![]() We’ll talk about “bagging” and “burying” later. I’ve gotten a pretty nice bluish patina using what I refer to as the “hanging” method. I almost always put my pieces directly in the tumbler for an hour or two after their cold water bath. The color variations are a result of many of the aforementioned variables including temperature of the liquid and duration the metal remains in the liquid. I used steel wool to lighten the patina on the star while leaving the background dark. ![]() As you can see they range from light to dark. The photo below shows discs that are indicative of some of the colors you can achieve using Liver of Sulfur. You can find Liver of Sulfur at our other company Stamping Out Loud I have only used the latter two and prefer the gel. ![]() Liver of Sulfur is available in several forms including chunks, a pastelike liquid and the newer gel form. Albeit, you would not want to linger over your Liver of Sulfur and it is best used in a well-ventilated or outside area. The first patina I ever used was rendered by Liver of Sulfur, a substance with fumes that are stinky, but reasonably harmless. You can find many manufactured patinas and the stores that represent them can provide that information. Also, I’m not including information pertaining to patinas that can be purchased such as black/brown patina, etc. I’ve tried many different methods to produce a patinated piece, but am not discussing most of them since they either didn’t work well or I could not replicate them. patina can refer to any fading, darkening or other signs of age, which are felt to be natural or unavoidable (or both).” I guess we could say that the forced patinas created by designers are “unavoidable”! In case you’re a wordsmith, it might be interesting to note that patination refers to the chemical process by which the patina forms and a final work or art is said to be patinated if it has a patina. The information presented here refers specifically to copper and I cannot vouch for the effect the processes have on other metals. Most jewelry makers are not content to wait on nature and use some type process on metals. These changes can be natural, occurring over time, or we can hurry them along. On metal, patina is a coating of various chemical compounds such as oxides or carbonates formed on the surface during exposure to the elements ( weathering). is a tarnish that forms on the surface of bronze and similar metals (produced by oxidation or other chemical processes) a sheen on wooden furniture produced by age, wear, and polishing or any such acquired change of a surface through age and exposure. The following information from Wikipedia explains the terms used herein. I can’t even get exactly the same results two times in a row! I think you probably have the picture now and can accept this as my disclaimer that you may not get the same results that I have obtained. Variables, among many other things, may include the temperature and amount of the liquid used, how much the liquid is diluted, the temperature of the environment, the amount of time the copper is exposed to patination and the condition of the copper. For example, if you want all the parts of a handmade chain, including the clasp, to match, you will want to patina them all at the same time. ![]() If you want several pieces with exactly the same patina, I highly recommend that you do them all at the same time. I’d like to share with you the things that work consistently for me.Īt the outset, I should make it clear that variables will affect the patina achieved. My problem was that I either couldn’t get the patina to work appropriately in my conditions or the patina recipe required chemicals that I had never heard of, couldn’t locate and didn’t really want to use. I quickly learned that there is a plethora of information regarding this topic both published in books and magazines as well as available online. Enamored by the beautiful pieces other artists create, I set out to find some answers. I’ve been playing with altering the color of copper for a couple of years.
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