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CHAPTER 1

WHAT Is PATINA?

The word patina means many things to many people. In the classic car world, patina is the new buzzword used to describe original wear and unmolested aging on factory parts. During the past several years, an entire category of classic car, called the “Survivor,” has arisen as part of a preservation movement that carries the goal of saving the original and unrestored status of vehicles. The Survivor is now the high-water mark of automotive collectors, and finding and showcasing the original condition of a vehicle is much more important than restoring one to pristine condition.

I’ve spoken with several experts in the collector car world, and many of them mentioned that not very long ago there were many vehicles that underwent a complete restoration when they were in good enough condition to be preserved as survivor vehicles. Because of the restorations, much of the history, heritage, and provenance of these vehicles has been lost when it wasn’t really necessary. After all, patina is much more than the faded and dull bronze look of a Tiffany lamp base sitting in a museum. Patina, as it relates to the automotive hobby, is another word for realism, and it brings with it authenticity.

This early 1950s truck is all but reclaimed by nature, but it is a beautiful example of how nature will eventually take back its resources. Our job as artists and technicians is to slow the process of time as we restore cars and give tribute to mother nature by recreating the original appearance of patina.

Vintage instruments have long been collected and revered for their patina and condition. It’s a recent trend in instruments, as well as classic cars, to style the finish on insignificant guitars and other instruments to appear as weathered and worn finishes. Interestingly, the Fender guitar company has a special division of guitars called their “relicked” line. Fender relicked guitars bring many thousands of dollars more in sales price than a top-of-the-line instrument with a premium finish, simply due to the perception that it is a vintage guitar. This is partially brought on by the skyrocketing prices of 1950s’ and 1960s’ vintage instruments in original condition. This guitar was relicked by a DIY user, and it serves his purposes nicely as a well-worn guitar that seems to tell a story.

Forms of Patina

Patina in the automotive context can refer to any fading, darkening, or other signs of age that are felt to be natural or unavoidable. Natural oxidation where patina forms or is deliberately induced is called patination, and the definition can apply to naturally occurring or artist-rendered aging.

There are other forms of artist-rendered aging, or fauxtina. Distressed furniture is a form of faux patina, and relicked guitars and instruments are pre-aged. Fauxtina paint jobs create the illusion of weathered finish but bypass 40 to 60 years of naturally occurring oxidation in the elements. The patina on musical instruments tell a particular story; the wear marks on fretboards, bodies, or tuning keys whisper of countless hours of play as well as provide clues to the history of the instrument and to the character of the owner. Stevie Ray Vaughan famously placed a cigarette under the strings of the tuning keys on his guitars, and you can see burn marks from the cigarette on many of the headstocks, making them authentic collector’s items.

Even something as utilitarian as a galvanized piece of sheet metal can show beautiful patina. The oxidation tells a story and gives us a color palate of muted but sophisticated tones and hues.

American guitar icon Stevie Ray Vaughan used to set a cigarette between the E-string and the headstock of his Fender Strat. He would get so caught up in playing that it would burn down and eventually burn out, staining the wood with heat and tobacco.

A well-preserved but slightly worn instrument can be worth far more than a refinished instrument of the same vintage. Fender guitars have a line of Stratocaster instruments that are individually customized to look like they were worn down by time. These guitars bring a much higher price than the new counterparts similarly equipped, which nods to the popularity of fauxtina as an art form.

There are wonderful television programs where people show off their family heirlooms and get a valuation from an expert who analyzes the condition and learns the history of these treasures. Qualified experts analyze the condition of these heirlooms based on the heritage, age, condition, and documentation, and they arrive at a fair market value that sometimes surprises the owner. Often there is a lamp, a statue, or even a painting that has been “repaired” or reconditioned, and the process of removing or repairing the original finish significantly devalued the object. Patina is king! Leave your Tiffany lamp alone and don’t even polish it. It is much better to have patina with antiques than to have a fixed-up version of the same thing.

One of Merriam-Webster’s definitions of patina is: a surface appearance of something grown beautiful especially with age or use. The other definition refers to aging on bronze metals, which we’ll discuss briefly, but the real subject of this book is to show you how to create authentic-looking patina and the look of natural aging on many different surfaces. Ultimately, you have to decide whether to preserve valuable original patina, add to some naturally occurring age, or start with a totally clean palate and create your own version of Fauxtina.

This bronze statue of Leonidas has a uniform patina overall, but it’s now believed that in Roman times these statues were decorated with lifelike colors on the clothing, facial features, and weapons. The colors were a product of chemistry and patina styling techniques.

History of Fauxtina

Manipulating naturally occurring oxidation and aging to gain a desired effect is nothing new. In fact, styled patina has been used for centuries to accentuate statues and sculptures, including adding color to lips, eyes, and armor. The bronze statues of the 19th century had alloy blends that dictated the color and brightness of the bronze itself. However, different chemicals have been applied over the ages to tint and accent these works of art.

The traditional green accents in many bronze works has been accepted as “natural” patina for many years, but recent studies show that large quantities of sulfur introduced into the atmosphere during the Industrial Revolution of the late 1700s gave a distinctly greenish appearance to outdoor bronze statues. This is a byproduct of industrial fallout and pollution much more than it is a natural reaction between metal and atmosphere, so even in a traditional sense “patina” is arguably man-made and certainly influenced by more than nature.

Vinegar by itself is a mild acid, a food additive, an excellent cleaning agent, and a metal prep liquid. However, mix vinegar with a few otherwise inert materials, and it becomes an accelerant for oxidation on most metals.

Studying history also tells us that discoveries have been made regarding the patination of the ancient world. Egyptologists have discovered that chemicals were used to tint gold and other precious and semiprecious metals to simulate natural coloring on faces and clothing. Grecian and Roman statues show signs that bronze was also tinted to color and decorate statues, even to make them seem older than they were. This shows us that manipulating the finish of artwork has been acceptable and a standard in artwork and creativity through the ages.

There are some purists who reject the art of patination in automotive art and restyling. Personally, I think that if it is done properly it can yield a nostalgic and beautiful finish. The Statue of Liberty is a particularly iconic example of patina that is both beautiful and significant. The outer panels are made from 3/32 copper plate, which is about the thickness of two pennies stacked. It was delivered in the 1880s as a gift from the people of France to the people of the United States, symbolizing freedom and liberty.

African violet fertilizer is a soil acidifier. It’s used in agriculture as a growth supplement for many plants and flowers, but it can also be used to accelerate the patina development on certain metals, such as copper and brass. Several projects during the Statue of Liberty restoration in 2012 used similar fertilizers to match the original patina of the copper plating on Lady Liberty.

The statue, designed by Frédéric-Auguste Bartholdi and constructed by architect Gustave Eiffel (known for designing the Eiffel Tower in France), was first erected as a polished copper statue. Recently, a restoration and refurbishment project has been performed that involved replacing some of the exterior, and the obvious challenge was to match the patina of the antique panels seamlessly to retain the historical significance and appearance of Lady Liberty. The restoration team’s process was to apply mild acids to etch and degrade the surface and then use an accelerated chemical process to properly and seamlessly color match the new copper to the old. A mixture of African Violet liquid fertilizer and distilled water was used to accelerate the green pigment, which worked exceptionally well to blend the repaired and replaced panels in with the original copper panels.

Fauxtina in the Film Industry

The motion picture and television industries are in the business of making us believe that we’ve been transported to another time and place. This is precisely what adding patina to a vehicle is attempting to do, so there’s much to learn from movies.

The movie American Graffiti has become legendary for its historical accuracy and period correctness in everything from cultural language trends to automotive styling and historical representation. This image is a tribute to Mel’s Diner in the movie and is currently a pop culture display in Japan. Patina techniques were used in recreating this snapshot in time on both the vehicles and structures.

We judge a movie by how realistic the effects are. We’ve become accustomed to amazing special effects that are historically accurate down to the finest details. The bar is raised on what we observe not only in movies but also television programs that are dated to a specific time in history. The need for accuracy in historical storytelling goes back to the beginning of film itself. Continuity between period-correct housing and a specific year range of vehicles in a particular scene is critical; discerning eyes will pick apart inaccuracies and disqualify a film based on first impressions alone, despite what the script, storyline, or even actors have to contribute to the work.

Creating the sense of suspended disbelief is the number-one priority of a filmmaker. Having the viewers immerse themselves into the experience instead of looking at the images before them is a necessity for a successful movie experience. These days, computer-generated imagery (CGI) plays a key role in the production of a film. Though it is a wonderful tool to recreate other worlds and times, a person still has to program the scenes, create the styling, and make us believe that a dinosaur can be in a chase scene with a Jeep at a theme park or that a Camaro can twist and flip itself into a giant robot from a far-off galaxy.

CGI is a sophisticated tool to create patina in a digital format. A prop stylist has an important job in commercial film production doing set design and prop styling. A prop stylist can labor for days to create a layer of dust that looks like it took a decade to settle. The digital manipulation and prop styling on three-dimensional pieces needs to be in perfect sync to blend together in a realistic format that viewers can agree to believing in, even if for a short time.

This dual-action airbrush opens up an entire new world of detail painting. Mastering the airbrush takes many years of practice, but a few basic techniques that are included in this book will give you the ability to create realistic patina within minutes of picking up the airbrush for the very first time!

This is a detail gun that shares the same controls as a full-size pneumatic (air-driven) spray gun. The smaller size provides great control on medium to small projects and is versatile for many effects and painting methods.

The full-size high-volume, low-pressure (HVLP) spray gun is the industry standard for automotive refinishing. These guns require some practice to use, but they are simple to set up for accurate paint delivery.

The professionals in the movie industry use specialized tools to create their illusions. The purpose of this book is to give you the tools to create the illusion that your vehicle, furniture, or artwork is older than it seems with accurate and realistic character.

Patina-Friendly Tools, Supplies, and Paints

Creativity and the willingness to experiment are probably the most important tools you can have when creating patina. Putting in the work to practice and experiment is critical, but there are some tools that will help make the job easier.

Pneumatic spray equipment is not necessary but will help you create aged effects on large surfaces, such as automotive panels. An airbrush and a high-volume, low-pressure (HVLP) gun are important tools for the projects in this book (see chapter 7 for airbrush specifics).

Disposable paint brushes called chip brushes are easy to use. Sometimes they lose hair (actually a good thing), and they leave a pronounced texture when used with automotive paint.

A paint roller designed for latex paint also gives a distinct texture to undercoats and topcoats, which can be used to create a blend of color and texture that mimics aging.

Automotive paint can be toxic and dangerous to use. However, there are some non-catalyzed paints, such as lacquers and enamels, out there that are less dangerous. Chemical compatibility is essential in the collision repair and automotive restoration worlds, but sometimes a reaction between incompatible paints creates a desired effect of peeling or degraded paint when creating patina. While we hope that you are safely applying all paints, don’t be afraid to experiment!

Chip brushes are inexpensive because they’re not the best quality paintbrush. This makes them easy to abuse. I find them particularly effective in craft painting and dry-brushing techniques that create interesting effects while patina painting.

Setting Up the Paint Shop

One of the first considerations when starting a project is to decide where you are going to apply your patina. You’re going to need some space. Cars are big, and you need to be able to walk freely around your subject in order to apply a finish to it. Even refinishing a few parts at a time takes plenty of room. Refinishing panels on stands, a disassembled motorcycle, or even an antique gas pump will require enough space to have access to every part of the piece.

It goes without saying that you’ll need plenty of airflow in your shop. Solvents evacuating from wet paint as part of the drying and curing process will need to be removed from the space, and good airflow is necessary for drying. Fumes from automotive paint are hazardous and need to be respected. Adequate airflow needs to be established no matter what your painting environment. Sometimes creating airflow is as simple as opening a window and cracking open a garage door. If you have the luxury of using a formal paint booth, these needs will definitely be met. You’ll need to assess your situation and create a path for air to escape to maintain a safe work area.

A paint roller is an excellent way to create texture in the base coat of a paint job or to mimic a rough and worn (or even poorly applied) vintage paint job. Don’t be afraid to experiment with these tools! Creativity and fearlessness yield great results in the patina world.

We realize not everyone has a professional paint booth in the backyard. All of the projects, demonstrations, and samples in this book have been prepared in our own studio garage so you have a realistic idea of what is possible in a home shop environment.

Common furnace filters create a well-ventilated shop area. We taped filters in place on the floor and door to facilitate a cross breeze and to clear the air of any fumes or overspray during the painting process.

If your painting or prep area is a converted garage, you’ll want to protect other items inside it. Sanding dust is very fine and will quickly form a silty layer on your tools, workbenches, and anything else that’s stored in the garage. As you are planning your materials list and budgets, add in the cost for drop cloths, masking tape, and cleaning supplies to not only prepare for the upcoming mess but to clean up afterward as well.

If you are wet sanding, you will have the runoff from your vehicle to consider. Wet sanding residue can eventually drain into the local water table if it gets washed into a storm drain, so do your best to eliminate potential pollution while painting your project.

If your work area is an attached garage, be aware that paint fumes can be quite annoying if they leach into your home. Overspray can also drift and find its way through door gaps and window frames. These things can cause irritation to people who are not wearing proper safety equipment.

Carefully consider your paint environment to make sure that you’re not going to have any surprises down the road. Above all, make sure that you’re being safe and that you’re considering the safety of those around you.

Pneumatic Tools

To do a complete paint automotive job you need a compressor that will keep up with your demand. This usually means at least a 5-hp pump, a 60-gallon air storage tank, and preferably a two-stage motor that delivers at least 13 to 15 cfm at a reasonable pressure. When I’m coaching hobbyists, I often hear, “I have a 20-gallon tank on my 3-hp compressor. Can I still paint a full-size truck with it?” My answer is always: “Yes, but you shouldn’t.”

Although this is not the optimum air supply, a storage tank can be a solution. It may work for small projects where a spray gun is used or for a large airbrush project that uses a pressure regulator to control airflow.

Industrial applications demand enormous air delivery. This 65-cfm screw-type compressor is overkill for our patina projects and for most paint jobs, but it provides large volumes of CFM for our other needs, such as fresh breathable air or sandblasting jobs.

A small compressor on a big job makes the pump work too hard, creating nothing but hot air filled with moisture that will eventually end up in your work. It’s always best to have too much air supply, which minimizes the moisture in the lines and supply chain so that it can be filtered out before it ends up in your paint. Mistakes are part of the equation of some patina paint jobs, but it’s always best to have as much control over your equipment as possible so that you can choose where your defects are.

Although a pumpless air tank is not going to get you very far on a large paint job, it will work for small parts with a detail gun. A pumpless air tank will give you several hours of air if you’re using an airbrush. The size of your patina project will determine if you need to invest in compressor equipment.

The best protection for applying automotive paint is with a fresh air-supplied system. This hood supplies the painter with breathable air from a dedicated air source and is the safest way to apply hazardous paint systems.

The other end of the spectrum is a massive 65-cfm screw-type air compressor that is mounted to a 120-gallon air tank. This machine can run nonstop. Since it has an integrated air-cooling system, it can handle all but the most-demanding projects. The average full-size spray gun only needs 10 to 13 cfm, so this size could easily support five painters spraying around the clock.

Safety

Automotive paint is hazardous to use! Paints with catalysts (hardeners) are toxic and dangerous, even when they’re dry. Urethane catalysts remain active for 90 days during the cure process, so even sanding dust can be toxic shortly after paint products have been applied. There are a few things you can do to protect yourself:

• Wear gloves whenever handling paint.

• Wear safety glasses at all times.

• Wear proper respiratory equipment … you only have one set of lungs so protect yourself!

• Wear protective clothing to keep paint and fumes from getting trapped in your clothing.

Nitrile gloves will protect your hands from most materials and will certainly keep your skin contaminants (oils and acids) off of your paint projects. They’re an inexpensive way to help control your work environment and health.

Most automotive paints must be disposed of properly and safely, so be aware of the laws in your area. Find out how to safely dispose of paint in a responsible manner. Most communities have a hazardous disposal day at least once a year when you can turn in hazardous waste for a small fee, or sometimes for free, at the local landfill or convenience center. Do your research before you start your project so that you know what your local bylaws are for proper and legal hazardous materials disposal.

This is a charcoal filter spray mask approved by the National Institute for Occupational Safety and Health (NIOSH). It is capable of filtering out hazardous organic and industrial contamination as long as it’s used within its shelf life. Do your homework on whatever paint system you’re using to make sure you’re protecting your respiratory system properly.

Even during simple duties, such as sanding or cleaning up, it’s a good idea to use dust masks to keep your respiratory system protected. These are inexpensive and easy to use. I highly recommend keeping a box of these within reach on any automotive paint project.

These model-building brushes came from a hobby store nearly 20 years ago. When properly cleaned, they will come in handy with patina painting in many ways.

Crackle paints are mostly used for furniture projects, but they are a fun way to create the illusion of an aged surface. Experiment with craft styling paints like this. You never know what effects you can recreate.

For the final detailing of our main project, this product was a great tool. The primer contains iron that will eventually rust on its own, but the accelerator/activator created rust in minutes.

This is a combination of acrylic paints, crackle paint, and automotive paint. It was a little too drastic for our projects, but it was definitely fun to mess around with!

Craft Paints and Supplies

Products from the hobby industry can be used quite successfully when painting patina. The DIY craft industry has exploded in recent years, and there are many wonderful products available to create effects that simulate aged furniture, jewelry, or other items. There are rusting primers, crackled and distressed furniture kits, as well as online tutorials that show homemade methods for creating patina. Don’t be afraid to go outside the automotive toybox for ideas!

Professional tools are not always needed, and unconventional thinking is a huge benefit. A grasp of certain automotive refinishing concepts is also helpful, but it’s not required. The paints and techniques in this book are easy to use, and a first-time painter can get excellent results by following along.

Experimenting is probably one of the high points of creating fauxtina, and it can be a very fun process. I found it incredibly rewarding when I cracked the code on how to recreate bubbling rust on a car panel. It’s one thing to find a rusted-out fender, but quite another to be able to create the look of a rusted fender and have complete control over the stage, style, color, and extent of your patina! The best thing about this book is that I can pass on step-by-step instructions, so you can create patina on your own terms.

Patina painting has been around for thousands of years, and it has been a trend in the automotive painting and restoration world for many years as well. Whether your reasons for doing a fauxtina paint job are personal, professional, or budget-oriented, I hope you have fun learning how to outsmart time and to lock in your version of automotive history!