The Bill or Contract of Sale

Although it is usually a good idea, the bill or contract of sale is under-used in transactions between artists and purchasers. It indicates the terms of the sale, whether conditional or unconditional, and protects the artist’s interests, especially where artists’ resale rights are in force.

The bill of sale must include:

• The date of sale
• The place of sale
• The title of the work
• The description of the work: medium, dimensions, size of edition, and other relevant information
• The name and address of the purchaser
• The artist’s name and address
• The purchase price
• The term of payment

The above sets out the date, the place, the purchase price and the terms of payment of this contract of sale of the mentioned art works. However, in order to protect the future existence and use of the work, the parties may further mutually agree:

• Originality: The artist vows that the work is his/her original and that s/he shall not produce a replica of it.
• Edition: If the work is one of an edition, the artist vouches that the size of edition shall not be increased after the date of the contract.
• Reproduction: The copyright in the work is retained by the artist, but the buyer may be entitled to permit the reproduction of the work in books, art magazines and exhibition catalogues.
• Care of the work: The buyer vows not intentionally to alter, damage or destroy the work during the time of ownership.
• Restoration: If the work is damaged, the buyer shall notify the artist and give the artist a reasonable opportunity to conduct, or supervise, the restoration of the work.
• Artist's exhibition: The buyer and artist may agree to the owner lending the work (e.g., once in every twelve months for a maximum period of six weeks) for the purpose of inclusion in a public exhibition of the artist's works. The artist must give the owner reasonable written notice of his intention. The artist must provide documentary evidence of insurance coverage and prepaid carriage to and from the exhibition. The artist must ensure that the exhibiting institution identifies the work as belonging to the buyer.
• Placement of work: If the buyer places the work with any person or institution for exhibition, re-sale, or any other purpose, the buyer shall immediately write to the artist stating where the work is placed. This is especially important in jurisdictions where artists’ resale rights exist.
• Addresses: Artist and buyer shall notify each other in writing immediately of any change of address.

Soldering Fluxes

Fluxes fall into 2 categories: rosin based, and so called water-soluble

1. Rosin Fluxes
Rosin based fluxes are made from rosin which is extracted from pine sap. The purified product is known as "Water White Rosin". The active ingredient is an organic acid, abietic acid, and may contain homologs such as dehydro abietic acid and leviopmaric acid.

In addition to rosin other activators may be present at different levels to increase the ability to clean and deoxidise. Activators are compounds that decompose at soldering temperatures yielding ammonia or hydrochloric acid in the process. Flux activity is categorised as R (rosin only), RMA (rosin mildly activated) and RA (rosin activated). A low boiling solvent such as isopropanol is used as the vehicle so they are flammable.

Type R containing only rosin is the least active and is recommended for surfaces very clean to start with. It leaves virtually no residue behind. Thus this is the best rosin based flux for copper foil and lead cames.

Type RMA contains a small amount of additional activator to enhance cleaning and deoxidisation leaving only a minimum amount of inert residue behind. A characteristic of RMA fluxes is that the remaining residue is non-corrosive, tack free, and exhibits a high degree of freedom from ionic contamination after cleaning. These fluxes are acceptable, but more difficult to clean. They are not acceptable for conservation work.

Type RA are most active of the rosin fluxes, and leave the most residue, however the residues can be removed with appropriate flux cleaners. The residues are really difficult to remove in decorative glass work circumstances and should not be used.

2. Water Soluble Fluxes
These are called water-soluble, as the residue left after soldering is water soluble, although the flux is not. The so-called water-soluble fluxes are divided into two categories, organic and inorganic, based on composition. 

Organic fluxes are more active than RA rosin, and the inorganic fluxes are the most active of all. Both of these are the best of all fluxes to use in decorative glass work, as the residues are water soluble making clean-up easier, and they are more effective in wetting and keeping the copper and lead free from oxidisation at soldering temperatures.


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

Applying to Juried shows

Juries are looking for a unique, well crafted, and impressive body of work in the category to which you are applying.Therefore, show them a coherent body of work - that is, the illustrations should all reflect a consistent style and aesthetic. Cohesive groups of work communicate to the jurors the strength of the artist's craftsmanship, design, self-direction and intent.

The juries also want to see representative work. Go for your strongest work and present the strongest visual presentation you can. Again, it should be a cohesive body of work photographed in roughly the same manner. Strong work and cohesive body of work are equally important.

The artist can have as much impact on the jury by editing certain pieces out of a group of works as s/he can by choosing what to include. So, avoid submitting a number of pieces that are in diverse styles. And make sure you have excellent photography.

Paints and Stains

Vitreous paint - glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as water, oil, wine, vinegar or urine. These are either high-fire blacks and browns or low-fire transparent colours.

Silver stains - silver nitrate and gamboge gum that chemically stain the glass to varying intensities from pale yellow to orange.

Gamboge is a rather transparent dark mustard yellow pigment. Gamboge is most often extracted by tapping from the Garcinia hanburyi tree. The resin is extracted by making spiral incisions in the bark, and by breaking off leaves and shoots and letting the milky yellow resinous gum drip out. The resulting latex is collected in hollow bamboo. After the latex is congealed, the bamboo is broken away and large rods of raw gamboge remain.

Choosing a Soldering Iron

The iron used to solder must be of a high enough wattage to readily melt the solder and be able to reheat fast enough to maintain the necessary melting temperature. The tip can't be so small it can't maintain the heat nor so big it covers more area than wanted.

For example a 75 or 80 watt iron is sufficient to begin soldering with, but it will continue to get hotter, as it has no temperature control. An iron of this type should be used with a rheostat in order to prevent overheating while it is idling. You should be aware that it will eventually reach its maximum temperature, so cannot be left for long.

Most temperature controlled irons seem to be produced in 100 watts or more. These internally temperature controlled irons maintain a constant temperature. These are normally supplied with a 700F° bit (number 7) and are sufficient to melt the solder without long recovery times. You can obtain bits of different temperature ratings, commonly 800F° and 600F°. You can also use several sizes of tips for different detail of work.

Advice for Surviving a Selling Event, 3

Publicity and literature

• Research press contacts for magazines, papers etc. Target smaller newspapers as they like writing about local people.
• Make sure you have sufficient supplies of publicity handouts, trade information, press pack and artist's statement. Make handouts easy to understand, easy to carry and easy to store. Magazine editors cruise around so have a press pack available. Find a good photographer to work with for good publicity shots.
• Make sure your website is up-to-date, as people who go away with information will then look at the site.
• Don't have any financial barrier between you and the public - have a range of prices. Your price lists should include information about postage and packing. Give the landed price - the price a piece costs, then add postage and packaging. Find out about and include notes on the costs for national and international delivery.

Objectives for the event

Aim high, they have a lot more money than we have.

Takings should be 10 times the cost of your stand. Almost half the takings may be commissions.

Exhibition offers

Never commit to exhibitions with galleries until you can check them and find out as much as you can about the gallery. Never be intimidated into feeling inferior by a gallery. Is exhibiting with that show worthwhile? Sometimes it is very good for the career.



Expect the best and be prepared for the worst.

More information is available from the Business Fact Sheet for Scottish Crafts at craftscotland

Advice for Surviving a Selling Event,.2

Customers

Don't judge people by their appearances.

Keep smiling and never lose your cool even with difficult customers. Listen to them. They may actually have a point. They know what they like and don't like and they're not afraid to tell you.

Never undertake something that you don't really, really want to do. Steer them round to what you make. Be firm if a customer is making unreasonable demands. Is the job actually worthwhile?

Commissions

Once they decide they want something give the customer your time. Find out what they like about it, what they don't like, what space it's going in, is it on the wall? The time spent will pay dividends as the most important thing is your time and they'll remember it afterwards.

Write everything down in one place - name, address and add something which you can easily remember them by. Agree a price and usually include delivery and insurance as extras.

Never give discounts.

Timescale - you'll have lots of work after the event - so start commissions several weeks or months afterwards. Be good and let them know if there's a delay or a problem.

For a commission people do expect to pay a deposit. Ask for a round figure. Give them a receipt.

More information is available from the Business Fact Sheet for Scottish Crafts at craftscotland

revised 28.12.24

Advice for Surviving a Selling Event, 1

You have to be really comfortable.

• Bring a high level stool so you can perch and still have eye contact with the customer
• Wear comfortable clothes and shoes.
• Wear something bright to help them remember you. It helps if they can point you out in a crowd.

Food, drink and consequences

Eat well, have a good breakfast and have loads of water to stop dehydrating

Bring your lunch

Make friends with the people beside you. This is very important, especially when you've drunk a lot of water!

Plan ahead

Plan the stand display in advance, where everything is going, display cases and what is going in them. Make a plan of the space. Then try it out to make sure it works.

Consider who is beside and opposite you - you need to be aware of what is around you to plan your space best, so it might be worth getting in touch with them before you arrive.

The stand should be clean and tidy. Having no clutter means the customer can see what they are looking at. Have a storage unit for paperwork, pens, water, packaging etc. Have a space where you can write orders and pack purchases.

More information is available from the Business Fact Sheet for Scottish Crafts at craftscotland

Use of the Glass Cutter

When cutting glass your are first scoring the surface to weaken the glass and then breaking along the score line. The glass will always follow the path of least resistance. It is important to keep this in mind when “cutting” glass as it has significant implications for scoring and breaking.

Use the cutter by moving it away from you, so you can see the cartoon lines as you score. When using a straight edge, you can pull the cutter toward yourself or push it away, whichever suits you.

Grasp of the cutter
The classic or traditional grasp is for use with a pencil cutter. The cutter is placed between the first/index and second /ring fingers with the thumb at the back of the cutter. This initially is awkward. Its advantages are that it transfers most of the work to your arm rather than fingers and wrist, and it restricts the movement of your wrist, leading to smoother curves.

The modified grasp is also for use with pencil cutter. The cutter is placed between the thumb and first/index finger. The second /ring finger is also most often used beside the first/index finger. The fingers should be straight to avoid excessive strain on the fingers and possible carpal tunnel problems later.

In this image the cutter is at an angle to vertical.

The fist grip for use with pistol grip cutters. The cutter is held similar to a gun, with the first/index finger pointing down the shaft holding the cutter head. This pointing action seems to aid the accuracy of cutting. This applies to cutters with right angle handle attachments also.

The palm grasp is for the small Toyo and other palm cutters. The cutter is placed on the pad beneath the thumb and held with the first/index finger and thumb.

In all cases it is important that the work is done from the forearm rather than the fingers or wrist. The forearm should be held closely to the body. This reduces the freedom of movement, giving clean flowing score lines. It also reduces the actions that can lead toward repetitive strain injuries. Any turns required by tight curves can be done by turning the body from the hips or shuffling around the bench.

Avoid Finger Cuts at the Grinder

Before serious grinding, first run the whole perimeter of the piece very lightly against the grinding bit. This removes the worst of the 'scalpel' edges and avoids the micro cuts on your fingers.

And,

Let the grinder do the work. Many people seem to put huge pressure on the piece to grind away the waste more quickly, but this is actually counter-productive. Less pressure means less fatigue, less chipping at the edges, fewer broken pieces, and most importantly, fewer cuts to the finger tips.