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<p>[QUOTE="desertgem, post: 659600, member: 15199"]Lehigh, my understanding of the work hardening of silver ( for example) was to align the metallic crystals in such a way to decrease ductility and increase surface hardness and make it more resistant to chemical reaction such as toning/corrosion. I think this is what you said. In silversmithing, the hammering can leave part of piece of jewelry resistant to the patina solution, so it could come out patchy. This is overcome by gently heating the whole piece and "relaxing" the work hardening and then use the toning solution. Patina application is common in silver smith work. An older gentleman who does such work said that leaving the piece in the hot desert sun would heat it evenly enough to tone. With your background, do you think it could occur at 120-140 degrees? ( metal in the sun temperatures), which would eliminate the "shadow effect"? Wonder where he got tin??</p><p><br /></p><p>Jim[/QUOTE]</p><p><br /></p>
[QUOTE="desertgem, post: 659600, member: 15199"]Lehigh, my understanding of the work hardening of silver ( for example) was to align the metallic crystals in such a way to decrease ductility and increase surface hardness and make it more resistant to chemical reaction such as toning/corrosion. I think this is what you said. In silversmithing, the hammering can leave part of piece of jewelry resistant to the patina solution, so it could come out patchy. This is overcome by gently heating the whole piece and "relaxing" the work hardening and then use the toning solution. Patina application is common in silver smith work. An older gentleman who does such work said that leaving the piece in the hot desert sun would heat it evenly enough to tone. With your background, do you think it could occur at 120-140 degrees? ( metal in the sun temperatures), which would eliminate the "shadow effect"? Wonder where he got tin?? Jim[/QUOTE]
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