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This article describes how to solder a quad flat pack component to a printed circuit board. The details of the process are covered, including chip placement, bent pin recovery, tacking, the soldering and solder bridge removal.

Get your chip ready by placing the component tray on your bench and opening up the packaging.

There are two things to do before picking up the chip. The first one is to make sure that you are not going to zap your chip with a lightning bolt out of your finger. Discharge yourself of any static charge build-up in your body by either wearing a grounded antistatic wrist strap, or by touching an exposed metal screw on the grounded case of a piece of equipment on your bench. Maybe your soldering iron base or a lab bench power supply.

The second thing to do is to look at where the pin 1 reference on the chip is. Rotate your circuit board so that when the chip is transferred over, it will be in the right position with pin 1 markers lined up.

Next, use the vacuum pickup tool to lift up the chip and transfer it over to the circuit board.

At this stage if you drop or bump the chip, you may have bent one or more of the legs. You can recover from bent pin legs using the following procedure.

Get a hypodermic needle and a fine pair of pliers. Make a small 90 degree bend on the tip of the hypodermic needle. The bend acts as a kind of hook or puller for the bent pin legs.

Next, put on your head magnifiers so that you can see what is going on. Hold down the chip and very carefully pull the bent leg back into position. Do this very slowly to avoid pulling it too far. Do this for all bent legs.

Place the chip down carefully on the board. It doesn't need to be too accurate at this stage.

Put a finger at opposite corners of the chip and carefully move it around so that the pads on all sides line up with the device legs. This takes some time to do, so be patient. It is important to line it up accurately at this stage.

Next, check all around the chip, by looking from the top, to make sure that all of the pins are nicely lined up with all of the pads. Don't bump the board otherwise the chip will move and you will have to realign again.

Now that the chip is in position, it is ready to be tacked down with a few solder blobs. To tack the chip down, start by putting a little blob of solder onto the chisel tip of your soldering iron.

Then very carefully touch the solder blob onto one of the corner pads. It doesn't matter if you get 2 or 3 pads at this stage. Don't let the actual soldering iron tip touch the legs - you just want some contact of the molten solder to the leg and the pad.

The objective at this stage is not to make a good solder joint but simply to get some solder onto the leg and pad to hold the chip down to the board.

Carefully rotate the board around and put a little solder blob on each of the other 3 corner pads.

The next step involves applying gel flux, so make sure that you are wearing powder free latex gloves to avoid getting flux on your hands.

Take the gel flux syringe and apply the flux to all the pads, all the way around the chip. Put on a reasonably good amount of flux. The chip is now ready for soldering.

There will be a lot of solder fumes during the soldering, so make sure that you are wearing a face respirator and have good ventilation in your work area.

Put some solder into the reservoir tip of the iron. You don't necessarily need to fill up the reservoir. As long as there is a small amount of solder there, the solder will flow out onto the pins and pads when the tip comes into contact with them.

Next, just run the iron slowly across the feet of the pins. Of course, don't press down too hard - just guide the iron along. It is OK to run the iron back along some of the pins if you feel that there may not have been solder coverage of some of the pads.

I like to wipe the tip of the iron on a damp sponge after every chip edge. This removes the dross or residue that builds up on the iron tip as you go along. Whenever you wipe the tip of the iron, you will need to reload the reservoir tip with some more solder before doing another edge.

If you can see that you have created some solder bridges on some of the pins, wipe the iron tip again. Put a little more flux just on those pins and then bring down the tip of the iron to suck away the excess solder from the joints.

After cleaning the flux residue from the board it is important to check all the way around the chip again for solder bridges. If there are any bridges, apply flux gel just to those pins and use the reservoir tip to suck away the excess solder. Once done, clean and inspect the board again.

That completes the description of the quad flat pack soldering process, including chip placement, bent pin recovery, tacking, the soldering and solder bridge removal.

About the Author:

There are many low cost tools and techniques for soldering small batches of printed circuit boards or one-off prototypes. Some of these techniques are well known while others have been invented and reinvented by small tech companies and advanced hobbyists. A few good tips can be worth their weight in gold (not just their weight in solder). Discover the tips that can save you days of soldering time or thousands of dollars in outsourcing costs. Anthony's site has many videos that reveal exactly these kinds of valuable soldering tips. Go to http://SuperSolderingSecrets.com

Encaustic Painting

History

Encaustic is considered one of the most ancient painting mediums in the world. The word "encaustic" comes from the Greek encaustikos, "to burn in," referring to the process of fusing the layers of paint together. The oldest surviving use is the famous Fayum portraits painted on tombs from Roman Egypt around 100-350 A.D.  After disappearing for much of history, it was revived in the 1950s by Jasper Johns, who is often considered the father of contemporary encaustic painting. He used the medium most famously in his Flags and Target paintings.

Materials and Tools

Encaustic paint is usually made from beeswax, damar resin, and pigment. The beeswax has a relatively low melting point, approximately 150F, and is strained multiple times to remove impurities.  Because of this low melting point, damar resin is added, which serves both to raise the melting point to about 165F and to act as a hardening agent, so the encaustic has a slightly enamel finish when cool.  

Beeswax, being both a sealant and a preservative, allows for various materials such as paper to be collaged into the work.  As long as the paper is completely covered by the paint it will not degrade because the wax seals it off from oxygen.

There are several tools needed: first is a heat source. This can be as cheap as a hot plate or pancake griddle, or fancy ones can be bought from R&F Paints. Most artists keep the griddle temperature anywhere between 180F and 230F. The paint itself can be bought readymade (it can also be made from scratch, although that is beyond the scope of this article) and comes in blocks.  These are melted down on the griddle in anything metal - old soup cans, muffin tins, etc. New colors can be made by mixing paints together when molten; they don't tend to mix on your ground because the paint begins to harden as soon as it is taken away from the heat source. Colors can also be extended or become more translucent by adding encaustic medium. Medium is just the beeswax and resin without any pigment; it is completely clear in its molten state. 

Encaustic is compatible with a few other mediums: oil paint, pigment sticks, and oil pastels can be added to the painting in addition to the encaustic. Anything plastic or water-based, like acrylics or watercolors, is not compatible. 

There are also particulars to the ground used. The support must be both rigid and absorbent. If it is not rigid (like canvas stretched over stretcher bars) the painting may crack, usually because of the weight of the wax in the middle of the canvas.  If it isn't absorbent enough the encaustic might later begin to peel away from the ground. For this reason, acrylic gesso and oil primer also cannot be used. Some possibilities for supports and grounds: wood panels (luan, birch, plywood), claybord, untempered masonite, hardboard primed with Holy Grail, or raw canvas stretched over board or wood panel.

The final major tool that is needed is something to reheat and bind every layer to the one beneath it. Proper fusion is necessary so that the layers of paint do not separate over time, and so that air bubbles do not form between them, which can lead to chipping. Many different tools will achieve this: tacking irons, propane or butane torches, heat guns, etc. Heat guns are probably the safest and one of the easier tools to use because they don't have an open flame, they often come with multiple temperature settings, and the stream of hot air can be used to blow the paint in various directions. The precise temperature and distance that the tool is held from the surface of the paint can vary and require experimentation. Different temperatures and distances yield different results.  Encaustic cools in seconds, but fusing tool can be used to reheat and rework the painting at any time - even years later.

The paint can be manipulated with anything you can find: palette knives, dental tools, even fingers. Brushes should be natural hair bristles; most artists use one brush per color and keep them lying on the griddle so they stay warm. Encaustic is conducive to heavy layering, so paint can be added and scraped back: it is both a positive and a negative process. 

Safety

Encaustic should never be heated so high that it smokes, which means that it is giving off toxic fumes. Depending on the griddle or hotplate being used, the paint usually doesn't start to smoke until 250F. Below this point, encaustic does have a unique scent. To most people the aroma is slightly sweet, because of the beeswax, but some find that it causes headaches, nausea, dizziness, breathing difficulties and other respiratory problems, although it is not toxic. Your studio should always be well ventilated with exhaust fans or a ventilation hood. 

The flash point of encaustic (the temperature at which the vapor directly above the paint ignites) is 385F. Obviously, the paint should never be heated this high. 

Water should never come into contact with the molten wax because it can explode. 

As oil paint is compatible with encaustic, flammable liquids like turpentine will probably be involved. These chemicals should always be kept far away from heat sources.  The amount of oil paint used should also be taken into consideration. Encaustic "hardens," and oil paint "cures," thus there should not be equal amounts of the two materials or the finished painting will not harden or cure. As long as there is more encaustic than there is oil paint, the painting will dry fine. 

Finally, there are a series of safety precautions associated with dry pigments, which is only used when making your own encaustic paint.

Finished Paintings

Once the painting is considered finished and has cooled, there is nothing more that needs to be done - varnish or something similar is not necessary. The painting can be buffed with a paper towel or a soft cloth, which removes bloom (any impurities in the paint that have risen to the surface during the hardening process), dust, dullness, and restores the surface to a glossy finish. The hardening process will actually continue for a long time and it may need to be buffed every so often to remove any bloom that develops at a later time.

The paint is stable in temperatures ranging from approximately 40F-110F. In cold temperatures it will shrink slightly and if it is very cold it may crack. In high temperatures the paint might soften but there should not be any lasting damage.  Paintings should be hung out of direct sunlight.

 

About the Author

Ariela Steif is an artist and designer who works in encaustic and other mediums. Come visit her website.

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its called BIWF Brutal Insane Wrestling Federation. the ring will have electrical wires as ropes and sun bed tube fence surrounding it. the ring will have a broke down car from a junkyard, a metro bus from a junkyard, 10 pound bowling balls, 30 feet ladders, big mirrors,dining tables with tacks on them, drilling tools, taser guns , blades, and unwired steam irons. also inbetween matches we will have breakdancing, female mud wrestling, and more.

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Keepin' her steady
The connotations that cling to the sport of sailing don?t quite jibe with the tones of the typical South. Do sailboats have a place here? In a word, hell yes.

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