Soldering Iron Temperatures

Why use higher temperatures for copper foil using 60/40 than lead came using 50/50 or 40/60? Melting temperatures Part of this is the physical characteristics of the solder The graph shows that all compositions of tin/lead alloy solder (above 20% tin) solidify at the same temperature - 183°C.  Pure lead melts at 327.5°C and pure tin at 232°C.  The various proportions of the two metals melt at different temperatures until at approximately 62% tin, the melting and solidification temperatures are the same.  This is ideal for running a bead in copper foiling, because there is a minimum amount of time for the liquid solder to change shape before it solidifies. Melting temperatures of some solders ·        At 40% tin and 60% lead (40/60) the melting temperature is 238°C.  ·        At 50/50 the melting temperature is 212°C.  ·        At 60/40 the melting temperature is 188°C, just 5°C above the solidification temperature. These figures show the 60/40 solder requires a lower temperature to melt than 50/50 does (24°C difference).  Why should I run the iron at a hotter temperature for 60/40 then? There are two separate elements at work here – the mass of solder being melted and the effects of the pasty range of solder compositions. In soldering lead came you are melting small masses of solder with short pauses between each melting that allow the iron to partially recover. This means running the iron at 370°C is sufficient to maintain a melting temperature above 238°C for 40/60 solder and 212°C for 50/50. In copper foil you are melting much greater amounts of solder, which takes heat out of the iron more quickly than in leaded glass.  The fact is that running a bead requires melting a much greater volume of solder.  The iron needs to run hot to be able to consistently melt the solder without significant periods when the iron is too cool to melt the solder quickly.  This is the reason that irons are run hotter in copper foil. It still does not explain why it is recommended to run the iron hotter for 60/40 than for 50/50 as their melting temperatures are so close. The explanation lies in the pasty range illustrated in the graph shown above.  You can run an iron hotter than needed to melt the solder, because the 60/40 requires fewer degrees to cool and solidify than 50/50.  This allows you to work quickly and still have a good rounded bead. The greater pasty range of 50/50 means that you must be careful about the amount of heat you put into the solder, because the solder will continue to move for a longer time than the 60/40.  The 27°C difference between melting and solidification shows solidification is not instantaneous. This pasty range allows flow while the solder cools. This means that the bead will be less rounded, and it will show minor temperature differences in the wrinkled surface.  If you put even more heat than the 410°C that is normally used for 60/40, it will take even longer for the solder to solidify.  The surfaces effects will then be even more obvious with greater heat.

The short answer

The explanations for running hotter with 60/40 than those solders with more lead centre around the pasty range of solder.  When the pasty range is small, you can put more heat into the solder bead and so work more quickly and still get a good bead.  With wider pasty ranges you need to reduce the temperature of the iron to reduce the heat put into the solder and so keep the pasty range as small as possible.

Patina

The successful application of patina to solder or zinc depends on an understanding of what patina is, how it works and the methods of applying it.

What is it?

Definition:

Patina is a thin layer that variously forms on the surface of copper, bronze and similar metals (tarnish produced by oxidation or other chemical processes), or certain wooden furniture (a sheen produced by age, wear, and polishing), or any similar acquired change of a surface through age and exposure.

The chemical process by which a patina forms or is deliberately induced is called patination, and a work of art coated by a patina is said to be patinated.

The word "patina" comes from the Latin for "shallow dish". Figuratively, patina can refer to any fading, darkening or other signs of age, which are felt to be natural or unavoidable (or both).

https://en.wikipedia.org/wiki/Patina

A description of patination and the industrial process:

“In their natural state, most metals combine with chemicals in the earth or air to create metallic compounds that change their surface colour, which appear as rust or tarnish. These thin layers of corrosion are nature's patinas.”

“Among the most common procedures [to patinate] are immersion and spraying. During immersion, a piece is cleaned with sandblasting or chemicals, then dipped into a prepared liquid compound, creating an immediate change in colour. Alternatively, a piece is sprayed or brushed with a patina solution, allowed to air dry, and spritzed again. This oxidation process creates corrosion on the metal's surface that forms a layer of patina. Other methods include heat, dabbing and wiping, anodizing, and random contact patina.”

Source: Triple-S Chemical Products

A product – Black on Solder – is described and the industrial process illustrated:

“DESCRIPTION: Black on Solder is a chemical formula developed to achieve a black antique finish on Tin/Lead or Solder areas (60-40 or 50-50). This solution is a non-chromate, non-cyanide liquid solution widely used on lighting fixtures, tin wares, sculptures, gift items and other decorations. The surface will not chip, flake or peel.

“PREPARATION: Parts must be free of grease, alkalinity or acid when Black on Solder is applied. Parts must be thoroughly cleaned and deoxidized prior to blackening. … Do not use petroleum degreasing solvents that leave a residue on the surface. Rinse thoroughly with over flowing cold water to remove residual cleaners and dust. It is important that alkaline cleaners are completely rinsed off prior to blackening.

“IMPORTANT: Triple- S does NOT recommend using any sort of alcohol, solvent, acid or degreaser to clean parts prior to solution application. … Powdered cleaners such as Ajax or Comet can also be used. Use the cleaner in conjunction with a scotch brite pad and apply medium strength scrubbing to prepare the part then thoroughly rinse with fresh water. ….

“APPLICATION: Clean the part with [your chosen material]. Rinse thoroughly with water and dry. Apply [the patina] solution with a brush or spray evenly and let it react. Rinse with water and air dry or wipe with a cloth to dry the surface. [Repeat this as necessary.] It is recommended to protect the finish with a clear [varnish]”

Source: Triple-S Chemical Products

Take note:

The above quote is from a company that works with metals exclusively and is an illustration of how important cleaning is for good results in patina application.  When cleaning in proximity or on glass different processes must be used to protect the glass.

1. I never would use abrasive or corrosive materials to clean solder lines holding glass.  The most aggressive cleaner I use is that intended for fibreglass baths.
2. I never use abrasive methods in conjunction with painted glass.
3. Do not use metal or scouring pads when cleaning
4. I never use patina on any part of a panel that has painting on any of the glass. The acid will remove or damage the painting.
5. I never use patina on leaded panels at all.

I suggest these precautions should always be followed.

Cleaning

These sources indicate that a patina solution is used to form a thin layer of corrosion to the material.  To do this, the metal must be cleaned of oils, and be acidically neutral.  Cleaning is to be done with household cleaners such as powdered or cream cleaners applied with moderate pressure by synthetic scrubbing materials such as a dish scrubbing pad (sometimes called a green scrubby). The metal then needs application of running water (not a bath of water) to rinse off any residues. 

Application

The clean metal needs to be dried before application of the patination solution.  Apply with a brush or sponge, or spray and allow time for the patina to react with the metal.  Rinse with water and allow to air dry.  If wanted, the drying can be aided by wiping with a soft cloth or absorbent paper.  Often a second or third application is required to achieve the depth of colour desired.

Protect

You can then apply a varnish or wax to shine and protect the colour of the patination.  This protective process must not involve scrubbing, as that will remove the patination layer from the metal.

Do it Yourself Colourations

Goran Budija has listed a wide variety of patination formulas and methods in his publication.  What follows is a reworking of his data.

Patination of Tin

Black 1

Method:

Immerse objects in heated solution(70C). When colour is developed rinse well, dry and wax.

Formula:

5 gms Bismuth nitrate

50cc Nitric Acid

80gms Tartaric acid

1 litre water

Black 2

Method:

Immerse objects in the hot (70C) solution.

Formula:

30gms Ammonium chloride

7.5gms Molybdenum acid

1 litre water

Greyish black

Method:

Immerse objects in the room temperature solution.

Formula:

200gms Iron III chloride

1 litre water

Bronze brown

Method:

Dissolve ingredients in water acidified with nitric or hydrochloric acid. Apply to the surface(s).

Formula:

3 gms Ammonium chloride

12gms copper acetate

20ml vinegar

500ml water

Bronze colour.

Method:

Mix diluted solution of copper sulphate and cream of tartar, Rub it on an object.

Formula: equal parts of:

Copper sulphate

Potassium hydrogentartarate/cream of tartar

Patination of Zinc

Black. 1

Method:

Ingredients must be dissolved in hot water, then filtered and used.  Immerse objects and take them out immediately. Colour develops after contact with air.  Repeat if needed, rinse well and dry.

Formula:

125gms copper sulphate

60gms potassium chlorate

1 litre water

Black. 2

Method:

Immerse objects in heated solution (90 C).

Formula:

12gms copper sulphate

15gms potassium permanganate

1 litre water

Black. 3

Method:

Immerse objects in the solution. (room temperature)

Formula:

20gms ammonium molybdate

5gms sodium acetate or sodium thiosulphate

1 litre water

Greyish black.

Method:

Immerse objects in the solution (approximately 20 minutes).

Formula:

200gms Iron III chloride

1 Litre water

 

From:

Collection of formulas for the chemical, electrochemical and heat colouring of metals, the cyanide free immersion plating and electroplating, by Goran Budija.  March 2011.  Zagreb, Croatia

Summary of applicable DIY formulas and methods

Tin

Goran Budija recommends hot application to get a black patination, but this is not usually suitable for stained glass work.  Cold application will also work but needs more time and repeated applications to have the same effect as hot immersion.  Whether you choose Black 1 or 2 will depend largely on the availability of the chemicals.

A cold method of patination is the Greyish Black using iron III chloride, which is easily available. More applications and drying will intensify the colour.

To get a bronze patination of solder equal parts of copper sulphate and cream of tartar made into a paste and rubbed onto the solder will be effective, although not a copper colour.

Zinc

Black 1 seems the most useful method and formula for zinc framing of stained glass panels.  It is a cold application and immersion can be substituted by painting or brushing on the chemical solution.  Note the multiple applications required to get the depth of colour required, and the thorough cleaning and rinsing noted in the industrial process.

Foiling Space

There are a lot of views on what amount of space is required between copper foiled glass pieces.  Some say the pieces should be tight, others that a consistent space is needed, and some who say that variable spaces are fine.

It is necessary to consider what holds a foiled panel together.

Adhesive

The foil is supplied with an impact adhesive which helps keep the foil attached to the glass before soldering.  However, the heat of soldering deteriorates the adhesion of the glue.  If you must take a foiled piece apart you will find that the adhesive is sticky rather than firm. Also, the adhesive will continue to degrade during the life of the object.

Solder

The solder bead is significant in creating the matrix required to hold the panel in one piece.  The bead on each side holds the glass in place and resists deformation away from a single plane. This resistance is significantly reduced if there is not a fin of solder connecting the two beads.  The beads and the fin of solder form an “I” beam which together resists movement of the glass.

Strength

To form that “I” beam there does need to be space between the foiled pieces. It does not need to be wide, but it does need to be enough to wiggle the pieces.  This will allow the solder to flow from one bead to the one on the other side, forming a strong “I” beam.

In vertical panels, the glass is the strong element.  The solder lines serve to hold the matrix together.  Where people indicate the strong border will keep the whole panel from falling apart, they are correct in part. But, if there is not a sufficient “I” beam between each piece, the whole panel is subject bowing, either from wind pressure, vibration or mechanical pressure from handling.  Therefore, you cannot rely on the border to make your panel strong and long lasting.

Dissent

Some take the view that there will be enough unintentional spaces created between pieces to allow the fin form between beads intermittently.  But the gaps in the “I” beam due to tight fiting pieces will make it much weaker than a continuous bridge between beads.  The existence of gaps puts greater pressure on the solder that does bridge between beads.

An example was provided for me in a lamp brought in by client which spontaneously fell apart one evening.  (Not made by me, I add). The upper band of glass remained attached to the vase cap, but separated from the rest of the shade.  Fortunately, it fell straight down and only a little of the bottom edge was broken.  Investigation showed there was very little solder between pieces, although there was a good bead on each side of the lamp.  The lamp pieces separated, in different places, at the foil-glass interface and elsewhere at the foil to foil interface.  This indicates there was little or no solder where the foil remained on the glass, as the adhesive is much weaker than even a thin fin of solder running between the inner and outer beads. This case is an example of the need for a fin of solder to be formed between the beads on either side to provide a strong, long lasting object.

Heat Cracks

There is sometimes a fear expressed that tight fitting of foiled pieces can lead to heat fractures when soldering due to expansion.  Yes, when soldering pieces with a lot of variation in width, you do need to move reasonably quickly. Come back later to improve a bead if you need, to avoid overheating the glass.  Even the thin copper foil can transmit heat along its length, which reduces direct heat transfer to the glass.  Mostly, breaks occur from dwelling too long in one place with the soldering iron. It may be better to tin the foil all around the suspect piece just before running the bead.  This will warm the glass around the edges in preparation for the greater heat of laying down the bead.

The main point is that the solder needs to connect the beads on either side of the glass to provide a stable, strong and long-lasting piece.

White solder beads

It is relatively common for questions about white deposits on the solder beads of copper foiled pieces to be raised. In reflecting on the cause of the white deposit on solder beads, I recalled that some people use baking soda to neutralise the flux.  I put this together with some work on lead corrosion.

I have been doing a bit of research on lead came corrosion in another context.  One of the forms of lead corrosion is white lead corrosion, or lead carbonate.  It has the chemical compound PbCO₃.  It is a curious compound, as it is soluble in both acid and alkali.  This much you will have seen from a previous posting about lead corrosion.  

In that it is possible for excess whiting left on lead cames to give rise to this form of white corrosion. Baking soda has a chemical formula of NaHCO₃.  Solder contains a significant amount of lead – usually 37-40%.  The chemical reaction of lead and baking soda gives lead carbonate - PbCO₃ and NaH -sodium hydride.  The sodium hydride is soluble in water, leaving the white deposit of lead carbonate as a corrosion product on the surface.

Putting these things together leads me to recommend that baking soda and other carbonates should not be used in cleaning solder beads.  Some other non-carbonate neutralising or rinsing agent should be used instead.

Does Wider Foil Give Greater Strength

The strongest part of a stained glass panel, whether leaded or copper foiled, is the glass.  The weaker points are the matrix that holds the panel together.

Of the matrix, the solder is the strong part.  The copper foil is weaker (and much thinner) and the adhesive is the weakest part of all.

A wider bead gives more apparent strength, but on the surface. It provides a broad line to grasp the glass.  But wide beads are often not what is visually desirable, nor practical.  And the wider the bead, the more solder will be used.

The most important part of a panel is the thin fin of solder between the top and bottom of the solder beads.  This is the connector between front and back. The strength of the whole panel depends on that fin.  So, it could be argued that very closely fitting foiled pieces lead to a weaker panel than loosely fitting ones.  I would not argue that, but it is important to have that connector of solder between the surface beads for a panel to be strong.

The solder connects the two solder beads together and forms the matrix which holds the panel together.

Here the fin of solder is a little thinner, so the matrix is marginally weaker

For larger panels, reinforcement will be required, either between the glass pieces, or on the surface.  The fact that reinforcement is so often used in the gap between the pieces, is confirmation that the fin of solder between the front and back is very important.