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When the water dries, the top layer of paint is sprayed. Once the paint is dry, the salt is brushed away, revealing the tones of the bottom layer of paint.
The Car Craft logo was actually done using several patina effects that can all be used independently of each other to various effect. One of the coolest aspects of weathered lettering is the way the paint surface wears down so that the brush strokes look almost transparent.
To achieve this look, the paint is thinned down more than what would usually be used for brushed-on lettering. We also used enamel reducer to wipe away parts of the lettering, then slightly sand other areas. The result has that look of old, blistered, weathered paint. The trick to painting patina is to experiment and practice. Play around on old parts and panels. If you want to use this technique on a vertical surface, you may need to use a medium lighter than rock salt, perhaps confetti or sawdust.
Use a rinseable, water-soluble glue like egg white, and then sprinkle that on the side of the vehicle. The glue on the media makes it stick to the surface. Once the paint is sprayed, just wash it all off. Start practicing on a sign for your shop or a gift for a friend. For the CAD Savvy… If you are familiar with working with CAD programs or have worked with graphics programs such as Corel or Adobe Illustrator, you can create your own lettering stencils without having to cut anything out.
A lighter, more golden color than the Japanese Brown will result. Birchwood Casey is a chemical solution that we have found works well as a way to darken the patina, metal, or Metal Coating color. It is somewhat like a liver of sulfur or ammonium sulfide patina. The formula is old - you may know of it as "gun bluing". Basically it turns the metal darker or "aged". Birchwood Casey makes different formulas for the different metals.
For copper, Bronze, and Brass there are choices of Brown or Black, brush on or dip. The patina solution comes concentrated and then diluted 3 parts of distilled water to one part Birchwood Casey. The samples from sculpt Nouveau have been diluted for you. Using the solution too strong will cause many problems.
Birchwood Casey products may be used directly on the Metal Coatings as a patina or apply it over a patina. When you are working with the Metal Coating you will need to follow the same instructions you would for applying a patina.
In some cases you may see some white areas form along with the darker areas on the Metal Coating. The reaction will be different with each Metal Coating type, metal type, or over each patina. Reds may become more red, greens more blue-green, etc.
This product may be the only patina used or it could be a base for more layers of patina colors. They are a cross between the Solvent Base Dyes and a patina. All of the colors are transparent and may be blended or layered together to achieve the color you want. They do not contain acids. They may be used in a hot or cold technique. We recommend using them in the hot technique when applying directly on a metal surface.
The Dye Oxides may be applied over any other patina solution while it is wet or dry to alter the color. They are so compatible with patinas that the Dye Oxides could be added into another patina formula. These, as with all our patinas and colors, work very well over the metal coatings also.
Use with the cold technique. The Dye Oxides do not cause rust so they may be used hot or cold on these metals. A clear sealer is needed when the patina is finished and dry to protect from oxidation. It is possible to clear powder coat over the Dye Oxides. Apply the Water Base Dye Oxides in any manner to achieve the look you desire; spray, sponge, brush, etc. The iridescent Powder may be added also. The colors may be thinned with distilled water in order to lighten the color.
All Dye Oxide colors are UV safe and may be used indoors or outdoors. These Solvent Dyes were designed as a tool to enable you to apply a difficult color violet, red… , to apply color to a difficult material steel, glass, resin…. The dyes are to be blended with each other to create the colors you want. There is no color or shade that cannot be made with these dyes. All the primary and secondary colors are transparent. The white color is opaque. Adding white to the transparent colors will make opaque colors and pastels.
The colors are very concentrated. Dilute the Dyes with the Dye Thinner to obtain the desired transparency. To make a very faint, or extremely transparent color, add the Dye to a solvent lacquer like Permalac or Clear Guard and apply. The Solvent Dyes may be used directly on any material, including glass. The surface may need to be slightly roughed if it is too smooth, to help the dye bind.
The dyes may be applied directly on galvanize metal, non-ferrous metal, ferrous metal, and aluminum without corrosion occurring. The dyes will duplicate any chemical patina color directly on the metal surface, or create a new look.
The dyes look great over any leaf product or non-reactive metal like gold or silver. Drop the Dyes into resins, epoxies, or wax, and mix to tint the color. The Dye may be applied over the dry Metal Coating and may also be applied over a patinaed surface. This makes altering a patina- gone-wrong very easy.
You may slightly change the color by adding some Dyes to the final Clear Protective Sealer. The Dyes may be applied in any manner. Each different application technique will change the way the Dyes appear. Sponging will give texture as with a cold patina.
An airbrush will create an even coloring as with a hot patina. The Dyes are very easy to manipulate. A protective clear sealer is necessary after the Dye has dried, unless the sealer was the majority of the mix applied. Always spray on the final protective clear sealer or there is a risk of disturbing the Dye finish.
The Dyes may be re-worked after they have dried by applying more Dye over them. More Dye may be layered over the protective sealer also.
Protect your hands and work area. Wear a breather mask and work in a well-ventilated area. Clean up tools and such with denatured alcohol. Please refer to the Dye Instruction Book for more information. The Dye Thinner is used to dilute or thin the dyes, as the Solvent Dyes are very concentrated. By adding the Dye Thinner to the Dyes, the color will be more transparent.
Do not substitute with another thinner. Sculpt Nouveau Dye Thinner has UV inhibitors, corrosive inhibitors for all metals, and binders that will help maintain the integrity of the dyes. The Dye Thinner "spreads" the dye when applied to the surface of your material that has dye on it, like nothing else will.
If you want to apply only a very slight transparent color or shading we suggest that you add the Solvent Dye to a good clear coating that has UV inhibitors and binders - like Incralac or Nikolas brands, instead of using the Dye Thinner.
This is to reduce the chance of fading. Use the lacquer as if it were a thinner to achieve a light transparent color. A protective Clear Sealer would be used to protect material from the environment or to set a finish. Iron, Steel and Aluminum need a protective coating to keep from oxidizing or rusting.
A polished surface on Bronze, Brass, or Copper will tarnish without protection. After achieving a patina or color on you material, the protective coating will help it last longer and help to keep it from changing.
We suggest applying a clear coating in almost every instance. The best way to apply any brand of clear sealer is to spray it on. Spraying reduces bubbles and ridges formed by the brush, which help to break down the product faster. Small propellant applicators are available, made by Badger or Crown, if you do not have a compressor. Two or three light coats are preferable to one heavy coating. Letting each dry before applying the next. No protective sealer will last forever. A regular maintenance program is needed and should be scheduled according to the individual conditions.
Wax may be applied over the clear sealer to add even more protection. This protective Clear Sealer contains UV inhibitors as will as binders. Use the Incralac Clear Sealer over you finished work. Incralac does not darken a polished surface. It is a strong, thin, fast drying solvent lacquer that doesn't yellow or peel.
This lacquer seems to go into the finish and bind onto the material - which is great if you have a very thick powdery patina, or rusted surface. For extremely thick finishes, you may find it advisable to thin the lacquer with it's corresponding thinner.
It is possible to apply Incralac over most anything, even wax, although this will slow the drying time. We have found that Incralac Lacquer works very well with the Solvent Dyes. By adding a small amount of Solvent Dye to the Incralac Lacquer, you will be able to apply a very transparent color.
The iridescent powder goes into the lacquer as well. Apply the Clear Sealer with dyes, Powders, or both, directly on your material, over the Metal Coating, or over patinas. Repeating layers of colors may create an interesting finish. A matting agent is available for this lacquer from Incralac.
Or, it is available already matted. Waxing over the lacquer will matt the surface some also. Or, spray lightly with a matte fix available in art stores. Use in a well-ventilated area and wear a breather mask. Wax should only be used on a cold patina after you have applied at least two coats of either a solvent or Water Based Clear coating. Allow each layer of Clear coat to dry fully. Apply the wax to the surface with a brush, allow to dry 2 to 3 hours then buff with a terry cloth type rag.
For Bronze, Brass, Copper, or the Metal Coatings with a crusty patina you may choose not to use a Clear coat at all, lacquers and waxes can alter the color. In that case a light spray of a matte fix by Grumbracher or Windsor Newton will do.
Wax may be applied immediately after finishing the patina, while the metal is still hot. Apply the wax with a brush.
Allow the wax to cool, dry, and harden for 4 hours or more. Polish with a terry cloth rag and repeat with a second coat of the wax, this time the surface will be cool. After several hours, buff again. Solvent lacquer may be applied over a layer of wax. The drying time of the lacquer is greatly increased. Let the patina cool then spray on a lacquer, let this dry six hours then apply the wax a usual. Lightly clean the surface every six months or as needed with a non-ionic soap Amway makes one.
Dry completely and reapply a new layer of wax with a brush. When dry, buff as before. If the wax is maintained regularly there is a good chance the Clear Sealer will never be damaged. This particular wax was chosen because it gives a thin, hard surface protection. It does not allow dust to stick and gum the finish, nor does it turn yellow over time, or break down quickly in the sun.
The wax may be tinted with Sculpt Nouveau's Solvent Dyes to add a slight color to your finish. This seems to be a great wax also. It is easy to find and less expensive. Buy the type with carnauba. Sculpt Nouveau's wax is made with binders, rust, and UV inhibitors. It is ideal for Iron, Steel, and Aluminum.
We also make a version for Bronze, Brass, and Copper. We have taken everything good we know of for finishing metal and added to our wax. The wax creates a very beautiful, hard protective coating once dry. The wax will be soft in the container. Apply to a hot or cold surface. Try not to let the wax fill up in the recessed areas as it may turn white. Use a toothbrush or soft brush to remove the excess wax from these areas. If you are waxing on a cold surface, buff the wax within a few minutes.
If you are apply the wax to a hot surface, let the surface cool down, then buff. Do not wait very long to buff in any circumstance as the wax soon dries too hard to buff. We make the wax already tinted also. Or, you may tint the wax yourself with the solvent dyes. This wax is great over another clear protective coating or used alone. It also works well over a rusted surface or patina although for outdoor metal we recommend applying a marine varnish over the rust, and then apply the wax.
The following is a brief description of hot and cold patina processes and our patinas. For more in depth instruction covering all facets of patinas, please refer to our books, videos, and upcoming workshops.
Cold patinas, once applied to the metal, require hours or days to react. Often they involve cycles of applications involving layers of patina. The three basic techniques of applying the patina are to use a brush, sponge, or spray bottle. There are also some very interesting ancient techniques where the metal object is buried in substances soaked with the patina or wrapped in cloth soaked with a patina.
A characteristic of most cold patinas is that they are opaque. An easy test for the correct temperature is to sprinkle a few drops of distilled water from a spray bottle onto the hot metal surface. If the water sizzles it is the correct temperature.
If the water streams off the metal is too cold, if the water balls-up it is too hot. A characteristic of most hot patinas is that they are transparent. There are three ways the metal may be heated: Use a hair dryer or a paint peeler. Place the object in the sun. Apply the patina with a brush, spray bottle, or sponge. This is an old formula for stopping the patina reaction. This may help when working with ferrous metals.
Potassium Dichromate is a very toxic chemical, be careful, and wear gloves, mask, and work in a well-ventilated area. This mixture should be a faint orange color. Spray over the patina or rust Let Dry Apply clear sealer. Sculpt Nouveau makes products that color or "patina" metals. We also have books and videos to teach the techniques.
There are two main categories of patinas: This is important to people wishing to patina iron, steel, or aluminum, as acids will cause rust or oxidation. The types of Patinas Sculpt Nouveau make: Traditional Patinas - All contain acids 2. Vista Patinas - All contain acids 4. Each type of patina is available in a range of colors. The colors may be mixed together within the group to form a different shade.
Or they may be applied one over the other. The different types may be applied over each other or mottled around in areas to make the patina more interesting. When working directly on real metal, the most important factor in using Sculpt Nouveau's products successfully will be to have the surface of the metal clean.
Sandblasting is the best. If this is not an option Industrial Metal Supply's Cleaner is what we recommend. When using a patina from a group that does not contain acids, warming the metal is the best way to get them to stick on. Warming can be done by: Putting the metal out in the sun. Use a heat gun or paint peeler c. Use a patina torch. Sculpt Nouveau's patinas do not protect the metals from further natural changes once they have been applied.
With bronzes or any other metallic art pieces, patina refers to the finish put on a metal right after it's made to give it a more three-dimensional feel and the look of an antiquity. Patinating something gives it a feeling of age. Such metal pieces do not need time to gain their patina, as do wood pieces.
They are born with theirs. And patinas on metals can be damaged by tape, in the case of the Tiffany inkwell, or even by sticky price tags, something that happens more often than you'd expect. Perhaps With antique furniture, dealers and appraisers rarely recommend owners remove a patina to refinish it, as doing so destroys a piece's look and character — and dramatically diminishes its value.
But with metal pieces, appraisers and others often recommend a "repatination," as it's called. That said, there are others who, like furniture collectors, are purists who will only buy pieces that are unrestored. A repatinated metal piece will be worth more than one with major imperfections in the patina, Reyne notes, but not as much as an equivalent piece that still has its original finish. And whatever someone does to an antique, wood or metal, both Reyne and Michael emphasize that whoever does it should record what fixes a piece has received, and always be forthcoming about restorations to future buyers.
See the Las Vegas, Nevada page for a list of all appraisals from this city.
Patina. First, pour some olive oil in the pan. Make it just hot enough that it makes little riffles when you tilt it, like this, see? But not so hot that it--Ow! * Why wasn't I using a potholder? Because I was in a hurry, that's why. And I don't want you to. Aug 8, Painting a faux patina surface is one of the most enjoyable painting This technique will show you how to use rock salt as a masking agent. This is the only time in the life of your wok that it should be cleaned with soap. pan to absorb oil—which will eventually give it its nonstick patina—is to heat it.