.

All these calculations need regular reviewing.



More information is available 
Establishing the costs
Creating a pricing structure
Terms and conditions of sales
Customer relations


Payment

Pricing, 2 - Pricing Structure

Creating a Pricing Structure

After calculating what you are going to charge, use the prices to create a pricing structure:

• Selling price to the public - recommended retail price
• Wholesale price/trade price
• Sale or return price
• Selling direct to the public

The selling price for the public should be the trade/wholesale price times two, plus tax. This means that the wholesale price is your bottom/lowest price that will give you a profit.

You should set your prices to realistically cover your costs, including time spent at an event, and know what you need to charge to make a profit. You charge double your wholesale price to cover your own costs of sales, such as packaging, stand hire, etc.

Do not undercut your other outlets, otherwise they will no longer want to sell your work.

Use selling to the public as an opportunity to test the market by exploring new products and new prices.


Selling to trade

The prices you offer to trade, i.e., your wholesale prices should cover your costs and provide some profit.

Galleries and shops have enormous overheads, which is why they put so much of a mark up on pieces, but remember they will be selling your work all of the time, so you can produce the work without interruption.

Before approaching wholesale or trade outlets you need to decide on:

• Minimum order quantities.
• Discount prices, and quantities to qualify.
• How much of your work they will need to make a good display (it is in both of your interests to display your work as well as possible).
• Consider charges for carriage or if you want to offer carriage free.
• Agree what the payment terms are – pro forma, payment on delivery or credit. If offering credit, ask for trade references.

Sale or Return

If you provide work on consignment (sale or return), make sure you know exactly what the terms are. Keep a close eye on the pieces, as there are risks that may or may not be covered by the seller

You do not want your work out for too long, so if it is not selling after 6 months it is time to move it. That means keeping records of where your work is and when it was placed.


Review your prices annually.




More information is available 
Establishing the costs
Creating a pricing structure
Terms and conditions of sales
Customer relations


Payment

Pricing, 3 - Terms and Conditions

Terms & Conditions

It is important to draw up your terms and conditions for both trade customers and for the public. They should include:

• Details of your minimum orders
• Carriage/delivery - is it free or charged to the customer?
• What is the recommended retail price? It is useful to include this, as you will often be asked to provide a figure by shops.
• Any conditions about display or point of sale material (if you provide any)
• Credit terms
• What deposit is necessary - when a member of the public places an order always take a deposit or ask for full payment in advance.
• Details of any interest charges that you will charge on any outstanding debts.
• Once an order is placed, get the customer to sign it and make sure they are aware of the relevant terms and conditions.

More information is available 
Establishing the costs
Creating a pricing structure
Terms and conditions of sales
Customer relations

Payment

Pricing, 4 - Customer Relations

Good Customer Relations

It is vitally important to keep a customer database and to develop good communication channels with your customers.  It may be that they will not be repeat customers, but they will surely tell others about your good service and excellent quality craft.  Get at least email details of every customer and potential customer wherever you go.

Always remember that trade customers need you as much as you need them, so keep them in touch with news.

It is also advisable, to make sure you allow enough time to deliver orders. It is better to say it will be two weeks and deliver early than the reverse. If you do fall behind, keep in touch with customers and let them know what is happening with their order. Also, remember it is acceptable to have a waiting list if necessary, as part of what the customer is buying is the exclusivity of your work. Always remember who or what else you may be reliant on, e.g., the weather, supply times, length of time for shipping, etc..

If you are contacting new outlets or customers do no more than 10 at a time so you can control or monitor the process. If someone says no to your work ask why, as it is important to know for your future business.

If you are supplying, or want to supply, to different outlets in the same area negotiate with them. Consider customising work for different shops or gallelries or offering them different parts of a range.

Be consistent and professional in the way you manage your relationships with customers.

Listen to customer feedback and develop ways for customers to make suggestions, such as comment cards.  Keep in touch with people who have bought your work before.


More information is available 
Establishing the costs
Creating a pricing structure
Terms and conditions of sales
Customer relations

Payment

Pricing, 5 - Getting Paid

Avoiding Payment Problems

It is necessary to have clear terms and conditions established at the time of purchase. If you have put your terms on your invoice, you can enforce the conditions and take the customer to court.

Always invoice promptly. This is important for your cash flow and reduces the chances of payment problems.

Always keep good records of orders and invoices so you know what is overdue and when to chase for payment. A simple accounting software package will assist.

Maintain good communication and be professional. When you contact someone about an outstanding debt, be polite. However, do not allow them to walk over you. Be firm in your request for payment. Ask them to suggest a time scale for payment – normally people are committed to their own suggestions. But do not accept unreasonably long payment schedules.


More information is available 
Establishing the costs
Creating a pricing structure
Terms and conditions of sales
Customer relations
Payment

Leading - the First Glass Pieces

After establishing the perimeter lead cames, place the first glass piece into the corner formed by these cames. 

You only need to establish one vertical and one horizontal came to begin with. The other two will be placed at the conclusion of the leading.


Normally, you will be working from the lower left corner toward the upper right corner of the pattern if you are right-handed. The reverse is the case for left-handed people. 

Hold each piece of glass in place with some scrap lead and nail. The scrap lead will prevent the nail from chipping the glass. It's important all glass is held in place with nails so no shifting occurs while working in another area of the panel.

Fitting the rest of the glass to the cartoon is described here. 

Revised Feb 2020

Breaking Pieces from Large Sheets

Breaking a piece of glass from a large sheet is often a frightening prospect. It doesn't have to be. It is better to cut a straight line piece from your larger sheet than it is to try to cut a curve. This describes a straight line cut from a large sheet of glass.

Use a cutting square or other non-slip straight edge to guide the cutter. You can push as in normal stained glass cutting, or you can draw the cutter toward you as glaziers do. In either case, the pressure needs to be even and the speed consistent.

When moving large scored sheets, avoid pulling the sheet by one end. The score may run suddenly and not always along the line. Instead, move the sheet with support on both sides of the score. After the glass is scored, you have choices about how to run the score.

One easy way to break off large pieces is to move the sheet so the scored line is just inside the edge of the bench. The biggest piece will be on the bench and the smaller piece in your hands. Give a quick, sharp downward push with both hands on the overhanging glass. This action will separate the piece from the main sheet. Having the glass score inside the bench edge gives you a place for the broken off piece to rest, rather than pivoting toward the floor.

Or you can slide the straight edge under the glass on one side of the score, and press firmly, but not sharply on each side of the score. The glass will break evenly along the score line. This is a more gentle method of breaking the glass. A variation on this is to place a couple of matchsticks or glass painting brushes at each end of the score and apply the pressure.


If the glass sheet is of a size that you can hold it in both hands with the score between, you can draw it off the bench, let it hang vertically, and bring your knee up briskly to hit the score line, and it will break easily. This is a showman’s way of breaking glass sheets when the score line is approximately centred on the sheet.


Cut running pliers often do not work very well for long straight scores on large sheets of glass. However, if you use this method, tapping at the start and at the end the score line before squeezing the running pliers will help the score to run the way you intend. This is sometimes the only way to achieve the break of the score.  A note on the adjustment of cut running pliers. 

Breaking glass with your fists

No, this is not about punching the glass – a dangerous approach. But it is a two-fisted approach to holding glass to break it.

For scores with significant, but not necessarily equal, amounts of glass on each side of the score this is a quick simple approach to breaking glass. After scoring, raise one edge of the glass and put your fingers under the glass on each side of the score. Curl you fingers into your palm, and put your thumbs on top of the glass. Turn your wrists outward and the glass will break cleanly.

With practice, the initial part of a curved score can be run by applying light pressure. Then you can turn the glass around and run the score from the other end to the opened score. This avoids lots of tapping and gives clean edges to the cut glass. It is just as simple as using cut running pliers and avoids the flare often associated with using cut running pliers.

This technique works best with glass that has at least 50mm each side of the score and on gently curved lines. For tight curves and narrow strips other methods need to be used.

Care of Your Soldering Iron Tip

Wipe your hot iron tip on a wet sponge on a regular basis while soldering.  It must be done on a natural sponge, not a plastic based one. This should be a quick pass, rather than a lingering one to avoid cooling the tip of the soldering bolt.  This keeps the tip clean of carbon and other contaminants that can reduce the effective heat from the tip.  

There are also brass wool tip cleaners.  These are a bit more agressive than the sponge, but do not cool the tip. 

If you have any dark gunk build up that won't come off on the sponge, rub the hot iron tip against a block of sal ammoniac until the block clears. If the dirt is difficult to remove with the sal ammoniac, use a brass wire brush to scrape the dirt off and then go back to the sal ammoniac block. When it is clean, add a touch of solder to re-tin the tip, and then wipe against your wet sponge.
  

Remember, all this is done while the iron is hot, so be careful.

Other links to Soldering Iron Maintenance:
https://glasstips.blogspot.com/2019/11/soldering-iron-maintenance.html

https://glasstips.blogspot.com/2010/01/maintenance-of-soldering-bits-periodic.html

https://glasstips.blogspot.com/2009/12/soldering-bit-maintenance-wiping-bit.html

https://glasstips.blogspot.com/2009/12/soldering-bit-maintenance-tinning.html

Turning Panels

Panels should be turned by supporting as much of the panel as possible. In general this means that the panel should be moved until about half of it is off the bench and supported by one hand. Then pivot the panel on the edge of the bench until it is vertical. During this process, the other hand should be supporting the other edge.  Pivot until vertical.  Lift and set it on the bench. Turn it around, keeping it vertical. Lift it off the bench and set the middle against the edge of the bench with one hand on each otherwise unsupported edge. Pivot the panel on the edge and slide it back on the bench.


If the panel is going to be a large one, make it on a board placed on top of your bench. Then when it is time to turn the panel, you can tip the board, set the panel together with the board on the floor. Move the board to the other side of the panel, turn the board around, placing it against the edge of the bench and raise it while pivoting it on the bench. Additional help is to have two short pieces of wood on the floor to set the panel and board on, so you can get your fingers under easily and without getting them trapped.


If you have the space and spare boards, you can place a second board on top of the panel. Make sure the panel is at the edge of the boards next to you. You can then, with the help of another person, turn the whole panel in one movement (although your arms will be in a bit of a twist). This removes the danger of the panel wobbling too much while shifting the supporting board.


A panel of any size with one or more long lines going through the panel should be made on a board, so that it can be turned without the danger of breaking any of the glass or of the panel folding along the lead lines.

Straightening the came

Before using the came it is important to straighten it. This increases the stability of the came during the leading process. Most often nowadays, you use a lead vice. This operates similarly to a cleat on a sailing boat. The more strain that is applied, the tighter the vice grips the came.

You place the end of the came into the vice so that the came appears at the back of the vice. Give the top of the vice a firm tap with your pliers to set the teeth into the came. Grasp the other end of the came with the pliers, and put one foot behind you to brace yourself if the came does slip out of the vice. Draw the came toward yourself until you can see the lead is straight and any kinks have straightened.

Take the came out of the vice and keep it straight. You transport it by grasping each end and keep the came under tension until you get it to the destination. It is often easiest to cut the full length in half before moving it, as it will not then be longer than your arms can stretch.

Remember, this process is to straighten the came to give pleasing lines in the leaded panel. It is not stretching the lead. Stretching the came can weaken the lead.

Dressing the Cames - part 2

Of course, it is not enough just to dress the came at the start. There is an analogous procedure after the whole panel has been leaded, soldered and cemented.

In this instance the term ‘dressing the cames’ means to close or bend the leaves/flanges of the came toward the glass. It provides a neat rounded appearance to the lines, traps the cement you have already added, presents less area for the rainwater to collect, and makes polishing easier. It is also the time when you may break the glass by putting too much pressure on the glass, so be careful!

Dressing the cames is done with an oyster knife or fid. It is best to avoid metal and better to use wood sticks or plastic tools. The pressure is placed on the came rather than the glass. Run the fid lightly at a shallow angle along each flange of the came. It is helpful to use a finger of your other hand to guide the fid along the cames. You may want to do this several times, as repeated light pressure will cause the flanges of the came to move gently toward the glass with less risk of breaking the glass. This can only be done while the cement is pliable. If it is done after polishing, you will need to re-do the polishing, as it will make the edges of the came silvery rather than shiny black.

The Purpose of Flux

The primary purpose of flux is to prevent oxidation of the base and filler materials in the short time between cleaning and soldering. Tin-lead solder, for example, attaches very well to copper, but poorly to the various oxides of copper that form quickly at soldering temperatures. This applies to lead and brass too.

Flux is a substance that is nearly inert at room temperature, but it becomes strongly reducing at elevated temperatures, preventing the formation of metal oxides. Secondarily, flux acts as a wetting agent in soldering processes for lead, copper and brass.

Without flux the solder does not firmly attach to the lead or copper foil and often forms sharp peaks.


See also
Flux, an introduction
Fluxes, a description
The Purpose of flux
The action of fluxes

Soldering fluxes

The Action of Fluxes

All common untreated metals and metal alloys (including solders) are subject to an environmental attack in which their bare surfaces become covered with a non-metallic film, commonly referred to as tarnish. This tarnish layer consists of oxides, sulfides, carbonates, or other corrosion products and is an effective insulating barrier that will prevent any direct contact with the clean metal surface which lies beneath. When metal parts are joined together by soldering, a metallic continuity is established as a result of the interface between the solder and the surfaces of the two metals. As long as the tarnish layer remains, the solder and metal interface cannot take place, because without being able to make direct contact it is impossible to effectively wet the metals surface with solder.

The surface tarnishes that form on metal are generally not soluble in (and cannot be removed by) most conventional cleaning solvents. They must, therefore be acted upon chemically [or mechanically] in order to be removed. The required chemical reaction is most often accomplished by the use of soldering fluxes. These soldering fluxes will displace the atmospheric gas layer on the metal’s surface and upon heating will chemically react to remove the tarnish layer from the fluxed metals and maintain the clean metal surface throughout the soldering process.

Chemical reactions
The chemical reaction that is required will usually be one of two basic types. It can be a reaction where the tarnish and flux combine forming a third compound that is soluble in either the flux or its carrier.

An example of this type of reaction takes place between water-white rosin and copper oxides. Water-white rosin, when used as a flux is usually in an isopropyl alcohol carrier and consists mainly of abietic acid and other isomeric diterpene acids that are soluble in several organic solvents. When applied to an oxidized copper surface and heated, the copper oxides will combine with the abietic acid forming a copper abiet (which mixes easily with the un-reacted rosin) leaving a clean metallic surface for solder wetting. The hot molten solder displaces the rosin flux and the copper abiet, which can then be removed by conventional cleaning methods.

Another type of reaction is one that causes the tarnish film, or oxidized layer to return to its original metallic state restoring the metals clean surface.

An example of this type of reaction takes place when soldering under a blanket of heated hydrogen. At elevated temperatures (the temperature that is required for the intended reaction to take place is unique to each type of base metal) the hydrogen removes the oxides from the surface, forming water and restoring the metallic surface, which the solder will then wet. There are several other variations and combinations that are based on these two types of reactions.

Acids commonly in fluxes

Flux as a temporary protective coating
Once the desired chemical reaction has taken place (lifting or dissolving the tarnish layer) the fluxing agent must provide a protective coating on the cleaned metal surface until it is displaced by the molten solder. This is due to the elevated temperatures required for soldering causing the increased likelihood that the metal’s surface may rapidly re-oxidize if not properly coated. Any compound that can be used to create one of the required types of chemical reactions, under the operating conditions necessary for soldering, might be considered for use as a fluxing material. However, most organic and inorganic compounds will not hold up under the high temperature conditions that are required for proper soldering. That is why one of the more important considerations is a compound's thermal stability, or its ability to withstand the high temperatures that are required for soldering without burning, breaking down, or evaporating.

When evaluating all of the requirements necessary for a compound to be considered as a fluxing agent, it is important to consider the various soldering methods, techniques and processes available and the wide range of materials and temperatures they may require. A certain flux may perform well on a specific surface using one method of soldering and yet not be at all suitable for that same surface using a different soldering method. When in doubt it never hurts to check with the flux, or solder manufacturer for recommendations.

Courtesy of American Beauty Tools


See also:
Flux, an introduction
Fluxes, a description
The Purpose of flux
The action of fluxes
Soldering fluxes

Flux

Flux is a material that provides a “wetting” action between the metal (lead or copper in our case) and the solder.


There are various types of flux. Some are of more use in some circumstances than others. Among them are:

Tallow
This normally comes in a candle-like stick. It is made from rendered animal fat. Although this may put some vegetarians off, it is one of the best fluxes for leaded glass work and will work for copper foil, but is not generally preferred.  It is relatively natural, does not contain chemicals, and does not require re-application if left for a while. Over generous application does not produce any problems during the soldering. It just leaves more solidified tallow to clean after soldering. The cleaning normally requires a mild abrasive such as a brass or fibreglass brush to get the cooled tallow off the piece.

 




Oleic acid and other safety fluxes
Many of the safety fluxes are made of oleic acid (sometimes called stearin oil). These fluxes do not produce chemical fumes in the soldering process. They are easy to clean up with detergents and warm water. Safety fluxes require re-application if left to dry, as they are only effective while wet. Putting too much on leads to boiling off the liquid, making holes in the solder joint or line.

An example only.  There are many water soluble paste fluxes available

Chemical Paste fluxes
These fluxes come in a variety of compositions. You need to be careful about choosing, as some are very difficult to clean off the glass or solder line or joint. They do produce chemical fumes, so a fume mask is advisable while using this kind of flux. The paste does not require re-application if left, so the whole piece can be fluxed at once.

Acid fluxes
Acid fluxes such as the kind that is in the core of plumbers solder are intended to clean the joint at the same time as acting as the wetting agent. These are not recommended for stained glass work as they can affect the glass surfaces, especially irridised glass. They do produce fumes that require the user to have on a fume mask while soldering. The ease of cleaning relates to the particular composition of the flux, so testing samples is required before application.

See also:
Flux, an introduction
Fluxes, a description
The Purpose of flux
The action of fluxes
Soldering fluxes

Flux, an Introduction

Flux is a key contributor to most soldering applications. It is a compound that is used to lift tarnish films from a metals surface, keep the surface clean during the soldering process, and aid in the wetting and spreading action of the solder. There are many different types and brands of flux available on the market; check with the manufacturer or reseller of your flux to ensure that it is appropriate for your application, taking into consideration both the solder being used and the two metals involved in the process. Although there are many types of flux available, each will include two basic parts, chemicals and solvents.

an example of paste flux

The chemical part includes the active portion, while the solvent is the carrying agent. The flux does not become a part of the soldered joint, but retains the captured oxides and lies inert on the joints finished surface until properly removed. It is usually the solvent that determines the cleaning method required to remove the remaining residue after the soldering is completed. 

It should be noted that while flux is used to remove the tarnish film from a metal's surface, it will not (and should not be expected to) remove paint, grease, varnish, dirt or other types of inert matter. A thorough cleaning of the metal's surface is necessary to remove these types of contaminates. This will greatly improve the fluxing efficiency and also aid in the soldering methods and techniques being used.

Courtesy of American Beauty Tools


See also:
Flux, an introduction
Fluxes, a description
The Purpose of flux
The action of fluxes
Soldering fluxes

Snugging the Came to the Glass

It is important to have the came fit snugly to the glass (assuming the glass to be the right size and shape). If it does not, the panel is likely to grow beyond the intended dimensions.

To ensure the came is tucked snugly against the glass, you use a fid of firm material (wood or plastic, for example) to press against the heart of the lead. You can press directly toward the glass, or make multiple passes along the length of the came to ensure the heart is touching the glass all along its length.

You should avoid steel tools, because you may cut the lead, and if the blade is long you will not find it easy to fit along all of the curves.

Fitting the Glass to the Cartoon

Often you find that the next piece of glass does not fit properly. Possibly it rocks a bit in the came’s channel. Possibly it is simply just a little too big.  Wait! Don't adjust the piece just yet. It may not be the problem.

The first thing to do is to take the too-large piece of glass out and remove the came it fits into, to ensure the previous piece of glass is not too large. The glass should not overlap the cut line. If you have drawn your cut lines to 1.2mm (1/16”) you should see only the faintest line of paper between the glass and the dark cut line. 

If the glass seems too large, check that it is firmly in the channel of the previous came, as sometimes the glass catches on the edge of the came and does not go into the channel.

If that piece seems too large, the next check is to determine whether the apparently too large piece of glass really fits the cartoon cut lines. Place the glass inside the cut lines. You should see a faint line of paper between the glass and the cut line.

When you are sure both pieces of glass are the correct size, put the came back between them and check again. If the glass is still too large, check the length of the came. Make sure the came butting onto the came separating the glass is not too long. This is a common reason for lead panels to grow beyond their initial dimensions.

If the glass is the correct size and the butting cames are correct, replace the came. Put the too large piece of glass into the came and position it so it has the best fit to the next cut line. 

Do not be tempted to start reducing the glass at the visible portion.  After all, you cut it to the right size. It may be that the fit under the came is not very good.

To check use a felt tipped pen (Sharpie) to run along the edge of the came, marking the too-large piece of glass. Take it out and check on where the line is farthest from the edge of the glass. That is where you need to reduce the piece.

The nail points to the area that needs adjustment

When you have reduced the "high" spots on the glass so it fits under the came evenly along its length, you can begin to adjust the outer edge, if necessary.

Leading Tight Curves

Sometimes it can be difficult to get the lead came to conform to the curves of the glass, especially on compound curves.  This is a method to make the leading more accurate.

When leading tight inside curves, bend the came into a tighter curve than is needed for the glass. Then roll it into the glass. Finally, run your fid or stopping knife along the heart of the came to ensure it is firmly against the glass. All this helps the came to fit snugly into the curve.