AURUM 34 has two articles about blue gold…one is about Vittorio
Antogniazzi’s and the other about mine that I was doing for Harry
Winston since the early '80’s. There have been references to
blue golds in some french smithing books since the 1850’s.
It does require a lot of experimentation. The real problem with
people asking for answers to esoteric is:
If someone busted their ass doing research for their art, (
unless they’re dying, or academicians) they have invested serious
personal value(blood and sweat and money and time), and they want
to eat the fruits from their garden. And the truth is that ( if you
ever spent many years to defeat a demon), they deserve that fruit.
If it were easy, even with a step-by-step manual…anybody
could do it. Value lost.
If you spent 5 years in my shop, maybe I could show you the ins
and outs of SPA’s (special patinatable alloys). It might sound
rather coarse, but if you want to be an explorer, you’re on your
own…you’ve got to take your own risks. It doesn’t come easy, and
if it does, you’re only re-treading someone elses footsteps.
THE QUESTION IS: WHY DO YOU WANT TO KNOW?
There are many ways to create the color blue on gold, Paint,
nickel-plate, ion bombardment, chemical treatments, intermetallic
compounds, stone inlay, oxidation, enamels, etc. Those who have
been working with blues (me, Patek, VA oro Azurro, Franco in
Bologna, L. Mueller), are not telling.
It’s one thing to create and alloy and form it, cast it , etc,
another to master it. Are you ready? Then, as we say in the US,
“go for it”. Some mediocre types, brush lightly on a technology,
create small samples and then publish in order to “plant their
flags” on something they only understand superficially. Isn’t it
battle to find out and discover, is why you want to know, Tobey?
Or do you want it handed to you? How are we going to move
forward, People!!! Faites vos jeux…