![]() 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. Because copper is malleable and ductile it is a material which Metalier craftsmen enjoy working with.I’ve been playing with altering the color of copper for a couple of years. The pearlescent effect also remains an all time favourite. ![]() It too can be preserved at precisely the colour required. The use of black wax can instantly emulate the natural brown-black layer created by nature over a long period. Metalier can artificially create verdigris on its copper metal finish, then neutralise the finish and seal it, if desired, so that the verdigris remains protected at just the level you want to preserve. Verdigris (copper carbonate) is a green layer which can often be seen on old copper constructions such as the Statue of Liberty. Copper is also important as an ingredient in the alloys brass and bronze – even gunmetal grey bronze. The oxidisation process actually protects the underlying copper from more extensive erosion. Copper reacts slowly with atmospheric oxygen to form a layer of brown-black oxide (think of church steeples). It polishes up very highly and resembles ebony.Ĭopper and patinas are a beautiful combination. Black copper is black with just the odd hint of a copper tinge. Dark copper is a deeper version of the traditional copper colour. The colours are salmon copper, dark copper, dusky copper and black copper. Our copper liquid metals are available in four different colours.
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