Patinas on metal objects can be beautiful. Our Patination section covers techniques and materials you’ll need to safely add patinas to metal jewelry.
Michael Rowe uses functional containers as a base from which to explore formal studies of space, form and balance, which are enhanced by his expressive use of patination. His holloware gains strength from the fact that he is not distracted…
As part of a large scale patination project in which I patinated a steel roof surface 24 by 48 feet on both sides I performed some 40 experiments to find out how to patinate the steel which was a requirement for structural reasons. In doing so I also experimented with paint.
As with most Japanese metal coloring methods the techniques are metallurgically based rather than solution oriented; in the West we tend to use a myriad of coloring solutions and limited number of alloys; in Japan there are a limited number of coloring solutions and innumerable metal alloys which react differently in the same solution.
This patination solution gives you a range of greens, olives, browns, black, turquoise and yellow-greens on many metals because it is a surface finish. It is quite adhesive and controllable. You do however need adequate ventilation.
Last fall, the National Ornamental Metal Museum in Memphis, Tennessee hosted a retrospective of the work of Helen Shirk. Nearly 70 pieces, from her early silver work in the late 1960s, to her recent patinated copper and brass vessels, confirmed…
Japanese artists have contributed significantly by using their unique alloys in innovative combinations. Perhaps the best example of this is mokume-gane, a lamination process in which layers of various alloys are manipulated to create a rich pattern. In addition, Japanese work of many periods shows highly skilled inlay techniques where, again, the complex pallette of Japanese alloys is used to achieve subtlety and a controlled use of color.
This is the basic recipe for the iridescent patina. This patina is most effective on highly textured pieces, such as torch texture, rollerprinted and reticulation. It has a slight color interference pattern, similar to oil on water. It has a high natural luster, similar to the nacre on pearls, if done correctly with many repeated dips in a weak solution. It is durable, the colors remain stable to a high degree, and.
The rich history of Japanese patinas is the result of hundreds of years of experimentation, innovation and tradition. This article covers some special Japanese Patinas; Wara-ibushi, Nuri-iro, Iroe-do, Ryuka (Sulfuration and Concentrate), Furubi, Kin-Furubi and alternative Furubi formulas.
Liver of sulfur, a stinky jewelry studio standby, can be used to create beautiful patinas on Silver, Silver Precious Metal Clay or Art Clay.
Extremely clean metal surfaces give better results. See the article on Cleaning metal Surfaces for more information on cleaning.
Use Midas® XL Gel to patina metals such as sterling silver, copper and bronze. It is formulated for extended shelf life, versatility and convenience. Midas XL Gel may be used in its ready form or by mixing 1 teaspoon of…
The surface of metals may be colored, a patina added either chemically or with heat. Patinas are generally achieved by causing the metal present to react with another element. It may be the air forming oxides or another chemical added to bond molecularly with the surface. A few pseudo-patinas are simple coatings on the metal’s surface. The following patina formulas are but a sampling of the hundreds in existence. The formulas selected illustrate the wide range of application methods employed as well as a rich variety of colors. The first 30 formulas listed are represented on a supplemental sampling chart to designed for use as a visualtext-book..
This procedure should be undertaken with appropriate precautions; goggles, gloves, protective clothing, adequate ventilation. Recently I have been presented with the problems of repairing or changing the color of Indian made polished brass objects, usually to brown or grey tones. In one case the object was a Shiva which was about three feet high and across.
Patination is a technique which has become popular for some kinds of fashion jewellery in recent years. Usually a patina requires the application of a toxic chemical mixture or the conversion of the metal surface to a salt of it’s metal. For most patinations then good ventilation and a knowledge of chemistry is necessary. There are however a number of old patination techniques which are based on a simple.
In recent years there has been an increased interest in patination and metal coloring. This may be seen as a response to the use of nonprecious metals in jewelry. A trend towards objectmaking in North America has produced relatively large…
Jewelers use so-called -oxidising- solutions to darken metals like silver, copper, brass, nickel silver, bronze and, with specialized mixtures, on gold. Metalsmiths patinate both large and small objects, as well as jewelry. We usually think of patinas as being green, but they come in many colors. There are also metal dyes which are very adhesive. Paints, epoxy resins and other materials are also used to darken recesses on work. Metal coloring solutions are often made up of chemicals in toxic concentrations, so all chemical-lab precautions need to be taken with them.
Here are some patination sources on the internet.
Remember that all patinas are toxic and irritant and should not be worn next to skin unprotected.
With the ever-higher cost of precious metals, many jewelers are increasingly working with non-precious metals such as stainless steel, titanium, and copper. As jewelers design with these materials, color and pattern development have become popular ways to dress up the surfaces of these pieces.,,,
It is important to understand that many variables will affect patina results. Our tests were made on smooth, rolled metal. Textures will change the color, and cast metal has a different structure that can also influence color. These samples include no solder, and because solder is a different alloy, it will react to the solutions differently. Changes in temperature, length of exposure, climate, and strength of the chemicals wilt all influence colors.
Niage is an important Japanese patina, and one of the most basic. It has been used as the base color on copper and copper alloys for centuries, and today it is also used as a final patina. As is true of all the recipes given here, these proportions are general guidelines, and experimentation is encouraged. A wide range of colors can be achieved by changing the concentration, proportions, or the time of exposure.
It is impossible to pretend that a single description of tools, materials, and equipment will suit all needs. Obviously these elements will depend on the scale of the work you do, the layout of your studio, and the resources at your disposal. A sculptor working in large-scale bronze castings will have different needs from a jeweler.
We asked a number of top jewelers to tell us their best practices, techniques, and tips for creating satin, brushed, and hammered finishes as well as patinas on jewelry. Take notes – you’ll want to test these popular finishing touches…
This is a mixture of potassium sulfides which has traditionally been used to darken or ‘antique’ silver and bronzes. This is usually called ‘oxidizing’ the surface though it has nothing to do with oxygen, what is really happening is that sulfur is reacting with the surface to produce the grays and blacks. So if you call it ‘oxidizing’ as most jewelers do just remember that is untrue. Most people who make jewellery are quite familiar with its use.