Painting Materials Research Articles

Infrared nondestructive detection of defective visible-reflective solder joints in solenoid coil connectors

Nondestructive infrared detection of solder defects in solenoid coil connectors was investigated. A detailed experimental setup and a meticulous and repeatable experimental procedure were developed. The experimental methods were firmly based on the application of heat transfer science. Time averaged excess temperature ([Formula: see text]) was the sole discrimination parameter, and a difference larger than 2°C between good and defective solders was conservatively considered for good discrimination. Analysis of variance determined the minimum differences in [Formula: see text] between good and defective solder joints. The effects in discriminability of heating time ( th), time integration interval length ( ti), region of interest (ROI) geometry, and solder radiative properties were investigated. A rectangular ROI tightly enclosing the good solder was found as the best discrimination ROI. Matte black paint increasing radiative emission of solder joints significantly reduced discriminability. The defects were discriminated from the good solder for a rectangular ROI, th = 78 s, and ti = 20 s. Moreover, an excellent total inspection time of 34 s per solenoid coil is obtained by considering a well-controlled inspection environment during manufacturing, severe defects detection, and a possible 1°C difference for discrimination. Several aspects of the novel inspection procedure developed can greatly benefit the thermal imaging scientific community.

A multi-analytical approach for precise identification of alkyd spray paints and for a better understanding of their ageing behaviour in graffiti and urban artworks

Contemporary graffiti and murals became an artistic expression worthy of attention worldwide as well as their conservation. The application of spray paints with increasing technical performance mirrors the variety of the chemical composition of these increasingly common painting materials. An insight into the formulation and the ageing process is extremely important to predict and prevent the possible decay phenomena observed on outdoor urban artworks. This paper aims to investigate the relationship between the macroscopic outcomes and the chemical changes occurring on spray paints after the ageing by a multi-analytical approach. A systematic artificial ageing procedure was performed on multiple sets of concrete mock-ups painted with three different alkyd-based spray paints and in three different light-sensitive colours. The colour variation was assessed by colorimetric measurements, the changes in the paint cross section were observed by scanning electron microscopy, Fourier transform infrared spectroscopy (FTIR) was applied both to characterize the spray paints and to detect the chemical changes of the organic compounds during the ageing. A significant and innovative contribution to this research is the application of the evolved gas analysis-mass spectrometry (EGA-MS) and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) with tetramethylammonium hydroxide in double-shot mode. These two analytical methodologies allowed an accurate classification of the different alkyd-based binders, the identification of plasticizers, organic pigments and other components often hard to spot in complex formulations, and an analysis of their fate following ageing.

Modelling the Interaction between Carboxylic Acids and Zinc Oxide: Insight into Degradation of ZnO Pigments.

Computational modelling applied to cultural heritage can assist the characterization of painting materials and help to understand their intrinsic and external degradation processes. The degradation of the widely employed zinc oxide (ZnO)—a white pigment mostly used in oil paints—leads to the formation of metal soaps, complexes of Zn ions and long-chain fatty acids coming from the degradation of the oil binder. Being a serious problem affecting the appearance and the structural integrity of many oil paintings, it is relevant to characterize the structure of these complexes and to understand the reaction pathways associated with this degradation process. Density functional theory (DFT) calculations were performed to investigate the adsorption of the acetate and acetic acid on relatively large ZnO clusters and the formation of Zn–acetate complexes. Carboxylic acids with longer alkyl chains were then investigated as more realistic models of the fatty acids present in the oil medium. In addition, DFT calculations using a periodic ZnO slab were performed in order to compare the obtained results at different levels of theory. Optimization calculations as well as the formation energies of the ZnO@carboxylate coupled systems and the thermodynamics leading to possible degradation products were computed. Our results highlight the potential for DFT calculations to provide a better understanding of oil paint degradation, with the aim of contributing to the development of strengthening and conservation strategies of paintings.

Fuzzy logic expert system with multi-objective optimization of carbon nanotube infused nanopaint surface characteristics analysis using IRB 1410 robot

In this investigative study, the Taguchi design (L9) of experiments with TOPSIS multi-objective optimization is used for the robot nanopainting. The optimization objective is to maximize the film glue individually and minimize the surface blemishes and film thickness by varying the IRB 1410 robot painting parameters, such as the robot speed, pressure, and distance. The multi-wall carbon nanotube is infused into the paint materials using the ultrasonication process, and the mechanical properties are analysed with a comparison to regular paint materials. The virtual robot cycle time analysis is carried out for three different robot pathway patterns, namely linear, zig-zag, and circular. It is then compared with real-time experimental robot nanopaint on cold rolled close annealing steel materials. The obtained results show that surface roughness and thickness are minimized by 54% and 33.4%, respectively, using the robot nano spray coating when compared with regular spray coating. The film adhesive of robot Nano spray coating is maximized by 2.8% more than normal spray coating. A fuzzy logic expert system model is used to evaluate the surface finish characteristics of the nanopaint surface with low prediction error and with 89.2% confidence level. Heat transfer analysis of the robot nano-coated substrate is compared with that of the robot normal-coated substrate.

An Overview of Germanic Grisailles through the Stained-Glass Collection at Pena Palace

The lack of studies reporting the characterisation of Germanic grisaille is evident, despite the recent interest of researchers in this glass painting material. This work consists of the first assessment of Germanic grisaille’ chemical composition on a wide chronology (14th–19th centuries), that was only possible through the unique stained-glass collection of King Ferdinand II of Portugal. From the considerable amount of panels produced in Germanic territory and assembled by Ferdinand, twenty-two panels were characterised, and some trends of glass support typical composition and grisaille recipes were verified through this case study. A copper-based grisaille appears to have been the preference up to the 18th century. The 19th century shows higher diversity in composition, with new compounds (such as Co, Cr, Mn) appearing as colourising materials. However, with a limited number of analyses, and dispersed throughout time and different geographic locations, the results of this study are unprecedented, by being able to present the first overview on grisaille composition in Germanic stained glasses.

A Study on Correggio Wall Paintings: Characterization of Technique and Materials of Abbey Church of S. Giovanni Evangelista in Parma, Italy

This study deals with the materials of the sub-arch painting of the Del Bono Chapel of the Abbey Church of S. Giovanni Evangelista in Parma, Italy, datable to around 1523. The artist is Antonio Allegri, known as Correggio (1489–1534), who is considered to be one of the greatest painters of the 16th century. Micro-Raman spectroscopy, micro-Fourier transform infrared spectroscopy and gas chromatography coupled with mass spectrometry were used as the main techniques to identify the pigments and binding media. The analysis enabled us to identify the pigments which were characteristic of the epoch. Correggio’s palette was composed by mineral pigments—sometimes expensive ones such as lapis lazuli, azurite and cinnabar—together with a wide range of earths, or by synthetic pigments like smalt blue. From the amino acid content determination, it was shown that, in the samples containing lazurite, smalt, hematite, green earth and goethite, the protein fraction was attributable to the presence of a mixture of egg and animal glue, from which the use of the a secco technique could be assumed, with pigments that did not need organic binding media on the wall. For the gilding sample, the study found that Au foil had been applied on a brown background (oil-based missione).

An analytical investigation of a wooden panel painting attributed to the workshop of Lucas Cranach the Elder

• A case study of a painting attributed to the workshop of Lucas Cranach the Elder is presented. • The method relies on imaging, spectroscopic, microscopic, and C-14 dating. • The results strongly suggest that the painting was created in the workshop of lucas Cranach the Elder. A multidisciplinary investigation was conducted on the painting Judith with the Head of Holofernes from about 1530, attributed to Lucas Cranach the Elder. The investigation started with a digital imaging approach using several techniques in the UV–VIS-IR range, as well as X-radiography. The imaging approach was combined with physico-chemical characterization of the wooden support and painting materials using various techniques such as micro-XRF spectrometry, optical microscopy (OM), scanning electron microscopy (SEM), and radiocarbon ( 14 C) dating. The imaging analysis revealed signs of degradation in the wooden support and in the paint layer along with some changes in the original composition of the painting. The elements detected by XRF suggested the presence of pigments typically found on paintings by Lucas Cranach such as lead white, lead-tin yellow, vermilion, iron oxides, azurite, carbon black, and bone black. Radiocarbon dating revealed that the painting was made on panel cut-out from the inner side of a tree that was over 100 years old when cut. The results supported the hypothesis that the painting under question was likely produced in the Workshop of Lucas Cranach the Elder with consistent stylistic features and materials compatible with the estimated completion date 1530.

Performance improvement of tubular solar still via tilting glass cylinder, nano-coating, and nano-PCM: experimental approach.

Although the solar distillers are one of the economic solutions for addressing the freshwater shortage problem around the world, these devices suffer from low productivity. In this paper, a simple and inexpensive modification was made in the tubular solar still (TSS) to improve its productivity. The adjustment is to tilt the glass cylinder, something to help the droplets move down and collect them as a distillate. The modified inclined TSS was abbreviated by ITSS. Then, three different inclination angles were investigated (2°, 4°, and 6°), and the performance of ITSS with these inclination angles was compared with that of TSS without inclination angle (0°). Moreover, to obtain additional productivity for ITSS, the basin was painted with a mixture of matte black paint with nanomaterials. Three types of nanomaterials were studied (copper oxide nanoparticles, titanium oxide nanoparticles, and silver nanoparticles). For further improvement in ITSS productivity, Ag nanoparticles mixed with phase change material (PCM) were employed beneath the ITSS base to work as thermal energy storage material. Experimental results revealed that the highest average daily productivity rise for ITSS over TSS was observed when tilting ITSS by 6°, where the daily productivity rise and thermal efficiency reached 24% and 37.6%, respectively. Besides, the average increase in daily distillate of ITSS was 34%, 30%, and 28.5% when using Ag, CuO, and TiO2, respectively, compared to that of TSS. Moreover, ITSS with Ag provided the best thermal efficiency compared to the other operating cases, where it was 39.1%. In addition, ITSS-PCM-Ag showed a daily productivity of 62.5% more than that of TSS and a thermal efficiency of 43.5%.

Data Fusion Approach to Simultaneously Evaluate the Degradation Process Caused by Ozone and Humidity on Modern Paint Materials.

The knowledge of the atmospheric degradation reactions affecting the stability of modern materials is still of current interest. In fact, environmental parameters, such as relative humidity (RH), temperature, and pollutant agents, often fluctuate due to natural or anthropogenic climatic changes. This study focuses on evaluating analytical and statistical strategies to investigate the degradation processes of acrylic and styrene-acrylic paints after exposure to ozone (O3) and RH. A first comparison of FTIR and Py-GC/MS results allowed to obtain qualitative information on the degradation products and the influence of the pigments on the paints’ stability. The combination of these results represents a significant potential for the use of data fusion methods. Specifically, the datasets obtained by FTIR and Py-GC/MS were combined using a low-level data fusion approach and subsequently processed by principal component analysis (PCA). It allowed to evaluate the different chemical impact of the variables for the characterization of unaged and aged samples, understanding which paint is more prone to ozone degradation, and which aging variables most compromise their stability. The advantage of this method consists in simultaneously evaluating all the FTIR and Py-GC/MS variables and describing common degradation patterns. From these combined results, specific information was obtained for further suitable conservation practices for modern and contemporary painted films.

Spectroscopic Analysis of the Romanian Icon “The Entry of the Lord into Jerusalem” by Grigore Ranite

The purpose of this study was to identify and characterize the painting materials and artistic technique used by Grigore Ranite to create the wooden icon, “The Entry of the Lord into Jerusalem.” Particular attention was dedicated to identifying changes in the condition of the icon’s materials. To achieve these aims, Fourier transform infrared spectroscopy in transmission-mode and X-ray fluorescence were used. The material used for the panel was identified to be softwood, which showed differing states of preservation due to wood-decay caused by fungi. It was established the multilayer structure of ground was composed of gypsum and animal glue. Ranite used the typical egg tempera (or tempera grassa) technique to obtain a polychromatic surface for the icon. The pigments that Ranite used to obtain the color red were vermilion, red lead, and hematite. For green, he used malachite, verdigris and copper resinate. Prussian blue and white lead, were probably employed for the color blue. Bone black pigments and iron oxides of various colors were also used. The varnish consisted mainly of a mixture of diterpenic resins, linseed oil, beeswax, and shellac. A major achievement was the identification of an early eighteenth century type of Prussian blue and characterization of its aging process. The results help to date and authenticate Ranite’s icon, as well as to establish proper conservation methods in Romania. The findings will contribute toward a better understanding of the chemical and biological aspects of icon materials.

DYNAMICS OF THE ART OF CONTEMPORARY ISLAMIC CALLIGRAPHY ARCHIPELAGO: Comparative Analysis of Malaysian and Indonesian Works

The dynamics of contemporary Islamic calligraphy in the archipelago have experienced rapid development after the emergence of institutions and foundations that developed the art, in addition to being often competed at many levels. This is supported by the existence of foundations and institutions, such as the Restu Foundation in Malaysia and the Al-Quran Calligraphy Institute (LEMKA) in Indonesia. In addition, various computer applications and increasingly sophisticated digital systems complement the completeness and beauty of contemporary Islamic calligraphy works of art. The objective of this study is basically to compare the contemporary Islamic calligraphy works produced in the archipelago. Among the aspects that are focused on are the applications and works of contemporary calligraphy that are developing in Malaysia and Indonesia through educational institutions and also their calligraphers. In addition, it describes the types and forms of his works in the two places of study, in addition to the influence, aesthetic value and the use of painting materials through the artist. Focus is also given to the forms and mediums used in producing calligraphy works of art. Furthermore, this study is also expected to find study findings such as a complete discussion of the similarities and differences of contemporary calligraphy art that exists in Malaysia and Indonesia, in addition to a discussion of the subtlety of artistic taste and sharpness of thinking, the artists and their calligraphers. Furthermore, the understanding of the Islamic community in the archipelago gives high respect to this artistic heritage as the best Islamic art for its people. It is also hoped that through this comparative study will manifest Islamic civilization that has been raised through the art of Islamic calligraphy based on the Qur'an and al-Sunnah in Southeast Asia.

The home environment and current dermatitis in Japanese junior high school children in Kansai area

There is little information on indoor risk factors for dermatitis in Japan. We studied associations between dermatitis in Japanese junior high school students in Hyogo prefecture and the home environment. A standardised questionnaire was sent to students in four schools (12–15 years old), 1048 (99%) participated. Data on the home environment was collected by the questionnaire. Associations were analysed by multilevel logistic regression in mutually adjusted models, calculating odds ratio (OR) with 95% confidence intervals. A total of 15.2% reported current dermatitis, 8.8% cat allergy, 6.1% dog allergy, 6.0% mould allergy, 25.7% pollen allergy and 32.3% any allergy (a history of atopy). Female gender (OR 1.65), a history of atopy (OR 2.14), new building materials (indoor paint or floor materials) (OR 1.59), dampness or indoor mould (OR 1.51) and windowpane condensation in winter (OR 1.45) were associated with current dermatitis. The association between window pane condensation and dermatitis was stronger in students without a history of atopy (interaction p=0.02). In conclusion, dampness, indoor mould and window pane condensation in wintertime can be household risk factors for dermatitis in adolescents. Chemical emissions from new building materials, especially paint and floor materials, can be another risk factor.

Acquisition of High Spectral Resolution Diffuse Reflectance Image Cubes (350-2500 nm) from Archaeological Wall Paintings and Other Immovable Heritage Using a Field-Deployable Spatial Scanning Reflectance Spectrometry Hyperspectral System.

There is growing interest in bringing non-invasive laboratory-based analytical imaging tools to field sites to study wall paintings in order to collect molecular information on the macroscale. Analytical imaging tools, such as reflectance imaging spectrometry, have provided a wealth of information about artist materials and working methods, as well as painting conditions. Currently, scientific analyses of wall paintings have been limited to point-measurement techniques such as reflectance spectroscopy (near-ultraviolet, visible, near-infrared, and mid-infrared), X-ray fluorescence, and Raman spectroscopy. Macroscale data collection methods have been limited to multispectral imaging in reflectance and luminescence modes, which lacks sufficient spectral bands to allow for the mapping and identification of artist materials of interest. The development of laboratory-based reflectance and elemental imaging spectrometers and scanning systems has sparked interest in developing truly portable versions, which can be brought to field sites to study wall paintings where there is insufficient space or electrical power for laboratory instruments. This paper presents the design and testing of a simple hyperspectral system consisting of a 2D spatial spot scanning spectrometer, which provides high spectral resolution diffuse reflectance spectra from 350 to 2500 nm with high signal to noise and moderate spatial resolution (few mm). This spectral range at high spectral resolution was found to provide robust chemical specificity sufficient to identify and map many artists’ materials, as well as the byproducts of weathering and conservation coatings across the surface of ancient and Byzantine Cypriot wall paintings. Here, we present a detailed description of the hyperspectral system, its performance, and examples of its use to study wall paintings from Roman tombs in Cyprus. The spectral/spatial image processing workflow to make maps of pigments and constituent painting materials is also discussed. This type of configurable hyperspectral system and the imaging processing workflow offer a new tool for the field study of wall paintings and other immovable heritage.

Investigation on the Painting Materials and Profile Structures Used in Ancient Chinese Folk Architectural Paintings by Multiple Analytical Methods

In order to understand the painting materials and profile structures used in the creation of Chinese ancient folk architectural paintings, the architectural paintings of the Bell and Drum Tower at Fushan Temple in Shaanxi Province of China was investigated. In this study, optical microscopy, Fourier transform infrared spectroscopy (FTIR), micro-Raman spectroscopy, scanning electron microscopy-energy-dispersive X-ray spectroscopy (SEM-EDS), and chemical experimental methods were used. The profile structures, and the elemental and chemical compositions of the pigments and binders in the ground layer of the 12 samples were determined. Results showed that the painting profile structures in both towers comprised of pigment layer, underpainting layer and ground layer, where no starch was found in the chalk ground layer. The pigment layer mainly comprised of iron oxide red, chalk, lapis lazuli, carbon black, green earth, and a dark green pigment that is formed by a combination of carbon black and green earth. To-date, the use of green earth pigment in Chinese architectural paintings was not found in Chinese related academic literature; hence, this study marked the first identification of green earth being used in the architectural paintings. Tung oil, commonly used in Chinese architectural paintings as a binder for pigment, was also identified in the samples. Results from this study will serve as an important reference for better scientific investigation methods on ancient Chinese folk painting materials.

Review of analytical methods for lead determination in paints and varnishes

Introduction. The draft Technical Regulation of the Eurasian Economic Union “On the Safety of Paint and Varnish Materials” establishes the lead content in paint and varnish materials for interior and exterior surfaces of residential and (or) public premises, furniture products, playgrounds, products for children and adolescents, attractions, products in contact with food, and used for water treatment equipment at a level not exceeding 0,009% of the total weight of non-volatile chemicals with a transition period of 60 months. Current GOST R 50279.10-92 (ISO 6503-84) (GOST R 50279.10-92 (ISO 6503-84). Paints and varnishes. Methods for determination of metal content. Determination of total lead content. Flame atomic absorption spectrometry method) and GOST R 50279.3-92 (ISO 3856/1-84) (GOST R 50279.3-92 (ISO 3856/1-84). Paints and varnishes. Methods for determination of metal content. Determination of “dissolved” lead content. Flame atomic absorption spectrometry and dithizone spectrophotometric method) with detection limits of lead at 0,01% (by weight) do not provide the required sensitivity, and therefore it becomes necessary to develop and approve in accordance with the established procedure an analytical method for lead determination in paint and varnish materials at the level of 0,0045% of the total weight of non-volatile chemicals (1/2 of the established standard). Materials and methods. Documents, guidelines and webinars of the Eurasian Economic Union, the World Health Organization, the United Nations Environment Program, the American Society for Testing and Materials (ASTM International), the International Organization for Standardization (ISO), the US Environmental Protection Agency (EPA), manufacturers of analytical equipment (26 sources in total) were used in the preparation of the review. Results and discussions. The review presents the most common methods for lead determination in paints and varnishes, indicating their characteristics, advantages and limitations: flame atomic absorption spectrometry; atomic absorption spectrometry with electrothermal atomization; atomic emission spectrometry with inductively coupled plasma; X-ray fluorescence spectrometry. Conclusion. A systematic analysis of the methods for lead determination in paints and varnishes existing in domestic and foreign practice, taking into account the lower detection limit, as well as the costs of consumables and equipment maintenance, allows to identify three methods that are of interest in terms of developing guidelines: atomic absorption spectrometry with electrothermal atomization; atomic emission spectrometry with inductively coupled plasma; high-resolution X-ray fluorescence spectrometry.

인테리어 소재활용을 위한 코르크의 전자현미경 연구

The scope of interior design today covers almost all buildings, including houses, offices, shops, hospitals, hotels, restaurants, cafes, department stores, beauty salons, clothing stores, factories, schools, etc. All buildings inhabited by humans. The materials most used as interior materials for interior construction are wood, stone, tiles, bricks, blocks, cement and concrete, metal materials, glass, painting materials, secret materials, waterproofing materials, plastic materials, wallpaper, carpets, curtains. and blinds and window materials. Although the durability aspect is considered a lot, and the lifespan issue is being paid a lot of attention, it is the design that cannot be discarded nonetheless. Since interest in interiors is increasing these days, the appearance and materials of buildings are also very important. Cork is starting to get a lot of attention as an interior material. Currently, the most widely used use of cork is a wine stopper. This is because it has the unique elasticity and waterproofness of cork. Cork is a material often used for interior accessories. Cork, with its unique texture, is attractive enough on its own, but can be used for insulation or room use. As a result of scanning microscopic analysis of wine cork and commercial cork, the difference in microstructure was not significant.

Thermal Performance of Spiral Flat Plate Solar Water Collector

Water stream flow is the major factor that affects the performance of a spiral solar water collector, it can be maximize the collector performance by decreasing the water stream flow velocity. The water stream flow was in two spiral tube arrangements of length 15 m, diameter 0.012 m, and number of coils (11). The inner surface of the solar collector was coated with matte black paint with a mixture of nanomaterial (thermal dye with 5% TiN). The experimental rig placed in Babylon - Iraq, at longitude (44.4 E) and latitude (32.4 N) in the best experimental conditions for the province during the month's (2,3,4,5). Also, a simulation program was made to extract the results in the case of a single flow, where the geometry was drawn in the Solid Work program and then entered into the ANSYS program, where the same practical cases were applied. The experimental results were compared with the numerical results which gave a good agreement with an error percent of 11% and 8.8% in the closed and opened system, respectively. The experiment included two parts, the first part: the flow of water in four different levels at case of the closed system (1, 1.5, and 2) L/min. The second part: the flow of water was at the same levels but at case of open system. The results showed that a decrease in the mass flow rate leads to increase in exit temperature and thus increase in the temperature difference between (inlet and outlet). The maximum temperature difference in the closed system was 25.2℃ for a water flow rate of 1 L/min. The maximum temperature difference in the open system was 12.3℃ for the water flow rate of 1 L/min.

Modeling the wetting of titanium dioxide and steel substrate in water-borne paint and varnish materials in the presence of surfactants

This paper reports the results of studying the effect of two additives such as polyether siloxane (PS) and sodium polyacrylate (SPA) on the wetting of various substrates in water-borne paints (WB paints). Titanium dioxide (TiO2), paraffin (PA), steel (ST), and glass (GL) were used as solid substrates. The edge wetting angle (θ0) and the ratio (dCosθ/dСS) were used as the criterion for assessing the wettability of solid substrates. In aqueous solutions (without acrylic resin), both surfactants improve the wetting of the substrates. For PS, all the substrates studied, depending on θ depression, can be arranged in a row: ST>PA>GL>TiO2. For SPA: PA>TiO2>GL>ST. The introduction of an acrylic film-forming agent in the composition enhances the wetting ability of SPA (in comparison with the aqueous solution of surfactants). With an increase in the concentration of SPA from 0 to 4 g/dm3 in acrylic resin solutions, the edge wetting angle of steel decreases by 6÷8° (while in water by only 3°). With respect to TiO2, the wetting activity of SPA does not depend on the acrylic content of the water. PS in acrylic-containing compositions exhibits worse wetting activity than SPA. The introduction of surfactants in the compositions improves the quality of coatings. With optimal SPA contents in the compositions, the corrosion rate of coatings is reduced (in distilled water by 45 %, in 60 % NaCl solution by 60 %). At the same time, the gloss of coatings increases by 50 % while adhesion increases by 2 points (according to ISO 11845: 2020). This is fully correlated with the nature of the effect of surfactants on the wetting of the steel substrate and pigment (titanium dioxide). Based on probabilistic-deterministic planning, the compositions of WB paints were optimized, ensuring their maximum wetting of TiO2 and ST. Equations for calculating cosθ depending on the content of acrylic polymer and surfactants have been derived

Is this tar? Analytical pyrolysis to study the chemical composition of Alberto Burri’s paint materials

Alberto Burri, among the artists of the 20th century, was known for using some of the most complex and iconic “paint” techniques of this period, which entailed using a mixture of traditional and modern materials. The chemical composition of the materials used in his works of art is difficult to unravel given that he employed a wide variety of both natural and synthetic organic substances. Analytical pyrolysis coupled with gas chromatography and mass spectrometry (Py-GC-MS) was used to investigate the chemical composition of two works produced in 1950, belonging to the Gobbi and Catrami series of paintings, respectively. The analysis was used to investigate the chemical composition of the paint materials used in these two similar works of art and to highlight any differences in the chemical composition of the paint materials. Analytical pyrolysis was used to identify the chemical composition of the black tar-like materials used in both paintings. Pine pitch was identified in both paintings through the use of Py-GC-MS, while only one painting was characterized by a bituminous material. The molecular composition of the pine pitch gave valuable insights into the type of approach used to produce this material. Various combinations of alkyd paint, drying oil, polysaccharides, triterpenoid resin, and cellulose nitrate were found in the two paintings.

Canvas Painting Analysis Using Spectroscopic Analysis and Microcharacterisation Techniques.

Raman spectroscopy is a well-recognised tool for the analysis of materials in canvas paintings. However, it can be difficult to interpret the peaks of the spectra without the additional context of the artwork such as the age, provenance, or colour. Reflectance spectrophotometry can be used to capture the colour of pigments, dyes, and lacquers, but is seldom used to complement Raman data. Additionally, reflectance spectrophotometry results can be influenced by the surface profile of the painting. To overcome these limitations, this work brings together three different analysis modalities to provide a singular, analytical map of the artwork. Raman spectroscopy was used to conduct the chemical identification of pigments, binding media, and varnish present in a synthetic painting sample. Reflectance spectrophotometry was applied to obtain colour information of the surface paint of the sample. Three-dimensional optical profilometry data was used to characterise the micro topology of the paint surface. These three data sets were spatially matched allowing the recorded spectroscopic data to be displayed with the corresponding colour and surface topography across the paint surface.