Copper Foil vs. Lead

The copper foil technique may or may not have been invented by Tiffany, but he certainly used it extensively in his studio. Thus it is often referred to as the Tiffany method.

It is neither easier nor more difficult than lead. However, it’s significantly cleaner because it does not involve the use of whiting or cement, which is why this technique is most often taught to beginners in North America. In Europe leading is most often taught first.

Some people deduce that copper foil must be stronger than lead because the solder goes all the way around and between each piece, but lead is still the preferred method architecturally, holding up huge weight-bearing windows for hundreds of years.

One thing copper foil can do, though, is allow stained glass panels to curve, as you can see in the multitudes of Tiffany lampshades that are still around today.

There are a few other differences from lead in the construction of copper foil panels. First, copper foil is less forgiving in that there is no channel to hide errors in glass cuts. Precision in cutting becomes especially important.

However, while cutting may be a little more difficult, soldering foiled pieces is a little easier because you can’t burn through copper foil the way you can through lead. If you accidentally apply too much heat, the solder just drips through to other side and forms a ‘mushroom’ that must be cleaned up later. Or it cracks the glass.

Finally, lead panels are usually constructed from the corner out (pieces of wood form an “L” shape and the panel is started in that corner and grows up and out). Copper foil panels are usually started inside a (temporary) wood frame that goes all the way round the panel, like a picture frame. You don’t need to start in one particular spot because the pieces aren’t going to shift within their frame.

Copper Foil Repairs

Repair or not

First consider whether any repairs should be carried out at all. Repairing can sometimes cause more damage, and if it is an older piece, finding an exact match may be impossible. So gluing may be the better approach.
If small shards of glass are missing, daylight is visible through the broken part, or sharp bits are exposed, then it should be repaired, assuming the client is willing to pay.

Starting the repair

Having decided to repair, the first action is to use fine steel wool to remove any patina from the solder around the broken pieces, on both sides.

Removing the broken glass

Next, work out the shards using a fine blade to get between the broken pieces. You should be wearing safety glasses during all the processes of getting the glass out of the piece.

In some cases in may be necessary to score the remaining part of the broken piece with your cutter in a criss-cross pattern, from edge to edge. Also try to go toward the centre of the piece from each corner while making the score lines.

Now start tapping the centre of the broken, scored piece of glass with the ball on the end of your cutter and then work out to the edges. Keep tapping the glass and it should start to fall out. When most of the glass in the middle has fallen out, take out small pliers and gently wiggle the broken shards out, one at a time. Remove all the glass possible, but you might not be able to get the glass in a tight corner.

Removing the solder and foil

Now take your soldering iron and melt off the bulk of the solder seam, slowly going all the way around the hole. Wipe excess solder off on your iron stand sponge. Do the same on the other side. During this process you will be able to remove any remaining small pieces of glass.

Apply the hot iron to the corner joint to expose the piece of copper foil that was wrapped around the broken piece of glass. With a pair of tweezers, grasp and very gently tug out that inner piece of foil while keeping the iron on the solder line to keep the solder molten. Try not to pull the foil off adjoining pieces. If some other foil does come off, then remove that entire length, scrape clean, wash off, dry, and re-apply a piece of the same type of copper foil, cut to size.

Re-flux the exposed foil lines, remove any solder blobs - particularly in any corners - with your iron, wiping excess off on your sponge again.

Replacing the glass

Taking the shape
Take your piece of glass that best matches the broken piece, and position it underneath the hole. Trace the shape of the hole onto the glass. This works best for flat panels. Curved forms usually need to have a paper template made by tracing from the back onto the paper. Cut the shape out of the paper and put it on the piece of new glass. Make sure that the grain of the new glass is in line with the original. Cut the piece out, grind to shape, doing lots of test-fitting in the hole, until it fits.

Foil
Clean any flux off the new piece from your test fittings, and apply the same size and colour backing of copper foil that was used on the piece that you removed.

Soldering
Fit your replacement piece into its place, making sure that it is level with its surrounding pieces. You might want to tape it into place. Check its position, and if you are happy with it, then tack it twice per side.
Proceed to solder it into place. If your fit wasn't perfect, or the piece is a little rough, fill in any gaps with some 50/50 solder. Let it cool, and then finish off with 60/40 solder. Blend your new solder lines with the quality of the solder lines on the rest of the piece.

Cleaning
Wash off the flux, scrub clean, and patina if required. If copper patina was used on the piece, don't worry when you apply the copper patina. It will not match if the panel is not brand new as copper patina ages much more than black patina. Wash the patina and polish it to blend the piece in.

Choosing Copper Foil Widths

Width of the foil relates to:

Glass thicknessThin glass requires thinner foil to maintain a neat solder line of about 3mm. Thicker glass requires thicker foil to maintain the same width of solder line. So 2mm glass would require 4mm foil, and 3mm glass would need 5mm foil.

Glass textureHeavily textured glass usually needs thicker foil, as the thickest part of the glass is greater than the thickness of average glass. This requires a little experimentation to get the one you like best, but usually is one step up in thickness from your usual. Remember you are looking at only one half of the resulting solder line thickness on each piece of glass.

Desired width of solder lineThe desired width of the solder line will also affect the choice of foil. If you like a thin line of solder, you should choose foil that is only 1 or 2mm wider than the thickness of the glass. This will give a solder line of 1 or 2mm wide. Be careful when choosing a thinner width. You still need enough foil on your glass to maintain the strength of the solder bead. If you like wider lines, a foil that is 3 or 4mm wider than the glass thickness will give a 3 to 4mm wide solder line.


Of course is possible to trim the copper foil to be thinner after foiling.  This can be to even up the line, or to thin it.  Gentle pressure with a sharp craft knife will cut the foil to the width you want. You may want to do this when all the pieces are assembled before soldering.  This gives you the opportunity to see how the width of the resulting solder line will be.  It is also the time when you can see what the line of the solder bead will be and make adjustments before begining the the soldering.

Choosing copper foil Thickness

Foil comes in different thicknesses as well as widths. Thinner is easier to form round curves, but tears more easily. Thicker is more robust, but crinkles up more on inside curves and so needs more burnishing. Mostly it is personal choice on what is easiest to work with.

Choosing copper foil backing

The question most people want to know is why there are different colour backs to the foils. The answer has to do with the finished piece, and only matters if you are using transparent glass. If you are using opaque glass that you cannot see through it doesn’t matter which type you use.

The backing should be of the same colour as finish to the solder lines. Since you can see through transparent glass, you will be able to see bits of the back of the copper foil, especially at certain angles. It would look peculiar to have a piece with a beautiful black patina, only to catch glimpses of copper when you are looking at it.

Therefore, if you are planning to patina your piece black, use black-backed copper foil. If you are planning on leaving it silver, use silver-backed copper foil. If you are planning to patina it copper, use copper backed copper foil.

Applying Patina

Patinas are acids. You should wear gloves while doing this work.

Cleaning
After cleaning the solder beads, wash the panel off with warm water and a little dish washing liquid to remove oils and other residues. When washing use a very soft scrubbing brush to get in all the little crannies.

Dry the piece with a soft old towel. If the piece is framed in zinc, make sure that any trapped water is eliminated and the piece is entirely dry. Often letting it stand overnight will be sufficient. A panel with no moisture will help the polish of the solder lines to be more even.

Application
Pour a small amount of the patina into a small container so as not to contaminate the rest of your patina. Do not pour the remainder back into the bottle, as it will begin to neutralise the main supply.

Apply your patina with a small flux brush reserved for the purpose, or a piece of a rag. If you use a rag, renew it frequently. Do not be afraid of putting too much on. If you are not happy with the colour when dry, you can rub the solder over with a 400 gauge (also known as 000) wire wool to abrade the surface. Then give it a further coat. Rub with a soft cloth to a shine.

Preservation
To preserve the desired finish, a coat of beeswax helps, but you must remember that copper will oxidise over time no matter what you do. It is this that gives it a rich deep antique lustre.

Applying Foil by Hand

There are a number of tools and machines to assist centering the foil on the edge of the glass pieces.  Sometimes, though, you want to do foiling where use of the machines is not convenient.  This describes a method of doing foiling by hand without centering tools.

Clean the edges of the glass of any powders, or dust from grinding and oils from handling to ensure the foil sticks tightly to the glass. You do not have to be particularly careful about marks on the surface of the glass.

Keep your hands dry and clean while foiling, as oil or moisture on your hands will prevent the foil from sticking to the glass.

Start foiling on a straight length of glass. If the glass is only curves, begin the foiling on an outside curve. If the end of the foil wrap doesn't meet perfectly with the beginning, you can trim off the uneven overlap with a sharp craft knife. Only light pressure is required to trim the foil. Be careful not to scratch the glass, which can happen if your blade is dull, or you apply too much pressure.

To centre the foil on the edge of the glass, hold the piece vertically and look on both sides of the glass while you apply foil to the bottom edge with the sticky side of the foil facing you. This enables you to judge the evenness of the application.  It may take a bit of practice to look down both sides of the glass as it requires overcoming the habit of using the dominant eye.  To practice, you can look down the side that matches your less dominant eye and judge the amount of foil that overlaps the edge.  You can switch your concentration from side to side to determine the equalness of the foil overlap on each side.

Burnishing the foil onto the edges and then on the upper and lower surface with a fid will help the foil adhere firmly to the glass throughout the soldering.

Are you ready for a wholesale show?

This gives some guidance on deciding whether to take on wholesale work.

Body of work
Do you have a 'body of work'? If someone picks up one of your pieces, and knows that it is yours rather than anyone else’s, then you have an identifiable look/style/technique = body of work.

Repetition
Can you repeat the colour/style/technique accurately? It's fine that colour varies, but within a very small range. Repeatability is important when a buyer is looking at your sample and expects to receive an exact copy. Most buyers choose from samples. They do not expect one-offs.

Production processes
Your processes must be robust enough that you can produce the quantity that retailers order with the quality that they expect. Figuring ways to make quality pieces quickly is necessary to be profitable.

Profit
Is your product such that you can double your material costs and give yourself a healthy hourly wage? Remember the buyer will need to double or triple the wholesale price and still sell it to customers. If not, you need to determine what can be done to reduce your expenses and time. You also need to consider what you can do to increase the desirability of the work.

Cash flow
You need to create samples, pay the booth fees etc, make the work that is ordered, pack and ship, and get paid a month or two after the buyer receives the work. You need to have the reserves to meet the ebb (up to six months before the show) and flow (three months after the order or longer, depending on production time scales) of cash.

Marketing
You have to like the marketing of your products, as well as the creating, producing and selling.

Customer relations –
This relates to after-show communications and information, in addition to what you do on the show floor.

Promotion –
Getting into the right publications is important to create a visible profile.

Advertising –
This is another expense, so research carefully the publications and media that will be used by your potential buyers.

Catalogs –
Not only do you have to have a catalogue and a line of products you can produce that is distinctive and desirable to the buyers, you also have to guard that catalogue and only issue it to genuine buyers to avoid rip-off merchants.

Next steps
If you are still interested, find wholesale shows, get an artist’s pass and look at:

• Which booths get most interest
• Try to isolate the important elements
• booth appearance
• uniqueness of products
  display of samples
• quality of interaction with buyers
• marketing ploys
• literature/catalogues

Write all these down as you discover them, so you won’t forget anything.

Determine the costs:

booth and its preparation

travel, accommodation and food

cost of promotion – catalogues, advertising and other marketing

cost of samples – materials and preparation

If your answer to all the bold headings are “Yes, I can do that”, then you are ready to design your booth and apply to a selected wholesale show.

Selecting Craft Shows

Not all craft shows are equal. Some are stupendously good, while others are poor. You won't have any advance guarantees which it will be. Some shows that appear to be terrific turn out to be a waste of time. Other shows that seem ordinary are some of the best ever. Although you will always have a few of these surprises, there a few guidelines that will help you guess what a show will be like.

Seasonal
Christmas shows are best, and the closer they are to Christmas, the more you will sell. It's not that summer shows are bad - some are great. It's just that outdoors can be dangerous at any time of year – rain, wind or worse.

Admission
Shows that charge admission will usually have more sales than those that let people in free.

Rent
At higher rent shows you will usually sell more expensive work than at lower rent shows. It doesn't matter how much the space rent is, just how much you sell from that space.

Juried Shows
Because "juried" shows are selected, they usually have high-grade work. Customers come to these expecting to find high quality, expensive work. These shows also attract a higher ratio of customers to browsers.
Community and charity shows, on the other hand, usually get customers looking for very cheap goods.

Festivals
Shows that are attached to some kind of festival (like music, harvest, etc.) are usually poor - especially if the craft is only a secondary part of the show. But, then again, these are the shows that are most likely to surprise you.


The full article by Dennis Brady.

Promotional materials

There are a large number of items that you can have personalised - pens, pencils, key chains, mouse pads, mugs, etc. - with the intention of giving them away and providing a permanent reminder of your contact details. These have their place in trade shows but probably not at an art or retail show. However most of these items are of poor quality and do not last long, reflecting poorly on your business. Also remember that by doing give-aways you are reducing your profits. Even if you give the item with a purchase.

A business card, or an elegant postcard is a far more sophisticated solution. Money is better spent on a high-class business card. Make it one that they want to keep. If it has a picture of one of your products on it they will keep it before a plain one. You can have magnetic cards printed for you or you can buy the magnets and stick your paper card to it.

Postcards showing an item of your work with details on the back are also important promotional items. Creating a series can make an interesting collection for people who come back to you.

The advice of an ex-insurance agent who believes in promotional items is that you should not waste your money on pens. Create a unique card.

Packaging Glass

Wrapping the item

Panels –
Wrap each panel in several layers of bubble wrap or corrugated paper, then add a layer of foam board insulation at least 12mm on each side.

3-D -
Make sure you have padding (bubble wrap, corrugated paper, or foam sheets) between each item. Then make sure they are fastened tightly together in one bundle. Make multiple nested pieces into one big unit, then wrap that so it's well padded.

Boxing

Panels -
Ship stained glass panels in a wooden crate. Make a wooden box and line it with foam, on all sides. The ends of the box should be of substantial timber, making the box at least 100mm (4") thick. Use lightweight, thin wood, but stiff enough that it remains durable. Screw wood on the front and back of the edge of the framing timbers. Fill the space so the glass is in the middle of the box. The most important thing is to minimise flex. You also must minimise shock from a drop.

3-D -
Line the box in bubble wrap or corrugated paper. Put a layer of filler in the bottom.
Set the piece in the middle of the box, then fill all around with more filler. Press the filler firmly so the packaged items can't move and shift in the box. Allow at least 50mm of packing around the contents and ensure the contents cannot settle through the box filler perhaps by placing a cardboard pad on top of the fill before placing contents in the box.

Filler

Filler is material that will fill the space between the wrapped items and the sides of the box. This can be shredded paper, bagged peanuts or foam sheets. Bubble wrap with peanuts is sufficient, but don't use peanuts unassisted. They have a habit of vibrating off to one side of the package, leaving the cargo unprotected on the other side. Mix the peanuts with either wrapped newspaper or excelsior (shredded paper) or place them in numerous small bags so they can't shift.

Double boxing

Many people double box everything. This involves putting the boxed items inside another bigger box. Suspend the inside box within a larger box, bigger by at least 50mm on all six sides. You can use cardboard strips to make an 'X' to put in the bottom and top and small pieces of foam on the four sides to keep the inner box from shifting. Fill the spaces in between the two boxes with something that will absorb shock or impact, like shredded paper. For a very fragile piece the outside box might be made of 6mm plywood.

Caution

One caution on packing: Don't overdo it. If you force so much packing material (peanuts, bubble wrap, etc.) into the boxes, the whole thing (inner and outer box) becomes a solid mass and the force may still transfer to the piece and break it. When packers say "float," they mean it. You want enough packing material to hold the stuff in place well, not so much that it becomes part of the piece.

Images for Juries

Images of work

Uniform neutral backgrounds and accurate colour make the artwork jump off the screen and easy to evaluate. Images must be sharp with good contrast. Matching backgrounds for a uniform presentation are recommended. Some advocate black borders around the image (which includes the background); in any case there should be a dark border to fill the projected space. White backgrounds that don’t fill the frame are extremely white and make it difficult to define the work easily. Review any automated scanning to ensure the image is up to standard.

Distracting elements should be kept to a minimum. A few are variable background colours and textures; variable border colours, or none; low contrast; too much white in the images and background; and fuzzy images

Booth images

The booth seems to be artists’ weak spot. The booth images should be as set up for a show. They should be actual rather than digitally created. Some sense of scale needs to be included.

Learning
Because jury images are the artists’ most important asset, attending an open jury viewing is important. It allows you to see a variety of presentations and learn the best and make notes of what to avoid. So if the opportunity presents itself, attend an open jury viewing.

Based on information from Larry Berman

The Exhibition Agreement

In the world of visual arts, it may sometimes be thought that formal agreements are unnecessary because they might restrain the creative processes or indicate a lack of trust.

But conversations in which important things are decided are open to interpretation or misunderstanding unless they are formally recorded. Although in theory a verbal agreement may be legally enforceable, in practice it cannot be relied on because of problems of evidence. The advantages of having a signed written contract will usually easily outweigh the risks of not having one. A contract can be drawn up by either an artist or an exhibition organiser.

The following checklist takes the form of a number of headings that both artist and exhibition organiser need to consider and negotiate around whilst they plan the exhibition. In this way, the checklist can act as a comparison to any document provided by the gallery itself, and to identify the areas where specific negotiation needs to take place.

The checklist
1. Who are the parties to the exhibition agreement?
2. What is the purpose of this agreement - to hold an exhibition showing of particular works, so list them in an appendix.
3. What is the nature, scope and intention of the exhibition?
4. Where will the exhibition be shown?
5. When will the exhibition be open to the public?
6. When will the preview take place?
7. Will the exhibition tour?
8. Who will deliver the works to the venue and return them afterwards to the artist?
9. Who is installing and de-installing the exhibition?
10. Who is taking care of loss, damage and insurance?
11. How will works for exhibition be selected?
12. Publicity and promotion
13. What fees and expenses are due to be paid?
14. Will work be for sale?
15. Copyright and reproduction rights
16. Moral rights
17. Who owns the work?
18. Who is sponsoring the exhibition?
19. Governing law - what jurisdiction
20. Force Majeure
21. Can you change the agreement?
22. Whole agreement?
23. Appendices - The List of works and Tour schedule form an integral part of the agreement.
24. How can the agreement be terminated?
25. When should it be signed?

The full version of this checklist is at Artists' Newsletter

Consultation and Design Fees

Consultation and design fees can be difficult to calculate and ask for, but you are trying to make a living. When you call your accountant or lawyer for advice the clock starts ticking as soon as they start listening. You should not be a whole lot different.

Establish at the beginning that the project includes a specified number of hours of planning/survey/meetings, of agency management, and of creative work. Other things may be added as the project requires. Also establish that exceeding those hours by 10% (or 5% if it’s really big) will incur additional charges.

Once into the project give weekly updates on how much time has been used and the progress achieved. That way, if the client starts adding things or changing their minds, they understand the consequences. If they think it’s worth paying for, great. If not, take it off the table. You can always be generous and waive the extra fees, but giving clients that kind of choice saves a lot of resentment (and time) on both sides.

Consignment Agreements

Consignment (Sale or Return) agreements are to protect both Artist and Gallery, and ensure each understands the other’s expectations. The agreement should relate to each item and include at least the following information:

• Artist’s name and address
• Gallery’s name and address
• Name and signature of the owner/manager of the gallery
• Title, medium, dimensions of the work(s), edition number
• Retail price
• Artist’s price
• The commission taken from the retail price

Additional information that is advisable to include:

• Each work is to be offered at the stated retail price. Any discounts shall be from the retail price, not the artist price.
• Each work sold should have a bill of sale copied to the Artist.
• The Gallery shall send to the Artist the stated retail price of each work less the stated commission, within a reasonable time after sale, and not less than 1 month after the sale. In the case of exhibitions the payment should be made not less than 1 month after the close of the exhibition.
• If a work is lost, damaged or destroyed during the period of the agreement, the Gallery must notify the Artist immediately and pay him/her the stated retail price, less the stated commission.
• Insurance of the work –a statement of when the Gallery’s insurance takes effect. The Gallery normally provides insurance upon receipt of the work(s) and signs a document to indicate safe receipt of the item.
• The Artist shall retain all rights in and title to the works until sale, at which point the title shall pass directly to the purchaser whose name and address the Gallery shall give to the Artist on written request.

Other posts on consignment:

Consignment

Consignment Agreements

Consignment Rates

Consignment Venues

Lamp Panel Lengths

If you have determined the length of the shade and the diameters of the top and bottom, you can determine the length of the panel by maths or by a scale drawing.

Calculation of length
The maths is about right angle triangles. The dimension of the vertical part of the right angle triangle is the height of the lampshade. The horizontal dimension is the radius of the bottom minus the radius of the top. The length of the angle is the square root of the sum of the square roots of the vertical and horizontal sides.

E.g., a lampshade 200mm high with a 50mm vase cap and 400mm bottom width:
The vertical of the triangle is 200mm.
The horizontal is 400/2 = 200mm – 25mm (half the diameter of the vase cap) = 175mm.
The length of the panel is equal to the square root of the sum of the squares of the sides.

In this example, 40000+30625=70625 of which the square root is 265. So the panel is 265mm long.

Measuring the length
If you don’t want to do the maths, do a scaled or full size drawing. It only needs to be one side of the shade, but it can be the full shade.

• Draw a vertical the length of the shade.
• At the top draw the radius of the vase cap on each side of the vertical.
• At the bottom draw the radius of the shade on each side of the vertical.
• Join the two end points of the horizontal lines on each side of the vertical.
• Measure this line to determine the length of the panel.

This drawing method does have the advantage of allowing you to see the angle of the proposed shade and adjust it if necessary.

Lamp Panel Dimensions

Calculating the top and bottom widths
When doing custom lamp sizes is not too hard to calculate the panel sizes. You need to remember the value for pi (3.1417)

Start with the bottom diameter you want. Multiply it by pi. Divide this distance by the number of panels required for the lamp. This gives the size of the bottom of the panel.

Do the same for the top, but make one more calculation. As the top has to fit into the size of the vase cap, you need to take account of the thickness of the glass. So, subtract the thickness of the glass time 2 (the glass thickness is on both sides of the circle). Do the calculation as for the lower edge of the panel, and then subtract the thickness of the glass from that width. For most glass this will be 3mm.

Worked example
Bottom diameter: 200mm
Top diameter: 50mm
Panels: 8
Pi: 3.1417
Glass thickness: 3mm

Formula for bottom: dia. * pi = circumference / no. of panels = width of panel
Bottom diameter: 200*3.1417 = 628mm/8 = 79mm

Formula for top: dia. - glass thickness *2 * pi = circumference / no. of panels = uncorrected width – thickness of glass =width of panel
Top diameter: 50-6= 44 * 3.1417 = 138mm / 8 = 17mm

Determine the shape of the panel
When you have determined the widths of the top and bottom of the panel, you are ready to draw up the shape of the panel. Set up a horizontal line the calculated width of the bottom of the panel. Divide it and draw a vertical from the centre of the line. This line should be as long as the panel you are making. This is determined by the method outlined in the Panel Length tip. At the top of the vertical line draw another horizontal. Measure off one half the calculated top distance on each side of the vertical line. Join the points on the lower and upper horizontals to give the shape of the panel.

Commission Agreement

A commission agreement protects the interest of the artist and the commissioner. The agreement is between the artist (with name and all contact details) and the commissioning person or agent (with name and all contact details). It forms a contract and should contain all relevant details. Among these should be:

• The name of the work.
• The work’s description, and a sketch of the intended work.
• A description of the materials, and an indication of the methods to be used.
• The total price of the commissioned work, divided into portions for:
  - The design, not returnable under any circumstances. Additional changes after the first completed design will incur additional costs (at a stated rate per day).
  - n agreed sum before the artist starts to execute the work.
  - A further sum when the artist gives the commissioner written notice that the work is two-thirds complete.
  - The final sum when the artist gives the commissioner written notice that the work is completed.
• Access to premises where work is to be carried out.
• The artist shall retain the copyright in the design and the work.
• Provision for the commissioner to terminate the agreement by giving written notice to the artist. The artist is then be entitled to retain and receive payment for work done up to the date of receipt of notice, and to retain all rights and title to the work.
  

Booths at Fairs - Survival Kit

Think about what you want to have with you and plan ahead. Things you may need to bring with you include:

Materials

Display material/photographs for walls

Publicity material

Hand outs for the public - artist's statement, contact details

Press pack - press release, images of art work, artist's statement

Previous publicity and brag book, showing commissions - display it on a stand.

Postcards

Business cards

Price lists

Order book

Book for recording contacts

Tools

Cleaning materials, i.e., for cabinets etc

Box with thumb tacks, pins, pegs, screws, for hanging material on the walls

Extension cords, power strips, light bulbs, fuses

Box with tools – screw drivers, pliers, knives, etc.

Masking tape, scotch tape

Pens, markers, product labels, price tags

Calculator, sales receipt book, copy of your sales tax license

Credit card equipment

A storage facility for all the money and cheques you will take in! Also to keep the change box in - stocked with plenty of change, of course.

Packaging material - Bubble wrap, boxes, bags, etc
Seat with back rest

Small step stool

Wheeled trolley for moving stock and booth

Most important - your own lunch and cold drinks and water bottle

Additional things for outdoor booths

Canvas repair tape/ Gaffer tape

Weights for holding the booth down

Buckets and mops for bailing out

A pair of rubber boots

Guy ropes and pegs for windy conditions

Booths at Fairs

Think of your booth at a show as a mini art gallery. It should show off your artwork in the best possible light. The "job" of a booth at any type of show is to set up an environment to do the following:

• Attract a stroller's attention so that they stop in front of your booth and look.
• Provide an appropriate environment which best shows off your artwork.
• Entices the potential buyer inside to get a better look.
• Subconsciously directs the viewer to see all of the artwork (i.e. the booth has a footpath flow)

Booths do this in a variety of ways.

The booth provides a physical barrier so that your booth is separated from your neighbour's booth. You don't want your potential client to see your neighbour's craft/artwork while they are in your booth. Make sure your booth has full-sized screens on all 3 sides to block the view to your neighbour s booth.

It provides a consistent "art gallery" environment when your potential client steps inside.
Neutral walls, which do not distract from your artwork are best. In fact, the walls should help display the artwork. The booth should make the environment friendly to the viewer.

Have a floor covering. This is particularly important on an inside show on concrete floors
The covering should be neutral in colour so as to not compete with the stained glass.

Feature the artwork in the front. Make it easy for the client to walk up to your artwork. Nothing on the floor should impede this. Keep all non-art stuff like sales & packing stuff in the back of the booth.

Have as much lighting in your booth as possible. Glass is all about light. The more the better. Bring plenty of power strips, extension cords and extra light bulbs of the appropriate wattage.

Plan out the flow of the viewer. Think like a potential buyer and place your artwork appropriately. Have your big eye-catching show pieces where they are plainly visible from someone walking down the hall. Then put the smaller, less-expensive stuff in the back. People will be drawn into the booth by the big, expensive show pieces. Then, once they are inside, the artwork should go from most outrageous to more affordable, forming a path around the booth.

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.