Proper Way To Polish Plastics On Fountain Pens?

[jkingrph]

Johnsons paste wax is not a polish, but a mixture of waxes, some natural such as carnauba, some of petroleum origin as paraffin in a solvent used as a softening agent and carrier. A polish contains very fine abrasives the use of which is to "polish" out scratches. You can use some of the fine abrasive, micro abrasive papers for polishing, and I have done so but not on pens.

 

Many plastics are apparently stable in the presence of the hydrocarbon solvents such as naphtha, and common mineral spirits, which are sold in plastic containers. I have no idea as to how long the would remain stable.

 

Celluloid I read is made by mixing nitrocellulose, ie, guncotton, a low order explosive and camphor in the presence of alcohol and apparently the exact molecular structure is not fully understood. Here is an excerpt from willkipedia on the deterioration of celluloid

 

Deterioration[edit]

Many sources of deterioration in celluloid exist, such as thermal, chemical, photochemical, and physical. The most inherent flaw is as celluloid ages, the camphor molecules are ‘squeezed’ out of the mass due to the unsustainable pressure used in the production. In detail, that pressure causes the nitrocellulose molecules to bind back to each other or crystallize, and this results in the camphor molecules being shoved out of the material. Once exposed to the environment, camphor can undergo sublimation at room temperature, leaving the plastic as brittle nitrocellulose. Also, with exposure to excess heat, the nitrate groups can break off and expose nitrogen gases, such as nitrous oxide and nitric oxide,^[11] to the air. Another factor that can cause this is excess moisture, which can accelerate deterioration of nitrocellulose with the presence of nitrate groups, either newly fragmented from heat or still trapped as a free acid from production. Both of these sources allow for nitric acid to accumulate, a main component of acid rain that leads to corrosion of the environment. Another form of deterioration, Photochemical, is severe in celluloid because it absorbs ultraviolet light well. The absorbed light leads to chain-breakage and stiffening.^[12]

​

It's an idea and I do not know if it has any merit, but perhaps some of the deterioration could be slowed of possibly stopped by storing the object made of celluloid in a tightly closed container, with some camphor present creating a positive pressure of camphor vapor in the container. My thinking is that that would inhibit the squeezing out of camphor molecules from the celluloid mass mentioned in the article.

[Ron Z]

It's an idea and I do not know if it has any merit, but perhaps some of the deterioration could be slowed of possibly stopped by storing the object made of celluloid in a tightly closed container, with some camphor present creating a positive pressure of camphor vapor in the container. My thinking is that that would inhibit the squeezing out of camphor molecules from the celluloid mass mentioned in the article.

From what I've read, keeping celluloid in a tightly enclosed space would be counter productive, whether in the presence if camphor or not. It's the breakdown of the nitrate molecule that is the problem, not the absence of or departure of the camphor molecules. The breakdown of the nitrate molecules ends up releasing nitric acid. From the article linked to in my earlier post:

 

2.7 SOURCES OF INHERENT DETERIORATION

In summary, the synthesis and fabrication of celluloid objects introduces many potential problems for celluloid as it ages. These inherent problems include:

• regular deterioration of cellulose molecules; chemical deterioration produced when processing cellulose; range in quality of cellulose used
• range in quality of acids, alcohols, and water used
• impure camphor, other compounds mixed with camphor
• combination of quality and quantity of additives
• reversibility of nitration reaction and corrosive power of deterioration products
• inhomogeneities of cellulose nitrate fibers
• presence of sulfate esters
• trapped “free” acids
• freedom of movement of camphor
• crystallite formation—pressure
• seasoning
• fabrication technique

and from later in the paper:

 

 

3.2.2 Chemical Degradation

Chemical degradation can result from acid or alkaline hydrolysis. Acid hydrolysis involves the fission of glucosidic links in the cellulose nitrate molecule. With cellulose nitrate, this reaction is very slow and results in the reduction of the average molecular chain length of the cellulose nitrate molecule (Miles 1955, 268). Acids may be present as a result of synthesis, manufacture, or environmental conditions.

Chemical breakdown of the cellulose nitrate molecule by alkalis is more rapid than that by acids—often called denitration—the following reactions show the results of alkaline degradation (after Miles 1955, 286).

 

 

Alkalis may also be present from synthesis, manufacture, and environment.

Alkaline hydrolysis produces a wide variety of low molecular weight oxidized compounds. Inorganic nitrates, ammonia, cyanides, carbon dioxide, oxalic acid, maleic acid, glycolic acid, and malonic acid have all been recorded as deterioration products (Miles 1955, 278). Basic pigments added to cellulose nitrate lacquers were found to increase the rate of deterioration through nitrate loss in accelerated aging (Hercules 1955, 44–48). Acids may have been added to mixtures to neutralize alkaline pigments such as bone black, oil black, and nigrosine (Hercules 1955, 44–48).

Aside from acid and alkaline hydrolysis, some metallic oxides are known to cause irreversible gelation of cellulose nitrate in solution (Chao 1934, 99–102). Lacquers, glues, and badly deteriorated celluloid can be irreversibly gelled by oxides of lead, calcium, arsenic, tin, iron, copper, and zinc (in order of decreasing effect). Many lacquers contain tartaric, citric, or maleic acid as a gel inhibitor. Early tubes for cellulose nitrate adhesives were made of lead, which gelled the adhesive so that it would not set. This discovery led to the knowledge that certain metallic oxides could gel cellulose nitrate (Miles 1955, 291–92).

Selwitz points out that due to its structure the cellulose nitrate molecule is highly polar. This “extraordinarily high nonionic polarity” is also a contributing factor to the high instability of celluloid plastics (Selwitz 1988, 2).

 

[jkingrph]

I briefly read, not studied the article. It mentions on major problem is the "recrystallization of cellulose nitrate molecules" causing a squeezing out of camphor, making the remaining product very brittle . It also states that alkaline hydrolysis causes more problem than acidic.

 

It's been 50 years since I studied chemistry, and a lot of those things especially the physical chemistry problems are very fuzzy in my mind.

 

It appears that celluloid was a very early plastic product, apparently a very complex product, and when it was first formulated, like many compounds, little was known about the long term stability of the product.

Edited November 7, 2015 by jkingrph

[pen2paper]

Please PIN the above replies.

The discussion is as concise with current best conservative practices as can be.

 

One addition that Ron briefly replied to, proper storage factors also. Enclosing, encasing the celluloid preventing escape of gaseous breakdown is said to accelerate deterioration, plus you have plastics issue, moisture with non-precious metals. Dry, airy, and dark for hard rubber.

 

One person stated they wanted their pen to Be as new. Appearing shiny and blemish free is not the same. Not if the surface has been altered from post manufacturing new.

 

Rescuing a pen in near ruin is a different situation altogether. Even then, when a neutral conservative product is available, why use a fire hose to extinguish the tiny flame of match? Excessive, broadcasting damage.

[dcwaites]

Then there are those of us who have used a Parker 75 Sterling Silver Cisele pattern in a marine environment. The once shiny silver is now grey/black.

Any comments from the professionals on the best way to restore the silver?

Restoring the gold plating on the clip and cap tassie isn't an option because some of it is just plain worn off from many years of happy use.

[jkingrph]

I have used a small amount of Flitz on a soft cloth on mine. No matter what you use something like a toothbrush will be needed to clean polish out of the grooves.

[Zillaxila]

Thank you Ron for the tip of the micro-gloss

 

As for the celluloid. I think that everyone here are exaggerating on the way how celluloid plastics (that emerged on the pen market on the 30's I believe) deteriorate over time. I guess it has to be a long time for celluloid to diminish. And my thought is that if Italian pen companies like Omas, Montegrappa, Visconti, and Delta still use celluloid based materials on their pens is because this cellulose plastics are safe to manufacture.

 

I guess it has to pass hundreds of years for celluloid to be disintegrated or damaged to a degree that the pen cannot be used. and no human outlasts that many years.

 

Thank you everybody for the comments. It is for sure an interesting topic.

Edited November 9, 2015 by fountainofink

[tryphon]

Thank you Ron for the tip of the micro-gloss

 

As for the celluloid. I think that everyone here are exaggerating on the way how celluloid plastics (that emerged on the pen market on the 30's I believe) deteriorate over time. I guess it has to be a long time for celluloid to diminish. And my thought is that if Italian pen companies like Omas, Montegrappa, Visconti, and Delta still use celluloid based materials on their pens is because this cellulose plastics are safe to manufacture.

 

I guess it has to pass hundreds of years for celluloid to be disintegrated or damaged to a degree that the pen cannot be used. and no human outlasts that many years.

 

Thank you everybody for the comments. It is for sure an interesting topic.

 

How I wish you were right!

This happens often, even with modern acetate pens (ask owners of Delta Pompeii or some bright red Visconti pens...)

 

http://s26.postimg.org/vka9ayrmh/Rk2.jpg

[pen2paper]

Wish that exaggeration was the fact Foi, or I wouldn't take the time to post re this issue when I'm not in the least an expert in the pen world.

 

I study old objects that include most materials, and while most people recognize the odor of enclosed mixed materials deteriorating, they won't accept the deterioration until you show detailed examples like the photo above. Some of the earliest celluloids remain pristine as when new beautiful after 100+ years, but how and where they were stored, and originally manufactured factors.

 

G above also has a modern day example of a high end pen from a company that briefly changed its packaging, which itself caused damage to the plastics. It was a brief issue having them acknowledge and rectify the issue.

 

It's a personal choice to do whatever with your possessions. Damage may not occur during your lifetime. But your pens/objects could remain beautiful, and useful for decades to come, enjoyed by others, with reasonable consideration to their care now.

[Ron Z]

As for the celluloid. I think that everyone here are exaggerating on the way how celluloid plastics (that emerged on the pen market on the 30's I believe) deteriorate over time. I guess it has to be a long time for celluloid to diminish. And my thought is that if Italian pen companies like Omas, Montegrappa, Visconti, and Delta still use celluloid based materials on their pens is because this cellulose plastics are safe to manufacture.

 

I guess it has to pass hundreds of years for celluloid to be disintegrated or damaged to a degree that the pen cannot be used. and no human outlasts that many years.

I wish that this were the case. I have a number of pens here in the shop where the celluloid has decayed to the point where the pen can not be used.I've had a number of requests to repair decayed celluloid in modern celluloid pens. The grip knob on one had decayed to the point where it crumbled, and was starting to gel. It was awful. It was ugly. Fortunately the decay (at that point) was limited to the knob and hadn't gotten to the barrel. There have been others that were too far gone to do anything with - and these are pens made with modern celluloid.

 

Two pictures for you. First is a shot of several pens in various stages of decay. On the far left is a Parker Challenger. Note the darkening of the cap and the blurring of the pattern. This is celluloid starting to break down. Next to it as another pen with celluloid starting to go on the cap. Third is the typical failure of celluloid in this color Doric, and further advanced decay in the green, and cap end. Note that the trim ring in #4 is corroded from the release of the nitric acid. The cap and barrel below do not go together.

 

Last is a Gold Medal Combo from the 1930s. The celluloid is similar to some used in Parker Challengers. Less than a year ago this cap was in perfect condition. The the cap started to break down early this past summer. We've left it sitting out by itself, not in direct or bright light since then just to watch the decay. The large picture is a close up of the cap. Note that the top of the cap was by all appearances the same as the rest of the barrel when we first saw it back in January. I expect the decay to continue to the point where the celluloid crystalizes completely and crumbles.

 

As the article linked to pointed out, the decay may be linked to the elements used to color the celluloid in addition to the environment in which it is stored. The Wahl Dorics, Equipoise, and other pens seem to be quite vulnerable, as are some colors of Sheaffers. On the other hand, the Parker celluloids seem to be quite stable. I rarely see Parkers crumbling or showing the decay shown in the pictures above. The red Challenger is an exception, rather than the rule as it is with the Wahls mentioned.

 

http://www.mainstreetpens.com/pix/bad_celluloid1.jpg

 

http://www.mainstreetpens.com/pix/bad_celluloid2.jpg

[Ron Z]

Then there are those of us who have used a Parker 75 Sterling Silver Cisele pattern in a marine environment. The once shiny silver is now grey/black.

Any comments from the professionals on the best way to restore the silver?

Restoring the gold plating on the clip and cap tassie isn't an option because some of it is just plain worn off from many years of happy use.

 

I have seen the finish of many Parker 75 pens damaged by the use of paste products to clean the silver. I do not, and do not recommend using any paste or liquid silver polish. It often removes the blackening as well as the tarnish. I have found that the best thing to use is a jewelers cloth, or a Sunshine cloth, to remove the tarnish. If especially heavy, use a pink or green pencil eraser. It will remove the tarnish on the surface and raised parts of the silver, leaving the blackening in the grooves intact. If you use an eraser, you can bring up the luster with a Sunshine cloth.

 

The tassies and clip can be replated.

[JonSzanto]

Question to Ron: I've read of instabilities in the material used to make the modern Sheaffer Balance II pens, where at least some of the 'colors' experience failure and breakage (and I've avoided purchasing any because of that). Is this related to the above degradation issues, or something entirely different?

[dcwaites]

 

I have seen the finish of many Parker 75 pens damaged by the use of paste products to clean the silver. I do not, and do not recommend using any paste or liquid silver polish. It often removes the blackening as well as the tarnish. I have found that the best thing to use is a jewelers cloth, or a Sunshine cloth, to remove the tarnish. If especially heavy, use a pink or green pencil eraser. It will remove the tarnish on the surface and raised parts of the silver, leaving the blackening in the grooves intact. If you use an eraser, you can bring up the luster with a Sunshine cloth.

 

The tassies and clip can be replated.

 

Thank you for that. I have a Sunshine cloth.

 

As well, a white pencil eraser was always in my kit when I was a roving network technician. It removes any tarnish on network and other low-voltage electrical connections (just blow out the little scraps of white rubber afterwards).

 

However, cleaning peanut butter off an optic fibre connector was a little more challenging.

[tryphon]

Question to Ron: I've read of instabilities in the material used to make the modern Sheaffer Balance II pens, where at least some of the 'colors' experience failure and breakage (and I've avoided purchasing any because of that). Is this related to the above degradation issues, or something entirely different?

 

I think I can answer that. I have several of the "new" Balances that have broken caps and barrels. I think it was a bad batch of acetate, some colors were not affected. Acetate tends to break into pieces and/or become soft, unlike nitrate, that tends to crystalize.

[Ron Z]

According to Howard Levey, the acrylic used in the marbled Balance II pens was a compressed acrylic, so there were stresses built into the material before the pen was machined. The result is that the stresses spontaneously let go, causing cracks to appear in the material. It isn't decay, its the stuff letting go. What I have been told by other sources is that Sheaffer goofed and ordered much more than was needed for the pens, which is why the rod stock has been appearing in other pens since then... Its properties also explain why Bexley and other companies will do things like use black acrylic on cap lips and barrel threads.

 

It's horrible stuff to machine because of its low melting point. You have to liquid cool it to machine it. I have some, and will never use it to make a pen. It is also cross linked in such a way that only one solvent will fuse it when you need to make a repair.

[JonSzanto]

Thanks, Ron and Giovanni. Info much appreciated!

[tryphon]

According to Howard Levey, the acrylic used in the marbled Balance II pens was a compressed acrylic, so there were stresses built into the material before the pen was machined. The result is that the stresses spontaneously let go, causing cracks to appear in the material. It isn't decay, its the stuff letting go. What I have been told by other sources is that Sheaffer goofed and ordered much more than was needed for the pens, which is why the rod stock has been appearing in other pens since then... Its properties also explain why Bexley and other companies will do things like use black acrylic on cap lips and barrel threads.

 

It's horrible stuff to machine because of its low melting point. You have to liquid cool it to machine it. I have some, and will never use it to make a pen. It is also cross linked in such a way that only one solvent will fuse it when you need to make a repair.

Ron,

I have some of the Balance broken caps and barrels. I really believed they were acetate: they do not smell or feel like acrylics. Maybe we are talking about two different sets of pens? I will bring them to Columbus! See you soon!

[robert1962]

I don't recommending coating pens with wax, or with anything else that is supposed to remain on the pen. Should it be desired or necessary, these coatings may prove quite difficult to remove. They negatively affect the feel of the pen, in my opinion. Celluloid, which tends to emit some damaging chemicals, may self-destruct more rapidly if these substances are entrapped by a coating.

 

What exactly are you trying to achieve by waxing and "sealing" old pens?

 

--Daniel

Let me start by admitting that I know better than to enter a controversial post, then leave for the weekend. I haven't had time to read through all the "abrasive" posts. Maybe tomorrow.

 

I put wax on pens as an attempt to protect them. I was focused on keeping things out, with no thought on what I might be keeping in. I spent a lot of years at construction sites and other industrial settings. My world was mud, grit, chemicals, vapors, temperature and humidity fluctuations, with the cab of a truck or a restaurant as an office. The waxed surface resisted scratches and proved much easier to keep clean in that environment. I mostly used Vacumatics, Balances, Skylines and the like. Something with a little flash that, if sh*t should happen, was easily replaced - a consumable. I didn't dig in to my "good" stuff. A few dozen pens (lost several), waxed as long as 30 years ago with no observable issues. That is my track record.

 

Maybe someone can post a picture, or tell a story of "how wax damaged their pen". I agree that the potential may exist, I have just never seen it.

 

Honestly, I really can't say that I noticed much of a difference with how the pen felt in my hand from a similar unwaxed example. I liked to apply wax thinly and buff softly. I was never after the wet look. They look and feel about the same.

 

Its interesting to me that there seems to be so much enthusiasm for the use of abrasives. So much removal of original surfaces. That is damage, in my opinion.

 

BTW, thanks for all of the thoughtful posting and articles.

 

Bob

[FredRydr]

I guess it has to pass hundreds of years for celluloid to be disintegrated or damaged to a degree that the pen cannot be used.

 

I suggest you do a bit more research on the issue before you start your Doric collection.

 

Fred

[tryphon]

On the question of the modern balance material: after speaking with Ron at the Ohio Pen Show, I defer to his knowledge! By the way, it is always a pleasure to interact with Ron, a real class act.