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a link of 肥後象がん


Austin

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Nice sequence, except for the "closely guarded secret" of the tarnishing solution. Oh well. :o

Not sure why the rest of it should be so freely given and then they go tight-lipped. I doubt that there are many people clamboring to do Higo inlay these days.

 

There's my rant for the day.

Thanks guys, for posting those links. :)

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Nice sequence, except for the "closely guarded secret" of the tarnishing solution. Oh well. :)

Not sure why the rest of it should be so freely given and then they go tight-lipped. I doubt that there are many people clamboring to do Higo inlay these days.

 

There's my rant for the day.

Thanks guys, for posting those links. :)

 

 

I was thinking the same thing.... on a slightly more nit picky not it would be nice if they shared a good pic of the other side of the cutter tool.. :o

 

 

Samuel

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I was thinking the same thing.... on a slightly more nit picky not it would be nice if they shared a good pic of the other side of the cutter tool.. :o

Samuel

 

I think I know something about the solution.according the describe,nitric acid+hydrochloric acid is aqua fortis,the Japanese calle this “金古美色”(金古美COLOR)

There are 2 kinds of 金古美 liquid,liquid A and liquid B.I only know Japanese add gold to the aqua fortis,to make 金古美 A liquid.Because I also have not knew Japanese .

 

I can provide the video .Is here somebody know Japanese?I have some good video about Japanese silversmithing and metal engraving.There are a lot of sequence of the surface treatment after engraving,including the processce of 金古美color .And the solution of liquid A and B .But need somebody know Japanese.

 

If some body can add an english caption to the video,It will be a very very big help to every member of the carving path forum.

 

Austin

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Antiqued Finish

1. Any oil on the surface is removed with a polishing sand or sodium bicarbonate and then the surface is brought up after any blemishes have been eradicated.

2. The surface is polished, first with a coarse sand and then with a garnet based polishing compound.

3. The piece is immersed in a solution containing nitric acid and hydrochloric acid and heated to produce gold chloride, to which methanol is added. This we shall call solution A. Then, another solution, which we shall call solution B is made by mixing methanol and iodine. Solution A and B are then appropriately combined and the solution is applied to the metal with a cloth. The piece is then sensitized by exposing it to sunlight.

4. The black, treated surface of the metal is now worked on with either powdered horn or sodium bicarbonate. Expressing such delicate qualities as the intensity of the blackening within the carved and rendered design, the three-dimensional qualities and the sense of depth, the piece is finished with due consideration being given to the overall balance of the design.

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Guest ford hallam

Hello all, from an unusually warm ( for this time of year )Tokyo.

 

The process Austin has drawn attention to was discussed about a year ago when I posted the link Toscano has found. I think I described the rust patina procedure at that time and have done so elsewhere. The process Austin goes on to describe is in fact a treatment for fine silver, The Japanese kanji read "Kin furu bi iro", we generally simply call it kinfurubi. The method Austin has very accurately described is however probably a little dangerous for most of us. The solution can far more easily be made by simply dissolving 1gram of cloroauric acid ( it`s a rich yellow salt )in 500ml of denatured alcohol. This solution can then be swabbed onto fine silver to produce a pleasing pewter-like patina. As Austin writes, the colour will darken in sunlight. It does`nt really do much for regular stirling silver.

 

Hope that helps to clear things up. Perhaps I should be a little more vigilant tonight, now that I`ve revealed "a closely guarded secret". They might send ninja after me.... :huh:

 

sayonara, Ford

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