Panerai’s original Bronzo (the PAM 382) from 2011 and the PAM 507 that followed in 2013 have long been two of most sought-after modern Panerais on the planet, and many Paneristi were once again furious with the brand for launching a third version, thus (in their eyes) making the originals less collectible in the long run. Of course, the big news in the category that ruffled a fair number of feathers in the collecting community was the arrival of another Bronzo from Panerai in the form of the PAM 671 Luminor Submersible 1950 3 Days Automatic Bronzo. Panerai launched its first bronze watch, the Panerai Luminor Submersible 1950 3 Days Automatic Bronzo, as a limited edition in 2011. Much as we’ve talked about many of the beautiful bronze beasts to hit the market in recent years, we’ve yet to delve into what is really entailed when it comes to the day-to-day life of bronze watch ownership. While some will want to maintain that crisp bright bronze color as factory-fresh as possible, others are quick to find ways to force the aging process, giving their bronze watches the appearance of having spent years on the ocean floor. The metal’s transformative properties run contrary to anything else in the market, having the ability to age over time, and depending on the alloy composition, the end result can vary significantly from one watch model to the next. In part fueled by a growing love of unique and individualized timepieces, and in part by the enthusiast community on Instagram, bronze has rapidly become the new “it” metal – especially in the more approachable end of the luxury watch industry. There’s no arguing that there has been an unrivaled boom of bronze in recent years – ushering in what one could only call a new “Bronze Age” in watchmaking. First up? A look at why bronze has risen to such immense popularity over the past decade and what you should look for when you’re thinking about purchasing your first bronze watch. Topics covered will include the pros and cons of aging the material naturally versus with chemicals and what you need to successfully clean the metal. This series will address the various aspects of owning and caring for a bronze watch that extend beyond the obvious passion for patina. If you are interested in the many different colors of patinating you may want toīorrow from the library or buy The Colouring, Bronzing, and Patination of Metals by Richard Hughes, and Michael Rowe-which contains 200+ nice color plates and a thousand formulas.Ībout/Contact - Privacy Policy - ©1995-2023 finishing.This is the first of a three-part series on bronze watches by contributing writer Justin Mastine-Frost. See Tom Pullizzi's notes on a patina formula from The Canning Handbook [affil link to this on Letter 2850, "Protection for outdoor sculpture with rust and patinas", Letter 2662, "Preserving heat coloring of copper when clear coating", Letter 2526, "In search of copper patinas", Letter 2378, "Ingredients in Rust Patina?", Letter 1783, "Antiquing a new chrome finish", Letter 1215, "How to Antique or Blacken Gold rings and jewelry", Letter 1198, "How to Darken Copper, Brass or Bronze", Letter 982, "Gunsmith Blueing / Hot Bluing of Firearms", Letter 838, "Looking for Formula for Rust Patina", You can search the site with your desired terms, or see this small sampling for starters: ![]() Patina questions have been the topic of almost countless letters here. Heavy layers of metal salts created by the action of chemicals on the base metal, or by painting other metal salts onto the surface, can make more durable colors, but they tend to be more solid than rainbow-like in appearance, and they do require the use of chemicals. But this brings a limitation in that clearcoating masks the thinness of that layer, and destroys much of the coloration. ![]() But most of the "colors" produced aren't "real", i.e., actual pigments rather they are interference coloration similar to the rainbow hues of a drop of oil in a puddle (light bounces off both the top and bottom surface of the extremely thin transparent oxides and oils, causing an 'interference' color). Many artists like the heat coloring for its subtle rainbow hues and freedom from chemicals. Salts of a different metal, obtained by "painting" the object with a store-bought patina solution, or with chemicals can contain other metals. Salts of the base metal, obtained by treating the base metal with acid, salt, ammonia, etc. Patinas can probably be classified as of three general types, or a mix of the three: This page is intended for those many readers who ask something like: "I want to put a red (brown, black, green) patina on my copper (brass) statuary (mailboxes, gutters, sun dials)". FAQ: Patinas on Copper, Brass, and Bronze
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