Drawing on knives by etching. Etching metal at home - the stages of metal engraving. Metal pickling methods

The main thing is not to rush with the stencil, everything should be cut extremely smoothly.
In general, there is nothing complicated, after the first attempt you will understand how you work better, and then only improvement)))
The field of activity is simply huge - from mobile phones and stamps on knives and forks to painting the legs of chairs and chrome parts of a motorcycle / bicycle / car, you can make boxes and key chains)) In general, it depends on your imagination. As I already wrote, absolutely any metal is suitable, I tried it on chrome, steel (different grades), aluminum and copper. You can also improve or alter the "working pen", but personally, I am satisfied with the cotton swab.

Good luck in your endeavors, with SW. Sergey P aka Kreml777

Kreml777 Kreml777

2011-11-04T06: 52: 46Z 2011-11-04T06: 52: 46Z

Hello everyone, now I will describe a rather funny way of applying an inscription or drawing on ANY unpainted metal very quickly and without the help of special skills and special tools. The simplest and safest method. Let's call it electro-chemical etching. To implement the plan, we need a stencil of the conceived drawing, made on a piece of self-adhesive film, for example, "oracal" or scotch tape.
I found an advertising sticker, consisting of the self-adhesive film itself and a paper backing, which is removed before use, applied the desired pattern and slowly cut out the contours with a clerical knife.

To enlarge the photo, click on it.

I disassembled the smartphone (and I advise you the same, then you will understand why), degreased the surface and glued the stencil so that it fits snugly at all edges.

Now the most interesting thing is that all we need directly for etching is any DC source (I have a 24-volt power supply), the voltage does not play a special role, the higher, the faster it is etched, but you can work comfortably at 5 volts , a crocodile clip (you can do without it), a cotton swab and a little salted boiled water (I took a couple of teaspoons of salt per 50 ml). That's all.

Now we throw the positive contact with the help of a crocodile onto the free area of \u200b\u200bour part (it will be seen in the photo below), and on the negative contact we clean the insulation and insert the wire into the cotton swab cut in half until it stops, i.e. so that the bare wire touches the cotton wool. Who guessed what we were doing next 5 with a plus))), for the rest, we moisten the cotton wool on the negative contact with salt water and touch it to the metal section inside our stencil. What should be - a slight hiss, a slight heating and darkening of the metal, if this is not there, then we check the contact on the wire with cotton wool, I repeat that it should touch it, it is also possible that you confused + with -, then it should not darken, but it will hiss. I do not recommend keeping the cotton on the part for a long time, because it can get hot enough, it is better to go through the stencil pointwise, or with quick strokes. Make sure that you do not miss anything and go all over the stencil, and that on all parts you apply cotton about the same number of times (or the same amount of time touched with cotton) so that the etching is even.
In general, it is worth trying first on some other metal object so that you can imagine what awaits you, but only with a stencil (you can just stick two strips of adhesive tape, leave a strip of metal a couple of millimeters between them, and try on it), otherwise the cotton wool will be leave only uneven stains by pickling metal.

After etching is finished, wipe it with a dry cloth and carefully remove the sticker (you can use it again). Again, wipe the part from the remnants of glue from the film and voila. You should get an embossed pattern that exactly repeats the outline of the stencil. The depth of the relief depends on the etching time.

Artistic electrochemical metal etching - one of the ways to apply a pattern to metal products (amulets, knives, blades, etc.), compared to engraving, it is less painstaking and takes less time. In this article, you will learn how to do it yourself decorate the knife blade.

Step 1

Let's start by creating a sketch that we will transfer to the knife blade. You can choose any theme for the sketch - see what blades are on other blades, come up with your own, transfer some drawing, etc. - it all depends on your imagination and imagination.

After you have chosen the pattern, you need to transfer it to the blade. To do this, place the knife blade in the scanner, scan and open the scanned image in a graphics editor, outline the contours of the blade; overlay the selected pattern, image and edit it. The resulting sketch should be duplicated in a mirror image and printed.

Step 2

Take the knife blade and cover it with varnish, the varnish can be diluted with a nitro thinner, so the varnish will dry faster and apply to the blade with an airbrush or brush. We use varnish, because it retains its plasticity during the day and does not crumble.

Cut out the sketch to make it easier to fit to the blade, "blacken" the back side with a pencil and attach it to the blade with masking tape.

Step 3

We will scratch the pattern on the surface of the varnish using scrubbers with different sharpening. Important: do not damage the blade with a scrubber, otherwise it will be scratched.

Step 4

As a power source, you can use a variable transformer, for example, from a toy railway (maximum voltage - 12V). The shrink cambric serves as insulation. Flannel: copper / brass plate - approx. 100 / 7mm.

We start etching the metal by putting the cloth on a plate and soaking it all in a saline solution. After that, we begin to poison - with a quick touch, you should not hold it for a long time, because the varnish may overheat. When the drawing is finished, turn off the unit and wipe the blade with solvent.

This method of metal etching is good in that it is easier to control the process, in contrast to etching in a vessel as a whole, it is enough to walk over the drawing several times.

Artistic etching of metal was first used by medieval gun-makers. The jewelry on their products was not inferior to those that came out of the hands of skilled jewelers. By etching, gunsmiths have replaced one of the laborious processes - hand engraving, without losing the former artistic qualities.

Using the etching technique, you can reproduce a relief or in-depth ornament, plot, text on any metal. There are now two methods of etching - chemical and galvanic. The galvanic method is simpler, because the electrolyte solution does not emit gases harmful to health, which are inevitable in the chemical method, and is more efficient, since the contours of the etched pattern are clearer.

To do galvanic etching, you need to acquire a direct current source with a voltage of 4-7 V and make a bath of insulating material for the electrolyte - its device can be seen in the figure.

An electrolyte is a saturated aqueous solution of iron or copper sulfate. The first is for steel and iron, the second is for copper, brass, bronze.

You can also use a saturated solution of sodium chloride. Distilled water is desirable in all cases.

Before etching, a copper wire with a bent ring must be soldered to a metal workpiece. Holding the ring, lower the workpiece into a 10% sodium hydroxide solution heated to 50 degrees for five minutes. Then transfer to a fifteen percent solution of sulfuric acid for one to two minutes, then rinse thoroughly in hot water. The workpiece is fat-free.

Now prepare the mastic. Melt 4 parts var, 2 parts rosin, 3 parts wax in a tin box or jar and stir until smooth. Cut the cooled mastic into small pieces and wrap each in a strong, non-thick cloth. You will get some kind of tampons. Move the swab over the surface of the slightly warmed workpiece, pressing lightly, and the metal will be covered with a thin uniform layer of mastic. The entire workpiece must be covered with mastic.

When the layer of mastic has hardened, white or yellow watercolor paint is applied to it and gently rubbed with a finger. On the surface primed in this way, a drawing or text is applied with a pencil. With a sharp knife and needles, they scrape out the mastic in those places where, according to the plan, there should be depressions.

Place the workpiece prepared in this way in the electrolyte, hanging it by the ring to the rod with the "plus" terminal. This is the anode. Hang a plate from any metal to the cathode (minus sign) and connect the current.

If a different etching depth is required, from time to time remove the product from the solution and cover with a brush with mastic those places that have sufficiently etched. Having achieved the desired result, turn off the current, unsolder the wire, rinse the product with turpentine and proceed1 to the final finishing - grinding, polishing.

If a more decorative finish is needed according to a creative idea, nitro enamel of various colors can be used. Degrease the product with gasoline, then evenly fill the etched areas with enamel. Dry the enamel under a light bulb, making sure that no dust falls on the paint.

When trimming a thing, try your hand at tapping - this is metal in crusting with another metal - soft, plastic, contrasting in color.

Etch grooves in the product with a depth and width of 0.7 - 1 mm. Take a copper wire (and if the product is made of copper, then aluminum) with a cross section one fifth larger than the etched groove. Burn the wire (you do not need to anneal the aluminum) and drive it into the groove, hitting the punch with a hammer, the end of which must match the groove width, so that no nicks remain on the product.

After finishing the tapping, sand the product to a shine and, after degreasing it, cover it with varnish - it will protect the metal from corrosion.

METAL pickling - a group of technological methods for the controlled removal of the surface layer of a material from a metal workpiece under the influence of specially selected chemical reagents.

A number of ways METAL pickling provides for the activation of etching reagents by other physical phenomena, for example, the imposition of an external electric field during electrochemical etching, ionization of atoms and molecules of reagents during ion-plasma etching, etc.

In the literature, the term "etching" is usually accompanied by a definition that explains a specific etching technology - chemical, acidic, alkaline, electrochemical, etc. When using the term "etching" without additional definition, as a rule, it means chemical etching of metal in aqueous electrolyte.

For artistic metal etching When a part of the etched surface needs to be preserved, it is protected (chemically or mechanically) by applying a special protective layer - a mask.

Main types metal pickling the following:

chemical etching of metal - "liquid" etching
electrochemical METAL pickling - electroplating
ion-plasma - "dry" etching

In his work on ETCHED METAL we use the most used technologies: chemical etching of metal and electroplating.

METAL pickling - features

Etchingas one of the stages electroplating used for preliminary preparation of metal products for the application of protective coatings. With its help, the previously degreased surface is cleaned of oxide films for better adhesion of the galvanic layer to the base.

For decorative purposes, we make various drawings and inscriptions on products (engraving) artistic metal etching .

Pickling copper It is widely used by us for processing copper cliches, as well as in the manufacture of interior items.

We carry out copper pickling and etching brass chemical or electroplating. We select the type of etching solution, its concentration and processing time individually, and the parameters of the solution depend on the thickness of the oxide film to be removed.

CHEMICAL METAL ETCHING

Chemical etching of metal is called a method of reproducing various patterns, ornaments, textures, inscriptions, etc. using chemical means. on the surface of metal objects.

Chemical etching brass , chemical copper pickling and their alloys is based on the reaction of special etch compositions with the base surface, as a result of which oxide films dissolve. For processing, we use solutions of concentrated acids, in which the products are placed for a certain time. In this way, we carry out preliminary or glossy etching... Obtaining a matte or shiny surface when chemical etching of metal we regulate the degree of acid concentration and the holding time.

Electroplating etching

Electroplating method of etching metals also called electrochemical metal pickling.

Technology electroplating has many advantages over chemical etching of metal and one of the features of this technology is the use of a galvanic battery.

The operation itself electroplating the method is much faster, and the contours of the etched pattern are sharper and more distinct.

Electroplating etching (electrochemical method) more economical etching technology both in time and in the volume of acid used.

In addition, the composition of the mordant does not contain corrosive acids, as a result of which galvanic etching no gases harmful to health are formed.

When galvanic way etching copper and brass products (anode) are placed in galvanic bath with pickling solution. We use solutions of phosphoric, hydrochloric and sulfuric acids as electrolytes. Reagents (lead salts) are added to the electrolyte to prevent surface over-etching. The oxide film is separated from the metal by the release of oxygen.

If you carefully examine the drawing through a magnifying glass, chemical etched method, it turns out that the edges of the individual deepened lines are uneven and that the deeper the line, the wider it is etched. When galvanic etching the edges of the individual lines are completely smooth, and the walls of the grooves are vertical.

Pre-processing of the item is also applied when galvanic etching.

The processed object, which serves as an anode, is suspended in galvanic bathcontaining a mordant, on a wire that is soldered with tin solder to an uncoated place, the soldering point is varnished. The other end of the wire is connected to a plate of the same metal, which serves as a cathode. We use iron vitriol or ammonia solution as a mordant for steel and iron; for etching copper, etched brass and bronze - a solution of copper sulfate; for zinc - zinc sulfate or a solution of zinc chloride oxide.

If you want to do and etch different parts of the drawing to different depths, then after a certain period of time we remove the object from galvanic bath, we rinse those places that do not need to be etched deeper, and apply a protective coating on them, and then hang the object again in galvanic bath and continue etching.

METAL pickling - types of products and our capabilities

METAL pickling - sophisticated technology and trust to handle products by galvanic or chemical technology is needed only for professionals.

Our company has a proven track record of performing electroplating and chemical etching metal with the highest quality.

We have all the necessary equipment to perform METAL pickling and in the case of a non-standard order, we are ready to manufacture any additional equipment for a specific individual order.

We use technology metal pickling for etching copper and etched brass .

Through metal etching technology we carry out:

application of texture or relief drawing during artistic processing of materials -
production of premium and corporate metal products: badges, badges, medals, plates
production of metal plates: facade plates and office plates
production of stamping cliches, metal seals and stamps of various shapes for marking, as well as wax seals with deep relief
manufacture of special prefabricated handles and accessories for metal seals
production of heraldry, coats of arms and family symbols
production of logos, brand names, corporate style items
production of interior items: panels, paintings, frames, wall panels
production of metal items for wall cladding, entrance groups, fireplaces, portals, gratings
removal of the surface layer of dirt, oxides, grease, etc., for example, scale from metal workpieces
chemical polishing of the surface and removal of the layer damaged during the previous machining
etc.

We make metal plates and panels mainly using brass. This metal, under the influence of the external environment, oxidizes over time, therefore, we cover the plates with various types of decorative coatings: gold, silver, nickel, bronze, which ensures their safety for a long time. If necessary, the elements of the plate and panel can be painted over with colored enamels.

METAL pickling it is produced by us in two ways: you can cover all lines and surfaces of the picture with a substance on which the mordant acts; it is possible, on the contrary, to protect all gaps from the action of acids, leaving the lines and surfaces of the drawing free. If you then cover the entire surface with acid, then in the first case the drawing will turn out to be slightly embossed, in the second - the drawing will be deepened.

Pickling copper and etching brass in our production conditions virtually eliminates rejects due to the use of special equipment and an established control system for the preparation process and metal pickling.

Our company offers services electroplating and for custom and mass production.

After execution metal pickling if necessary, we perform sanding, patination and application of a protective layer.

METAL pickling - types of products

Through metal pickling You can get a wide variety of copper and brass products, ranging from textured panels to art products and decorations.

Brass pickling , textured panel

Brass pickling , texture with volume

Pickling copper, textured panel

Pickling copper, textured surface with patterns

Brass pickling , art drawing

Brass pickling , art products

METAL pickling, art products

Brass pickling , decorative decoration

METAL pickling - our work

METAL pickling - decorative motorcycle pads with the author's design, part of the motorcycle tuning, motorcycle pads are made of brass with embossed engraving and volumetric application of the image, for the contrast of the levels, the background is blackened and matte polished

Brass pickling - embossed plates for decorating the facade of a country house

Brass pickling - a copy of the coat of arms of the times of the USSR for a gift case made of wood, on a metal coat of arms with a diameter of 6 cm, all elements are worked out with a high degree of detail, painting with enamels and artificial aging as a finish

Metal pickling - the family coat of arms of the noble family of the Russian Empire "Safonovs", the embossed coat of arms is made of brass, the background is oxidized, the upper plan is polished, the finished coat of arms is placed in a frame according to the style

Brass pickling - gift panel from metal "Brahmananda Avadhuta", diameter 36 cm; portrait of the guru, lotus and decorative ornament are worked out with the smallest detail, 2 types of grinding and polishing create shine and reflection of individual groups of composition elements

Brass pickling - gift panel made of metal "Shiva", diameter 33 cm; portrait and decorative ornament worked out with the smallest detail, combined polishing to a mirror shine

Brass pickling - reproduction of the icon 15x18 cm, made according to technology etching, line thickness 0.5 mm

Metal pickling - an aluminum skull emblem on a car grill, three-dimensional metal carving, pattern etching, assembly of a composition from individual elements, oxidation, varnish

Metal pickling - numbers for apartments made of nickel silver, made in high-tech style, relief chemical engraving, directional grinding to give color and texture, number size 7.5x4 cm

Brass pickling - a beer wobbler made of brass for a cafe-buffet, made using the technology of chemical engraving, the size of the wobbler is 30x13 cm, the holder is contoured and soldered, matte grinding and contrasting blackening of the background are used

Nickel silver metal plates for decorating table clocks, embossed metal pickling filled with color, size of metal plates 13x9 and 13x5 cm, respectively, grinding metal to a matte surface

Copies of orders for the restoration of the book "15 years of the Komsomol" made metal pickling, the Order of the Red Banner and the Order of the Red Banner of Labor were made, diameter 11 cm, convex relief, aging of the metal in the original color

Etched metal a copy of the personal seal of Metropolitan Moses (Byzantine period, XI century) was made, the work was made as a gift in a frame on blue velvet, 2-sided image, diameter of each seal is 8 cm, color "antique silver"

Brass pickling - metal belt buckle, made in a multi-level design, embossed background and relief image of letters and coat of arms, size 70x55 mm

2-sided nickel silver medal with a portrait on the obverse and the Brandenburg Gate on the reverse metal pickling, relief image on metal with a thickness of 6 mm, medal diameter 6 cm, contrasting blackening and matte polishing were used for finishing

Metal product for a festive event is made etched brass in the form of a souvenir medal, diameter 15 cm, thickness 5 mm., the peculiarity of the medal is the relief application of inscriptions and detailed study of the elements of the Spasskaya Tower, the surface is treated to a state of mirror polishing of the background, inscriptions and images

Family coat of arms made using technology metal pickling, dividing elements into zones, filling with colored translucent enamel, decorative frame, oxidation

Etching copper - a damper for the stove, made in a hunting style. For the manufacture, contour cutting of metal and chemical engraving of the pattern were used, decorative handles and legs were used for decoration, a frame along the contour with copper rivets

Brass pickling - engraving "Temple of the Most Holy Theotokos", patina and blackening, framed decoration

Metal pickling - decorative panel "Intercession Cathedral", silvering, blackening, size 16x22 cm

2-sided festa disc with a diameter of 10 cm with unique hieroglyphic drawings, made using technology metal pickling, perfect elaboration of the smallest details and contours with a line thickness of up to 0.2 mm, polishing the surface and filling the lines with color

2-sided watch ring 10 cm in diameter with unique drawings containing information about the ancient calendar system, made using technology metal pickling, detailed elaboration of signs on the front surface of the ring and an extraordinary texture on the back side

2-sided Serpon ring with a diameter of 10 cm, a recreated copy of the artifact with the image of a calendar and a map of an ancient civilization, made using technology etched brass

2-sided stellar disk from Mittelberg with a diameter of 10 cm, a recreated copy of the artifact depicting the world's oldest horoscope to date, made using technology etched brass, detailed study of elements on the front side and texture on the back side

Brass pickling - decorative holder for napkins "Calvados", size 18x3.5 cm, background etching and oxidation

Metal pickling - chased copper plate, Church of Vyacheslav the Czech, diameter 35 cm, etching , oxidation, silvering

Metal pickling - gift panel "Fan" made of nickel silver, relief engraving, grinding and blackening

Brass pickling - nameplates for a wooden case with weapons, made with a protruding relief, look great due to the design with a frame and sawing out the contour along the frame

Brass pickling plate "Sun", made according to the design of a children's hand drawing with repetition of lines from the movement of the hand, the size of a brass plate is 15x10 cm, chemical engraving, blackening and polishing was used to contrast the background and image

Artistic metal etching , stainless steel etching - numbers made of stainless steel 3 mm, without filling and with graphite filling

METAL pickling, stainless steel etching - stainless steel pointers, enamelled, sanding, edging

Artistic metal etching , etching brass - plate made of brass 3 mm, "Letters of Repentance"

Brass pickling - decorative element of the hanger, antique finish

Artistic metal etching , etching brass - plate made of brass 5 mm, "Bag of Happiness"

Artistic metal etching , etching brass

Artistic metal etching , etching brass - panels for interior decoration

Artistic METAL ETCHING - cost

The cost of manufacturing a product using technology electroplating or chemical etching of metal depends on the following parameters:

product material
product size and geometry
availability of a sketch or drawing of the product
the complexity of the drawing and the depth of the drawing
necessary finishing
method of fixing the product
special wishes of the Customer for the product

average cost metal pickling for a product of medium complexity is 50-60 thousand rubles per 1 sq. m of the product.

To order METAL picklingyou can use e-mail This e-mail address is being protected from spambots. To view it, you need JavaScript enabled or by phones from the contacts section.

Order art copper pickling and etching brass with us, and you will get the best quality and author's performance.

There are a great many different techniques used in the creation of author's edged weapons. These are engraving, carving (incrustation, without the use of glue and solder, non-ferrous metals in metal or wood), artistic etching, bone and wood carving, scrimshow, artistic casting and other jewelry techniques. In my opinion, knowledge of all these techniques and the ability to apply them to the place is a great help in revealing the creative idea of \u200b\u200bthe armourer.

Consider chemical and galvanic etching as a way of artistic metal processing.

In designer weapons, this technique is most often used for finishing blades. There are reasons for this. For example, unlike engraving, chemical etching easily "eats" hardened steel. Etching does not require any fixation of the blade - it just lies on the table, on a blank sheet of paper. From tools - a thin brush and a needle. Materials - special varnish and pickling solution. And at the same time, with some experience, you can get very good results.

Where and when artistic etching "originated", I do not presume to judge, and it is unlikely that any historian will give you an exact answer. But, for example, in my native Tula, already in the 17th century, this technique was widely used as an alternative to engraving for decorating guns, sabers, broadswords. On many blades, the inscriptions "for courage", "God is with us" and others were etched. Typical for the Tula craftsmen of that time were roses, banners, heraldic emblems, etched on guards and blades, intertwined with ribbons.

In 1815, the Zlatoust arms factory was founded. According to the plan of the organizers, it was to become the main supplier of edged weapons for the Russian army and navy. Artists, engravers, etchers, technologists and other specialists from Germany were invited to train Zlatoust masters. This is how the Zlatoust weapons school was born, which is still flourishing and is recognizable thanks to its stylish artistic etching.

There were also some outstanding master etchers both in Europe and in Russia. Their works have taken a worthy place in museums and private collections. Artistic etching of metal gives their products sophistication, artistic value and expressiveness. It is used in combination with engraving, inlay, gilding and colored oxidation. Battle scenes, very characteristic for that time, etched on saber blades, which are essentially masterpieces of fine art.

However, in my opinion, the best results in the etching technique have been achieved by contemporary gunsmiths. The masters create magnificent pictorial and ornamental compositions on the blades with amazing naturalism and precision in conveying details, amazing in the finest elaboration of nuances.

But back to our hands-on tutorials on metal etching. Despite the apparent simplicity, there are also "pitfalls" in this technique. Experience shows that artistic etching is not always successful even for professional artists. This is more a case for engineers who can draw.

A certain "firmness" of the hand and accuracy are also required. There are also "secrets of mastery", the name of which is practice. And I will gladly reveal some professional "secrets" to you!

First, let's decide what it is, chemical etching? I think the most accurate definition will be that this is a partial (or complete, if you oversleep) dissolution of the metal in the pickling solution. On a previously degreased surface we apply a pattern with varnish (you can use miralkyd enamel). And everything is simple - the drawing under varnish after etching goes into relief, and what is not painted over gains depth. A kind of steps are obtained, which later form layers. Artistic etching is sometimes called "multi-stage" or "multi-layer", although the most primitive version can be in one layer.

Of the known etching methods, I want to single out three. The first is when the entire surface of the product is painted over with varnish, and then the necessary pattern is scratched with a needle. The second method differs in that the drawing is applied with a thin brush. And the third is the photo method, but we will not consider it.

What is the "poison"? There are many options for taste and color ...

I will share my experience. When making the first steps in etching, I used ferric chloride as the etching solution (FeCl 3). This substance (also called ferric chloride 3) has a number of advantages. It is easy to find on the market - it is used for etching boards. The etching process in ferric chloride is quite gentle and controlled. Allows to reveal the finest shades of gray when etching, which is actually what we need to solve creative problems. And one more important advantage - iron chloride is relatively harmless (although I still do not recommend drinking it).

For some time he poisoned with acids. I took nitrogen as a basis. The simplest aqueous solution: 30% nitric acid with the addition of a small amount of sulfuric. Pros - the etching process takes place very quickly and to a great depth. Cons - poisonous fumes (it is advisable to use a fume hood), acid-resistant varnish quickly "peels off", and a large background depth is not always needed.

He also poisoned me with electrolysis. The advantage of this method is that it etches any metal and gives a sharp edge. The disadvantage is that a hard background is obtained.

So, I went back to ferric chloride! In my opinion, this is the most suitable solution for artistic etching.

I also want to pay special attention to the preparation of the working surface for pickling. First of all, this is a high-quality grinding of the blade, at least to the purity of P1000 emery. Subsequent etching will undoubtedly reveal all scratches and pits in an undesirable way. So, I recommend putting them out well in advance.

And, of course - degreasing! I thoroughly rinse the blade with cotton wool and acetone. Then I rinse the surface with alcohol and wipe it with dry cotton wool. This is usually enough. And another important point in preparation is the cleanliness of the workplace. The most insidious enemy in the etching process is dust. If it comes into contact with the product in use and uncured varnish, dust can lead to undesirable results.

I recommend preparing the etching varnish yourself. We put Kuzbaslak (asphalt-bitumen varnish) in an open metal container on an electric stove (the lowest temperature), evaporate in this way for 10-12 hours, then, while it is still warm, stirring it, dilute it with turpentine to the state of “liquid sour cream”. The varnish is ready. The process is called "substitution". Volatile ether solvents are replaced with turpentine, a simpler and more convenient solvent. In fact, the evaporated asphalt-bitumen varnish is a high quality molten bitumen resin. And it is diluted with turpentine so that after cooling the varnish does not harden. In the future, before use, the varnish is brought with the same turpentine to the required consistency.

In addition to the aforementioned "black varnish" I sometimes use white car nitro enamel or miralkyd enamel. Automotive can be diluted with solvent No. 646, miralkyd - with white spirit. All of these tools have their pros and cons. The advantage of white enamels is that they are better seen during work at any angle to the plane of the blade. They also create a more durable acid-resistant coating after drying. The disadvantages of these varnishes are also very significant. After drying, they lose elasticity, that is, there is no opportunity to clean up uneven edges with a scraper (if you are a human, not a robot, there are always slight tremors in your hands). Another disadvantage of white enamels is that after etching, they are much more difficult to wash off the blade. Therefore, let's dwell on the "black varnish" for now. It hardens faster, but retains elasticity even after complete drying. And after work it is very easily washed off from the surface with the same turpentine.

I use the thinnest synthetic brushes. Unlike natural ones, they are more elastic and more resistant to solvents. But I also recommend keeping them clean, and periodically rinse them with turpentine during work. At the end of the work - also with soapy water.

Let's talk about transferring a design to a blade.

It will not be so easy to scratch, since the blade is already hardened. You can, of course, use a carbide scribe, but some experience is required for this. And the trace from the scribe is hard to see. In fact, everything is easy to solve. I cover the blade with white gouache, draw or copy the necessary image from tracing paper with a simple pencil. Then, using a cotton-gauze swab, I carefully cover the drawing with transparent nitro-lacquer in one layer. After the varnish has dried, I scratch with a thin needle over a pencil sketch.

It will be much more convenient to hold the needle if you adapt some kind of handle to it, like a fountain pen. The pressure on the needle must be done in such a way as to scratch the varnish layer to the metal.

In order not to create "dirt" on the working surface, it is advisable to scratch the drawing in one line. If the varnish is correctly selected, that is, elastic, then the scratched lines will be clear and without scoring. After that, I dip the squirrel brush in ferric chloride and gently coat the scratched pattern. Five seconds is enough for the sketch to appear on the red-hot blade. I wash off the varnish with a solvent, gouache with water, degrease, and you can proceed directly to etching.

We start with the first layer. Degrease the blade. We paint the scratched (etched) contour with our sketchy varnish. Let the varnish dry for 2-3 hours. Then carefully clean up the needles at the edges of the painted pattern, if any, and place the blade in a diluted solution of ferric chloride. It is better to calculate the residence time of the product in the pickling solution experimentally, since this is influenced by many factors, which I will discuss later.

From my experience: the first layer is kept in ferric chloride for about 40 minutes, the etching time of subsequent layers is reduced step by step by 5-10 minutes, etc. I poison either in a glass jar or in a plastic tube with a sealed bottom. With an etching blade, I periodically stir the solution. This helps the reaction to proceed evenly and does not allow ferric chloride to settle to the bottom.

When the time allotted for etching this layer is over, rinse the blade in running water and blot it with a paper towel or newspaper, but in no case should you rub it. When the blade has become dry, we wash off the black varnish from the surface with cotton wool soaked in turpentine. After that, we carefully clean our drawing with fine sandpaper (P1500) until the relief and shades of gray appear on the background. The first layer is ready.