Technique

ALL LEVELS | METAL

Grab a lidded container and use this traditional
technique to color metal with enclosed fumes.
by Judy Freyer Thompson
F
uming a piece of jewelry patinating the metal by exposing it to just the
fumes of a chemical patina, not to the patina itself might sound compli-
cated and potentially noxious. But this age-old technique doesnt require a
dedicated patination room or a large specialized setup, though you will, of course,
need adequate ventilation. You can easily create an effective fuming tent, a
device to hold and concentrate the patinas fumes, with just a simple lidded plastic
container and a glass dish. The patination liquid goes into the glass dish, the dish
goes into the plastic container, and your prepared piece of jewelry is suspended
above the liquid. Once you snap on the lid to capture the fumes, all you have to do
is wait for the chemical reaction to cause the patina to appear. Simple.
2010 Kalmbach Publishing Co. This material may not be reproduced
in any form without permission from the publisher. www.ArtJewelryMag.com 1
Plastic lidded
container
Ammonia
Fumes
Copper earrings with salt
particles on surface
Scrap copper wire hooks
Fishing line
Duck tape
Glass dish
Duck tape
Select the metal you want to pati-
nate. You can use this ammonia fuming
method to patinate any copper-based
metal, such as copper, bronze, brass,
sterling silver, shibuichi, etc.
Drill a hole in the metal. I prefer
to fume my pieces after Ive
drilled a bail or ear wire hole
. That way, I can simply
thread scrap wire through
the hole to securely
suspend the piece above
the patina.
If you dont want to drill a
hole through your metal, youll
need to wrap scrap wire around it or
find another way to hang it.
Pickle the metal. Mix a solution of two
parts white vinegar to one part plain
(noniodized) salt in a nonmetal container.
Submerge your metal in this pickle
solution, and leave it there while you
prepare the fuming container.
Prepare the fuming container. In a
well-ventilated area, pour a small amount
of ammonia into a small glass dish so the
liquid is approximately
1
4 in. (6.5 mm)
deep. Place the glass dish in a plastic
lidded container.
Devise a way to suspend your
pieces above the glass dish. You
could use duck tape to secure
fishing line taut across the
container, or you could
wedge a dowel against
opposite sides of the
container. The method you
choose should allow you to
securely suspend your metal
above the ammonia without letting it
touch the liquid. Close the lid tightly to
begin capturing the fumes.
Clean the metal. Check your metal for
firescale; if any remains, keep the metal in
the pickle until the metal is firescale free.
Then, remove the metal, and use a tooth-
brush and dish soap to scrub it thoroughly.
At this point I like to spray the metal
with an environmentally-friendly degreas-
ing spray to remove any remaining residue.
you may also like
To learn how to make a
copper star, left, check out
Judy Freyer Thompsons
Fold-Form Mini Copper
Stars article (January 2011).
materials
Copper-based metal piece to patinate:
copper, bronze, brass, sterling silver,
shibuichi, etc.
toolboxes, www.art
jewelrymag.com/reference
Finishing
additional tools & supplies
Flex shaft, drill bits; or hole punch
White vinegar
Plain uniodized salt: table, sea, or kosher
Ammonia
Containers:
Plastic container with tight-fitting lid
Small glass dish to fit in plastic
container
Method to suspend metal in container
(choose from):
Fishing line, duck tape
Wooden dowel
Degreasing spray (such as Citrus Magic
or Simple Green)
Clear urethane spray or other sealant
See Safety Basics, www.artjewelrymag.
com/howto
Figure
2
Intensified colors
Patina alone Product: Sophisticated Finishes patina in green
verdigris color Technique: Painted three
coats, allowing patina to
dry between coats
Patina + Oil paint Product: Light blue oil paint
Technique: Light coat brushed into recesses
Note: Makes its own sealed barrier on the metal
Patina + Acrylic paint
Product: Acrylic paint in
green, teal, blue Technique: Paint thinned with
water, then mixed on metal
and dabbed into recesses
Note: Slight reaction with
patina while drying created
some lightened spots
Patina + Colored mica
pigment powder Product: Perfect Pearls in
magenta, purple Technique: Each color mixed
with water to form paste,
then painted on metal
Patina + Gold leaf Product: Imitation, variegated
gold leaf (22k gold would
also work) Technique: Thin layer of metal
leaf size (adhesive) painted
on metal and allowed to
dry; once size was tacky,
leaf was applied and buffed
with soft brush
Most sparkle
Topcoats*
High-gloss spray lacquer Microcrystalline wax
Matte acrylic spray
Best
range of colors
Long
drying
time
C
o
lo
r
in
g
M
e
d
ia
Wax application removed some leaf
Patina + Alcohol ink Product: Adirondak Ink in
three shades of brown
Technique: Ink applied, then
drops of alcohol-ink thinner
provided contrast Note: Color faded after light
sanding, so additional ink
was applied
Patina + Metallic wax finish
Product: Amaco Rub n Buff
in coppery red Technique: Used finger to
rub light coat onto raised
surfaces, then lightly buffed
with tissue for shine Note: Waxy finish seals metal
Patina + Colored pencil
Product: Prismacolor colored pencils Technique: Multiple layers
built up in recesses and
blended with colorless
blender pencil Note: Waxy finish can be
buffed to a light shine with
a soft cloth
Clear sprays: Seven thin layers were sprayed
an hour apart to produce a
protective coating and create
desirable depth of color.
Microcrystalline wax:
One to two thin layers of micro-
crystalline wax were rubbed onto
the surface with a lint-free cloth
to protect the color and metal.
Topcoats*
C
o
lo
r
in
g
M
e
d
ia
* Notes on the topcoats
High-gloss spray lacquer Microcrystalline wax
Matte acrylic spray
Muted
colors
Notes on the experiment
All samples of copper sheet were etched to the same depth.
Each color medium was applied uniformly across each copper sheet.
For greater contrast and to test durability, all copper samples were lightly
sanded (8001500 grit) after color medium was dry and before any clear
topcoats were applied. Use caution, and spray any topcoats outside. If sprayed inside, ensure
adequate ventilation and wear a respirator.
Reduced metallic finish
Greatest depth of color
1
M
e
ta
l, 1
P
a
tin
a, 2
4
R
esu
lts

www.Ar t Jewel r yMag. com 33
32 Ar t Jewel r y November 2008
NOTE: Once the metal is clean, handle it
only by its edges, because the oil from
your fingers will affect the patina.
Rinse the metal thoroughly with plain
water. The water should sheet off the
metal; if it beads up, you need to clean
the metal more thoroughly.
Apply salt to the metal. While the metal
is still wet, sprinkle plain salt, sea salt, or
kosher salt on it. The shape, size, and
amount of salt you use will affect the
final patina. Experiment to develop your
personal preferences.
Fume the metal. Suspend the salted
piece of metal in the container so that
it hangs over the dish of ammonia.
Make sure that the metal does not touch
the ammonia. Close the containers lid
tightly [Figure].
Leave the metal in the closed container
for at least 15 minutes. Check on the metal
periodically to see how the patina is
developing. When the metal is your
desired color, carefully remove it from
the container.
Clean the metal and protect the
patina. Using dish soap and an old
toothbrush, thoroughly wash the metal
to remove any ammonia residue and salt.
Let the metal air-dry.
NOTE: Check with your local authorities to
find out the best way to dispose of the
remaining ammonia. In most cases you
Videos
Check out this bonus tutorial for
a fundamental technique used in
this project:
Drilling
Videos, www.artjewelry
mag.com/videos
Fuming the copper will significantly
patinate it without masking it entirely.
The cuff, below, is 2
3
4 in. (70 mm) tall.
The copper disks average 1 in. (25.5 mm)
in diameter.
related project
To learn 24 more ways
you can add color to your
metal, check out Copper
Coloring Techniques by
Pat Gullett (November
2008) at www.art
jewelrymag.com/
projects.
should be able to dilute it with water and
pour it down a non-septic-system drain.
When the metal is completely dry,
apply two to three light coats of a
high-quality clear urethane spray in a
well-ventilated area. This will halt the
patination progress and protect the
patinas colors.
3
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