Acrylic Color Research Articles

Extension study of the assessment of aqueous cleaning on nBA/MMA and EA/MMA acrylic paints

Acrylic paints became popular among artists in the late 50′s. Some of the main conservation issues of these paints are inherent to their composition characteristics, for instance, their high sensitivity to water and a wide range of polar solvents. This makes difficult to stablish an accurate and respectful cleaning treatment for this kind of artworks. As reported on previous studies, the application of pH and conductivity adjusted solutions using accurate methods, such as confined on chemical gels, improved this kind of procedures.The aim of this work is to extend a previous study where the effect of water based cleaning treatments was tested on Liquitex acrylic paint mock-ups, and deepen on evaluating the alterations both on the surface and in the bulk of the paint film. In this paper, six acrylic commercial paints of two widely used paint brands, Titan Arts – Acrílico extrafino (Spain) and Hyplar Acrylic Colors® (USA), were selected to compare the effect of the cleaning treatment on their surface and binder matrix. Samples were prepared using Mylar sheets and left to dry in a dark and dust-free environment for three years. Adjusted water solutions were applied both using cotton swab and cryogels for comparison. Paints were characterized using Fourier Transform Infrared spectroscopy (FT-IR), pyrolysis - gas chromatography - mass spectrometry (Py–GC–MS), Thermogravimetric Analysis (TGA) and Atomic Force Microscope (AFM).All the samples showed different reaction to cleaning according to their different composition. This study revealed that those paint films where most surface alterations are observed after cleaning, are not those that suffer greater changes in the binder matrix.Moreover, a set of samples was aged under accelerated conditions (solar radiation under controlled temperature and humidity). The accelerated ageing was carried out under isochronous sampling up to a maximum of 1426 h. This tests revealed certain degradation processes such as chain scission of the binder that coincide with those alterations observed in several mock-ups after application of the cleaning treatment.

Antimicrobial Activities and Painting Application of Pigmented-Producing Actinobacteria Isolated from Rhizospheric Soils of Mosses (Taxithelium nepalense (Schwägr.) Broth. and Barbula indica (Hook.) Spreng.)

In the survey of biodiversity of actinobacteria associated with mosses (Taxithelium nepalense (Schwägr.) Broth. and Barbula indica (Hook.) Spreng.), certain strains of pigment producing actinobacteria were isolated and purified on SCA and incubated at 30°C for 1 week. Based on deep-shade color of actinobacterial pigments, 4 strains were collected and used for painting color preparation. To evaluate the antimicrobial activities, the crude extracts were prepared from 4 actinobacterial strains and tested with Escherichia coli PSRU-01 and Staphylococcus aureus PSRU-01. The results indicated that the crude extracts of C7, C13, C15 and D13 could not inhibit growth of E. coli PSRU-01, but S. aureus PSRU-01 was inhibited. Two fungal testers, including Colletotrichum sp. PSRU-01 and Fusarium sp. PSRU-01, were completely inhibited by the crude pigment extracts of C13, C15 and D13. Based on phylogenetic results, the actinobacterial strains were closely related to Streptomyces californicus (C7, 100% identity), Streptomyces bungoensis (C13, 99.8% similarity), Streptomyces humi (C15, 99.9% similarity), and Streptomyces rectiverticillatus (D13, 99.8% similarity). They also shared phenotypic characteristics with Streptomyces. The cultivated cells of actinobacteria on broken-milled rice were used for pigment extraction and followed by determination of the extracted pigments for mixing with acrylic color in the shade violet, green, orange and pink colors. Application of actinobacterial pigments in painting is the first report and it is an innovative utilization of actinobacterial pigments in non-scientific field in Thailand.

The Specific Anatomical Morphology of Lateral Ankle Ligament: Qualitative and Quantitative Cadaveric based Study.

The accurate understanding in morphological features of the lateral ankle ligaments is necessary for the diagnosis and management of ankle instability and other ankle problems. The purpose of this study was to evaluate the anatomical morphology and the attachment areas of lateral ligament complex of ankle joint based on the cadaveric study. Fifty-four fresh frozen cadaveric ankles were dissected to evaluate the lateral ankle ligaments. Each ligament was separated into two or three small bundles. In the investigated footprint areas, acrylic colors were used as a marker point to locate specific areas of ligament bundle attached to the bone. The Image J software was used to measure and analyze the sizes of the specific footprint areas to achieve descriptive statistical analysis. The double bands of anterior talofibular ligament (ATFL) were found as a major type in the present study with 57.41% (31 of 54 ankles) while the single band of ATFL was observed in 42.59% (23 of 54 ankles). The attachment sizes of the ATFL, posterior talofibular ligament (PTFL) and calcaneofibular ligament (CFL) were evaluated into two areas; proximal and distal attachments. The average of proximal or fibular part of ATFL, PTFL and CFL were 85.06, 134.27, 93.91 mm2 respectively. The average of distal part of ATFL, PTFL and CFL were 100.07, 277.61, 249.39 mm2 respectively. Considering the lateral ankle ligament repaired or reconstruction especially using arthroscopy, the precise understanding in specific detail of the lateral ankle ligament may help both diagnose and select the appropriate treatment for solving the ankle problems. These observations may help the surgeon to perform the surgical procedure for determining the appropriate techniques and avoid complication to patients.

Acrylic colors for peace: Non‐invasive study of an outdoor mural painting

AbstractIn 1952, contemporary artist Federico Silva (Mexico City, 1923–2022) carried out the first outdoor mural painting: The technique at the service of peace. At the end of 2021, the project for the study and conservation of this mural began with a diagnosis of its conservation, which was done through a multi‐technique study based on the experience acquired in research projects from other contemporary mural paintings. This included the proposal of an adequate conservation strategy to resolve the stability of the painting, since the behavior of the synthetic paints exposed to the different effects of the outdoor environment has altered the perception, form and meaning of the mural. Main results from this approach by documentation and global examination with Visible Imaging and Digital Microscopy, allowed us to describe the color palette and its alterations. Additional examination of cross sections acquired from this mural, allowed a material characterization by means of optical microscopy (OM), micro‐hyperspectral imaging, Fourier transformed infrared spectroscopy and X‐ray fluorescence spectroscopies.

Arch of Colors in Anatomic Pathology-Are They Most Significant in Inking of Surgical Margins?

Introduction: In surgical pathology various colours are used as a surgical ink margins. The pathologists are known of the various advantages that colored inks contribute to anatomic pathology practice. The margins of each excised gross specimen colouring with different colours, add correctness to margin examination. It showed a three-dimensional microscopic restoration of features of the tumor and also anatomic structures. The use of multiple colours are orientation of grossed and dissected specimens, to re-examine the grossed specimen by the pathologist , if required, and if necessary further sampling of the specimen and also allow the postoperative comparison of tissue planes anticipated by preoperative imaging. Aim and Objective: A comparative study between Mashi(Indian Ink) and acrylic colors used as a surgical ink margin Materials and Methods: The study was done on 350 surgically excised medium, large and formalin-fix specimens. The surgical margins of each specimen were marked with Indian ink and five acrylic colors. The grossed specimens were then processed using routine histopathology techniques and sections were stained with hematoxylin and eosin stain(H&E). The macroscopic and microscopic parameters were used to study the suitability of acrylic colors and Indian Ink (mashi) as surgical ink for margins. Results: The study noticed specific shades of acrylic colors that are easily available and simple to use, with good results on macroscopic and microscopic examination. Conclusion: Colored inks impart accuracy to margin examination. Acrylic colors are more suitable as surgical ink over Indian.

Considerations on Scientific Conservation Treatment and Original Form of Rain Gauge Pedestals Kept at the Korea Meteorological Museum of Korea

The material characteristics and conservation conditions of the Rain Gauge Pedestal of <i>Gyeongsang</i> Provincial Office, <i>Daegu</i>(National Treasure) and the Rain Gauge Pedestal of <i>Gwansanggam</i>, Bureau of Astronomy(Treasure) which have been kept at the Korea Meteorological Administration were scientifically diagnosed, and the conservation treatment for those artifacts was performed. The Rain Gauge Pedestal of <i>Gyeongsang</i> Provincial Office was made of aplite at that time but on the other hand, its bottom stone was made of medium and coarse grained grantite since 1985. The Rain Gauge Pedestal of <i>Gwansanggam</i> was made of medium and coarse grained granite in pale rose color, and based on petrologic material characteristics and characteristic values by magnetic susceptibility measurements, it is presumed to have been made in the late Joseon Dynasty. The main contamination on the surface of the rain gage pedestals is black contaminants which were derived from carbon, and the fiber laser was used to complete the work after dry and wet cleaning were performed. In addition, impurities caused by acrylic colors and paint were removed by the poultice method after the preliminary cleaning. In terms of consolidation as the final stage of the conservation process, the ultrasonic assessment on physical properties before and after consolidation resulted in more than 10% improvement on average. From a perspective of the original form as cultural heritage, the bottom stone of Rain Gauge Pedestal of <i>Gyeongsang</i> Provincial Office has been treated with mortar on the surface and its color was matched during the conservation treatment, which hinders approach to exact information of cultural heritage. Furthermore, with regard to the Rain Gauge Pedestal of <i>Gwansanggam</i>, there is the need to examine whether it served as a pedestal to support the rain gauge(<i>Cheugugi</i>), judging by material characteristics, manufacturing techniques of rain gauge holes and <i>Donggwoldo</i> depicting a rain gauge in the painting. Therefore, the opportunity to establish authenticity of cultural heritage will be required by doing literature research on cultural heritage of traditional science technology, historical research on the original form and natural scientific analysis.

Separating pigments and fillers from the polymer matrix in acrylic colors subjected to natural aging

Upon aging and exposure to ambient conditions, acrylic colors get dry and the degree of polymerization of the polymer matrix increases due to progressive cross-linking. When interested in studying acrylic colors, separation of the different components, namely matrix, pigments, and fillers, may be particularly useful for their identification and characterization. In the case of aged acrylic colors, as found in artworks themselves or in materials present in artist studios, the separation approaches requiring chemical treatments of fluid samples cannot be applied. To overcome this limit, here a controlled combustion strategy is developed for eliminating the polymer matrix from the color and then recovering a powder made of pigments and fillers, which is analyzed by optical spectroscopy and demonstrated to display the same chromatic/chemical properties of the original color. As a case study, the new method is successfully applied to acrylic colors used by the Italian artist Domenico “Ico” Parisi (1916–1996), found in the original tubes in his studio.

Anti-Mold Effectiveness of a Green Emulsion Based on Citrus aurantium Hydrolate and Cinnamomum zeylanicum Essential Oil for the Modern Paintings Restoration.

A modern painting is characterized by multi-material bases extremely exposed to biodeteriogenic attacks. The aim of this work was to test the antifungal effectiveness of a natural, eco-friendly, and safe emulsion based on Citrus aurantium L. var. amara hydrolate and Cinnamomum zeylanicum Blume (from bark) essential oil, named “Zeylantium green emulsion” (Zege), on modern paintings. Colored unaged and aged canvas samples, performed with modern techniques (acrylic, vinylic and alkyd), were used to test in vitro both the antifungal effectiveness of Zege and its impact on the chemical–physical characteristics. Microbiological tests were performed according to the EUCAST international guidelines. pH measurements and colorimetric analysis were performed on unaged and aged canvases before and after Zege spray treatment. Finally, in situ tests were performed using the spray emulsion on canvas samples obtained from Ilaria Margutti’s modern artwork, which had been colonized by molds. Microbiological tests on canvas prototypes showed a time- and dose-dependent effectiveness of the Zege spray. None of the techniques underwent relevant changes in pH. Only the acrylic colors were unaffected in the colorimetric analysis, among all colored unaged or aged canvases. Tests made with modern artwork samples confirmed the in situ antifungal effectiveness. The Zege spray showed encouraging results in regard to the use of this formulation in the restoration of modern paintings.

Heavy Metals in Acrylic Color Paints Intended for the School Children Use: A Potential Threat to the Children of Early Age.

Heavy metals are the harmful elements, regarded as carcinogens. Nevertheless, owing to their physical and chemical properties, they are still used in the production of several commercial products. Utilization of such products increases the chance for the exposure of heavy metals, some of them are categorized as probable human carcinogens (Group 1) by the International Agency for Research on Cancer. Exposure of heavy metals to school children at early age can result severe life time health issues and high chance of emerging cancer. Thus, we have performed study relating to the presence of heavy metals in acrylic color paints commonly used by the school children. Acrylic paints of different colors were assayed for seven potential heavy metals manganese (Mn), cobalt (Co), nickel (Ni), zinc (Zn), arsenic (As), cadmium (Cd) and lead (Pb) using microwave digestion and iCAPQ inductively coupled plasma mass spectrometry (ICP-MS) system. The optimized method including paints digestion reagents nitric acid (HNO3, 65%, 5 mL) and hydrofluoric acid (HF, 40%, 2 mL) have offered excellent method performance with recovery values ranged between 99.33% and 105.67%. The elements were identified in all of the analyzed samples with concentrations ranged from 0.05 to 372.59 µg/g. Cd constitutes the lower percentage (0.05%), whereas Zn constitutes high ratio contribution which was tremendously high (68.33%). Besides, the paints contamination was also color specific, with considerably total heavy metal concentrations found in brunt umber (526.57 µg/g) while scarlet color (12.62 µg/g) contained lower amounts. The outcomes of our investigation highlight the necessity for guidelines addressing the heavy metals in acrylic color paints intended for the school children usage.

Chemical separation of acrylic color components enabling the identification of the pigment spectroscopic response

Acrylic colors are mixtures of several components that can be identified as pigments, binders, and fillers, so that, when analyzed, the characteristic response of the different components may not be recognizable. This limits the accuracy of spectroscopic techniques, nonetheless particularly useful as they are noninvasive and can be applied in situ on real artworks. Here, a method is proposed to chemically separate and identify the different components of acrylic colors, in order to be able to study their spectroscopic response separately, in particular by ultraviolet–visible–near-infrared diffuse reflectance. The results clearly show that the chemical and analytical method developed here is fully reliable, with the advantage of clearly separating the response of the different components without any change of their chromatic/chemical properties. As a case study, the new method is applied here to original acrylic colors used by the Italian artist Ico Parisi, in view of building a spectra database.

Colorful superhydrophobic materials with durability and chemical stability based on kaolin

Inspired by the natural superhydrophobic surfaces with various colors such as the lotus leaves and the wings of butterflies, we report a one‐step method to fabricate superhydrophobic coatings by the combination of kaolin, acrylic color and organosiloxanes. The coatings were characterized using X‐ray photoelectron spectroscopy, scanning electron microscopy, and other analytical techniques. Different from the previously reported method, kaolin particles were introduced to generate rough hierarchical structures on the coating surface, followed by acrylic color decoration and organosiloxanes modification. The colorful superhydrophobic coatings can be constructed in various substrates, such as glass slide, filter paper, and fabric. Furthermore, the obtained coating maintained excellent mechanical durability, chemical stability, and the high‐efficiency of oil–water separation. All of the colorful coatings showed superhydrophobicity in air, and they retained water repellency even after exposed to ultraviolet or under harsh conditions. The results also indicated that the as‐prepared coatings possessed outstanding fungi‐resistance. The colorful superhydrophobic fabric can be used to separate oil/water mixtures, and the separation efficiencies are as high as 95%. We envision that the colorful superhydrophobic coatings with durability and chemical stability may be useful in various fields, such as house decoration, paint coating, antimicrobial material and oil/water separation.

THE IMMERSION EFFECT OF MIXTURE OF SMALL WHITE GINGER AND GARLIC EXTRACT ON COLOR CHANGES OF ACRYLIC PLATE

Background: Heat cured acrylic resin is often used as a component of denture. One of the heat cured acrylic resin properties is water absorption that affects the change in acrylic color. An alternative using natural compound to minimize side effect is arising when compared to synthetic materials. A mixture of small white ginger and garlic extract can be used as natural denture cleanser. Objective: This study aimed to know the color changes of heat cured resin plate that immersed in a mixture of 70% small white ginger and 10% garlic extract. Method: This was a true experimental study with pretest and posttest with control group design, using simple random sampling. The sample was cylindrical acrylic with 15 mm diameter and 2 mm thickness. The research was done using 18 samples heat cured acrylic resins which were divided into 3 groups, the mixture of 70% small white ginger and 10% garlic extract, alkaline peroxide, and distilled water. The color change of the sample was tested using digital analysis tools set. Results: The mean value of color changes in heat cured acrylic resin plate after immersion in a group of mixed extracts, alkaline peroxide, and distilled water were 6.23, 3.65 and 2.48. Data were analyzed using One Way ANOVA parametric test and Dunnet T3 Post Hoc test. Conclusion: There is a difference in color changes of heat cured resin plate after the immersion in a mixture of extract and alkaline peroxide. Acrylic resin that immersed in mixed extract demonstrates a higher value of color change.

Simple Acrylic Color Technique for the Preparation of Wet Specimen in Anatomy Museum

Introduction: The subject anatomy is an essential subject in medical college for students and museum with attractive, an innovative colored specimen with well-labeled specimen aids a pivotal role in the teaching and learning process. Once the specimen has been selected for coloring, undergoes fixation, acrylic paint coloring, plastic bottle mounting and proper labeling for better visualization of the structure.
 Method: We have utilized a simple acrylic color method for painting the gross specimen available for the teaching and learning process from well-embalmed cadavers. The materials required are acrylic color paint, brush, clear nail polish, glycerin, clear plastic bottle, 10% formaldehyde and can be performed at room temperature.
 Result: The acrylic coloring technique of wet specimen makes specimen attractive which is cost-effective, non-toxic, creates great interest and aids long term memory to the student.
 Conclusion: The acrylic painted wet gross specimen with clear plastic bottle mounting remains stable in 10% formalin without color fading and makes students a better understanding of the subject.

Effect of Immersion Time in 2, 5% Sargassumpolycystum Effervescent Granule Denture Cleansing Agent on the Stability

Sargassumpolycystumis one type of brown seaweed (Phaeopychae) which contains various pigment content such as beta carotene, chlorophyll a and b, and fucoxanthin. Acrylic resin has the porosity and the ability to absorb liquids that can cause discoloration. The purpose of this study was to investigate the colour stability of heat cured acrylic resin plate after immersed in Sargassumpolycystum effervescent granule. This is a laboratory experimental research with a pretest-post test with control group design. The samples are 27 pieces of 20 mm x 10 mm x 2 mm acrylic bars. Samples were divided into 9 groups containing three negative control groups mineral water, there positive control groups Sodium perborate (polident), an d three groups of Sargassumpolycystum 2, 5% filtrate groups. The immersions were performed in the room temperature for 5, 10, and 15 minutes for every control group. Discolorations of each group were measured using a colorimeter. Statistical tests for this research were independent t-test. Colour change of the acrylic resin plate after immersed in dental prosthesis cleansing agent made from effervescent granule of Sargassumpolycystum 2, 5% occurred because of the increase of microporosity on the surface of the rough plate which made pigment micromolecules more attached so that the color of acrylic plate became brown (p<0.05). Acrylic resin plate color changed after immersed in 2, 5% Sargassumpolycystum granules at 10 and 15 minutes.

Surgical Inking and Double Embedding Technique for Routine Histopathology to Save Time and Effort

Background: Routine histopathological specimens like appendix and fallopian tube require individual processing, block making and slide preparation. This process is not only time consuming and requires more effort but also takes up more space during archiving. The objective of the present study was to use commercially available different acrylic colors to ink specimen of appendix and fallopian tube of different patients, process them in a single cassette and preparation of single paraffin block and slide. Methods: 100 cases of appendix and fallopian tubes were taken to evaluate ink mapping technique using Fevicryl® Acrylic colours. Blocks and slides were prepared, labelling on the slides was done using the chromacodes method for identification of the specimen. These slides were then reported by the pathologist. Result: There was a 21% reduction in the amount of paraffin required for preparation of a double embedded block in comparison to two paraffin blocks by conventional method. It was also noted that there was 18% reduction in volume as compared to two conventional paraffin blocks. Conclusion: This method of using surgical inking technique not only brings down the effort and time required, but also storage space and the costs involved along with faster identification and reporting compared to the conventional method.

An Alternate Technique to Simplify the Process of Painting Ocular Prosthesis with the Use of Acrylic Colors

No abstract available.

Linda Wolfsgruber: A Multi-talented Artist

Linda WolfsgruberA Multi-talented Artist Sabine Fuchs (bio) Click for larger view View full resolution "I love being able to invent something truly special for all my books." We can recognize this ability in every single book Linda Wolfsgruber has written; each of her more than eighty books surprises with unexpected techniques, diverse figures, special spaces, and remarkable compositions of the visual and the literal. Her tenacity in researching and experimenting most likely originated in her childhood in between the Alps and the Dolomites in South Tirol, Italy. Born 1961 in Bruneck, Wolfsgruber grew up bilingual and communicated early with foreigners, as her parents hosted tourists in their house to make ends meet. Her cosmopolitanism may well have taken root there. Her talent was recognized early and she attended art college in St. Ulrich in Gröden (Italy), where three languages were taught and spoken. Realizing that languages are confined only to groups of people knowing the code might have sparked the conviction that images are a language without limits. Subsequently, she completed [End Page 38] her training in typesetting in Munich, Germany, and graphic design in Bruneck, Italy, and with her study at the Scuola del Libro in Urbino, Italy. She started her work as a freelancing graphic designer, illustrator, and artist first in Bruneck and later on in Vienna, Austria, where she lives now. Linda Wolfsgruber lets children participate in her creative process not only at schools but also at kindergarten and cultural institutions, thus stimulating their own creativity. The childlike perspective and their playful discovery of the world in turn provide the artist with new impulses. Since 1996, she has been teaching various techniques of illustration at the International Scuola d'illustrazione di Sarmede in Italy, where she supports and promotes many young illustrators. "I get bored, when using the same over and over again." Since her first publication in 1983, her artistic expression has been growing and developing for thirty-five years. It seems unbelievable that one single hand can work so diversely with colors, shapes, formats, moods, emotions, genres, narrative, and illustrative techniques. Over the course of her career, she has painted with acrylic colors, switched to tempera, later on became a master of etching and monotype, experimented with collage, and used photos of self-made figures before switching to drawing with pen and ink on handmade paper. She has continuously expanded her technical repertoire and has increasingly applied a mix of techniques, which have culminated in truly multi-layered images. Besides these techniques for illustrations, she works on big oil paintings, embroideries on handmade paper, and on frescos in public spaces; she is currently working on CD and book covers, as well as on animated films. Combining diverse techniques allows the artist to break up familiar patterns of seeing. She uses mixed media as a technique to create surprising effects and to add value to the original text—from authors like H.C. Artmann, Kim Echlin, Inge Fasan, Christian Morgenstern, Heinz Janisch, Norbert C. Kaser, and Jorge Luján ao—which only reveals itself to the reader upon closer inspection. This plethora of tools also makes it possible for the pictures to stand on their own. Their major purpose is not to serve the story they depict; instead, they claim their own space—which turns into the readers' viewing space. All these aspects can be discovered in Der Halskragen. Ein Skizzenbuch (The Collar. A Sketch Book, 2005). In this story of a vain collar, written by Hans Christian Andersen, the text-picture combination looks arbitrary. In one line at the bottom of the page, we read the story of the collar, who wants to marry someone but no one wants him. Finally, he invents his unsatisfied life as quite an extraordinary story. In a playful, postmodern associative manner, Der Halskragen offers a well-chosen selection of Wolfsgruber's work in the form of a sketchbook to both underline and counteract the text. A firework of artistic power unfolds before us from oil paintings, drawings, etchings, and collages, which she uses to stimulate a broad range of associations. The individual images sometimes reference real people and other works of literature, thus creating further layers...

The anatomical study of the major signal points of the court-type Thai traditional massage on legs and their effects on blood flow and skin temperature

ObjectiveThis study aims to investigate the relationship between major signal points (MaSPs) of the lower extremities used in court-type Thai traditional massage (CTTM) and the corresponding underlying anatomical structures, as well as to determine the short-term changes in blood flow and skin temperature of volunteers experiencing CTTM. MethodsMaSPs were identified and marked on cadavers before acrylic color was injected. The underlying structures marked with acrylic colors were observed and the anatomical structures were determined. Then, pressure was applied to each MaSP in human volunteers (lateral side of leg and medial side of leg) and blood flow on right dorsalis pedis artery was measured using duplex ultrasound while skin temperature changes were monitored using an infrared themographic camera. ResultsShort-term changes in the blood flow parameters, volume flow and average velocity, compared to baseline (P < 0.05), were observed on MaSP of the lower extremity, ML4. Changes in the peak systolic velocity of the area ML5 were also observed relative to baseline. The skin temperature of two different MaSPs on the lateral side of leg (LL4 and LL5) and four on the medial side of leg (ML2, ML3, ML4 and ML5) was significantly increased (P < 0.05) at 1 min after pressure application. ConclusionThis study established the clear correlation between the location of MaSP, as defined in CTTM, and the underlying anatomical structures. The effect of massage can stimulate skin blood flow because results showed increased skin temperature and blood flow characteristics. While these results were statistically significant, they may not be clinically relevant, as the present study focused on the immediate physiological effect of manipulation, rather than treatment effects. Thus, this study will serve as baseline data for further clinical studies in CTTM.

Augmenting the Visual Display of Museum Specimen Using Fabrica Acrylic Colors and Its Better Restoration

Augmenting the Visual Display of Museum Specimen Using Fabrica Acrylic Colors and Its Better Restoration

A multi-analytical approach to monitor three outdoor contemporary artworks at the Gori Collection (Fattoria di Celle, Santomato, Pistoia, Italy)

In order to identify the best practices and guidelines for the conservation of contemporary artworks, innovative approaches are needed, based on a monitoring campaign to assess the rate of alteration/decay of the objects placed outdoors. In this project, which is still in its first stage, the evolution in time of characteristic parameters is being used to establish thresholds for maintenance or restoration of three installations in the monumental garden of the “Fattoria di Celle”, located in Santomato (Pistoia, Italy). This garden hosts the Gori collection of 43 site-specific artworks created by contemporary artists. The three installations selected have different material compositions: bronze, stone and mortar painted with acrylic colors and glass. Each installation had its own conservation problems related to the constituent materials, together with the important impact of outdoor exposure and location. After a preliminary investigation, the major issues and risks for each artwork were identified and the monitoring campaign was started. Portable diagnostic tools and micro-sampling were used to monitor the parameters chosen. One year into the campaign, the preliminary diagnostic documentation has been realized, mainly for the bronze artistic object. Furthermore, the initial guidelines for monitoring campaigns have been defined.