Electrolysis: a lab manual

Electrolysis Manual – Introduction

The main goal of this laboratory manual was to help students understand and properly conduct electrolysis procedures for the cleaning and conservation of iron archaeological artifacts. The process of electrolysis is used widely among archaeological laboratories, thus becoming a standard of professional iron conservation methodology. Depending on what you plan on cleaning, the actual processes themselves vary; additionally, the processes will vary from lab-to-lab. At any rate, I felt the need to make my own electrolysis knowledge accessible. Texas A&M University published a handy electrolysis manual through their website; that entire manual is here: https://nautarch.tamu.edu/CRL/conservationmanual/File10a.htm. However, their document is jargon-heavy and densely written. If you’re like me and haven’t taken any chemistry classes since your tenth grade of high school, the chemistry jargon they use is, at best, confusing; their steps might be hard to follow at first glance. As I started doing electrolysis on my own, I made this step-by-step manual, following the processes that I found most practical. Within this manual are also video links and the notes that I made on them; they were useful to me while I was learning the electrolysis process, so I included them, in case they might be useful to you. As I implied already, this manual is written with one goal in mind: to help laboratory practitioners, at all levels, understand and properly use electrolysis as a tool to clean and conserve iron artifacts.

I should note that the following process is ONLY for material culture made of IRON. 

Before electrolysis. Not from a provenience - it's an iron cultivator sweep that dates to circa. 1984. 

What You’ll Need:

•      A Dremel
•     Face masks (optional)
•    FUME HOOD (or, the great outdoors)
•    Baking soda
•   Distilled water
•    Steel object(s) (to use as the anode)
•    Measuring cups
•    Safety glasses
•    Rubber gloves
•  Plastic tub – polypropylene, or one of the other chemical-resistant plastics – to use as a vat
•   Field tape (to help you keep track of multiple proveniences if necessary)
•   Wooden dowel
•   Copper wire
•   Electrical tape
•   Battery/electrical power source
•   Iron artifacts
•   Access to the electrolysis worksheets in the lab
•   Paper/shop towels
•   Access to an oven and stove; pots and pans that you don’t intend on using for food
•   Renaissance™ micro-crystalline wax polish

The Electrolysis Process

                In its simplest terms, electrolysis is a chemical process by which ferric corrosion is broken down, or reduced, via electric current. More specifically: during electrolysis, the corrosion on the outside of a negatively charged cathode is being repelled onto the surface of a positively charged anode by electric current and electrolytes. Electrolysis is simply shorthand for electrolytic reduction cleaning. In our case, the cathode is the artifact you’re interested in cleaning. The cathode will be negatively charged when it gets hooked up to the battery. The anode – referred to by scientists as the “sacrificial anode” – typically consists of a rod, sheet, or mesh made from steel. Most steel products are “pure”; “pure” metals have better electrical potential, i.e. an ability to maintain a higher electric current. Other such metals include zinc, magnesium and aluminum. In our case here at CMU, we’ve been using stainless steel rods that have been flattened; they work pretty well and they take a long time to become unusable. The anodes will be connected to the positive battery charge. The electrolytes, in our case, will be the particles of baking soda (sodium bicarbonate, NaHCO₃). Some labs use sodium carbonate (Na₂CO₃), which is more basic and is slightly stronger than NaHCO₃ (it will also burn your skin). Others use different chemical formulas, according to how acidic or basic they need the solution to be, which depends on the contexts from which the artifacts were recovered (e.g. saltwater versus soils), and how large the artifacts are. Remember that most of the time, we work with ferrous artifacts that were found from within the ground, and most of them are relatively small or medium-sized. For our purposes, baking soda is enough.

The Steps:

1. Take a photo of the artifact before using electrolysis to clean it. Record its provenience information as well. If you’re cleaning multiple artifacts at once (I suggest limiting to no more than three), please make sure you can track which provenience goes to which artifact. If you cannot do so, then only clean artifacts from the same provenience together.
2. If the artifact is significantly corroded, you’ll need to use a Dremel to sand down the portion of the artifact you plan on attaching to the negative charge. This ensures that the electric current can flow through. Only use electrolysis on artifacts that still have an intact metal core. If the artifact is already flaking away, the electrolysis will actually eat away the whole artifact. Use a face mask while using the Dremel on anything.
3. ONLY CONDUCT ELECTROLYSIS INSIDE OF THE FUME HOOD. The electrolysis process emits fumes and particulates into the air; said fumes and/or particulates might cause a fire or explosion if exposed to electrical sparking from the battery. Besides, you do not want to inhale the electrolysis byproducts. If you don’t have access to a fume hood, then please conduct electrolysis outdoors.
4. Pour five gallons of distilled water into the plastic tub. Remember that electrolysis is a chemical process; not all plastics can withstand it. Make sure that the tub is made out of polypropylene, or polytetrafluoroethylene, or polyvinylidene. Measure out a ½ cup of baking soda and pour that into the tub of water. The baking soda acts as the electrolyte.
5. We use a plug-in battery as the main power source for this process – a tan Tekpower (TP1503C) battery. The battery comes with one red alligator clip and one black alligator clip. [INSERT PHOTO] Remember that your anode is the object to which the rust corrosion will be attracted. Notice that the red wires are connected to the steel shelving components on the inside of the plastic vat. Connect the exposed end of the red wire to the red alligator clip that is connected to the battery.
6. Hook the black wires – they have alligator clips on the ends – to the artifact. The clips should be attached to the portions of the artifact that you Dremeled. Alternatively, if the artifact is too thick and the clip won’t stay on, you can use copper wire to attach the clips (this method doesn’t work quite as well – it just takes a little longer to work).
7. Once the wires are hooked up, gently place the artifact into the baking soda/water solution. ENSURE THAT THE ARTIFACT AND THE WIRES CONNECTED TO IT DO NOT TOUCH THE ANODES OR THE WIRES CONNECTED TO THEM. Additionally, make sure that the red and black clips connecting to the battery itself DO NOT TOUCH. A bit about electrical safety: our steel anodes are covered in chrome; as the electrolysis process is happening, the chrome breaks down in the air and turns into carbon dioxide. Also, there are other particulates that let loose into the air as soon as the electrolysis process starts. For these reasons, we only conduct electrolysis in a well-ventilated area such as the fume vent hood. This is also why we can’t let the wires touch; if they bump into each other they have the chance to spark. Should that spark hit the particulates in the air, there’s a chance that it could cause an explosion.
8. Plug in the battery and turn it on. The gauge on top is for voltage; the gauge on the bottom is for amperage. 15V/0.70A works well for heavier/thicker artifacts; for smaller/thinner artifacts, 12V/0.45A works. You may increase or decrease the voltage/amperage as you monitor the process. A good hint that the electrolysis is working is seeing the artifact “fizz”. The “fizzing”, “bubbling”, or whichever adjective you want to use to describe it, is the visual demonstration of the electrolytic reaction in action. Supposedly, the more the artifact is fizzing, the more effective the electrolysis. Be mindful of how high the voltage is; monitor the electrolysis closely. After a few hours, the water will turn get cloudy and orange-brown; this is a good sign that the electrolysis is working, but it keeps you from looking at the artifact. You can check the artifact’s progress by turning the battery off and taking the artifact out of the water. Use common sense – remember to not let the clips, wires, cathodes or anodes touch each other. Wear the rubber gloves that are provided when you’re playing around in the electrolysis bath water. 

   

   Electrolysis in action. Note the fizzing. 

9. The electrolysis process takes anywhere between a few hours to a couple of full days, depending on the size of the artifact and how many you’ve got in the bath at once. The iron artifacts are ready to be taken out once they have turned a slick black or dull silver color. When you take the artifacts out, turn off the battery first and unhook everything. Rinse the artifact(s) in a bit of distilled water. Pat dry with a towel.
10. You may notice bits of stubborn rust still attached to the artifact. It’s a good idea to use the Dremel again to get rid of those tough spots. You might need to rinse it again in the distilled water after that.
11. Next, you’ll need to boil the artifact in distilled water. The application of heat and repeated rinsing of distilled water helps the artifact become “stabilized”; i.e., it’ll lose the rest of the oxidized bits that are still embedded within the metal. Full the pot with distilled water, enough to cover the artifact completely. Put the artifact inside, and bring the water to a boil. Let the pot simmer for 3-4 hours.
12. Once the artifact has been stabilized in the water, it should be a nice shiny black or shiny silver color. At this point, you need to wear gloves or use tongs when handling the artifacts; the oil on your hands can cause the metal to start rusting again. It is imperative to begin the baking process immediately after taking the artifact out of the water. Set your oven to 200, and let the artifact bake for 3-4 hours. If you can’t finish it all at once, let it bake for at least an hour; you can finish the baking the next day. When the baking is done, wrap the artifact in tin foil and set in an air-tight container. [INSERT PICTURES]
13. At this point, you can let the artifact(s) hang out in the air-tight container. This might allow you to work on several artifacts at once. Alter the process according to the amount of artifacts that you have to work on, in a way that makes sense.
14. Coating the artifacts is the final step. We use micro-crystalline wax polish made by Renaissance™ to coat our newly cleaned artifacts. The purpose for this is to help keep the stabilized artifacts from getting oxidized again. Apply a conservative amount of the wax to a paper/shop towel, and buff the artifact gently with the wax. The wax should dry almost instantly. Note: The wax smells bad. Like, REALLY bad. Do the waxing process from within a well-ventilated area.

    

    After electrolysis and wax.

15. Store the stabilized and polished artifacts in a cool, dry place. It would be ideal to keep them in a place that is temperature-controlled. You’ll need to check on them every now and again, to make sure they aren’t oxidizing again. 

    

    This was found on the underside of the cultivator sweep. Nok-On was a company that made agricultural equipment and machinery in the 1980s. We couldn't see this under all of the rust!

Other Resources on Electrolysis and Iron Artifact Curation – Video Links and Notes

As I learned the electrolytic reduction process, it helped me to watch a couple of relevant videos online, just so that I could see how other folks did their own electrolysis / to see the process in action before I tried it myself. Here are a few video links, including my notes on them, that might help others as they’re learning this lab technique.

Richard Gessford, an antique collector, made a video on using electrolysis for cleaning a cast iron muffin pan that was made circa 1870. His process is really simple; he used a five gallon bucket, 1/c cup of Arm & Hammer baking soda, a portable battery, and a pair of jumper cables. He used a steel strip as the sacrificial anode; the positive jumper cable is attached to the steel strip. The negative jumper cable was attached to the muffin pan, which was suspended in the bucket via a wooden dowel and metal hook. He stressed that you should never let the negative and positive cables nor the sacrificial strip and the muffin pan touch. He let each side of the muffin pan stay in the electrolysis bath for two hours per side. He stresses that good ventilation is important during the electrolysis process.

An important thing to note is that Gessford used water from his garden hose to fill up his bucket (his electrolysis bath). Fun fact – tap water/city water contains chlorides, which help cause metal objects to rust. As indicated in Lauren’s notes, you should use only distilled water for the electrolysis bath. Dry brush or clean artifacts with distilled water before the electrolysis process, if it’s necessary.

He pointed out that sometimes, stubborn oxidation stays within the nooks and crannies of the iron object after the electrolysis process is done; his methodology for getting rid of the stubborn rust was to let the iron object sit inside of his oven, which was set at about 400 degrees Fahrenheit (presumably, to let it dry out), and then using a metal brush to sort of scrub the rust away. I assume that using a Dremel to get rid of the stubborn oxidation should probably do the trick. He also mentioned that putting it inside of the electrolysis bath for a while longer could also help. His video is here:

https://www.youtube.com/watch?v=0XlsNucmbiE

               

                At the archaeological museum at Historic Jamestown, the curators use a variety of different techniques for conserving iron artifacts. Although we do not have access to most of these techniques in our lab here at CMU, it’s kind of cool to watch them in action. Processes include x-ray, air abrading, and special desiccation techniques.

                The part of the video that does cover electrolysis is short and is sort of lacking in terms of its usefulness as a tutorial, but it exhibits a couple of differences from the video above that I think might be good to note here. Both the artifact (the negative cathode) and the sacrificial steel strip (the positive anode) were suspended via metal wire, which was attached to metal rods. The cables were clamped onto the metal rods. The curator of archaeology mentioned that they were inside of a solution that contained 3% sodium carbonate. The video can be located here:

https://www.youtube.com/watch?v=IcFAxXJCxLQ

The archaeology lab at Historic Jamestown came out with another video in 2015 that covers their iron conservation process in a slightly more in-depth way. Their whole conservation process is rather lengthy; it begins with the electrolytic reduction, in which multiple artifacts are suspended in the sodium chloride solution via metal wire, which is clamped onto a wooden dowel that is wrapped in more metal wire. From what I could tell from the video, the negative charge was clamped onto the wire-covered dowel.

After the electrolysis process is done at Historic Jamestown, the artifacts are air-abraded – basically, it’s a miniature sand blaster that gets all of the extra corrosion off of the metal artifact. After the air abrading, the artifacts are soaked in deionized water for 4-6 weeks (or longer, depending on the size of the artifact), to “electrically neutralize” them. Then, the artifacts are placed into an oven at 300 degrees Fahrenheit, in order to rid the artifacts of any extra moisture. The artifacts are then coated and curated inside of their “dry room” – a temperature- and humidity-controlled room at the museum. The video is here:

 https://www.youtube.com/watch?v=JR2GilP7N74

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Things I wish I took more seriously before going to graduate school...

The anthropology club at my alma mater did a panel for undergraduate students, which involved consulting anthropology alumni from the university. The first panel was about graduate school, and the second is about jobs (I'll post one about that later). They requested my participation in the panel. Since I couldn't be there in person, I was requested to prepare a short essay-like document that outlined my personal experience as a graduate student, as well as any tips or advice. While I'm not great at giving advice, I thought that highlighting my experiences and what I felt were important would be okay. After I sent it off to the anthropology club, one of my old professors contacted me. She felt that what I wrote would in fact be helpful for undergraduates. If students found it useful at the panel, then others might find it useful online; so I edited it and posted it on here.  

First, I’ll start with a brief bio of myself to provide context. I graduated with my BA in anthropology from Eastern Michigan University (EMU); I started graduate school at Central Michigan University (CMU) this fall. During the last couple of semesters of my undergraduate degree, I worked full-time as an archaeologist in cultural resource management at the [unnamed CRM firm], Inc. After I graduated, I was offered a permanent position at the company as a crew lead and laboratory director; I had to step down from that position when I started graduate school, but I am on their list and they still hire me for short projects.

I feel as though I got a valuable undergraduate education, and the classes I took equally prepared me for work and graduate school. Still, there are quite a few things that I wish I’d known or taken more seriously when I started graduate school. As I write this, I feel as though I need to add a disclaimer: not everyone who went/is still going through graduate school have experienced the same things as I have. Additionally, please bear in mind that none of the things that I’m writing are meant to be discouraging to new graduate students. I feel that there are problems within academia and since graduate students work closely with universities, those problems become issues for students as well. Here’s a list of things that I wish I had known or taken more seriously (in no particular order):

1)      Self care: You are worth more than your productivity. Within academia, there’s this “grind until you die” mentality and it simply does not work. First, if you’re ill and you go to class anyway, not only are you preventing yourself from getting better faster but you put your classmates and professors at risk of getting sick. Most professors are very understanding on that issue, although I have heard of instances in which they are not. Secondly: I’m still new to graduate school, but I know that my mental health affects my work. Graduate classes are way more rigorous than undergraduate classes are; expectations and workloads are way higher. Therefore, the higher the stakes, the higher the stress. Although I’m good at managing stress, there’s other things that I need to work on. For example, my depression gets worse during the winter; in order to stay on top of my studies, I need to keep my mental health in check. Furthermore, I’m only two and a half hours away from my family, friends, and partner, but the increased responsibilities that I now have as a grad student make it difficult for me to visit them. I miss them a lot; I often feel homesick. For me, being away from loved ones makes adjusting to grad school – and managing my depression – much harder. Everyone’s mental health is different, and thus everyone handles it differently; still, the point remains that if you’re having mental health issues, you can’t simply sweep them under the rug. Trust me – take care of your mental health first and foremost, before it gets worse.

2)      There is no strict timeline for graduation (this applies to undergraduate degrees too). The main goal of master’s programs is to have students out in two - two and a half years at the most. While that’s an excellent goal to have, the reality is that life happens. One of my supervisors at work took five years to finish her MA; it took me six years to finish my BA; it took one of my professors eight years to finish his PhD. Those who take longer to graduate absolutely should not feel ashamed for doing so.

3)      Funding is important. Graduate school is incredibly expensive, especially if you have to pay out-of-state tuition. Most graduate programs have funding available for new students; these come in the form of teaching assistantships and research assistantships. I applied for and was awarded for an assistantship that blends both teaching and research assisting; I help teach undergrads how to identify and catalog artifacts in a laboratory setting, and I do research work for my adviser/the university. A “full-time” assistantship usually requires 20 hours/week (which, on top of your classwork and personal research, is actually a lot to juggle). Full-time assistantships usually offer a tuition waiver – essentially, if you sign up for the waiver, your tuition is paid for. Also, most assistantships offer benefits like health insurance. Honestly, the only reason I can be in graduate school right now is because I won that assistantship. I will be paying off my undergrad loans for the rest of my life; I don’t even want to think about the debt that I will accumulate from my MA. A mentor of mine suggested that if you’re trying to get into a PhD program and the university does not fund you, then they probably don’t want you that badly.

4)      The GRE is classist and it’s a huge waste of money. I know that that’s a staunch opinion, but there’s reasons behind it. It’s an average of $250 to take, and you can only take it at certain locations. Luckily for new undergrads, a lot of universities are dropping the GRE requirement due to the fact that it’s inaccessible for most students to take, and the test doesn’t actually do much to prove a student’s worth. Unfortunately, though, many graduate programs do require you to take it in order to get into their university. 99% of the graduate schools on my list in Michigan required the GRE. While I’m glad that I chose CMU for many other reasons, one of the main motivating factors for applying there was because they do not require the test. If the program you want does require the GRE, there are a multitude of resources online that will help you study; there are also a few books out there that can help you prepare. If you fail the GRE, it does not mean that you aren’t smart enough, or that you shouldn’t pursue grad school. Don’t let a standardized test demotivate you from pursuing the advanced degree that you want.

5)      Taking time off before jumping into graduate school is not a bad idea. The only reason I started at CMU this fall was because I was accepted early; my original plan was to begin in 2020. I absolutely loved working as an archaeologist full-time; I find myself missing the work and my colleagues, and the paychecks were very nice. Taking a full year off school would have helped me financially prepare. However, I know myself better than that – if I chose not to go now, then I probably would end up waiting longer than I wanted to (life happens, and I am a poor procrastinator). I know many archaeologists who worked in cultural resource management (CRM) for a while before pursuing an advanced degree. This is an excellent route to take, especially if you plan on staying in CRM. If going to grad school right after you graduate from EMU is your goal, you should absolutely pursue it. My point is that it’s not a huge deal if you choose to wait.

6)      Pursuing a specialization right away is good, but it’s not absolutely necessary. When I graduated with my BA, I had a very niche specialization in mind: I wanted to study pottery. Fortunately, I was able to begin pursuing that during my undergrad (bless Ensor’s heart for unleashing me in the lab), and it really helped me later on. When I was hired by [unnamed CRM firm], I was originally hired to do pottery analysis; I’m still their on-call ceramic analyst. However, if you don’t have a specialization yet, don’t worry about it. In most cases it helps a lot to have one, but the reality is that most archaeology students don’t form a niche research interest until late into their undergrad or after they start graduate school. You have a little time to figure out what really interests you.  

As I stated before, none of this is meant to deter anyone from considering an advanced degree. Rather, these are some things that students should think about. Most careers in anthropology require an advanced degree, such as an MA, MS or PhD. For archaeologists, getting an MA/MS will help you obtain a permanent staff position (with benefits!), as well as better pay. Considering all of that, I think getting an advanced degree is certainly worth it. Students need to prepare themselves, though, for the challenges. Like I said before: juggling work, classwork and studying, health and family life is a difficult task in graduate school. When looking for graduate programs, think about the location; will you live on-campus, or off-campus (and how expensive will each one be)? Does the program offer funding (and does that funding offer benefits)? What kind of specialization are you looking for (if one at all)? I chose CMU because their CRM MA program is inter-disciplinary; archaeology students are required to take the archaeology courses, but they are also required to take museums and public history courses. I really wanted to combine my interests in historic preservation, archaeology, and museums in a grad program, and I’m certainly able to do it at there. Furthermore, I am able to continue my specialization as a ceramicist by applying my skills as well as developing new ones. CMU is also an excellent place to learn more about Great Lakes history; as a Great Lakes archaeologist, I find that rather useful. Ultimately, it all comes down to what exactly you’re interested in, even if your interests are still vague. Sometimes it takes a little time to figure shit out, and that's okay.