Stirring Adventures and Mad Mods! Saving the world one questionable decision at a time.
Steampunk Projects in The Lab
In the Lab with P. Phinneas, the Fearless Fabricator – steampunk projects, mad science, and more…
This entry is part of a series, How to Etch» Before I go on to post other projects and forget, let’s talk about etching brass and copper. The fan project and some others I had in mind would greatly benefit from some decorative design work, so I had to remember some old knowledge and learn some new skills. Below I will gloss over acid etching and cover electrolytic etching.
Hold on a minute, lets get something important out of the way:
SAFTY FIRST: GOOGLE, GLOVES, VENTILATION and COMMON SENSE.
Now for the fine print:
The information posted here for inspiration and so others can have a base schema of knowledge to from which begin their own research. These are not complete instructions!! Do more research of your own before attempting!!
Repousse was out for a number of reasons, the first being cost in money or time. Lets’ face it – tools either have to be made or bought, and I would need a good number of specialized hardened iron little tools, wax or resin pans, etc. I have tried my hand at it and it takes a lot of time and planning to turn out an impressive little piece, on thinner metal. Plus, I wanted sturdier stock. But mostly because I have some artist friends who have done some really dang good work, antiquity quality work, with repousse, and I would end up judging my own work by means of comparison. Etching and machining is a more period look for steam punk.
On to the work! Prepare the piece for etching by applying a resistor where you want to keep material, so what is exposed to the process will be eaten away or ‘bitten into’ to make an indention. First the piece must be clean of oxidation, oils, and varnish. It is important to note that most brass and copper are shipped covered in plastic film, varnish or what not to keep them from tarnishing. The resistor can be clear box tape, cut on the piece for simple work. For more complex design on flat pieces I prefer the toner transfer method. For my work, the method I learned in electronics lab, using a permanent ink marker as a resistor, does not hold up well to the processes itself, as the ink is not thick enough to protect the un-etched areas.
The toner transfer method that I use requires access to a laser printer. I build the design to scale in photo shop at about 200dpi. Once complete, reverse the image to a negative and converted into black and white. It is important to note that there is a learned ratio for detail to etching time. Once this is crossed detail is lost, so it is best to err on the side of simplicity. Print the image on to glossy photo Inkjet paper loaded into a Laser printer. Take note that I did mean to say glossy photo Inkjet paper loader into a Laser printer.
I try to fill up a sheet of paper.
Freshly clean the work piece so its shiny and reasonably smooth. Cut the paper the image is on down to size and place it toner side down on the metal. Now use a hot iron and a block stamp roller to apply the toner to the metal. Heat by pressing for about 30 seconds, roll, heat, roll, repeat and repeat again. Once complete bonding is achieved and the piece is cool to the touch soak it in water for about 10 to 15 minutes. The paper peels off in layers, this will requires soaking again for a few minutes as you work. The last bit of paper can be rubbed of with your fingers until the toner is revealed. I have found that a little white haze doesn’t significantly slow the process, but that removing too much can weaken the toner’s hold. After looking at the work of others, I remembered that I as a lad in my basement electronics lab, had etched my own circuit boards using basic supplies. After wasting a whole lot of time trying to acquire a bottle of that brown etching solution, and for the most part only getting a lot of attitude about wanting something that everyone says they can get but won’t, it was on to the aether. Bless the DIY electronic geeks out there, for having dealt with this aggravation, and come up with a cheaper solution! Here is a link to some short notes on it.
This maybe simple chemistry, but it is real chemistry with a hazardous chemical so don’t be stupid, do your own research before attempting. Have baking soda handy for first aid. If you get acid on your skin, rinse with cold water, then apply baking soda. Also always add your acids to your peroxide so you don’t get an accelerated reaction. Peroxide first, then acid.
Acid etching is fine for large pieces, but has a few issues: diminished returns on the use of the chemical and disposal of the chemical. Flushing of muriatic acid is allowed into some municipal systems, however the metal content makes it a questionable act environmentally. Waste of this kind is really hard on septic systems and your water table. I also prefer to play with electricity more than just acid.
Part Two…..
ETCHING WITH ELECTRICITY
By Madame vonHedwig on Monday, February 2nd, 2009
January 19
Notes from la Capitaine
Standard issue gear is all very well, but many officers are inclined to make their own improvements. I prove to be no exception in this regard. Finding myself with some amount of time between assignments, and not being happy with the performance of the portable communications devices available to me, I headed to the auxiliary lab adjacent to the ready room and made adjustments to the communications kit.
The portable unit has been enhanced with new copper casing, which enables one to extend one’s range from the main transmitter. Additional copper banding on the headset clarifies audio reception. A time compass has been added, thus combining two very useful instruments into one.
Photo documentation of the construction process has not yet been declassified, but I include a copy of my requisition, and a description of my work.
Your interest in my humble efforts does me great honor, and I remain most cordially,
Capitaine Eve Charette
Lafayette Corps Aeronautique
1st Armée Aeronautique
REQUISITON
Submitted by: Captain Charette
Intended Use: Upgrade headset and transmitter
Date: January 3
Approved by Quatermaster: January 4
15″ braided steel tubing
pipe hanger
standard issue headset
altoid case
foam padding
chrome paint
brass washers
copper flashing
watch face
assorted watch parts
belt clip
TECHNIQUE
Upon the approval of my supply requisition by the quartermaster, I am able to upgrade my communications gear. The headset was not always a stable fit, and the transmitter needed an expanded case so that I could incorporate my recently acquired time compass. (Space on the flight deck can grow crowded, at times it is most helpful to have the most important instruments immediately to hand.)
First, I selected a case that would most closely fit the transmitter, choosing an altoid tin for an ipod nano-sized instrument. Using a grinding wheel, I cut a slot in the case, allowing the headset wire to slip through with the lid closed. Then I coated the case with chrome paint and wrapped it with copper flashing (hot glue worked better than superglue on the copper). I affixed a belt clip (pirated from an old tape measure) to the back of the case and padded the interior with thin foam to float the ipod and keep it from banging around. Finally, I installed the time compass to the front of the case, employing the bent brass washers and watch parts.
For the headset, I separated the earphones from the thin wire band holding them together. The original intention was to use new toilet supply line for the headset bracket, but it proved to be too springy, so I added the pipe hanger for resistance. I glued and screwed the earphones onto the hanger and tubing. I reinforced the join with strips of copper flashing.
- Steampunk burlesque fan
The idea just came to me, a hybrid plan out of the piling-up scraps in the shop, art, performance and muse influence. Madame has always inspired me and my best works are often for her. Copper roofing remnants, a coil of soft copper water supply line, and brass door kick plates were base supplies. What follows is an explanation on the building of the fans, later I will write about the processes involved in individualized detail.
While I always counsel “start small”, I seldom listen to my own advice. This is the project that set me down the path of tinkering and etching. To finance it I sold, with honesty, one tool that was a pit trap in my toolbox. One of those tools that should save time and effort, but because of design flaws have aged poorly and ends up making it worth pulling out air hoses and what not. It does make me reflect that my Grandfather’s tools still work and are worth repairing when they don’t. I must ask, why are not the ones built in this decade? But I digress….
Feathers for fans of this scale are expensive even when bought in bulk, but a nice gentleman at Fabulous Feather made sure I was getting the right stock. I would recommend calling if you don’t know feathers, instead of point and clicking on the aether, because if your polite and ask good questions, you can get a education to build further knowledge upon. Even if you value efficiency and time over the cost of social interaction, when working with new materials is a time to talk to those who know their trade. Let us just say that there is more to the plumage of the feathered reptile descendants of the dinosaurs than breed, color, and length.
As I waited for feathers I did some reading and corresponded with some fellow craftsmen on the aether. My design became a little more refined, defined and customized to Madame. Design sometimes is fore thought, but when learning to work materials in new ways, it pays to be flexible. For this project there were four basic steps: the structural core of the fan; the cutting and etching of the cog and flora design; the joining of the layers; the adding of the feathers. The middle two steps required the most research, learning, re-tooling in the shop.
I constructed the core of the fans on a semi-circle of copper, an inch smaller across that the outer shell was intended to be. Using the knowledge that half a circle is a 180 degrees, it was easy to scratch 13 well spaced lines to place the extensions along. I cut extensions from copper tube, 3/8″ soft plumbing, cut to length using a plumber’s pipe cutter and reamed to remove the internal burs. I mashed flat the first, say, ¾ inch, of one end and drilled two small holes in it. Because I know my own work, each extension was numbered with Sharpie and its holes continued into semi-circular piece. I cleaned and lightly fluxed all pieces where solder was desired. I wired each extension in its spot with old telephone wire and held the other end of the tubes with spacers of “u” shaped tie wire. After a touch of heat from the torch more plumbers flux was added in the desired areas, then it was all soldered together in a utilitarian manor with plumbers solder. I used plumbers solder here because of its proprieties and the fact it is not visible on the finished product. These two pieces were allowed to cool without quenching and harden.
For the Cog and Flora design plate, I laid out the cut line on a paper template and scratched the line into the brass door kick plate with a carbide stylus. I used a jeweler’s saw to cut the brass. Your first project with a jewelers saw has quite a learning curve, and even once you get a feel for it you will break these fine blades with shocking regularity, so buy them by the gross. For the inside work I drilled 1/16″ holes, after a pilot ding, in the scrap areas near the hard turns in the cuts so the saw blade could place up though them for an inside cut. Cogs and other detail work meant this step took awhile. 
Once cut I deburred the project and finalized its shape with jewelers files and emery cloth. I covered the pieces neatly in clear packing tape as a resistor, then cut out and removed the area to be etched. Because of the piece’s size and the equipment I have, the etch was done in acid. The design plate is mounted on a clamshell a ¼ inch large circumference than the design plate, with extra material figured in for the bend around the bottom of the core. I did this with the lowest temperature jeweler’s silver solder and self-pickling flux. (I do promise a more detailed writing on what I learned about soldering, but it needs to be its own post.) This step ends with lots of polishing and cleaning.
Now that the design plate is mounted to the clamshell it needs to be affixed to the core. I slid the design assembly over the core and gently tightened them with a rubber mallet and a wooden surface, then riveted the two together. I made small rivets from softened 16 gauge copper wire. I peened one end over before inserting in to the well-sized holes, through the front clamshell rim, the extension, and out the back clamshell rim. What stuck though was trimmed and peened round as possible. While I have done much hand riveting in past projects, be warned that peening cold rivets in soft metal is an acquired skill. All the more so for homemade ones of thin electrical wire! So if you’re going to try it, practice it on scraps first. Once again this step ends with lots of polishing and cleaning.
- clamshell
Adding the feathers was amazingly simple after all else. Thirteen thinner end feathers went in the 13 extensions, then 12 fatter-ended feathers went between the extensions. I used hot glue to hold them in place. It’s a nice mix of bonding and easy of feather replacement. I know Madame well, and at some point the fans will require replacement feathers. After a little more polishing, they were ready to (carefully) wrap.
- Madame von Hedwig with Steampunk burlesque fan
Transcriptions from P. Phinneus’ notebooks are just that. They are neither complete nor instructions, but are what he feels he needs to write down to remember or learn. They are posted here for inspiration and so others can have a base schema of knowledge to from which begin their own research. These are not complete instructions!! Do more research of your own before attempting!! Copies of the original notes can be found on deviantart. (http://fearlessfabricator.deviantart.com/ )
Non-Ferrous Metal parts production (page 1)
Non-Ferrous metal when heated* and quenched quickly becomes soft. Slow cooling has a hardening effect. (It will work harden.)
Copper rivets can be made from (copper) wire, which has been soften by tempering. Slowly (with light strokes of a small ball peen hammer) peen one end in a vise or pliers. Trim slightly long, about the same (as the) width of the wire after inserting in a well-sized hole. Slowly peen the other side (he means the freshly cut end). Bending can occur if worked to quickly or too large of a ball peen hammer.
Plumber solder is higher in acid but silver (jewlers) does not bridge gaps.
*Heated refers to glowing hot.
*as opposed to ferrous metals.
(page 2)
ETCHING (with acid)
Etching solution can be hard and expensive to find. Luckily it is simple to make if one is careful. 2 parts Muriatic acid can be added to 1 part Hydrogen Peroxide (common drugstore 3% is fine)
WARNING- Mixing is a hazardous process (if done wrong)!!!
WARNING- add acid to peroxide, not the reverse.
(WARNING- have baking soda handy for mishaps)
Ventilation is important.
Eye protection and gloves, rubber (or) vinyl.
This entry is part of a series, 12 Volt Power supply» I built this to provide current for electrolytic etching of copper and brass, but it can be used to power electronic projects as well. It is a simple procedure, for those with basic electrical skill and understanding of the safety practices needed for working with power supplies.
WARNING: If you read this and don’t understand any part of it, you don’t have the base knowledge needed to attempt this project safely.
WARNING: unplug unit before attempting anything!
WARNING: power supplies can hold a charge of electricity!
WARNING: If you don’t know or don’t think electricity can kill you dead, DO NOT PROCEED!
Necessary parts:
10 ohm 10 watt resistor
SPST switch
Electrical tape and or heat shrink tubing
Optional parts:
LEDs
Resistors (for 20 to 25 ma 84 to 100 ohms ¼ watt should work fine)
Now down to work.
Remove ATX power supple unit from computer if not all ready separate, keeping wires as long as possible but remove the connectors. The power supply has a number of checks or safeties that keep it from working at this point. Next remove the access cover, but it is not necessary to remove the circuit board from the power supply housing. Sort wires so you have set aside the following:
2 red wires (only one if you are skipping the LEDs)
1 yellow
4 black (only three if you are skipping the LEDs)
1 green
1 brown (if brown/orange pair is present)
1 orange (if brown/orange pair is present)
Clip all other wires at circuit board, if longer cover the ends with electrical tape or shrink tube.
Brown and orange are connected together permanently for the 3.3 volt sense to enable the power supply to work. (If there’s no brown/orange pair, ignore this step.)
Next the 5 volt rail needs a load for the power supply to operate properly. The 10 ohm 10 watt resistor provides this load when connected between a red and a black wire. This baby heats up a bit so it needs to be mounted in a way that dissipates that heat, like in the air flow of the fan or on a heat sink.
The power on/off is made by connecting the SPST switch between the black and the green wires. Insulate all bare connections. LED with a resistor can be hooked in parallel between a set of red and black wire.
The two remaining black wires are twisted together. Now when activated there should be 12 volts dc between the yellow and paired black.
12 volt power supply
Mount, jank, decorate, and make safe your new power supply.
LED exact resistors needed can be calculated at http://led.linear1.org/1led.wiz
Max power output can be figured with the equation Watt = volts x amps, minus say 10% (just of the top of my brain) for 5volt load, LEDs and loss. These are modifications the instructions from http://www.vonslatt.com/bus-tron.shtml
While many things are going on in the lab, most are still in the secret classified category until after the holidays, their completion or their use, in time of need, leads to their change classification. However, I can show the hat pins The Madam needed me to make her for her new hat.
.
