what is/are "elevation chromatics?"

kaz

I see this term used in reference to colorfully toned coins from time to time, and was just wondering what it means and the scientific basis for it. Thanks!

Sunnywood

"Elevation chromatics" is a term coined by Brandon Kelley on his excellent Jhon E. Cash Toned Morgans website.
If you follow this link, and go down to the section where he discusses AT coins, you will find it there.

Brandon Kelley's "Jhon E. Cash" website

Basically, he coins the term to describe two phenomena that are hallmarks of naturally toned coins.

One is the tendency of the toning in the recesses of the design (at lower elevation) to be at a lower toning level (i.e. less toned, which often means a different color in the progression) than the surrounding high points. On Morgans, this is often seen in the recesses of Miss Liberty's hair, inside her ear, inside the incuse letters on her coronet, etc.

The other is what we have more often called "the pull-away effect" in which an untoned "shadow" or halo is seen on the outer (rim) side of some stars and/or digits of the date.

Both of these effects are hallmarks of naturally toned coins, where the slow and subtle toning process emphasizes fine distinctions in surface condition. For artificially toned coins, the chemical and.or thermal processes used to create the color generally overwhelm these subtleties, and create more (locally) uniform color.

For anyone looking to buy toned Morgans, it's a great idea to read and study Brandon's website, and to be familiar with these ideas of lower toning in the recesses, and the pullaway effect, collectively called "elevation chromatics" by Brandon.

Best,
Sunnywood

WingedLiberty1957

Here is a good example

It almost looks like "colored liquid" flowed into lower regions of the design ... like rivers of color flowing through mountains.

So different colors sit at different "elevations"

WingedLiberty1957

It's most commonly seen on Morgan Silver Dollars due to their very slow bag toning process that took place over decades.

Occasionally you see it on other denominations/series ... but it's much more rare

kaz

thanks for the explanation and the link, Sunnywood. That answers my question!

kaz

Thanks for the reply WingedLiberty. Your images aren't showing up for me, maybe a linkage problem?

ColonelJessup

+1

The science has to do with some phenomena produced by "thin film interference", a term Wayne Miller picked up while researching toning in consultation with a physicist at USC? UCLA?. He introduced his observations in his seminal work on Silver Dollars published in 1973.

I've been dealing in toned coins for 35 years. When I read Brandon's (forum handle "poorguy") ideas, I realized they'd formalized some things I'd stored away. And a few I never considered.

Sometimes it's harder to unlearn than to learn "fresh". Do I agree with everything in Brandon's work? Irrelevant. It prodded me to look at some coins differently.

BryceM

...... not just on Morgans either. Even lowly seated dimes can have it.

Here's some toning variation hidden in the folds of Liberty's dress:

coindeuce

1000 words

poorguy

<< <i>"Elevation chromatics" is a term coined by Brandon Kelley on his excellent Jhon E. Cash Toned Morgans website.
If you follow this link, and go down to the section where he discusses AT coins, you will find it there.

Brandon Kelley's "Jhon E. Cash" website

Basically, he coins the term to describe two phenomena that are hallmarks of naturally toned coins.

One is the tendency of the toning in the recesses of the design (at lower elevation) to be at a lower toning level (i.e. less toned, which often means a different color in the progression) than the surrounding high points. On Morgans, this is often seen in the recesses of Miss Liberty's hair, inside her ear, inside the incuse letters on her coronet, etc.

The other is what we have more often called "the pull-away effect" in which an untoned "shadow" or halo is seen on the outer (rim) side of some stars and/or digits of the date.

Both of these effects are hallmarks of naturally toned coins, where the slow and subtle toning process emphasizes fine distinctions in surface condition. For artificially toned coins, the chemical and.or thermal processes used to create the color generally overwhelm these subtleties, and create more (locally) uniform color.

For anyone looking to buy toned Morgans, it's a great idea to read and study Brandon's website, and to be familiar with these ideas of lower toning in the recesses, and the pullaway effect, collectively called "elevation chromatics" by Brandon.

Best,
Sunnywood >>



Actually, I dont work for Jhon e cash anymore. The same arricle can be found on my new site www.bestofyesterdaycollectibles.com

Sunnywood nailed it. Btw.

I also noticed alot of my terms and info, unattributed to me, in the descriptions of toners in the upcoming legend auctions sale. Pullaway is a term I created to describe the untoned areas of naturally toned morgans between the date and stars from the stretching and stress put on the silver during the striking of morgans.

There is more to this, including a certain poster I created, that needs addressing. More for later.

Sunnywood

Hi Brandon,

In the Legend catalog descriptions for the toned Morgans in my former set, the first paragraph in most of the descriptions comes straight from my old Registry set. I gave Legend permission to use the descriptive text from my retired Registry set. So most of that stuff you're seeing in their auction write-ups was actually written by me years ago. And of course at that time, we were all using those terms, so it's quite possible that I used some of your terminology!

Sorry about the "Jhon E. Cash" link, I thought that was your website. I've been away from coins for most of the past 5 years, so there are changes in the landscape that I'm sure I'm not aware of.

I was happy that Legend also included that "Sunnywood Color Chart" in the catalog, which I hope will inspire more people to get interested in toning beyond just saying "look at the pretty colors" !!!

Best,
Sunnywood

kaz

Thanks to all who posted images, those are terrific and have really helped me and hopefully others understand this phenomenon.
Good to hear from you Brandon and hope all is well with you and the family.

gonzer

<< <i>It almost looks like "colored liquid" flowed into lower regions of the design ... like rivers of color flowing through mountains. >>



That is an excellent choice of words. It actually helps.

AngryTurtle

<< <i>"Elevation chromatics" is a term coined by Brandon Kelley .

....
Basically, he coins the term to describe two phenomena that are hallmarks of naturally toned coins.

One is the tendency of the toning in the recesses of the design (at lower elevation) to be at a lower toning level (i.e. less toned, which often means a different color in the progression) than the surrounding high points. On Morgans, this is often seen in the recesses of Miss Liberty's hair, inside her ear, inside the incuse letters on her coronet, etc.

...
Best,
Sunnywood >>



I understand the idea of toning progression and elevation chromatics, but assumed that the lower elevations toned "differently" than the higher elevations, not specifically "less". Is the lower elevation always/mostly/sometimes less toned? If so that is a very interesting fact. For example, for an obverse and reverse on the same coin to tone this way tells us that its not gravity that is making the difference, since one side will be up and one side will be down.

lostincoins

Sunnywood

Angry Turtle, yes, the recesses are always toned less. It's most likely a simple matter of air flow and exposure. But bear in mind, "toned less" doesn't mean less intense color. It means a lower step on the progression. Usually it's just a couple of steps lower on the progression. So you might see M magenta on the higher surfaces, and K orange in the recesses, maybe J sunset yellow. Also, if the higher surfaces have seen handling, and have perhaps gotten some fingerprint oils on them, you might see dull grey patina on the exposed surfaces, but bright color hiding in the recesses, where the oil layer has not impeded the thin film formation. The images posted above demonstrate this beautifully.

Pull-away toning is different ... it's not a matter of air flow, it's a matter of surface texture and condition. Pull-away halos can be completely untoned, while the surrounding areas are deeply toned.

Textile dots are also usually one or two steps lower on the progression. The "dots" are where the high point in the burlap weave contact the coin, and therefore protect against air flow at the point of contact. So those contact points become dots of lower toning, against a background of higher toning.

Best,
Sunnywood

bolivarshagnasty

A couple examples of "pull away" and "textile" toning patterns.