Whilst you’re waiting for it to cool, prepare the liver of sulphur neutralising solution by mixing about a teaspoon’s worth of baking soda into the jar with cold water.ħ. Stir well, using either the teaspoon or plastic tweezers until the baking soda has dissolved.Ĩ. When the jewellery piece is cool to touch, take it out of the third hand and place it into the baking soda solution.ĩ. Swirl the piece around for a few seconds or leave it in for a minute. It shouldn’t take too long, as the metal from the third hand will absorb most of the heat from your jewellery.
Remember, you must only warm up the solution, not boil it.Ħ. After heating the jewellery piece, leave it to cool by itself, still in the third hand. To protect your hands from the jewellery becoming hot, place it into a third hand and use either a hand torch or a hair drier on the lowest setting. You should be very careful with this step, as too much heat can melt the metal in your work or cause breaks and discoloration in the stone. You will still be able to use it as long as it’s bright yellow, you’ll just need to heat up the metal piece before putting it into the solution next time.ġ. You will need a brush and the liver of sulphur solution to start with.Ģ. Apply a drop of the solution onto the brush.ģ. Carefully apply the solution onto your piece with a brush, avoiding any set stones.Ĥ. Ensure that you have covered all the desired parts of the piece and have applied the solution into all the crevices of the texture, as any missed areas will be very noticeable once it’s finished.ĥ. Once you’re happy with the liver of sulphur coverage, you will need to heat the piece slightly to accelerate the chemical process of the solution. Once you have finished with the newly mixed liver of sulphur solution, you can close the jar with a lid, clearly mark it (so it’s not confused for orange juice) and leave it in a cool, dark place. Just ensure you don’t use anything abrasive, as it will make the finish look dull. And of course, you can now also set stones.ġ1. Then do the same with a white bar and a leather wheel. I start with the blue bar together with a felt wheel, then wash off the residue with soapy water and a brush. I always use my Dremel 4000 Multi tool with LUXI bars and have found them to do the job perfectly. Once the piece is dry, you can polish it to your desired standard. Take the piece out of the baking soda mixture, rinse with soapy water and leave on a towel to dry.ġ0. The baking soda reacts with the liver of sulphur and stops it from developing further.ĩ. Swirl the piece around for a few seconds or leave it in for a minute. When a few minutes have passed and you feel satisfied with the colour of your piece, transfer it from the liver of sulphur mixture into the baking soda solution.Ĩ.
So, ensure you’re always careful and suited up before starting this process.ħ.
Liver of sulfur solution how to#
The other will explain how to apply liver of sulphur with a brush. There are many ways to use liver of sulphur and this tutorial only shows my personal preference and techniques that seem to work best for me. I hope that at the end of this tutorial you will feel more confident in using liver of sulphur and will be inspired to experiment with different techniques, textures and finishes on your own creations! I will show you two techniques, one of which will require you to fully immerse your jewellery piece into a hot, diluted liver of sulphur solution. However, in this tutorial, we will concentrate on achieving the darkest patina by oxidising the deep parts and polishing the raised parts of the metal texture. If you wish to try out a liver of sulphur patina with rainbow effect, there is some advice on how to do it here with Kernowcraft: /jewellery-making-tips/texturing-patina-finishing-advice/how-to-create-patina-with-liver-of-sulphur You can create many colours with liver of sulphur. It is bright yellow when diluted and has a strong smell that resembles rotten eggs. It’s available in both liquid and solid state. It is a chemical compound containing potassium sulphide and is used in metalworking to create antique-looking patinas on silver, copper, bronze, metal clays and, after a little surface preparation work, on brass and gold.
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