Technology of blackening tin for bronze. How to patent metal. Su-tanpan application process

Since the times of Ancient Rus', it was customary to make from tin not only dishes and household utensils, but also various patterned decorations and jewelry, not to mention the world-famous tin soldier from a fairy tale. Even now, it is quite common to find in every home some decorative element made of this relatively fusible metal. But such things do not always look good when they are still completely new; sometimes each of them lacks its own little “zest” - antiquity. In our article we will tell you in detail how tin patination occurs.
Why is this necessary?
Often there is a need for artificial aging of pewter products. To a greater extent, this is necessary to give them the appearance of antiquity or even antiquity, so that the item evokes memories of bygone eras, for example, when used in theatrical productions. When an item has just been purchased and does not have an antique appearance, they try to blacken it in order to create the impression that it was just taken from a museum display.
Of course, one could wait more than a dozen, or even a hundred years to get a natural patina, formed under the influence of all sorts of natural conditions, but this is absolutely not advisable. After all, you can age tin products yourself, using the means that you can find at hand; in extreme cases, you will have to go to a nearby hardware store.
How to properly clean tin?
If your tin product is covered with slight corrosion - the so-called “tin plague”, then treat its surface with the finest aluminum or zinc powder, mixing it with caustic soda concentrate. You can also place the product in hot paraffin for six hours. The most important thing is to prevent α-tin from continuing to spread its “disease” to other uninfected areas of the metal. After all, the activity of this “plague” begins already at minus three degrees Celsius.
Without stopping the spread of infection, you risk losing your tin item forever, because the main feature of this metal in case of a similar problem is that it crumbles into powder, the so-called “gray tin.” To prevent this from happening, try to protect these products from excessive hypothermia.
Aging
After some time, all pewter objects become covered with a light coating of natural patina. This happens under the influence of the environment, but this process sometimes takes a very, very long time. But what if you don’t have one? Then we suggest you do the tin patination yourself. To do this, you can find ready-made patina compositions sold in specialized stores. It is with their help that you will give your tin product a completely new look.
For example, after various chemical treatments of a metal that has already suffered from corrosion, “clearances” may form, which will need to be patinated. Also, with the help of patina, you can hide defects resulting from the loss of any element of the product. But, for example, if you apply hydrochloric acid to the surface of such a tin thing, you can see a pronounced crystalline structure of the metal. With its entire appearance, it resembles the frosty patterns on the windows that we have loved since childhood. This was noticed by masters in ancient times.
Using this technology, they began to specialize in tin coating, displaying their “frost patterns” on the surface of the tin sheets. Which became very popular at that time among the residents of our country. Now, experts are trying not only to chemically influence the metal, but also to patina tin using ordinary acrylic paints. Which, mind you, is cheaper than professional patina purchased in a specialized store, and much safer.
The Steadfast Tin Soldier…
First of all, I would like to wish you success in this difficult, and not very difficult, process of aging your “favorite” things made of tin. After all, if you approach it creatively, you won’t notice how time flies, and the result will please not only you, but also your loved ones. Plus, a lot of positive emotions, as well as increased confidence in your abilities!

Technologies for working with metal

Decorative finishing of metals - Patina

Since ancient times, any artistic product made of metal was decorated with a protective film, and the craftsmen took into account the purpose of the object and the material from which it was made. Perhaps one of the old Kasli masters paid attention to the black-brown coating formed from burnt oil and fat on the walls of cast iron cookware. Where there was such a film, the dishes did not rust. Then the film began to be deliberately applied to sculptures and other artistic castings made of cast iron. A durable coating reliably protected the metal from rust and made the work more beautiful and original.

Craftsmen who work with non-ferrous metals are even more inventive. Using simple chemical and thermal treatment, they learned to obtain almost any color on the metal surface. The chemical method of patination - this is the name of this type of finishing - makes it possible to obtain a beautiful and durable film on copper, bronze, brass, and steel.

Before you start patination, please understand and strictly follow the safety precautions in the future. Many chemicals can cause poisoning, so keep them in glass bottles with well-ground stoppers, away from fire and food. Store sulfur separately from other chemicals - its vapors are explosive. Chemical processing of metal can only be done in a fume hood or in the open air in summer. Be sure to wear safety glasses over your eyes and rubber gloves on your hands. To prepare solutions and for the patination process itself, use porcelain, glass or plastic dishes. Plastic cuvettes used in photography are very convenient. When mixing acids with water or other liquids, remember that the acid must be poured in small portions into the water or solution, but not vice versa! If acid gets on your skin, rinse the area with running tap water and then moisten it with a five percent solution of baking soda.

Before moving on to various recipes for patination solutions, let's talk about the patination sequence.

No matter how the metal is patinated, it is first cleaned, polished, degreased and bleached. Remove grease with a rag soaked in gasoline or alcohol, and bleach in a ten percent solution of any acid. Metal brightens very quickly. Rinse the bleached metal with clean water. Dry the metal in air or in sawdust from deciduous trees.

Now about the patination process itself. Immerse a small item entirely in the solution, and patina a larger item with a brush or swab attached to a wooden handle. Many solutions are opaque, so the product dipped in them must be removed and inspected from time to time. Once you have achieved the desired color, rinse in clean water and dry.

Some films stick to metal rather weakly, while others develop a whitish coating. To fix the film and remove plaque, the product after drying is wiped with natural drying oil, machine or vegetable oil. To visually enhance the relief of patinated embossed work, wipe it with a damp cloth with a fine powder abrasive (for example, ground pumice) or sand the protruding parts of the relief with GOI paste applied to felt or felt moistened with gasoline. (Recipes for preparing polishing pastes can be found in the “For the Home Craftsman” section). The convex parts of the coinage are highlighted, and at the highest points the natural color of the metal is revealed. You need to wipe the embossing very carefully, achieving a smooth transition from the lightest area to the darkest. Wipe the washed and dried coinage with oil or cover it with a thin layer of transparent varnish.

In order not to work blindly, but to know in advance what color the metal will turn out to be when processed with various solutions, prepare a reference table. Cut identical rectangles from sheet steel, copper, brass and aluminum. Treat them in solutions, the recipes for which are given in this article. Strengthen the dried and oiled metal rectangles on a cardboard or wooden tablet, placing steel plates in one row, brass in another, copper in the third, and aluminum in the fourth. Under each plate, make an inscription indicating the solution used to tint the metal and the processing conditions. While working on the reference table, you will also become familiar with the rules for preparing patination solutions, as well as learn other techniques for decorative metal processing.

1 photo Reference table of approximate colors obtained on the surface of metals using various processing methods.

On the steel surface:
1 - hyposulfite with lead acetate (blue);
2 - ferric chloride with ferrous sulfate and nitric acid (black-brown);
3 - potassium dichromate (black-blue);
4 - hardening with cooling in oil (black).

On copper surface:
5 - sulfur liver (black);
6 - sulfur liver with sodium chloride (gray);
7, 8 - copper sulfate with zinc chloride (red-brown).

On brass surface:
9 - hyposulfite with acids (black and brown);
10 - copper chloride with ammonia (olive, brown, black);
11 - potassium sulphide (orange-red);
12 - sulfur liver (black and gray).

On the surface of aluminum:
13 - pigments (any color);
14 - smoking (black);
15 - natural drying oil with calcination (brown);
16 - turpentine with calcination (olive).

PATINATED BRASS

Brown and black colors. Make a solution of 1 liter of water and 60 g of sodium sulphate salt, which is more often called sodium thio-sulfite, or hyposulfite. In everyday life, hyposulfite is known as a fixer for photographic paper and film. Add about 5 g of acid (nitric, sulfuric or hydrochloric) to the solution. A violent reaction will immediately occur, releasing sulfur dioxide. The solution will take on a cloudy milky color. Dip the brass product into it and after a few seconds, remove it and inspect it. Patina forms very quickly. If the desired color is achieved, rinse the product and dry. The solution has a patination power for about 20 minutes, then it becomes unusable. True, an aqueous solution of hyposulfite can be stored for a long time, but only if no acid is added to it.

Do not overexpose the metal in the solution. Inexperienced craftsmen, wanting to achieve a more intense black color, keep the product in the solution until a thick black coating forms. This patina is very weak and can be easily washed off with a stream of water. It is also not worth achieving an absolutely black color because the natural shine of the metal is lost under a thick film. Whatever color the patina has, the metal should still be slightly visible from underneath it.

If instead of strong acids you add about one tablespoon of vinegar to the hyposulfite solution, the same reaction will occur with the release of sulfur dioxide, but it will proceed much more slowly. To get an almost black color, brass will have to be kept in the solution for at least half an hour.

Wipe the plates washed with water after drying with oil.

Olive, brown and black colors. Make a solution of four parts ammonia, five parts water and two parts copper oxychloride. Copper chloride and ammonia fumes are poisonous, so follow the safety rules we talked about. Stir the solution with a glass rod.

It will take on a deep dark blue color. A brass object dipped into it quickly turns olive green, then dark brown and black. After removing the item from the solution at the desired stage, rinse it with water and wipe with a dry cloth. The patina is so durable that it can only be erased with abrasive materials. You should not wipe it with oil - the film already has a beautiful metallic sheen.

Orange-red color. Dissolve 5 g of potassium sulphite (potassium sulfite) in a liter of water. After a few minutes, a brass object dipped into the solution will become covered with an orange-red coating. After washing, wipe the metal with oil.

Gray and black colors. A durable and beautiful patina forms on the surface of brass and copper treated in an aqueous solution of liver sulfur.

To prepare sulfur liver, you need to mix one part of powdered sulfur with two parts of potash in a tin can and put it on fire. After a few minutes, the powder will melt, darken and begin to sinter, gradually acquiring a dark brown color. (By the way, the sintering of the patination mass gave the name “liver” in the old days - from the word “furnace”, “sinter”.)

During sintering, sulfur vapor may ignite with a weak blue-green flame. Do not knock down the flame - it will not deteriorate the quality of the sulfur liver. After about 15 minutes, stop sintering. For long-term storage, crush the sulfur liver into powder and place it in a glass jar with a tight lid. When making a solution in one liter of water, add 10-20 g of liver sulfur powder. The patina obtained on metal in a solution of sulfur liver is durable and beautiful.

PATINATED COPPER

Black and gray colors. Copper, like brass, patinated well in an aqueous solution of sulfur liver, acquiring a thick black color. But such intense coloring is not always necessary. Sometimes, to give an antique look to a copper product, it is enough to apply a light gray tint. Pour 2-3 g of liver sulfur and 2-3 g of table salt into a liter of water. After the gray color appears, wipe the product and dry it.

Red-brown color. An aqueous solution of zinc chloride and copper sulfate colors copper red-brown. Mix one part copper sulfate with one part zinc chloride and dilute in two parts water. A few minutes are enough for the copper to acquire a red-brown color. After washing and drying, wipe the metal surface with oil.

STEEL DECORATION

Blue color. It is easy to color steel blue in an aqueous solution of hyposulfite and lead acetate. For one liter of water you need to take 150 g of hyposulfite and 40-50 g of lead acetate. Steel immersed in the solution turns a muted blue color rather slowly. But if the solution is heated to a boil, the coloring will accelerate. After washing and drying, wipe the metal with oil.

Blueing. Of the many well-known recipes for steel bluing, we offer you the simplest, but which give beautiful and durable coatings. In a liter of water, successively dilute 15 g of ferric chloride, 30 g of ferrous sulfate and 10 g of nitric acid. When you dip the product into the solution, a rusty coating will appear on the metal. Remove it with a brush and lower the product into the solution again. After some time, a rusty coating will appear on the metal again, which also needs to be removed. If the bluing process goes correctly, the brown color on the surface of the steel will become thicker. And to get a thick black-brown, almost black color, this process must be repeated several times. After washing and drying, wipe the steel with oil.

Blued and black-blue color. Most often, bluing refers to the production of black steel with a slight bluish tint, like a raven’s wing. To get this color, dilute 100 g of potassium dichromate, better known in everyday life as chromium, in a liter of water. Having lowered the product into the solution, keep it there for about twenty minutes. After removing from the solution, dry at high temperature, for example, over an electric stove or over hot coals. The metal will acquire a gray-brown color. Do the same operation several times until a deep black color with a bluish tint is achieved. The metal must be wiped with oil.

Tarnished colors. In addition to chemical, there is another fairly simple way to decorate steel - thermal. (By the same method, you can get different colors on copper and brass.) If you heat the metal in a muffle furnace or with a gas burner, the tarnish colors on it will quickly begin to successively change - from straw-yellow to blue-black. The metal is abruptly stopped being heated at the moment when the desired color is obtained on it. By heating the embossed work with a gas torch or blowtorch, moving the flame at your discretion, you can achieve different colors of individual areas, a smooth transition from one color to another.

2.

Photo 2 Colors of tarnish on steel that appear at different heating temperatures.

Blued with hardening. Heat a metal object red hot and lower it into machine oil. It will immediately take on a deep black color. This way you can decorate small objects, for example, decorative chains of pendants.

ALUMINUM DECORATION

Aluminum has many advantages, thanks to which it is readily used by masters of decorative art. It is light, soft, flexible, and has a beautiful silver color. But aluminum is almost impossible to chemically patina. Current chemical patination methods require sophisticated equipment. Therefore, tinting, smoking and calcination are often used instead.

Patination with pigments. The easiest way is patination with oil paints. Using a piece of cloth, apply a thin layer of paint to the metal, making sure that all areas are completely covered. Then wipe the product with a dry cloth. In convex areas of the relief, the paint is removed more than in recesses, creating the illusion of a higher relief. The advantages of this patination method are that it is completely safe, and you can create any color of patina by mixing paints on a palette. It should be noted that only aluminum can be successfully patinated in this way. Instead of oil paint, you can use black ink, graphite powder, or black bitumen varnish.

Black and gray colors. Wipe the relief or sculpture with a thin layer of natural drying oil or some vegetable oil. Place the metal over a smoky flame. Smoke small items over a candle, and larger items over a bunch of candles or over burning birch bark placed in a tin can. It is convenient to smoke especially large products with the smoke of a torch moistened with kerosene. The smallest particles of soot eat into the drying oil, firmly adhering to the surface of the metal. In order to conveniently monitor how soot falls on the metal, the product should be above eye level. You can smoke the metal evenly, but you can achieve an interesting decorative effect by either decreasing or increasing the layer of soot. After applying soot, place the product over coals or in a muffle furnace. Make sure that the film is well calcined and does not burn out. The disappearance of shine on any part of the product is a signal indicating the beginning of the film burnout. When smoking and hardening, follow fire safety rules.

Golden yellow and brown colors. Various shades from golden yellow to dark brown and even black can be obtained by calcining an aluminum product coated with a thin layer of turpentine, drying oil or vegetable oil. Place the oiled product over the fire or over hot coals. The flame should not touch the surface of the product. To obtain a uniform color, rotate the product evenly over the fire. When the metal surface acquires the desired color, allow the product to cool gradually.

Aluminum coated with turpentine, after calcination, acquires a golden brown color, and with drying oil - red-brown and black. These methods can also be used when decorating cast iron, steel and other metals.

When decorating any metal, always keep in mind that you should not apply too thick a layer of decorative film. The material, its natural beauty and characteristic shine should always be felt. You need to be very careful when using bright, open colors, which can add variegation to the product and disrupt the integrity of its perception.

In conclusion, we once again remind you of the need to strictly follow the safety rules described at the beginning of the article.

Quite often when soldering copper I use “soft” tin solder, like many of my colleagues. Sometimes the soldering area somewhat spoils the appearance of the product, standing out sharply in white. Once upon a time I wrote down in a notebook from an ancient book a method for disguising tin on a copper background. Unfortunately, I don’t remember the exact title of the book, something like “The Handicraftsman’s Handbook”... or a handicraftsman. Not so important.
I'll take a couple of copper scraps, a 100 W soldering iron, a POS -60 rod and a piece of rosin.

I soldered a copper plate to a piece of tube and cleaned off the excess solder. Yes, you can still remove the solder, but I left it for clarity.




I make a saturated solution of copper sulfate. For 10 parts of vitriol - 35 parts of warm water. Or pour into water until it stops dissolving. I have 5 g of vitriol, so I take 18 ml of water. The place of adhesion is moistened with the resulting solution and rubbed in, as it is written - with iron wire, but an ordinary nail is no worse.




The red layer of copper is clearly visible on the tin seam, and the nail is also copper-plated. But this coating is not at all durable and is easily erased with a finger.


I rinse the part with water, then prepare a saturated solution of zinc sulfate, similar to copper sulfate.


Zinc sulfate, zinc sulfate, zinc sulfate, ZnSO4 - zinc salt of sulfuric acid - it’s all one. I bought it at the nearest Gardener store as a fertilizer.

I got 20 ml. saturated solution of zinc sulfate, add 10 ml to it. the previously obtained solution of copper sulfate. I wet the soldering area with this mixture. And you need to rub the solution in with a zinc stick! (Well, that’s what it says in the book). Fairly pure zinc can be obtained from


That's right - salt batteries - they have a zinc negative electrode (housing). Sometimes covered with a tin shield.
I carefully wipe the soldering area with the resulting piece of zinc for about 10 minutes, periodically moistening it with the solution.


Well, nothing is clear yet - a layer of viscous gray paste


After washing, I let it dry and lightly polished it.


And as a result, the color of the solder at the soldering point is practically indistinguishable from copper. Yes, the colors in the photo are poorly conveyed - there is glare. It looks completely different live. And unfortunately it won’t be possible to reshoot it.





So, after polishing the excess, the white color of the tin appeared.


Eventually:
- sometimes the only way to disguise tin.
- The copper layer turns out to be quite durable although quite thin - polish
need to be careful.
- Everything is chemical. reagents can be purchased inexpensively from households. store.

Stained glass using the Tiffany technique is a rather ingenious way of connecting shaped pieces of glass. Not without some drawbacks - special materials and equipment are required, however, we must pay tribute to the American comrade. To obtain the design, its glass elements are cut out and adjusted, their edges are edged with copper foil with a sticky layer - voila! Using a regular soldering iron we connect the parts into a whole. As a result, stained glass elements can be made much more fancy and small, which allows the drawing to be very detailed.

- All clear. This is a mirror made of thin films. They grow while the flower is alive and photograph everything they see. And now these films are evaporating, one after another.

Cartoon "The Secret of the Third Planet".

It must be said that the stained glass window itself, a thing that wiggles its fingers in the air, is involuntarily associated with antiquity. Images of lancet windows of an ancient castle, tapestries, shields and weapons on the walls naturally come to mind. Gothic of all kinds, little church at last. In a word, a kind of collective image of a rarity. It is clear that all sorts of metal things of this kind cannot sparkle like a freshly minted coin; from long circulation, an oxide film is formed on them, which remains in hard-to-reach places of the product, no matter how much you polish it. This film is called patina, its color depends on the metal. Its appearance - smoothly transitioning from very light, in open, worn places, to dark in hard-to-reach places, causes palpitations among antique dealers and antique lovers. The patina, in addition to this “imprint of time,” simply looks beautiful - a kind of mature, sophisticated beauty against youth and frivolity.

We cannot wait for favors from nature; taking them from her is our task.
Ivan Vladimirovich Michurin.

Natural patina forms very slowly, this is truly the “life experience” of the piece of iron, however, with the help of simple reagents, it is quite possible to create this kind of film artificially, which often greatly decorates the product. Patination is very often used in jewelry. Jewelers' processes are more complex, probably due to the use of precious metals that are more resistant to oxidation. Patina for products made of copper alloys, applied very simply, exists. In our case, we are talking about applying a patina to the surface of a tin-lead alloy (solder joint) and there are some complications here. Firstly, the place of application is specific - surrounded by glass, which we do not have the moral right to destroy when preparing the metal (cleaning). Secondly, soldering is carried out without cleaning the surface (foil on glass) and therefore acid fluxes are used, including special “soldering fat”, the remains of which are even more difficult to wash off. Residues of unwashed flux, as a rule, are the most common cause of failures when applying patina in stained glass.

Having assembled my first one, I encountered a problem when patinaing the seams. Having started studying the process, I discovered that the problem of high-quality patination is quite common in stained glass and occurs not only among beginners. As a result of the work, material was collected and summarized, and a number of experiments were carried out. As a result, it was possible to achieve an acceptable color of the seams using simple methods.

Generally speaking, two colors are most often used for chemical coloring (patination) of seams in Tiffany stained glass technique - black and bronze. The composition for imparting a bronze color is not recommended for beginners - it is more capricious, it requires more conditions during application to obtain an even, beautiful film. Moreover, it does not particularly resemble a real patina. The black color of the seams is given by chemicals based on copper sulfate. These compositions are much more flexible, after appropriate processing they are very similar to real “historical” patina and preference is given to them much more often. Your humble servant decided to start with it.

What was used in the work.

Tools, materials.
Brush with hard (cut) bristles, dishes, cotton rags. Black patina agent or copper sulfate, dishwashing detergent, hair dryer, rubber gloves, thin brush. Protective varnish for stained glass seams “Antioxidant”.

For experiments, I made a small sample - I cut a piece of 4mm glass into squares, wrapped 6 pieces in the worst Chinese foil and soldered them. I did not grind the edges of the glass using a grinding machine. Chinese foil, by the way, is not so bad - the adhesion of the glue is a little less and the size range is limited to integers. Considering that the founding father, Comrade Tiffany, glued strips of foil with beeswax, we conclude that the people today are simply spoiled. Sample directly after soldering.

Yes, I want to say that the key elements for the success of the procedure are time and careful removal of flux (acid) residues. Everything is clear with the residues - not removing them thoroughly enough leads to unsightly spots instead of smooth color transitions, but time - not that you need to move only at a run, but it is important to solder the stained glass at one time and so that there is little time left for patination. You can't put it off. We solder, immediately wash and wipe. We take it out into the sun and a draft, as soon as it is completely dry, apply a patina, wash off the residue, wipe it, dry it, apply a protective varnish. Without distractions.

To wash off the flux, you need to choose a stronger dishwashing detergent - some kind of Fairy. We immediately dilute it in a soft plastic bottle with a cork pierced with an awl. This makes it much more convenient than pouring it undiluted onto a stained glass window. We arm ourselves with a brush with hard plastic bristles - if this is a stained glass window larger than mine, you can try to pick up a shoe brush or something like that. In my case, I made do with an old toothbrush. To make it more convenient for her to operate, I molded her handle at a slightly angle, softening the base, using hot air from a hair dryer. Don't forget about rubber gloves. The water must be hot. Especially when using solder fat.

Well, nothing so unusual - we water our sample with hot water and diluted detergent, and carefully use the brush. Rinse thoroughly and wipe almost dry with a clean cotton rag. In the summer, in the sun and breeze, our glass dries out quickly. In winter, you should probably put it on a warm stove or use a hairdryer.

Patina. Homemade patina is made from copper sulfate. Aqueous solution 3:1. It dissolves without much desire, so you will have to heat it up. It is recommended to add soda ~ 1 teaspoon per 5 liters of solution. A small portion of the prepared solution is applied to the area of ​​the seam being treated and rubbed in thoroughly with the same toothbrush. Yes, there is a moment - after washing off the solder grease, there is a high chance that its remains will stick to the brush - you should not use it further for patination.

After the stained glass has been completely processed, it is washed to remove chemical residues, lightly wiped with a cloth and dried. Above is a coating of factory chemicals purchased in the same place as other materials for making stained glass. This coating is initially somewhat darker, but after light sanding there is almost no difference.

-Does your relative have beautiful legs? Slender?
-Well... in general... Legs are like legs. Average legs, let's consider it that way.
-Well, okay. This means that the bad legs, Lyudmila Prokofyevna, must be hidden.
-Where?
-Under the maxi!

Film "Office Romance".

Perhaps you can leave it like this, but it will be much more elegant if you sand the seams a little. However, this is a strong word - a good rub with a rough cloth is quite enough. Of course, all the soldering irregularities immediately become visible, but the overall appearance and impression are much more, hmm, authentic. Yes, regarding the clumsiness of the soldering - the unsuccessful patina in spots can be removed either mechanically (with steel wool, wool) or by resoldering the stained glass window. When resoldering, the oxides of the old patina form these difficult-to-remove islands, they get in the way and the soldering turns out to be much more clumsy than if done right away. I had to taste these delights to the fullest - the sample had to be soldered several times to prepare it for the subsequent experiment, the stained glass window also had to be redone due to an unsuccessful attempt.

After giving the patina authenticity, we protect the seams with a special varnish. Stained glass artists call it “antioxidant” - apparently a literal “machine” translation of the great and mighty English language. Sold in the same place where colored glass is sold. In principle, this is the only useful special - “stained glass” chemical. It gives color saturation, protects against further oxidation, and somewhat repels dust. Apply with a thin brush over the treated seams, then rub thoroughly with a clean cloth. I saw advice to use car wax polishes, and even WD-40, instead of such varnish.
Below, finished seams on a sample. The foil on the edges of the glass is not tinned, look only at the middle.

lorelay 29-11-2006 16:18

Hi all! Dear craftsmen and amateurs, it is very necessary to give a piece of tin an old look. So that it is gray with greenery. It is very necessary!!! Help with advice!

Bonifatich 29-11-2006 18:14

It’s good that I went into my profile, otherwise such things are usually of interest to bullshit people...

Mess 29-11-2006 19:49

To be honest, I have never seen oxidized tin turn green... And to age it, I think, is like this: pour acid over it, dry it with hot air and leave it in a damp place for a while so that “moss” grows.

lorelay 29-11-2006 20:04

quote: Originally posted by Bonifatich:
You have some amazing work on your site!
It’s good that I went into my profile, otherwise such things are usually of interest to bullshit people...

Thank you for your kind words about my work!
Now I’m making work from boxwood (a mask) and I need to insert a part made of tin so that it looks like an old, tattered one

Happy Glory

lorelay 29-11-2006 20:09

quote: Originally posted by Mess:
To be honest, I have never seen oxidized tin turn green... And to age it, I think, is like this: pour acid over it, dry it with hot air and leave it in a damp place for a while so that “moss” grows.

Thanks a lot! What kind of acid? I tried to pour soldering acid on it, but it didn’t work.
And you need to get this effect:
Best regards, Slava

Vovil 29-11-2006 21:48

Coat with copper (electroplating) part of the surface (nail polish) of tin, patina the copper

Forex 29-11-2006 23:28

quote: Originally posted by Vovil:
Coat with copper (electroplating) part of the surface (nail polish) of tin, patina the copper

1.
The simplest way to color tin is to electroplate the item with copper or brass, and then paint it in any way suitable for copper...

Mess 30-11-2006 12:41

concentrated or regular, slightly diluted orthophosphoric

Yakyt 30-11-2006 06:54

Hm...Sorry for getting into the wrong topic.
Is it possible to tell us more about applying brass using the galvanic method?

Vovil 30-11-2006 19:12

Hmm, old DIY magazine from the late 80s, I lost it
The essence is a solution of copper sulfate, a piece of copper to the “-” and the object to be coated to the “+”. There must be a rheostat in the circuit. I don’t remember the current strength (preferably less) and voltage (5-6V), but this is important. Clean the item to be coated... degrease as usual. Wood, plastic, fabric are coated with wax, wax with graphite dust, and a relief coating can be made using nail polish. Galvanoplasty and galvanostegy are the words to search for. If I find it, I’ll post it, or I’ll write you a PM (soap). I've been doing this for a long time. Looks like I need to be corrected. But you definitely need to find the exact values ​​for the current and voltage, and use a multimeter accordingly.
There were also children's books "Experiments without Explosions" by Ognev, and an even more children's book by him.

Yakyt 01-12-2006 07:18

So, how to plating copper is written on all fences, both electrochemically and chemically.
I once practiced applying a copper backing to epoxy, but it turned out really bad.
Applying copper is not a problem, zinc is the same...How to combine?
I would like to understand how to apply brass?
Or was it just a typo?

Vovil 01-12-2006 10:39

Brass - a typo not mine, you can apply “gold leaf” from brass, sold in stores for artists, but this is not exactly what you need. Naturally, it’s quite suitable for a tin mask, then you can oxidize and patina