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FACTORY TECHNOLOGIES AT HOME - SIMPLE RECIPES
Making artificial pearls using pearl essence. Simple recipes and tips
Directory / Factory technology at home - simple recipes Here are the recipes fake pearls with pearl essence. Pouring the pearl mass into hollow balls 100 g of colorless gelatin of the highest quality is poured with water and the gelatin is allowed to swell for 12 hours. After this time, excess water is drained from the gelatin and the gelatin is dissolved in a water bath. If necessary, so much water is added to the resulting solution so that the sample cooled on the glass gives a relatively strong film. To this mass is added with slow stirring (it is necessary to ensure that foam does not form) pearl essence. The amount of pearl essence is added at will, and the exact amount is determined by samples on the glass, which, when solidified, should give a pearl surface. It should be noted that the amount of pearl essence needed to be added to the mass is very small. The mass prepared in this way is poured into hollow glass balls in a warm state and spreads evenly over the entire inner surface of the ball. Imitation pearl To pour the mass into the ball, you can use a glass thin funnel-shaped tube (pipette) of the appropriate diameter or let the mass in with a thin medical syringe. After the mass has dried, melted wax or paraffin mixed with finely ground spar is poured into hollow balls, and pink or green paint can also be added to obtain a color shade. Gelatin coated glass beads With this method, massive balls (beads) are strung on threads and strengthened in rows on the frame. This frame with beads is dipped into a gelatin solution mixed with pearl essence. If the layer is too thin, the operation is repeated one more time. To give greater strength to the resulting layer, as well as to make it insoluble in water, it is treated with various solutions. For this purpose, formaldehyde (formalin), tannin, chromic acid and its salts (for example, potassium dichromate), alum, etc. are used. When treated with chromium salts, gelatin does not immediately become insoluble, but only after it is exposed to daylight. Alum is usually used to give greater hardness. However, both formaldehyde, and tannin, and chromium salts give gelatin sufficient hardness. A solution of formaldehyde is used 10-20%, i.e. commercial formalin is diluted with 2-4 volumes of water. When using alum or potassium dichromate, a 10% solution is used, and the objects are immersed in the solution for several minutes. Some modification of this method is practiced. The beads are dipped in a gelatin solution, and after the layer has dried, they are immersed in a strong solution of zinc sulfate, ammonium chloride or sodium sulfate. After drying, a thin layer of pearl essence is applied with a soft brush, and then a layer of gelatin is applied again on top of the dried pearl layer. This method is troublesome, and it is hardly cost-effective. Method for making pearl beads using celluloid varnish Recently, instead of gelatin, various varnishes have been used as a binder. Celluloid varnishes turned out to be the best for this purpose. Unlike the above methods, this method consists of mixing pearl essence with celluloid varnish to obtain a pearl patina, which is used to cover the surface of a glass or porcelain ball several times. The coating is carried out by simply lowering a ball mounted on a needle into a bath of patina, and abroad in some industries spraying is used with a spray bottle. Dry at a temperature of 30-40 °C. As varnishes, the best results are obtained by using varnishes made according to the following recipes 1st recipe:
2st recipe:
Since at present it is difficult to obtain the above substances, in practice this varnish is prepared in the following way, and it should be noted that the varnish is of excellent quality, quickly drying and giving a very strong coating. Take 2 meters of used film strip and clean it from the negative layer in warm water. The resulting celluloid transparent film is finely cut and dissolved in 200 cm3 of amyl acetate or in a mixture of 100 g of amyl acetate and 100 g of acetone. After dissolution, which lasts for a rather long time, about 200-250 cm3 of the usual sales collodion are added to the mixture, and if colored collodion is used, then the beads are slightly colored. If one of the above recipes is used (without film), then a mixture of 2 wt. including collodion, 1 wt. including amyl acetate, 7 wt. hours of celluloid varnish and the appropriate amount of pearl essence. The amount of the latter is taken at the discretion, and it should be noted that an extremely small amount is required (approximately 200 cm3 of the mixture: b-7-10 cm3 of pearl essence). A glass ball mounted on a needle is lowered into this mixture (pat), this operation is repeated after drying, dried again, covered (lowered) with a collodion solution, then with celluloid varnish, and finally, if possible, immersed in rubber varnish. It is also advisable, in addition to the above, to apply a viscose layer on the ball and, finally, a mixture of a solution of acetylcellulose and collodion. Usually, the work is carried out, as indicated, with varnish prepared from film, and this varnish is mixed with a small amount of pearl essence before use (approximately from 5 to 10 cm3 per 200 cm3 of varnish). In practice, the work process is carried out in the following way. Ten wooden plates are prepared, ranging in size from 9x12 cm to 30x40 cm (depending on the scale of production). On the boards, needles stuck through are strengthened, which are planted with points in one direction at a distance of about 1 cm from one another. About a hundred needles are thus planted on boards 9x12 cm). Needles should be purchased thick, going to a large thread, so that the bead mounted on the needle, being fixed on it, would not slide down, and the tip of the needle would slightly come out of the other hole of the bead. When the needles are planted, light strokes of the hammer align all the needles so that the points are at the same level. Then glass or porcelain balls (beads) are placed on all 10 boards and a mixture of varnish with pearl essence (as indicated above) is prepared in an ordinary photographic glass bath, which some call "stalemate" (others call "stalemate" pearl essence without varnish). The size of the bath should be the size of the planks, otherwise the stalemate will not be economical. The beads firmly planted on the needles are lowered into the bath for one moment, then the board is turned with the tips up, set aside and the same operation is done with the next board, etc. When the last tenth board is covered, the beads fixed on the first board will already dry out and the same operation is repeated again, 6-7-8 times, and sometimes up to 10-12 times (depending on the quality of varnish, essence, coating, etc.). Moreover, the last two times are covered with one varnish without pearl essence, or as indicated above (they are covered with different varnishes: rubber and others). It should only be borne in mind that each subsequent coating can be made only after the final and unconditional drying of the beads from the previous coating. When the beads are ready, they are strung on strong threads, discarding the marriage and cleaning, if necessary, large lumps near the holes. Depending on the size, from 100 to 300 beads go to a massive necklace. Glass and porcelain (balls) should be used massive. For coral beads, colored collodion is used, which is also commercially available. This collodion is mixed into the lacquer as above. For colored necklaces of any color, aniline dye of the corresponding color can be used, which is added to the varnish in a very small amount during its preparation. Good results can be obtained by using solutions of casein in alkalis as a binder for applying pearl essence. In this method, the casein solution is mixed with pearl essence and applied to the beads. After drying, the beads are treated with formalin, after which celluloid varnish is applied. Author: Korolev V.A.
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