Etching...Uncovering the Hidden Image. Part 4

Figure 1. Chemical ‘Wet’ Etching,
Undercutting, and Resist Lifting

This is Part 4 of my series of blog posts on how to chemically Etch Copper Alloys using Toner Transfer Paper (TTP) or Press-n-Peel Blue (PnP, or PnP Blue) sheets as the main Resist. Please see Part 1 of this blog post series for general information and additional tips, several points are not repeated here.

This blog post adds details related to Part 3's figure, "The Process of Chemically Etching Copper Alloys", please see it for further details that are not repeated here.

[IMAGE]
Chemical ‘Wet’ Etching, Undercutting, and Resist Lifting

1. The Depth of the Etch is determined by: length of time, types of Metal and Etchants, as well as the strength / age / temperature of the Etchant. 

2. Narrower lines are shallower and thinner than (3.) Wider lines. 

4. Undercutting: The Metal is left in the Etchant for too long or it is too strong or new and it begins to erode away just under the resist’s edges causing an inconsistent and rough outer edge.

5. Resist Lifting: The Resist did not bond well enough to the surface, it either flakes or lifts off, the Etchant flows under and etches the new areas.


TO GO TO PART 1
TO GO TO PART 2
TO GO TO PART 3

Resource: My Video Tutorials and Demos on Vimeo

Gaeira's Anvil...Videos

You can now find my Video Tutorials and Demos on my Vimeo page, Gaeira's Anvil...Videos

I will be uploading my videos on my Vimeo page instead of on fb and posting information and a link as I make and upload new ones.

Please leave constructive criticism so I can improve my future video sessions. The 4 current ones, which were previously posted on FB, will most likely be replaced at some point with updated versions as I improve my video making skills.

https://vimeo.com/gaeirasanvil

Late Anglo-Saxon Disk-Brooches. Part 5 (Display 1)

Figure 1. Close up.

This is Part 5 of my series of blog posts related to my Late Anglo-Saxon Disk-Brooch research and fabrication Project. Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.
On Sunday, August 4, 2019 I participated for the first time in the 22nd Annual Known World Arts & Sciences Display at Pennsic 48 with phase 1 of my Late Anglo-Saxon Enamel Brooch Project. From 1pm to 5pm I was one among a few dozen artisans displaying their projects from across the SCA Known World. 

The 9 glass bottles on the right half of the display are of my White Paste experiments which I'll be writing a blog post about in the near future. 

The colorfully filled glass bottles on the left half of the table are the enamels that I made from hand grinding several soft glass Lampworking rods of CoE 104 glass. [See Part 2, Part 3, and Part 4 of this blog series for more details.] The back row are the first 5 colors of glass rods that I ground. They were unfortunately contaminated from the marble mortar and pestle I used when I started this project. The front row of 6 enamels were entirely hand ground using a Stainless Steel mortar and pestle and fired beautifully as enamels. I switched to Stainless Stell once I read a passage from Cellini's Treatise in which he mentions using Steel, this made a great difference.

Figure 2. Full display.

It was far too windy to put out either the small Sterling Silver bezels I enameled, the glass beads I set with White Paste in bezel settings, and sample pieces of the glass rods. I will need to attach them to a sturdy backing before St. Eligius Arts & Sciences Competition in mid November, hosted by the Barony of Dragonship Haven, so they can be seen without risking their loss to wind or by getting tipped over.

These are 3 of the 4 currently printed out binders of my research sources. I've found other papers that I need to print out.

The two cutting chisels and Muffle set were made by Doug Colin Guyton. The overall muffle design is based on my research of both Theophilus and Cellini's Treatises. The muffle top is also very similar to one of the extant finds of Georgian enameling muffle covers in the Georgian National Museum.

Etching...Uncovering the Hidden Image. Part 3

Figure 1. The Process of Chemically Etching Copper Alloys

This is Part 3 of my series of blog posts on how to chemically Etch Copper Alloys using Toner Transfer Paper (TTP) or Press-n-Peel Blue (PnP, or PnP Blue) sheets as the main Resist. Please see Part 1 of this blog post series for general information and additional tips, several points are not repeated here.

This blog post expands on the description in Part 1's figure, "5. Piece in Etching Solution; areas unprotected by Resist will be etched away, the metal being removed is Orange", please see it for further details that are not repeated here.

[IMAGE]
The Process of Chemically Etching Copper Alloys

1. Etchant / Etching Solution
2. Floater of Styroform
3. Tape, etc. attaches metal to Floater
4. Metal with Resist
5. Particles etched away
6. Heat Source
7. Vibration / Agitation


Dark Yellow = Etchant Solution.  Ferric Chloride => Copper Alloys;   Ferric Nitrate => Silver Alloys.

Dark Grey = Resist, is Toner, a Plastic not an Ink, from a HP Laser B&W Printer.

Purple = Added Resist (Nail Polish, Tape, etc.), to protect surfaces from Etchant.

Light Grey = Mounting or other Tape, Glue, etc., to attach Metal to the Floater.

Medium Grey = Floater to keep the Resist covered Metal suspended in Etchant.

Yellow = Metal being Etched, must first be cleaned properly.

Orange = Metal that is removed by the Etchant.


TO GO TO PART 1
TO GO TO PART 2