Etching...Uncovering the Hidden Image. Part 2

Heat Transferring the Toner Image onto Flat Metal

This is Part 2 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, "3. TTP / PnP Blue during Heat Transfer of Resist onto the Metal", please see it for further details that are not repeated here.


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Heat Transferring the Toner Image onto Flat Metal

1.  Pressure and Weight helps the Resist to Heat Transfer and Bond to the Metal. 
The entire time I'm burnishing with the back of a metal teaspoon, I am also applying downwards pressure when I'm using a heat source below my sandwiched pieces. If I am using a clothing iron I need to press downward on the handle while smoothly moving it around.


2. TTP / PnP Blue w/ a mirror image of the design, printed w/ a HP B&W Laser Printer. Once Heat Transferred, the Toner, a plastic not an ink, is the main Resist. Temperature Range: 280F to 295F  [138C to 146C]  for approx. 90 to 150 seconds.


3. Flat Metal Sheet must first be properly cleaned of oils and dirt for a stronger bond.

The steps that I take to clean my metal: 

1. Wet a link free cotton pad or paper towel with either Denatured Alcohol or Isopropyl Alcohol (99.9% pure Anhydrous), make sure to wipe the entire surface you will be heat transferring the Toner / Resist onto as well as all the edges.
2. Use liquid Penny Brite or the paste version with a bit of added water to scrub the surface using your fingers, rinse off well, and air dry.
3. Repeat Step #1.
4. Do the water sheeting test by running cool water over the surface of the piece that you intend to heat transferring the Toner / Resist onto. See if the water covers the entire surface evenly to form a 'blanket' of water. If the water avoids certain ares then it means the surface isn't sufficiently clean and you must start at Step #1 again.

This is the same cleaning method I use before applying vitreous enamel onto metal.


*4. Folded-over Parchment Paper holds TTP or PnP Blue & Metal, aids burnishing.

The correct range of heat isn't the only important factor for the Resist / Toner to create a good bond between itself and the metal's surface, pressure / weight is also required. One way to accomplish this is through burnishing.

PLEASE see point #3 in Part 1 of this blog post series for further details that are not repeated here.


5. Heat Source: Electric Grill (5A Below), Clothing Iron (5B Above), etc.

There is a wide variety of equipment that you can use as your heat source. Electric Grills are advertised for cooking breakfast / brunch, they have a hard heating surface and usually a temperature dial. Some etchers use an electric press for T-Shirt Heat Press Transfers. 

Clothing irons are fine though they are best for small items. A laser thermometer is needed to measure the surface temperatures since they aren’t consistent across the entire surface. Most newer models have a safety switch that turns them off after a short time to prevent fires. Unfortunately, this causes havoc for our needs. If you can find an older model without the auto shot-off switch feature you are better off using that. Please pay EXTRA attention since it won’t turn itself off and can lead to accidents and fires. 


6. Use a flat and firm surface to lay everything on.
If your heat source is an Electric Grill, they already have a flat and firm surface to work on. If you are using a Clothing Iron as your source of heat then you need to work on a flat and firm surface. These surfaces aid in achieving a clean transfer, especially when using a clothing iron.


*EXTRA #4
Take a piece of Parchment Paper, the same type that is used in baking that's usually sold in rolls, cut it so that it is at least 2 inches wider and 2 inches longer than the 'sandwiched' together TTP / PnP Blue and metal sheet. Fold it in half, so one of the longest sides of the sandwiched pieces is snug against the fold line, and the sandwich is centered for the 3 open sides. 

This sleeve or folder helps keep the various layers in place, helps reduce the chances of anything shifting around during the heat transfer or burnishing, allows the burnishing tool (spoon, etc.) to glide smoothly when working close to the edges, and it also ensures that there is something for you to touch that isn’t hot to more easily manipulate the bundle (ex. flipping it over a few times, etc.).

Once the appropriate amount of time has passed, for the heat transfer to be successful, plunge the sandwiched pieces in a spacious container filled with cold water.


GO BACK TO PART 1
TO GO TO PART 3

Late Anglo-Saxon Disk-Brooches. Part 3 (Enamel)

Fig 1.The first four colors of Flameworking glass rods that I
processed into fine powder to use as vitreous enamel.
Next to each plastic container is a piece of the
glass rods that I used as a source for the glass.

This is Part 3 of my series of blog posts about my Late Anglo-Saxon Disk-Brooch Project. Please see Part 2 of my blog post series for information on my reasons for experimenting with Flameworking glass rods and turning them into a fine powder which can be used as Enamel.

Part 1 is a general history of the disk-brooches that my research and fabrication project centers around.

At the start I used Propane fuel with a standard plumbing torch head to heat up the glass rods (Fig 2). My sheet of Stainless Steel was on top of the table with the mortar on one end next to the sheet. 

Fig 2. Left over fragments from
3 Flameworking glass rods.

The mortar was filled with ice water, this is where the heated glass will fall and shatter due to the thermo shock (Fig 3 & 4). The temperature change between being heated up and the ice water will over stress the glass and cause it to break into tiny shards due to the sudden cooling effect. The ice water also containing the pieces within the water and prevents them from flying about.

Fig 3. Once I switched from using Benzomatic's
Propane fuel and a basic torch head
their MAP-Pro and Hot Head torch .

I started with the red opaque glass rods. I held a length about 2 to 2 1/2 inches in a pair of long handled pliers and heated up as much exposed glass without getting the pliers in the flame. I didn't reach molten temperatures before I dropped the full length of rod into the cold water. It shattered a bit, but not as much as I had hoped. I continued with this method until I had enough shattered pieces in my mortar.

Fig 4. A close up.

I moved on to the next series of steps, crushing and grinding. I spent 10 to 30 minutes crushing and grinding the pieces with the pestle against the inner curve of the mortar. Every time that the water becomes very cloudy I rinse away the 'fine' or 'fines', very fine particles that float and cloud up the enamel's look, and added fresh water before grinding some more (Fig 5). 

Fig 5. The tilted mortar exposes the hidden
ground particles. More grinding is needed.

After the final rinse  (Fig 6) I spread the paste onto heavy duty aluminum foil for them to dry in the toaster oven, set at a low heat (Fig 7). Once cool I placed the contents of the mortar in a plastic 40-Mesh Enamel sifter and sifted it into a small bowl with the aid of a brush to move the particles around. When it stopped separating (Fig 8) I poured the fine particles, that the sifter removed, into a plastic storage container with a tight fitted lid. This is ready to be used as Vitreous Enamel.

Fig 6. Ground and rinsed a few 
times, this is ready to dry.

I placed the particles that stayed in the strainer back into the mortar, added some water and continue grinding, rinsing, drying, sifting until I was satisfied with how much I was able to grind fine enough for enameling. Then I moved to the next color and so on.

Fig 7. The paste is spread onto heavy
duty aluminum foil, dried in a
toaster oven at a low heat until dry.

Once I switched to the blue glass I decided to try heating the glass rods with MAP-Pro and switched to the Hot Head torch head, this heat source gave better results. 

At the same time I stopped trying to heat as much of the rod as I could in one go and decided to bring the last inch of glass to a molten stage and create a large drop shape. I continuously rotated each glass rod while heating it until it became molten. By slowly twisting and turning the rod in the flame I created a large teardrop shape which shattered in the ice water once it detaches from the rod. 

Fig 8. Sieving the dried glass through a 40-mesh
screening. The particles in the mortar are
smaller than the ones that are still in the sieve.

The extreme temperature difference between being molten and then hitting the ice water, with the added ice cubes, caused a greater thermo shock with more breakage. Success!

Once I have enough length of the glass rod shattered I remove the ice and some of the ice water. I continued with the above method of grinding, rinsing, drying, sifting, storing particles for all my lengths of glass.

Fig 9. Top row: Particles smaller than 40-mesh.
Bottom row: Particles larger than 40-mesh.
Left: Opaque red glass.
Right: Translucent dark blue glass.

Due to time constraints and the wear & tear on my hands and shoulders I spent 2 1/2 days processing the glass rods into 80-mesh enamel particles. With that in mind I didn't completely crush all of the glass that fine, I kept some larger particles for future comparison and to also work on some of it in the future when time permits. 

The Sterling Silver Bezel cups that I have are about the size of the ones on the brooches lobes and I have more than enough ground enamel for test samples as well for making one brooch for display.


Suggested Tools and Supplies

• Flameworking glass rods in several colors all in the same Coefficient of Expansion (CoE), these are usually used to make glass beads. I used CoE 104 Opaque glass rods.
• Benzomatic's Propane fuel, it burns at 3,600 degrees Fahrenheit.
• A standard plumbing torch head
• Benzomatic's MAP-Pro fuel, it burns at 3,730 degrees Fahrenheit
• A Hot Head torch head.
• A lighter.
• Safety Glasses
• A pair of long handled Pliers or glass rod holder.
• A none burning work surface like a large cookie baking sheet, piece of Stainless Steel, etc. (as seen in Fig 3)
• Granite or Agate Mortar and Pestle set (as seen in Fig 3 & 8).
• Ice and cold water.
• A 'Plastic 40-Mesh Enamel Sifter with Handle'. Item # 119305 at RioGrande.com (as seen in Fig 8)
• Several small bowls or white paper, Fluted Baking Cup for cupcake/muffins. To temporarily store dry, crushed glass.
• Aluminum foil or Aluminum pie plates.
• A funnel or a sheet of paper folded into a funnel.
• A paint brush for Art oil painting or a soft 'dollar store' paint kit brush. An old toothbrush would work as well.
• Several small, plastic storage containers with lids or old pill bottles that have been cleaned and dried (as seen in Fig 9).

Please NOTE: A 14.1 oz tank of MAP-Pro fuel is about 3 to 4 times the cost of a 14.1 oz tank of Propane, but MAP-Pro gas will heat the glass faster and to a higher temperature than Propane especially with the different torch head which is designed for Flameworking, melting glass. If you do not already have a 'Hot Head' torch head or a similar Flameworking torch head then use a plumbing set of tank and torch. It will take a bit longer to heat up the glass. An oven does not reach the needed temperatures to melt glass.


Part 4 of my series of blog posts will be about the results of firing the Enamels I made. I will not be mixing my Enamel with my Thompson Enamel powders due to the different CoE which could cause issues.

Riveting or...drill, hammer, repeat. Part 6

Escutcheon Pins, Rivets,
and the Nail Set Tool

This is Part 6 of my series of blog posts about Riveting with a Nail Set tool. Please see Part 2 of my blog post series for general information and additional tips as well as Part 4 for how to use an Escutcheon pin or domed wire as your rivet.

Part 1 was about my two days of experimentation and practice with riveting; I worked on three different methods of using annealed, solid Brass Escutcheon pins as well as learning to use a Nail Set tool instead of a ball peen or riveting hammer as I was use to.

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Escutcheon Pins, Rivets, and the Nail Set Tool

- Riveting with an Escutcheon Pin or with Wire you've domed an 'End' to form a Rivet Head.

- Parts of a Rivet: Head, Pin, End.  A cut piece of Wire has two Ends.

- Before Setting the Rivet: Cut the End to length and sand it flat. Place the Nail Set Tool, the Riveter, over the End, hammer it until well domed.

- During hammering the Head gets flattened against the anvil.

- After Setting: Lift the 'Riveter' for a finished Head.

Etching...Uncovering the Hidden Image. Part 1

The Stages of Chemically
Etching Copper Alloys

This is Part 1 in 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. 

There are several metalsmithing techniques to remove surface metal as a form of decoration. The two techniques that often come to mind for me are Etching, a chemical method, and Engraving, a physical method. Both are very old techniques, by comparison Etching methods have changed a great deal compared to Engraving ones. I will not be covering Etching's history in this blog post, but the current methods I practice.

I have been etching mainly Copper Alloys for about 3-4 years, given a few lecture classes at Pennsic, and I've etched several Fine Silver rings which were fun to do. Although the Etchant, the Etching solution that removes the unwanted surface metal, is different for Copper Alloys, compared to Fine or Sterling Silver, everything else is the same in the procedure I follow. I will cover the similarities and differences in a future blog post.

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The Stages for Chemically Etching Copper Alloys

1. Toner Transfer Paper (TTP) / PnP Blue sheet.

The 'Light Grey' in the image represents the backing material and the 'Blue' is the coated side to be printed on. PnP Blue's backed material is Mylar, a Polyester, it's clear and transparent, which is coated with several layers of release agents so it looks blue. The backing material for TTP is paper with several layers of release agents that look semi-glossy and slightly tinged blue-green. The coated side for both are the sides the graphic images need to be printed on. 

The coated side, represented in Blue in the image, binds the HP B&W Laser Printer's Toner to the sheet and helps during the Heat Transfer process. The Toner is a plastic, not an ink, so it can be transferred onto the metal with heat and pressure / weight.

The Toner used for Brother B&W Laser Printers require a much higher temperature to Heat Transfer the Toner onto the metal. Experiment and see what that is if you already have a Brother brand printer.

2. TTP / PnP Blue with horizontally flipped graphics printed.

The 'Dark Grey' in the image represents the graphic images printed with Toner which acts as the Resist, which blokes the Etchant from corroding the metal. Many/most HP Laser B&W Printers use toner cartridges which use a plastic formula and not an ink. Some of their cartridges have environmentally friendly, 'Green' material, that does NOT act as a Resist and is not useful for etching.

The best images for a cleanly etched design is B&W and NOT Grey Scale. The sharper and smoother the images' edges are the cleaner your etch, so a higher number of Dots Per Inch (DPI) is suggested, at least 300 DPI. Experiment to see the various texture options available to you based on the image used as well as it's DPI, take notes.

The Toner's coverage over the sheet is NOT 100%, due to the method that the Laser Printer covers the paper in Toner and heat treats is to bind to the surface. There are micro sized spaces between the Toner, particles / 'drops', that could allow some Etching solution to get past and create pin holes / pits on the surface of the metal instead of a perfectly smooth surface that was properly protected. Some printer software allow the user to control the percentage of Toner coverage of the paper. If you are able to switch then use the highest coverage available, though this does not guaranty perfect coverage or protection.

3. TTP / PnP Blue during Heat Transfer of Resist onto the Metal.

The 'Yellow' in the image is the flat metal sheet that will be etched, for example, Copper Alloys etched by Ferric Chloride, and Silver Alloys etched by Ferric Nitrate. 

HP B&W Laser Printers' Toner, since it's a plastic and not an ink, can be Heat Transferred onto the metal between 280F to 295F [138C to 146C]. Simply applying heat will not be enough for the Toner to bond to the metal, it also needs pressure / weight and sometimes burnishing the paper against the metal. If the pressure / weight is high enough, during heating, then burnishing might not be needed. If pressure / weight is enough then burnishing the paper is necessary. 

When using a flat heat source that is below the metal and TTP / PnP Blue, for example: an electric cooking grill (sold for making breakfast / brunch usually), large cast iron frying pan, etc. 

I use a rectangular piece of parchment paper, which is sold in rolls and used in baking, as a slip cover / folder during Heat Transferring the resist onto the metal. Cut a piece of parchment paper at least 2 inches wider and longer than the sandwiched TTP / PnP Blue and metal sheet. Once cut fold it in half, place the 'sandwich' in it so that the length of it is firmly wedged against the fold, this keeps everything lined up while you are applying pressure of burnishing the surface.

You can use the back of a metal spoon to apply pressure while burnishing to aid in better transferring the image. Hold the spoon with your thumb in its concave area and while pressing downwards with as much force as you can, burnish / rub the surface in every direction and over 100% of the surface of the metal sheet. Continue the Heat Transfer for approximately 90 to 150 seconds (+ / -), the amount of time will vary depending on the temperature, pressure, etc. used.

Once the time is up carefully remove the bonded 'sandwich' and smoothly slide it into a container of cold water. The backing material of the PnP Blue should slide off within a few seconds on its own. The paper backing of the TTP will take a bit longer and requires to be smoothly slid off by hand. If you see a fine surface coating left over from the release agents, slowly wipe it away with a wet finger, rinse it.

Allow the rinsed metal to air dry completely before taking the next step.

4. Metal with Resist is safe from Etchant, Dark Grey & Orange.

The 'Dark Grey' in the image represents the Resist that is bonded to the surface of the metal. The 'Purple' represents additional resist that can be added: nail polish, tape, etc.. It needs to be applied on the ALL surfaces that you do NOT want to be Etched.

PnP Blue: The emulsion layer on the PnP Blue stays attached / binds with the toner,  even after heat transferring them onto the metal. 

TTP: The emulsion on the paper backing enables the toner to not bond to the papers' surface and more easily slide of during heat transfer.

Please note an unwanted hole in the Resist at the bottom right corner of #4's cross section, it wasn't properly protected with Resist, nail polish (Purple), it is the second type of Resist that was applied. It was coated on every area that shouldn't be etched and it doesn't effect the artwork of the TTP / PnP Blue.

5. Piece in Etching Solution; areas unprotected by Resist will be etched away, the metal being removed is Orange.

The 'Orange' in the image represents the metal that will be chemically etched away, removed, by the Etchant.

Etching Solution = Etchant = Ferric Chloride

When etching Copper Alloys you can use Ferric Chloride, and for Silver Alloys you can use Ferric Nitrate as an Etchant. Both corrosive salts are mild compared to many of the other salts or acids that you can choose to use. Ferric Chloride has been used for many years in the electronics industry and by hobbyists to etched circuit boards, etc.

In the bottom-right corner we see in Orange the tiny area of metal that will be Etched, but should have been properly protected with the second Resist. This unprotected spot will leave a hole or line in the surface of the metal.

6. Etching complete & Etchant neutralized; Resist on surface.

Ferric Chloride is an Etchant for Copper Alloys, and Ferric Nitrate is an Etchant for Silver Alloys, both corrosive salts are neutralized with a Baking Soda solution. If anything that comes into contact with the Etchant, a corrosive salt, and is not completely neutralized, then whatever Etchant remains on it will continue to 'eat' away material. 

To neutralize the Etchant make a solution of tepid/cool water, slowly add Baking Soda while stirring until it will no longer dissolve (disappear). Powder will start to fall to the bottom of your container, super saturation, this is a good way to be sure that you are using enough Baking Soda. When the Etchant comes into contact with the neutralizing solution you will know that it is working when frothy bubbled start to form. Once those bubbles stop forming, similar to when popcorn pops slower and slower until it stops, all the Etchant on the surface has been neutralized. While wearing latex or neoprene??? gloves you can gently rub the surface to expose more surface area then return into the Baking Soda solution. Remove the piece then place it into a fresh batch of Baking Soda solution, this 'clean' solution will get into any areas that weren't neutralized earlier. Remove and rinse in a container of tepid water and leave to air dry.

The hole at the bottom-right corner is more visible after the piece was Etched. 

When I remove my pieces from the Etchant:

1. Before putting anything into the solution of Baking Soda, stir it to be sure it's mixed in enough since it quickly separates. 
2. Pat everything dry with paper towels to remove as much moisture as possible from the piece and floater.
3. Submerge everything into the Baking Soda solution. You'll know it is working when frothy bubbled start to form, keep the piece in the solution until the bubbles stop forming.
4. Remove the metal from the first container of neutralizing solution and put it into a fresh container filled with neutralizing Baking Soda solution. Once the bubbles stop forming remove the piece and rinse it well under tepid water. Pat dry and leave everything to air dry.
5. If you used any tape you should remove it now, continue letting it dry.
6. Acetone, nail polish remover, will remove the TTP / PnP Blue, nail polish, and some of the tape residue. 
7. Use some dish soap to wash the piece and rinse it well under tepid water. Pat dry and leave it to air dry before continuing.

7. Etched Piece once the Resist is removed.

Now it is ready for you to work with it, you can: saw, pierce, file, sand, drill, solder, polish, etc. to complete the piece.

Safety Precautions:

Always keep a container with fresh Baking Soda solution nearby as well as an open box of Baking Soda when dealing with Etchant. Wear safety glasses, gloves, clothing that covers as much skin as possible, and close toe shoes. Keep hair tied up and out of your way. Work in a well ventilated room if you cannot work outside. Having a stove top fan on while working under it is good as well. Cover all your work surfaces with newspaper or plastic. The Etchants can stain everything it comes into contact and possibly corrode.


TO GO TO PART 2

My 'Little Project', a.k.a. Coronets. Part 2

Baronial Coronets for the
Barony of L'Ile du Dragon Dormant
(CP Tir Mar, East Kingdom)

March 2, 2019, marks the end of my ongoing 'big project' when I was able to present the two baronial coronets I've been working on for the Barony of L'Ile du Dragon Dormant (CP Tir Mar, East Kingdom) at our Baronial Investiture Anniversary. 

These are the first coronets that I've ever made and the largest metalsmithing project I've ever taken on.  

Both coronets are about 4/5ths complete in this photograph. Due to my health issues and hand injury I would have been unable to complete them in time for IDD's Baronial Investiture Anniversary. Olev (Olivier Comeau), another talented Metalsmith, has completed them in time by adding the bottom edge trim and the pearl settings. 

My Facebook photo gallery of progress pictures with descriptions:

https://m.facebook.com/gaeira.aggadottir/albums/1102573719930158/



IDD Baronial Coronets, completed

*IDD Baronial Coronets, completed

Presented on March 2, 2019 at IDD's BIA

*Photograph by Olev (Olivier Comeau).