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Antique patina color how to#
Antique patina color skin#

Antique patina color skin#

There are many situations where you don’t want this patina.įor example, you probably don’t want your skin turning green if you have jewelry with copper in it. Over 130 years of being exposed to the elements later, the thickness of the copper oxide layer is only 0.005 of an inch! That’s about the thickness of two pieces of paper. One example is the Statue of Liberty, built in 1886. The result is that rust can eat away entire structures over time. It’s nothing like iron oxide, which flakes off, exposes new metal, which then rusts, then flakes off, etc. The thicker the copper oxide layer gets, the more it will resist further corrosion. It adheres really well to the base metal, and it’s pretty durable. But beyond cosmetics, there are some practical reasons why you might want it.įor one, this adds a protective layer to the metal.Ĭopper oxide is an interesting substance. Patina finishes are actually pretty popular for things like brass door handles, copper roofing, and other kinds of ornamental pieces. Bronze is composed of 88% copper and 12% tin.īoth of these metals have a really high copper content, which is why they form that same patina when they oxidize. The copper has reacted with oxygen, water, and carbon dioxide in the atmosphere.īrass is an alloy that’s usually made up of 67% copper and 33% zinc. When you see that green layer on these metals (usually called patina or verdigris) it’s because of a chemical reaction. That means that if there’s no iron, there’s no rust. Put simply, the most common copper oxide is green (yes, there are a few different kinds!).Ĭopper oxide is kind of like “rust”, although rust is the word that’s use to define iron oxide.

Antique patina color how to#

How to Prevent Copper Oxide from Forming.

Why Brass, Bronze and Copper Turn Green.

This is ultimately the only way to ensure packaging with a consistently uniform appearance. Whereby end customers, not least of which branded goods manufacturers, reap a handsome profit. In addition to this, it is already the task of product management to continuously target the expansion of LUMAFIN ® applications so as to diversify the use of different end products. This is a benefit that KURZ, with its extensive portfolio, can always pass on to its customers in a wide range of industries while remaining highly focused on sector specifics. And since Holger Habekus is not only in charge of the graphic field but also of applications on plastics, the transfer of know-how from one basic material to another was practically seamless. LUMAFIN ® has now been further developed for use on plastic parts as well. Development is ongoing, which is a practical part of the fundamental entrepreneurial approach at KURZ, especially with regard to development cooperation between different business areas. The intensive activity and research does not end once the product is ready for mass production. Here, LUMAFIN ®, with its iridescent effect, transforms any surface into an elegant, glossy eye-catcher. But the colorless version also impresses as an alternative for spot-coating or UV lacquers in the food sector. This is now one of the factors that explain why LUMAFIN ® generates such fascination – and why it is so well-received on the market.

Metallic gloss without the metal was not even on the radar. Yet not so long ago, when KURZ first considered the new product, there were transparent designs for hot stamping and cold transfer, but nothing with colors or glaze. It is surprising how quickly it was taken for granted that the new finishing product is available in a whole range of colors. It can be used in existing machinery, without additional expenses. This flexibility and efficiency are precisely what distinguish LUMAFIN ®. Beyond the zeitgeist factor, already factored in at a design-oriented company like KURZ, the keyword “processability” was a concern for Habekus and the development team from the start. After all, not all new effects or every new technology can be realized with existing equipment, for instance stamping presses.

Which often implies additional effort and costs. “Glossy zeitgeist”, as it’s called in one of the LUMAFIN ® brochures, played a role even in the development phase, because creatives and processors are always searching for something new. Such a high-gloss finish with an almost metallic shine, yet without aluminum and in a veritable wealth of semi-transparent colors, is not exactly a routine development order. New products like LUMAFIN ®, of course, have a back story.