Not too sure how you come up with the $200 figure. If you wanted to you could get the transfer paper and a single color foil for about $25. Another other 10 or 15 for the adhesive. The kit we purchased cost under $100.
Oh that's not bad. I thought I saw a "starter kit" type of thing that was $200 plus an exposure light or something. Do you need a special light? Or any other special gear, or just the material?
Thanks,
Mike
You need a laser printer. A laminator is very nice to have. A heat gun to dry things, but I plan to try a hair type blow drier.
There are no photographic steps. It is done by having things stick and release one from another. Quite clever actualy. The owner/inventor has put
a lot of R&D time in figuring out how to make it work.
There are two methods in the one kit. One is for working with foils which only requires a b/w laser printer. The full color decals require a color laser printer. But they are very impressive.
I do not have a color laser but may be gettin one in the next year.
I posted about this earlier but I do not think you looked at it. Frank at PulsarProFx/DecalProFx has put many hours into creating good looking transfers.
Everyone is free to do as they please.
I used to be a horrid penny pincher but have slacked on of that somewhat. Too much time getting the cheapo methods to work.
Once I switched to the pulsar starched paper my PCB were so much better that I have never looked back. At a buck and a half a sheet it is worth every cent and more.
But, when I make PCBs I sometimes save the transfer paper I used for the foil pattern. When it has dried I reuse it to transfer the "silkscreen" layer for parts placement.
EDIT:
A lot of the people here seem to use iron on PCB techniques.
I'm curious why you do this rather than just print the pattern on a transparency and then expose resist coated boards?
I can give at least one answer to that. Years ago, I used to do the photo resist thing (KPR and Xylene and the positive resist and lye solution developer). It worked but required a good exposure source (I've used many, including the sun, tanning lamps, commercial arc lamps, Diazo exposure boxes (of which I have a few around), etc.) and the procedure is rather time consuming. If you coated your own boards (as I did) it was tricky. I had built a spinner that applied the resist by centrifugal force (It's still around here somewhere). Then there was the mask. Some here claim good results from a toner-on-clear backing but, I always found the toner to be too transparent and the exposure pretty iffy. I used to use my darkroom enlarger as a process camera to expose the films for the masks (Kodalith and Kokak's, D-8 chemestry). The taped pattern didn't work with a negative resist, like KPR and required the photographic step, although the positive resists did (if you were careful about not letting light leak in under trace and pad junction points)...and on it went.
I've also played around with silk screens but, you have all the same tedium as with the photo resist on boards, plus the painting.
The toner resist presents its own problems and quirks but, it's a lot easier and, with the advent of the laser printer, very condusive to computer generated layouts (rather than the old taped patterns).
For experimental and onesy-twosy boards, the toner method is a good choice. For small-scale production work, probably the best method is to generate silk screens and screen the boards. For larger scale production, I don't know what the usual methods are anymore.
What kind of resolution can you get with the iron on stuff? Can you do 10 mil lines? Or better?
Can you get UV stable tape or transparency material? Every piece of tape I've ever seen last a couple of years tends to yellow (from UV, I presume). I'd hate to put work into a project and have it slowly get ugly. I know there are spray-on UV blockers for art but they aren't that durable.
With the good transfer paper the line size seems to be limited by the ability of the laser printer. I have an inexpensive HP1020 and often use .012 lines. I can do .010 but have to take a bit more care.
As crashsite suggested thinner copper undercuts less. But this and maybe a few other parameters are common to all etching regardless of how you apply the resist.
The site shows examples of .006 lines, I think this was done on 1/2 oz copper.
**broken link removed**
I use a cnc mill to drill holes. Up to now I have used surplus PCB stock and do not know exactly what the copper thickness is/was. Last this year I plan to be doing more surface mount work and may order new 1/2 oz PCB stock.
Toner transfer can be quick to do. If I have a pre drilled PCB blank and a hot laminator I can go from computer artwork to an etched board in a few minutes.
For etching pulsar has a green foil that you can optionally laminate to the toner. It makes a PCB-toner-foil sandwich. The foil bridges pinhole sized gaps in the toner. For me this is a step I can often skip unless my toner cartridge is over about 1/2 used or if I am doing lines under .012.
For me cost is a factor. If I make anything for school I need 10 or 12 copies. With the surplus board and the pulsar paper the PCB cost is much cheaper then pre sensitized boards.
EDIT:
On factor that has made PCB etching easier is that higher levels of circuit integration and smaller package sizes have reduced the size of the boards we make. A 10 by 5 inch board is about 50 times more likely to have a process error then a 1 by 1 inch PCB. Back in the days of the Z80 I played with photo resist and silkscreen as did crashsite.
IMHO if the average person has to make more then a few identical PCBs, a board house is the way to go. Then you also have solder masks and plated through holes. Drilling holes by hand is tedious, if I did not have the CNC to do that for me I would be making fewer boards at home.
It would be nice if there was a low cost PCB drill.
I would prefer that
- it be CNC in XYZ
- it be much more accurate then hand drilling
- once you set the machine up you can walk away from it
What i do :
is fairly the same ..
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