JAPANNING A KEY BASE

To Refinish Or Not To Refinish — Again I feel the need to remind the reader that it is not the intent of this book to encourage anyone to do any of the operations described. Rather, the purpose is to offer successful ways to accomplish those tasks if the reader how to refinish the badly damaged japanning of a speed key base such as shown in Fig-1. Speed Key Base Finishes — Before the advent of modern paints, japanning was used very often as a treatment for the protection of metal surfaces. Ford used it on the Model T and Singer used it on the foot-pedaled sewing machines. Many speed key bases also were japanned. The slightly more expensive key bases were nickel-plated. The japanning varnish formed a very hard, jet-back coating that was durable and had a most attractive high gloss surface. The fact that keys can be found today that are 100 years old and still have a good finish is a testament to its durability. The history of japanning and its major component, asphaltum, is a rather interesting story. Asphaltum — This material is said to have formed in vertical veins about one million years ago when a viscous hydrocarbon lost its volatile constituents and solidified into a glossy, black, solid hydrocarbon. Its appearance is similar to coal. It is brittle, lightweight, can be crushed and, depending on the grade, melts at between 300 and 400 degrees F. A vein of it was discovered in Utah by Samuel Gilson in 1885 and he named it Gilsonite. Its first uses were for painting buggies, lining beer vats and waterproofing lumber for docks. Since then, its uses have grown amazingly. However, other more modern materials have replaced its use as a metal coating. The Varnish — Some of the earlier formulas for japanning varnish required the melting of asphaltum at 350 to 400 degrees F during the mixing with turpentine—a rather dangerous exercise. It is likely that this was needed because, at that time, the asphaltum came in lumps like coal. However, it can now be purchased in powder form that has been processed to remove rock and other contaminants. This allows cold mixing in the home workshop. I know of no reliable source for true japanning varnish. The literature offers a confusing number of formulas for japanning varnish. The one that has proven to be the easiest to mix and use is a cold mix, consisting of 2 parts of boiled linseed oil, 5 parts of turpentine, 3 parts of asphaltum powder and 3 parts of rosin. Lamp black or carbon black is sometimes added but they are not needed for key base use and usually cause more problems than they solve. It is wise to mix the varnish outdoors 1 3 wishes to perform them. The object of this chapter is to illustrate Fig. 1. The Base To Be Japanned because the smell is a lingering one. Containers of asphaltum and rosin are shown in Fig. 2. At the time of writing, one of the firms from which the asphaltum and rosin can be purchased is Rembrandt Graphic Arts Company (Ref. 1). Some users of home- mixed varnish have reported that a smoother finish results if no rosin is ROSIN Fig. 2. Containers Of Asphaltum & Rosin added to the mixture. Numerous tests in my own shop have shown this to be quite true. To avoid clumps while mixing the varnish, add very small amounts of asphaltum to the turpentine while stirring. Add rosin in small amounts after all asphaltum has been dissolved. It has been suggested that warming the mixing bowl over boiling water shortens the mixing time considerably. However, it will be found that to obtain a smooth consistency, a considerable amount of mixing time is required. After mixing, it is wise to strain the varnish through a couple of layers of reasonably close-knit, lint free, cotton cloth to remove grit and any undissolved components. Be extremely cautious handling items wet with linseed oil. This material is spontaneously combustible and could easily start a fire. Never put waste saturated with it in a wastebasket. Straighten the pieces of cloth or paper and lay them outside to Fig. 3. Japanning Varnish & Brush dry before disposing of them. Figure 3 shows a small jar of home-mixed japanning varnish and a soft bristle (camel’s- hair), brush for applying it. These brushes are available at most art supply stores. If unavailable, most any soft bristle brush can be used. Clean with paint thinner. Preparing The Base —The old japanning varnish on speed key bases can be removed easily in fifteen to thirty minutes with most commercial paint removers. Prepare the base for this as follows. After the hardware and feet have been removed, straighten the brads and remove the label. These are simple dome-head, brass brads that have been annealed by the factory for easy bending. On the bottom of the base, slip a wood chisel under the bent end of the brad and lift it enough to be gripped with a pair of flat nose pliers. Do not allow the chisel to mark the wall of the brad. Straighten it as much as possible and drive it free of the base. If the wall of the brad has not been scored with the chisel, and does not crack while being lifted, it may be possible to anneal and reuse it later when reinstalling the label. 1 4 Figure 4 illustrates the lifting of a brad with a small wood chisel. Some brads are not bent but are large in diameter and have their ends bradded on the underside of the base. Most, however, are of the brad type and are bent on the underside of the base. All I have seen are brass. Removal of the old japanning is best done outdoors near a water faucet. Place a bent wire in the bottom of a loaf pan, to space the base from the pan so the paint remover can easily reach the underside of the base, Fig. 5. Place a wire through one of the holes in the base for ease of handling. Be certain Fig. 5. A Loaf Pan with Bent Wire Fig. 4. Brad Removal to wear eye protection. There is a great danger of the base slipping during handling and causing the paint remover to splatter. For this reason, the handling wire is an added protection. Wear rubber gloves and avoid all skin contact with the paint remover. It is a very offensive material, burns the skin almost instantly and could cause blindness Lay the base on the bent wire in the bottom of the loaf pan, Fig. 6, cover it with paint remover and allow it to stand for 15 to 30 minutes. By then the varnish should be free enough to be pushed off the surface with a brush. In stubborn cases, it may be necessary to discard the old paint remover and apply a fresh coating for a longer time. When all the old varnish has been 6. The Base In The Pan Bl removed, rinse the base thoroughly in tap water and use a toothpick, or other object, to clear the dead paint from inside the holes. Dry in a toaster oven at 150 degrees F for 30 minutes. The base stripped of the . japanning is shown in Fig. 7. Smoothing — Key bases are m usually cast iron that has been poured in a sand mold. This often Pjd je. leaves sharp pips in the surface. These cause problems by sticking - •*'' f C'il through the various coats of |ic s •: japanning varnish and they should s . be removed. A very simple way to do this is to lay the base on a board Fig. 7. The Stripped Base and drive finishing nails around it to prevent it from moving. Paper the surface with an orbital sander and 100-grit emery paper. This is only to remove the sharp points that could stick through the varnish. It would be unreasonable to try to remove all of the sand mold marks. Key makers seldom made any serious attempt to remove the marks before japanning their bases. 1 5 iHv Fig. 8. Papering The Base The setup for papering a base is shown in Fig. 8. Using wet or dry paper and water speeds up the process but is very harmful to the orbital sander. At times, one encounters a base with cavities in the casting. These can be filled with Lab- metal before japanning . This material will withstand the baking temperature and comes in two temperature versions, 350 degrees F and 1000 degrees F, and has a very short shelf life. A can of each type is shown in Fig. 9. It can be purchased from Alvin Products (Ref. 2). Rust Removal — By far the best rust removal method for a cast iron key base or steel base is by electrolysis. This is a simple process and can be done by anyone. Purchase a typical wall-wart having an output voltage of 6 or 12 volts DC and at least 1/2 ampere current capacity. Also, a container will be required to hold the electrolyte solution. Since the electrolysis action does not affect 18-10 stainless steel, I purchased such a bowl used in a plastic container but it is difficult to arrange Fig. 10. Rust Removal From The Base Fig. 9. For Patching Casting Holes from Wal-Mart. Iron plates could be such plates to completely surround the base for the line-of-sight action desired for electrolysis. Thus, I prefer the solid container of stainless steel. Suspend the base on two wires from a wooden rod laid across the top of the container. Connect the negative lead from the wall-wart to one of these wires. (A red alligator clip is the only color I had.) Attach the positive lead either to the iron plates submerged in the solution and spaced around the base or to the stainless bowl. A base arranged for de-rusting by electrolysis action is shown in Fig. 10. The Electrolyte — Mix a solution of one tablespoon of washing soda (sodium carbonate), not baking 1 6 soda (sodium bicarbonate) to one gallon of water. Cover the base with this, plug in the wall-wart and look for bubbles rising from the base. If none are seen, check for a poor connection. The action is self-limiting and can be left unattended for extended periods. Drying — After de-rusting, ferrous metal will begin to rust in about ten to fifteen minutes. It is imperative that it be dried properly and quickly. Remove the base from the washing soda solution and rinse it thoroughly in water. Dry it on a towel and rinse it in denatured alcohol, dry with a towel again and place it in a toaster oven at 150 degrees F for about 30-minutes. When cool, the base is ready for the application of the japanning varnish. Japanning The Base — In each of the foot screw holes, install a screw that protrudes about 3/4" from the bottom of the key base. Lay the base upside down on a piece of clean paper. Using a 1" or 3/4" wide camel’s-hair brush, apply a uniform coat of japanning varnish to the bottom of the base. (It is best not to stir the varnish before use. Some of the offensive material, missed by the straining and settled to the bottom, could cause bumps in the varnish if stirred.) Do not try to apply excessive varnish or it will form droplets on the bottom side of the base that must be removed with a knife after baking. Turn the base over, stand it on the screws and apply varnish to the edges and then to the top surface. There are two choices before starting the baking cycle. The base can rest in a dust free place for two days or it can be taken directly to the toaster oven, Fig. 11, at 125 degrees for 2-1/2-hours. I prefer to go directly to the oven and allow the low heat to do the same job of evaporating the volatiles that resting at room temperature for two days does. Set the base on a 1/16" thick sheet of steel and place it in a toaster oven. This first stage cannot be rushed. If too high a temperature is applied to the base before the remaining volatiles have had time to evaporate, large bare spots or brush-like streaks will appear in the varnish. Figure 12 shows a large bare spot on the base caused by this. Most instructions for japanning state a baking process with a cooling period between bakes. My experience has shown that cooling between bakes is not required. Thus, I go directly from one baking temperature to the next. This avoids a great loss of shop time. After the 2-1/2-hours in the 125 degrees F oven, it is time to start the baking cycle. Set the oven at 150 degrees F and bake for 1-hour, then at 200 degrees F and bake for 30- minutes. Next, bake at 250 degrees F for 30-minutes. Follow this at 300 degrees F for 30-minutes, and finally 350 F degrees for 1-1/2 hours. When cool, it should not be possible to mark the japanning with the 1 7 Fig. 11. The Toaster Oven & Key Base Fig. 12. Temp Too High Too Quickly Fig. 13. The Support Screws fingernail. If it can be marked, return it to the oven for a longer bake at 350 degrees F. Experience has shown that a minimum of five coats of varnish will be needed for a good finish. Each coat requires the same complete baking cycle. Figure 13 shows temporary feet (tapered screws) for handling and supporting the base during the varnishing and baking process. Quite often, small inclusions appear in the varnish as minute grains after a baking cycle. When they occur, they must be removed. Wrap a small patch of 600 grit, wet or dry emery paper around a half wine cork (sawed axially), Fig. 14. Wet this and rub the surface to remove them. This should be done following each baking cycle. At times, varnish will be stripped off the brush Fjg 14 Emery Paper & 1/2 Cork as it crosses the holes in the base. This excess varnish will collect as a drop on the bottom of the base and will not cure during baking. Cut these off smooth with the surface with a pocket knife before each baking cycle. Figure 15 shows a muslin buff, an arbor for chucking it in a drill motor, and tripoli and red rouge polishing compounds. Clamp the drill motor in a bench vise to simulate a buffing machine and use the polishing compounds on the buff to produce a highly polished surface. After buffing, thoroughly wash the base with detergent and water to remove the polishing compounds and dry it in a toaster oven at 150 Fig. 15. A Buff, Arbor & Dressing degrees F for 30-minutes. Figure 16 shows the japanned base. The Pin Stripes — There are a number of ways to pin stripe a base. I have used a draftsman’s ruling pen and gold paint and also a commercial gold paint pen from an art supply store. Each of these work but I prefer the latter. To simplify the pin striping effort, a homemade ruling guide must be made to guide the pen while drawing the stripes. It must rest against the side of the base to provide a straightedge that stands above the surface Fig. 16. The Japanned Base 1 8 Fig. 17. Top View Of Straightedge of the base and serves as a guide for the pen. Figure 17 shows such a device. It is composed of a wooden base, a 1/16” thick brass spacer and a 1/32” thick brass top strip. This top strip can be positioned and locked from 3/8" to 1/2" inward from the edge of the base to guide the pen. The spacer positions the straightedge above the surface of the base to prevent the guide from touching the paint. For the same reason, the spacer must be shortened to a dimension less than the distance between the pin stripes on the ends of the base. This will allow the guide to be put in position for drawing the long stripes without smearing the freshly drawn end stripes. Figure 18 shows the underside of the ruling guide, as described above. The pen used for the pin striping is called a paint pen. It is available from art supply Fig. 18. Straightedge, Bottom View stores in larger cities or from Sandford Company (Ref. 3). It contains a gold liquid, which is probably a lacquer. Adjust the top strip to position the guide at the desired distance inward from the edge of the base. Position the guide across the Fig. 19. Drawing The End Stripe end of the base, as shown in Fig. 19. Shake the paint pen vigorously to mix the paint, place it against the straightedge and draw the gold line. Move the guide to the other side of the base and draw the other line there. While the end stripes are still wet, lay the straight edge against the long edge of the base, Fig. 20, being careful to center it so the spacer will not touch either of the freshly drawn end stripes. Also, do not let the guide tip over and touch the wet end lines. Draw the pin stripe on one side of the base and then the other. Allow these stripes to dry for about 30-minutes. Use the paint pen to draw the tick marks inside the stripes.