Every separate masterpiece is plated before complete assembling of the faucet. The Most common colour used for brassware is chrome. This plating, presenting a light blue glint, is obtained by dipping components into successive baths, according to an electrolytic process.
Chrome, a hard and stainless metal is highly protective. Matt and shiny nickel finishes, slightly different from chrome, are also obtained by electrolysis. Gold plating is realized on special request.
Chrome and nickel items are manufactured in small and medium series, and main items in each HORUS range are usually available in stock, allowing a quick delivery of orders.
Some other finishings, named decoration finishes, are obtained through a different process: it is no longer a layer on component, but rather a reaction of brass material itself, obtained by immersion into an acid bath, which modifies final outside aspect of the piece. This process is bound to be manually achieved.
It is actually a tricky operation, the result of which depends on several parameters : the piece dimensions, the bath grade, surrounding conditions in temperature and hydrothermy, time in bath…Mastership of all these conditions requires a high quality knowhow.
Then, components are usually matt, satin or glossy varnished, before being put in an oven in order to be protected from everyday use.
Nickel plating can offer different aspects, satin, brushed, matt, velvet, mirror…
The nickel finish, more “yellow” than the chrome finish, has the particularity of presenting a nice silver effect.
This finish is reinforced by a second nickel bath to strengthen its resistance to lime scale.
Nickel plating can offer different aspects, satin, brushed, matt, velvet, mirror…
The nickel finish, more “yellow” than the chrome finish, has the particularity of presenting a nice silver effect.
This finish is reinforced by a second nickel bath to strengthen its resistance to lime scale.
The old and patinated aspects of notably old bronze, old copper, greens of grey or brass are also the result of patina baths which, when mastered, mimic the ageing of the metal thanks to a chemical oxidation on the surface of the piece. A matt or glossy colourless varnish or even a wax for a more natural look can then be applied and baked in the oven to freeze the colour. In its absence, the tint will naturally age.
The old and patinated aspects, in particular the old bronzes, the old coppers, the verdigrises’ or the coppers also come from patina baths which, when controlled, imitate the aging of the metal thanks to a chemical oxidation of the surface of the piece . A colourless matt or gloss varnish or even a wax for a more natural look can then be applied and baked in the oven, to freeze the colour. In its absence, the tint will naturally age.
The old and patinated aspects, notably old bronzes, old copper, the verdigrises’ or brass are also the result of patina baths which, when controlled, mimic the ageing of the metal thanks to a chemical oxidation of the surface of the piece. A matt or glossy colourless varnish or even a wax for a more natural look can then be applied and baked in the oven to freeze the colour. In its absence, the tint will age naturally.
The old and patinated aspects, in particular the old bronzes, the old coppers, the verdigrises’ or brasses also come from patina baths which, when controlled, mimic the aging of the metal thanks to a chemical oxidation of the surface of the piece. A colourless matt or glossy varnish or even a wax for a more natural appearance can then be applied and baked in the oven, to freeze the colour. In its absence, the tint will naturally age.
Semi-precious, even precious, finishes like silver and gold, fashionable in the 1980s, are also applied after nickel plating. They are lacquered or matt, aged or brushed.
The old and patinated aspects, in particular the old bronzes, the old coppers, the verdigrises’ or brasses also come from patina baths which, when controlled, mimic the aging of the metal thanks to a chemical oxidation of the surface of the part. A colourless matt or glossy varnish or even a wax for a more natural appearance can then be applied and baked in the oven, to freeze the colour. In its absence, the tint will naturally age.
The gold thicknesses are low, between 0.2 and 1.5 microns for the most luxurious faucets (21 carats) compared to more than 3 microns in goldsmith’s trade. For silver, the thicknesses are less than 33 microns applied as in the tableware sector. Most of the time, it must be protected by a varnish, which avoids, especially in a humid environment, the phenomenon of sulfurization / oxidation.
The gold thicknesses are low, between 0.2 and 1.5 microns for the most luxurious taps (21 carats) compared to more than 3 microns in goldsmith’s trade. For silver, the thicknesses are less than 33 microns applied as in the tableware sector. Most of the time, it must be protected by a varnish, which avoids, especially in a humid environment, the phenomenon of sulfurization / oxidation.
The old and patinated aspects, in particular the old bronzes, the old coppers, the verdigrises’ or brasses also come from patina baths which, when controlled, mimic the aging of the metal thanks to a chemical oxidation of the surface of the part. A colourless matt or glossy varnish or even a wax for a more natural appearance can then be applied and baked in the oven, to freeze the colour. In its absence, the tint will naturally age.
Semi-precious or even precious finishes, such as silver and gold, fashionable in the 1980s, are also applied after nickel plating. They are lacquered or matt, aged or brushed.
Electrolytic black nickel, tin/black nickel or black chrome deposits, which range from bright intense black to metal gun, have been around for a long time. The former are fragile, imposing a protective transparent polish deposit.
