Japanning
Japanning:
Not so much a finish, as a style of finishing.Webster's 1913 Dictionary:
1)
\Ja*pan"\, n. [From Japan, the country.] Work varnished and figured in
the Japanese manner; also, the varnish or lacquer used in japanning.
2) \Ja*pan"\, v. t. [imp. & p. p. {Japanned}; p. pr. & vb. n. {Japanning}.] 1. To cover with a coat of hard, brilliant varnish, in the manner of the Japanese; to lacquer.
2) \Ja*pan"\, v. t. [imp. & p. p. {Japanned}; p. pr. & vb. n. {Japanning}.] 1. To cover with a coat of hard, brilliant varnish, in the manner of the Japanese; to lacquer.
Wordnet Dictionary:
[n]
lacquer with a durable glossy black finish, originally from the orient.
Oxford English Dictionary:
\Ja*pan"\, n. def 2:
A varnish of exceptional hardness which originally came from Japan. The
name is now extended to other varnishes of a like sort esp., to (a) a
black varnish obtained by cooking asphaltum with linseed oil, used for
producing a black gloss on metal and other materials; (b) a
varnish-like liquid made from shellac, linseed-old and turpentine and
used as a medium in which to grind colours and for drying pigments.
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Japanning Recipes: Traditional for Wood & Metal
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Japanning Recipes: Modern for Metal (or Paint if you prefer)
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Cleaning & Preparation for Japanning
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Application of Japanning (including Nathan Lindsey's post of start to finish restoration)
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Download: Handbook on Japanning: 2nd Edition by William N. Brown from Project Gutenburg
Traditional Japanning for Wood [Alcohol based]
http://www.ecrios.com/howtodojap.html.Eli's Formula for Japanning as demonstrated on the Martha Stewart TV show)
Reproduced in it's entirety as the original page no longer exists.
Materials Needed:
1) Drop Black dried pigment (see "Products" section)
2) Orange Flake Shellac (see "Products" section)
3) Denatured alcohol
4) Empty 8 oz. container (such as a Wonton soup container)
5) Plastic spoon
Formula to Make (Alcohol-Based) Japan Paint:
Step 1 - Make Shellac
Fill an 8 oz. container halfway with Orange Flake Shellac. Add denatured alcohol until the liquid is 1" above the flakes. Cover and set aside overnight or for about 8 hours, stirring every four hours.
Strain (for this you may use cheesecloth, a T-shirt, stockings, or a sieve). Pour through into another container. Add two teaspoons of Drop Black dry pigment to the strained solution.
Stir with brush.
Application:
Make sure surface is absolutely clean of wax. Will adhere to raw wood, painted wood, or lacquered surfaces as long as they are clean of wax.
***Note*** It's very Important to clean and sand surfaces. Raw wood should be sanded thoroughly, then painted. Lacquered or painted pieces should be cleaned with mineral spirits.
Wipe the piece down using a small rag, or a T-shirt dampened with mineral spirits.
Follow by a good sanding with 220 grit sandpaper.
Apply 2-3 coats of paint. Wait 15 minutes between coats. On painted or lacquered surfaces, you may need less coats of japanning.
1) Drop Black dried pigment (see "Products" section)
2) Orange Flake Shellac (see "Products" section)
3) Denatured alcohol
4) Empty 8 oz. container (such as a Wonton soup container)
5) Plastic spoon
Formula to Make (Alcohol-Based) Japan Paint:
Step 1 - Make Shellac
Fill an 8 oz. container halfway with Orange Flake Shellac. Add denatured alcohol until the liquid is 1" above the flakes. Cover and set aside overnight or for about 8 hours, stirring every four hours.
Strain (for this you may use cheesecloth, a T-shirt, stockings, or a sieve). Pour through into another container. Add two teaspoons of Drop Black dry pigment to the strained solution.
Stir with brush.
Application:
Make sure surface is absolutely clean of wax. Will adhere to raw wood, painted wood, or lacquered surfaces as long as they are clean of wax.
***Note*** It's very Important to clean and sand surfaces. Raw wood should be sanded thoroughly, then painted. Lacquered or painted pieces should be cleaned with mineral spirits.
Wipe the piece down using a small rag, or a T-shirt dampened with mineral spirits.
Follow by a good sanding with 220 grit sandpaper.
Apply 2-3 coats of paint. Wait 15 minutes between coats. On painted or lacquered surfaces, you may need less coats of japanning.
Traditional Japanning for Metal:
1) http://home.comcast.net/~elmorain/JapanningRecipe.htm
The base recipe: Add 2 parts linseed oil, 5 parts turpentine, and 3 parts asphaltum powder, and 3 parts rosin.
I have reproduced the entire page locally. The original website is now defunct. It contains mixing and curing instructions, as well as a lot of other information.
I have reproduced the entire page locally. The original website is now defunct. It contains mixing and curing instructions, as well as a lot of other information.
2) An all-purpose formula used in the 1890's
It consisted of: 2 lb. gum shellac, one gallon oil, 1 pound each of red lead and litharge (**warning - highly toxic) , and 1/4 lb. of amber. "Melt the gum in a small quantity of oil (Linseed) and then add it gradually to the rest of the oil while it is boiling. Boil the whole recipe until Stringy."
Sounds yummy, hah? He goes on to say: "A 20th-Century formula for japanning metal consisted of fusing 12 ounces of amber and 2 ounces of asphaltum by heat and adding 1/2 pint of boiled linseed oil and 2 oz. of rosin. While the mixture was cooling you added 16 oz. of turpentine to complete the black varnish."
Archive: 85474, 74918
Posted By: Tom Price, David Christopher
3) To Make Black Japan
This formula came from one of my
old books. could it be what's you're referring to? To make Black
Japan: Boiled oil, 1 gall.; umber, 8 oz.; asphaltum, 3 oz. oil of
turpentine, as much as will reduce it to the thinness required.
Archive: 87095
Posted By: Greg Lynn
Archive: 87095
Posted By: Greg Lynn
4) Lee's Priceless Recipes
Lee Valley's catalogue has an
interesting little book called "Lee's Priceless Recipes: 3000 Secrets
for the Home, Farm, Laboratory, Workshop, and Every Department of Human
Endeavor". This is a reprint of a book originally published in 1895
On page 267 is the following: BLACK JAPAN -- Naples asphaltum 50 pounds, dark gumanime 8 pounds, fuse, add linseed oil 12 gallons, boil, add dark gum amber 10 pounds, previously fused and boiled with linseed oil 2 gallons, add the driers, and proceed as last. Used for wood or metals.
Archive: 85480
Posted By: Nichael Cramer
On page 267 is the following: BLACK JAPAN -- Naples asphaltum 50 pounds, dark gumanime 8 pounds, fuse, add linseed oil 12 gallons, boil, add dark gum amber 10 pounds, previously fused and boiled with linseed oil 2 gallons, add the driers, and proceed as last. Used for wood or metals.
Archive: 85480
Posted By: Nichael Cramer
5) Ford
Ford used two japan black paints.
The “First Coat Black Elastic Japan” was given the factory
specification number F-101 (M-101 after March 15, 1922) and F-102
(M-102 after March 15, 1922) was the factory specification number for
“Finish Coat Elastic Black Japan”. Both paints were very
similar in composition. They consisted of about 10% linseed oil and
dryers (lead and iron dryers were popular in oven baked paints), 55%
thinners (mineral spirits or petroleum naphtha), and 25 - 35%
Asphaltum. F-101 also contained 1 - 3% carbon black as a pigment, while
the finish coat, F-102 contained none.
The surprising and interesting element in these paints is the asphaltum or asphalt. Asphalts are dark film-forming compounds that were used in paints noted for their resistance to water and dampness. The Ford material specification sheets usually specify that the asphalt used was Gilsonite. This is a natural, hard, brittle resin that is mined in the western United States as well in other places around the world. It was used in the manufacture of many products during the 1920's including paints, varnishes, oils, and shellacs. When compounded with other asphalts and rubber it was made into automobile tires, phonograph records, waterproofing and insulating materials. When used in paints Gilsonite must be melted at 270 - 400 degrees before it is added to the linseed oil and dryers. As a part of the paint, the Gilsonite is low in cost, acts as a hardening agent for the oils, and results in a high-gloss dark-colored surface. It also tends to increase the plasticity of the paint, making it less brittle, more flexible and able to withstand the vibration of fenders, hoods and shields without cracking or pealing.
From: http://www.mtfca.com/encyclo/P-R.htm
The surprising and interesting element in these paints is the asphaltum or asphalt. Asphalts are dark film-forming compounds that were used in paints noted for their resistance to water and dampness. The Ford material specification sheets usually specify that the asphalt used was Gilsonite. This is a natural, hard, brittle resin that is mined in the western United States as well in other places around the world. It was used in the manufacture of many products during the 1920's including paints, varnishes, oils, and shellacs. When compounded with other asphalts and rubber it was made into automobile tires, phonograph records, waterproofing and insulating materials. When used in paints Gilsonite must be melted at 270 - 400 degrees before it is added to the linseed oil and dryers. As a part of the paint, the Gilsonite is low in cost, acts as a hardening agent for the oils, and results in a high-gloss dark-colored surface. It also tends to increase the plasticity of the paint, making it less brittle, more flexible and able to withstand the vibration of fenders, hoods and shields without cracking or pealing.
From: http://www.mtfca.com/encyclo/P-R.htm
6) Thomas Allgood of Pontypool
In the late 17th century, there
was a developing trade in metal goods made of thin iron sheet, spurred
by development of the rolling mill. Rust proofing this iron was
obviously important. Tin plating had been developed in Germany, and
British manufacturers needed to compete.
While it was the growth of the iron foundries and tin plating that gave birth to japanning on metal, tin plated iron was not the only metal used. There are examples of brass, copper and bronze used as substrates. In France
copper is the metal primarily used. Because it had to be hammered into shape rather than rolled and stamped the surface was uneven (Huth, 1971). This did not provide the best surface for japanning thus it has a greater tendency to flake off than the smoother English tinware. When the French made tinware it was often trimmed with bronze.
The use of metal allowed a variety of forms that were required to withstand heat and water. Coffee pots, tea sets, candle sticks and other household items could all be japanned and decorated in the popular fashion.
These japanned metal objects are very stable so a great many still survive. In most cases it is easy to ascertain the underlying metal because it can be seen in losses or scratches. if the japanning is intact, a magnet can be used to identify iron. Most iron trays show some rust on the back where only a single coating was applied. Even the tin plated iron objects show rust in some areas.
It's worth remembering the unavailability of effective paint, at this time. The surface finishes that did exist either had poor adhesion to their substrate, or required either a porous or an organic substrate to bond to. There simply weren't the solvent- or resin-based paints for metals that we assume today.
The process of japanning with the use of an oil varnish and heat is credited to Thomas Allgood of Pontypool. In the late seventeenth century, during his search for a corrosion-resistant coating for iron, he developed a recipe
that included asphaltum, linseed oil and burnt umber. Once applied to metal and heated the coating turned black and was extremely tough and durable.
Pontypool is in a steep valley in South Wales, surrounded by coal and iron working. The iron used was produced by the furnaces of Blaenavon to the North, and most of the "Pontypool ware" was actually produced in nearby Usk or Newport, at the Southern end of the valley. Similar recipes or "secret varnishes" were also used in Birmingham, Many pieces survive today with little rust.
W. D. John, in his book on Pontypool japan, published one of the recipes the workmen had handed down through generations:
While it was the growth of the iron foundries and tin plating that gave birth to japanning on metal, tin plated iron was not the only metal used. There are examples of brass, copper and bronze used as substrates. In France
copper is the metal primarily used. Because it had to be hammered into shape rather than rolled and stamped the surface was uneven (Huth, 1971). This did not provide the best surface for japanning thus it has a greater tendency to flake off than the smoother English tinware. When the French made tinware it was often trimmed with bronze.
The use of metal allowed a variety of forms that were required to withstand heat and water. Coffee pots, tea sets, candle sticks and other household items could all be japanned and decorated in the popular fashion.
These japanned metal objects are very stable so a great many still survive. In most cases it is easy to ascertain the underlying metal because it can be seen in losses or scratches. if the japanning is intact, a magnet can be used to identify iron. Most iron trays show some rust on the back where only a single coating was applied. Even the tin plated iron objects show rust in some areas.
It's worth remembering the unavailability of effective paint, at this time. The surface finishes that did exist either had poor adhesion to their substrate, or required either a porous or an organic substrate to bond to. There simply weren't the solvent- or resin-based paints for metals that we assume today.
The process of japanning with the use of an oil varnish and heat is credited to Thomas Allgood of Pontypool. In the late seventeenth century, during his search for a corrosion-resistant coating for iron, he developed a recipe
that included asphaltum, linseed oil and burnt umber. Once applied to metal and heated the coating turned black and was extremely tough and durable.
Pontypool is in a steep valley in South Wales, surrounded by coal and iron working. The iron used was produced by the furnaces of Blaenavon to the North, and most of the "Pontypool ware" was actually produced in nearby Usk or Newport, at the Southern end of the valley. Similar recipes or "secret varnishes" were also used in Birmingham, Many pieces survive today with little rust.
W. D. John, in his book on Pontypool japan, published one of the recipes the workmen had handed down through generations:
- 448 pounds of raw linseed oil,
- 22 pounds of lump umber,
- 20 pounds of flake litharge,
- 100 pounds of asphaltum,
- 5 pounds of cobalt resinate and
- 406 pounds of white spirit or turpentine.
The linseed oil was heated
together with the umber and the asphaltum while the litharge and cobalt
were added slowly. According to the recipe, the varnish was ready when
a drop of varnish dripped onto cold glass remained in a ball. After
cooling, the turpentine was added. There was also a pale clear version
which omitted the asphaltum and the cobalt (John, 1953) In the author's
test, this varnish worked equally well on papier mâché and
metal plates. Three coats produced a durable glossy black finish.
This recipe bears a remarkable similarity to one for gold size published by both Robert Dossie in 1764 and Stalker and Parker in 1688. In that version, linseed oil is boiled together with gum animi, asphaltum, litharge and umber in approximately the same proportions as the Pontypool recipe. It appears that the secret recipe for Pontypool japan had been in existence for some time before its use for japanning metal.
Bibliography
Lacquer: Technology and Conservation
Marianne Webb, 2000
ISBN: 0-7506-4412-5
This recipe bears a remarkable similarity to one for gold size published by both Robert Dossie in 1764 and Stalker and Parker in 1688. In that version, linseed oil is boiled together with gum animi, asphaltum, litharge and umber in approximately the same proportions as the Pontypool recipe. It appears that the secret recipe for Pontypool japan had been in existence for some time before its use for japanning metal.
Bibliography
Lacquer: Technology and Conservation
Marianne Webb, 2000
ISBN: 0-7506-4412-5
- L'Art du peintre, doreur. vernisseur, by J. Watin [1755], new edn, Paris; reprinted Leonce Laget, Paris, 1975
- The Handmaid to the Arts, by Robert Dossie [1742], vols 1 and 2, 2nd edn., London, 1764
- Pontypool and Usk Japanned Wares, by W. D. John, The Ceramic Book Company, Newport, UK, 1953
- A Treatise on Japanning and Varnishing, by John Stalker and George Parker [1688]; reprinted Alec Tiranti, London, 1971
Provided by Johnny Kleso, Rex Mill.
Modern Japanning Recipes:
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- “Restoring Antique Tools” by Herbert P. Kean suggests Sherwin-Williams “High Heat Black” spray paint #1614 (Krylon) as a good simulation of the original finish.
- An article in Canadian Woodworking, Aug/Sept 2003, Vol. 6. No. 4 entitled “Restoring Hand Planes” by David Eisan used a “black reinforced resin urethane enamel” as suggested to him by his “local, full-service paint store”. The cast iron plane parts were cleaned with a wire wheel to remove all rust and loose japanning, and then rubbed down with lacquer thinner to remove any dust or oil. Parts were then masked, and given three light coats of paint.
- Industrial Alkyd Enamel. Suggested in Archive: 64522 Posted By: Ron Huebner
Having put theory to practice, Johnny Kleso at Rex Mill has this advice:
I have used Herb Kean's Method and find it works just as well and is easier to use..
I would recommend this method to people just starting out wanting a good looking easy method to use..
After painting and letting parts dry for five days
like the can says..
You will want to follow the instructions allow 10-30 minutes in
between coats and you will want several coats.. The paint will
shrink and not look as thick as when it is wet so you want it really
think but watch out for sagging cheeks and keep plane lever if you
move it after spraying..
I have used Dupli-Color® Engine Enamel DUPDE1635 Ford Semi Gloss Black. This
paint is NOT High Heat but Motor Paint good to 600° not the
1200° the High Heat paint is rated at.. The High Heat Paint is Flat
Black in color and looks nothing like Japanning...
Cleaning & Preparation for Japanning
I've restored more japanned tools than I care to count. Here's my technique:
-
- Paint stripper - the industrial stuff - use in a well ventilated area. Fill a pan, let the plane sit in it for a few hours, remove and let dry.
- Bead blast - just hit the japanned area if you are worried about machined surfaces. My experience is that careful bead blasting does very little damage to good metal, nothing that can't be easily polished out.
- Paint stripper - again if necessary.
- Bead blast - again if necessary.
- Dental pick - to remove stubborn bits of old japan
- High pressure air - to blow away any blast grit and small pieces of loose Ja*pan.
The plane is now ready for re-japanning with the method of your choice.
In my observation the Ja*pan used by Stanley has changed in
formulation over the years, and while the older planes may have
been coated and baked with a very durable mix of asphaltum and
linseed (and whatever else), sometime around WW II, planes began
to be painted with and oil base of some kind. It may interest readers
to learn that old piano plates (the big gold cast iron harp
shaped thing inside a piano) were also japanned up until the advent of
more modern coatings. I've been tracking a source of good Ja*pan
through the piano route, but have had no success (yet).
Archive: 85570
Posted By: Frank Weston
Archive: 85570
Posted By: Frank Weston
Galoots,
Did I miss something here? If so, sorry. If not, I've never met a tool's paint, japanning or whatever, that a good, water cleanable, paint stripper didn't remove. And it takes only the slightest of brushing in the cast iron "pores" to remove the leftover gunk. A little more scraping or brushing around and between the patent and Stanley raised letters and numbers might be needed.
Once down to bare, grey casting (takes about 10 minutes total on a Stanley #8), dry the surface of its water rinse. Then, prep for painting with acetone. A liberal amount flooded on and wiped dry with a paper towel will do fine. After this, refinish quickly or brush on some liquid wax to prevent the grey casting from rusting. Of course, if you are into "faking" an old paint job, let it rust a little and japan over the rust so that when you strategically chip out the paint to match standard old japanning wear patterns, no bright metal shows through, only old rust! This seems to be how some of the more expensive tools at big boy auctions are done. One benefit about this paint stripper method is that there are no changes made to the texture of the casting - no scraping, blasting, sanding or polishing smooth of the pore roughness. It is just paint removal.
Archive: 85576
Posted By: Karl Sanger
Did I miss something here? If so, sorry. If not, I've never met a tool's paint, japanning or whatever, that a good, water cleanable, paint stripper didn't remove. And it takes only the slightest of brushing in the cast iron "pores" to remove the leftover gunk. A little more scraping or brushing around and between the patent and Stanley raised letters and numbers might be needed.
Once down to bare, grey casting (takes about 10 minutes total on a Stanley #8), dry the surface of its water rinse. Then, prep for painting with acetone. A liberal amount flooded on and wiped dry with a paper towel will do fine. After this, refinish quickly or brush on some liquid wax to prevent the grey casting from rusting. Of course, if you are into "faking" an old paint job, let it rust a little and japan over the rust so that when you strategically chip out the paint to match standard old japanning wear patterns, no bright metal shows through, only old rust! This seems to be how some of the more expensive tools at big boy auctions are done. One benefit about this paint stripper method is that there are no changes made to the texture of the casting - no scraping, blasting, sanding or polishing smooth of the pore roughness. It is just paint removal.
Archive: 85576
Posted By: Karl Sanger
I've stripped one or two japanned
planes completely by simply slathering on the orange smelling stripper
then sealing it in a plastic bag overnight. Next day just wipe off and
scrub down with clean mineral spirits. You may want to warm the plane
up to drive off the volatiles from the mineral spirits before applying
the japanning, or just let it sit in a sunny dry spot for a day or two
to allow it to thoroughly dry.
Archive: 85560
Posted By: wanderso (full name not available)
Archive: 85560
Posted By: wanderso (full name not available)
The directions say to remove all
of the japan as the new will soften the old and look bad. It mentions
electrolysis, razor blade and mineral spirits, hand held stainless
steel brush, and an awl. Any stubborn areas can be CAREFULLY softened
with a propane torch. Lastly, a final dip in the zap bucket.
Archive: 85549
Posted By: Ed Minch
Archive: 85549
Posted By: Ed Minch
Application of Japanning
I've been talking to the folks at
Liberty Paint for a while... <snip> I asked a few questions about
his product, Liberty Old Japanners' Pontypool Asphaltum. <snip> I
asked if there were any directions with the product. I was told there
was no special information provided. I explained what I'd heard about
the baking procedure that has been posted here. (bake at 200 degrees
for 15 minutes, cool, then 250 degrees for 15 minutes, etc.) He said
that in the past some folks had "stoved" the painted pieces. He said
that would likely hasten full drying but was not really necessary. He
said never exceed 300 degrees. He offered that full dry hardness would
likely be obtained at normal room temperature within 30 days.B
Archive: 87049
Posted By: Bill Webber
Archive: 87049
Posted By: Bill Webber
This is the full post of Archive: 35768 made by Nathan Lindsey to the OldTools
group Jan 30, 1998. There is additional responses worth a read, most
cover the paint/don’t paint controversy.
BLACK JAPANNING INSTRUCTIONS
For restoring a factory finish to Stanley bench planes and other oldtools
INTRODUCTION
Besides using electrolysis to
clean the rust from my tools I've found the need to replace the
japanning on some of my worst planes to prevent further rusting. This
is a real problem on the South Texas Coast. As the proud owner of
over 40 Stanley planes I've had the opportunity to try several
different cleaning and restoration methods.
I've recently begun a project to restore some old planes that had become unusable as they were. As a part of the restoration I decided to re-japan the castings and these are my notes on the subject.
I've recently begun a project to restore some old planes that had become unusable as they were. As a part of the restoration I decided to re-japan the castings and these are my notes on the subject.
DISCLAIMER
What follows are instructions for
application of a japanning formulation with which I've had good
success. By offering these as my experiences I accept no liability for
your use of this method or product.
If you chose to follow these directions you assume all risk and liabilities for your actions. Take whatever precautions are necessary in your circumstances to provide for fresh air ventilation, emergency cleanup of spilled material and cleanup or removal of finish from your skin and clothes. This product is petroleum based and all applicable precautions should be taken to prevent ignition of fumes or spilled material.
Some steps, once begun, must be completed before you can step away from the project. For this reason I've divided them into headings. The end of each heading is a natural stopping point that allows you the opportunity to quit for the day. Once you begin a heading it should be completed before stopping for the day.
If you chose to follow these directions you assume all risk and liabilities for your actions. Take whatever precautions are necessary in your circumstances to provide for fresh air ventilation, emergency cleanup of spilled material and cleanup or removal of finish from your skin and clothes. This product is petroleum based and all applicable precautions should be taken to prevent ignition of fumes or spilled material.
Some steps, once begun, must be completed before you can step away from the project. For this reason I've divided them into headings. The end of each heading is a natural stopping point that allows you the opportunity to quit for the day. Once you begin a heading it should be completed before stopping for the day.
ELECTROLYSIS
I highly recommend that you
clean the castings by electrolysis. However, I don't go deeply into
that subject here. The oldtools archives have several discussions on
the subject and I may write about it again at a later date if it's
necessary. For now, if you need help setting up an electrolysis vat for
this project read the archives and I'll try to help you on an
individual basis. It's really quite simple to build.
SUPPLIES
You will need mineral spirits and
paper towels for cleanup, a 1/2 inch artists brush and a paper cup or
spray can lid for a temporary brush holder. Tools you'll need are
discussed in the appropriate heading and are common tools you should
have on hand.
I purchased a bottle of what is said to be the original formulation of Stanley's japanning from:
William (Bill) Gustafson Antiques
Phone: (518) 392-2845
email: oldtools@t...
Black Japanning @ $10.00 / 8oz. + $3.00 shipping paid in advance of
shipping.
Bill states outright that he has little experience actually applying the formula and he provides only the following basic instructions with each bottle:
I purchased a bottle of what is said to be the original formulation of Stanley's japanning from:
William (Bill) Gustafson Antiques
Phone: (518) 392-2845
email: oldtools@t...
Black Japanning @ $10.00 / 8oz. + $3.00 shipping paid in advance of
shipping.
Bill states outright that he has little experience actually applying the formula and he provides only the following basic instructions with each bottle:
- Mix well, brush on and air dry for 1-2 days.
- Bake in 50F steps starting at 250F for 15-30 minutes.
- Do not bake over 400F.
IT BEGINS HERE
Create a comfortable work area
and take your time because none of this goes quickly. If you need a
fast project for instant gratification remodel your kitchen or build a
work bench.
The first thing that has to be done is to clean and prepare the castings surface. As with many projects the key to success is in the details.
As a preface: I tried recoating over top of the existing Stanley japanning and got less than acceptable results. The remaining old finish began to lift and curl as the solvent in the new finish softened the old finish.
The first thing that has to be done is to clean and prepare the castings surface. As with many projects the key to success is in the details.
As a preface: I tried recoating over top of the existing Stanley japanning and got less than acceptable results. The remaining old finish began to lift and curl as the solvent in the new finish softened the old finish.
CLEANING
-
- Remove all the hardware, tote, iron, frog, etc., from the plane casting.
- Clean the casting with dish soap, hot water and a non metallic scrub brush to help remove any oils and dirt. Many planes have been cleaned in the past with WD-40. This oil must be remove before applying the new finish. You can apply these directions to the japanned areas of the frog also
- I highly recommend cleaning by electrolysis overnight to kill the rust. The difference this makes in the finished product can be dramatic. A wire wheel does not really remove the rust, it merely smears it around. I've had some success with sandblasting with a very fine blow sand but I don't recommend any cleaning method that removes or further damages the base metal.
- With razor blade and mineral spirits remove all of
the remaining old japanning and rust. After the major areas are cleaned
use a small hand held stainless steel wire brush and eventually a sharp
awl for the corners.
If all other methods fail to completely remove the old finish use a propane torch to gently heat the stubborn finish and either soften it or burn it until it's crispy and releases from the casting. It is not necessary to overheat the casting to the point of warping. That much heat is not required to release the grip of the old finish.
I have found that the area under the frog around the screw bosses seldom needs recoating. If that's the case on your casting, it is a good idea to leave the factory finish alone here and use it as a reference to judge your work on the rest of the casting. The goal is to make the refinished area resemble the original factory finish. - If removal of the japanning exposes any hidden rust run it through the electrolysis bath for another couple of hours.
- Wash the casting again with soap and water. Hand dry with a shop towel and then immediately dry with heat to prevent surface oxidation from starting. I use an old hair dryer or a small propane torch. You don't realize how much moisture is still in the porous metal until you see the flash of water as it evaporates under applied heat. With the casting at 70F or warmer you're ready to apply the first coat.
PREPARATION
- Set up lots of lights to view your progress. The first coat is seldom a problem as you have the contrast between bare metal and black finish. On the second coat it can be very difficult to see any spots that you miss while applying the second coat. The black japanning soaks up light like a black hole. Even under lots of fluorescent lights I still resorted to a flashlight to see some areas.
- Choose an area that has no drafts and is dust free. This material stays tacky for a long time and will collect dust and insects that might come into contact with your work.
- Be prepared to store the brush in a small container of
mineral spirits during drying times. The cap off of a can of spray
paint or a small paper cup makes a handy temporary brush holder. Keep
the lid on the japanning bottle when not in use.
When you're ready to use the brush again just wrap it in a folded paper towel and squeeze the brush between your fingers before dipping it back into the japanning. Mineral spirits also works well for final brush cleanup at the end of the application and for cleaning up spills or mistakes. - Lay the casting on its side (to prevent runs in the finish) over several layers of newspaper. Beware, this formula will bleed through one or two layers of paper to the surface below
APPLICATION
- Shake the japanning well. Using a small 1/2 inch artists brush apply the finish to the horizontal inside surface of the casting. Be generous and apply the japanning liberally to allow it to flow out to a smooth finish. Load up the brush, start deep into the casting and gently draw the finish out to the edge of the casting. Lightly smooth the surface with long brush strokes and be careful not to overwork the finish. Although there is some surface tension that can cause voids from heavy brush strokes the finish has a tendency to try and float out to an even finish by itself. Allow the first side to cure for an hour.
- After allowing about an hour drying time on the first side, flip the casting to its other side and repeat step 8. The sides are done first because they usually take a little less finish and dry faster reducing the risk of a run. Allow finish to cure for an hour.
- After allowing about another hour drying time on the second
side flip the casting upright so it rests on its sole and apply finish
to the remainder of the casting. Avoid over working the japanning. Load
up the brush and lay it on the casting liberally helping it to flow
evenly by brushing in one direction. Always start deep into the casting
and pull the finish to the edge.
Take great care to bring the finish up to but not into the screw bosses for the tote and knob. This finish will fill in the threads if allowed to dry inside the screw boss. Also, try to avoid getting the finish on the milled landings that support the frog. This however is not critical as there is an opportunity later to clean it up. - When the inside of the casting is fully covered you are done for at least a full day. Clean your brush, turn out the lights and come back tomorrow. Maintain a comfortable room temperature for the drying period but do not rush the finish by trying to warm the casting. This makes the finish go flat.
RECOATING
- After allowing the finish to dry for a full day, judge your progress. In most cases I have found that one coat still shows the rough texture of the underlying casting and often the color does not adequately cover the top edges of the raised lettering.
- Apply a second coat if necessary. Follow steps #10-14 allowing another full day of drying time. I have found two coats are sufficient for most applications.
- Clean your brush and allow the final application to air dry for a full two days before baking the finish. The ambient temperature should be kept above 70F throughout the application and drying periods.
CLEANUP
Having allowed the finish to air
dry for two days now is the time to clean up the casting. Using a razor
blade remove any japanning on the machined area of the screw
bosses, frog landing, top edges of the sides and anywhere it should not
be. Using your razor blade make nice clean cuts at the break points
between bare metal and japanning. Use your mineral spirits to clean off
any smears on the outsides and bottom of the casting around the mouth.
The next step is going to make the finish too soft to work without
making a mess until it cools. When it cools it will be a hard baked
finish that will be difficult to remove.
BAKING
There has been some concern
voiced about heating a plane casting or block plane lever cap to what
will eventually be about 400F. There is absolutely nothing to be
concerned about. Even soft 60/40 tin-lead solder has to be 400 to 500
degrees before melting. With all pieces removed the cast iron of
a plane is perfectly safe at 400F.
Baking in an oven will create a
slight odor of freshly laid road tar. In my case it wasn't really
objectionable and it dissipated quickly after the finished pieces were
taken back to my shop. However, my SWMBO did go out and buy me a small
toaster oven for my shop. Maybe that's a hint?
WARNING! This japanning formula is a petroleum based material and I strongly advise you not to use a gas fired oven to bake the finish.
My little electric baking oven was purchased from Walmart for under $30.00 and will fit anything up to a Stanley Bailey #5 jack plane. While you're there pick up a small oven thermometer to monitor the oven's temperature.
Pre-warm your oven to 250F and heat the casting for 20 minutes. For small pieces reduce the time to something less than 15 minutes. Watch the casting closely or use an oven thermometer to avoid over heating the japanning. Too much heat or too long in the oven will cause the finish to start bubbling and ruin the slick finish you've worked so hard to attain.
If you're doing small pieces like frogs, block planes or their lever caps you must be very observant. They tend to heat too quickly and will bubble the finish. Some ovens do not heat evenly or will spike at a much higher temperature before the thermostat can turn off the heating element.
Watch your first baking session to get a feel for how your oven reacts. Ask your SWMBO how evenly her oven bakes. Chances are she's made cakes and pastries and will know more about her oven than you want to know. If a part does bubble up you can still remove the finish at this stage by immediately cleaning with mineral spirits. If this happens, go back to the beginning and try the process again. Consider it a lesson learned the hard way.
WARNING! This japanning formula is a petroleum based material and I strongly advise you not to use a gas fired oven to bake the finish.
My little electric baking oven was purchased from Walmart for under $30.00 and will fit anything up to a Stanley Bailey #5 jack plane. While you're there pick up a small oven thermometer to monitor the oven's temperature.
Pre-warm your oven to 250F and heat the casting for 20 minutes. For small pieces reduce the time to something less than 15 minutes. Watch the casting closely or use an oven thermometer to avoid over heating the japanning. Too much heat or too long in the oven will cause the finish to start bubbling and ruin the slick finish you've worked so hard to attain.
If you're doing small pieces like frogs, block planes or their lever caps you must be very observant. They tend to heat too quickly and will bubble the finish. Some ovens do not heat evenly or will spike at a much higher temperature before the thermostat can turn off the heating element.
Watch your first baking session to get a feel for how your oven reacts. Ask your SWMBO how evenly her oven bakes. Chances are she's made cakes and pastries and will know more about her oven than you want to know. If a part does bubble up you can still remove the finish at this stage by immediately cleaning with mineral spirits. If this happens, go back to the beginning and try the process again. Consider it a lesson learned the hard way.
BEWARE OF HOT CAST IRON!
- After 20 minutes carefully remove the casting from the oven and allow it to cool slowly. The finish is now as soft as when you first brushed it on so take great pains not to disturb it. Although the finish will be soft and tacky you will begin to see the surface start to even out and gloss over.
- While allowing the casting to cool to room temperature, pre warm the oven to 300F. When the casting has cooled reheat it for another 20 minutes. After this heating the appearance of the finish will change significantly as it takes on the glaze or glossy appearance of a new tool.
- Repeat the cool down and baking procedure once more at 350F. Do not exceed 400F oven temperature. If your oven has poor heat regulation you might stop at 325F. Heating the japanning over 400F will cause it to start to bubble and blister the finish.
- After removing the casting from the oven for the final time allow the casting to cool and stand for two more days to assure a cured finish.
- Prior to reassembling your plane take a small mill bastard file and gently file the top edges of the casting to give it a sharp machined look and a crisp break from the japan finish. If any finish remains on the milled areas, now is the time to file it clean and flat.
You are now ready to reassemble your plane and go back to woodworking.
Good luck.
--
Nathan Lindsey
South Texas Rust Buster
Archive: 35768
Posted By: Nathan Lindsey
All Materials not credited to other authors is (c)2003 - 2008 Paul R. Morin.