Painting Materials Research Articles

Paint release control of brush

Paint release rate is an important indicator for evaluating the property of the paint product, which is predetermined by the brush and paint materials. In the painting process, a brush is always used to coat the liquid materials on the solid base surface. The brush fiber with different wettability, flexibility, and geometrical size affects the appearance, stability, and solidification velocity of paint. In this study, a kind of polyethylene terephthalate/polybutylene terephthalate-based brush is successfully fabricated, whose flexibility is adjusted by the content of fiberglass. The flexibility and appearance dimensions are proved to be the critical factors for enhancing the paint release rate through theory analysis and examples. With the designed brush, liquid coating materials with different surface tension are coated on the paper surface, whose effects are precisely controlled.

An Examination of Non-Conventional Materials in Post-modern Nigerian Paintings

An Examination of Non-Conventional Materials in Post-modern Nigerian Paintings

Emotional Expressiveness of Combined Materials in Abstract Painting

Emotional Expressiveness of Combined Materials in Abstract Painting

Retracted] Study of Digital Painting Media Art Based on Wireless Network

Digital media art mainly studies the methods and techniques of using information technology for artistic processing and creation. Through theoretical study, professional skills training, etc., people can master the use of digital media software and have the ability to use digital technology to perform artistic processing on various types of works. This article is aimed at studying the art analysis of digital painting media based on wireless networks. In the past few years, as the country pays more and more attention to it, the level of science and technology in our country is constantly improving. At this stage, it has entered a new media environment using digital media. In the method part, this article proposes wireless network technology. It is believed that digital painting and traditional painting are very different in expression form and artistic concept. Digital painting transforms the static expression of traditional painting into digital form, so that they are no longer limited to the static expression of the plane. In the algorithm part, this article uses the algorithm of virtual technology to make a long‐term plan for the development of digital painting media art. The experimental results of this paper show that the proportions of digital media art materials in practical technology, visual experience, and Chinese painting are 50%, 61%, and 73%, respectively, and their proportions are constantly increasing, occupying an important role in the field of digital media art.

A Brief Analysis of the Function and Emotional Expression of Composite Materials in Material Painting

A Brief Analysis of the Function and Emotional Expression of Composite Materials in Material Painting

Separation of Fine Particles from Gas in Paint-Spraying Booths

Nowadays, at production facilities with paint-spraying booths that use paint and varnish materials to cover the surfaces of product, the problem of gas flow contamination with finely dispersed solid particles of dust and rubbish, which negatively affect the quality of products, is increasingly being raised. In order to minimize the content of solid particles in the gas flow, coarse and fine filters are installed in the paint-spraying booths, which prevent dust particles from entering the surface of products. However, the existing purification devices have a number of disadvantages that affect the efficiency of collecting finely dispersed particles from the gas flow with a size of 0.5-5 microns. The authors of article developed a square separator to increase the efficiency of collecting finely dispersed particles from gas flows in the paint-spraying booths. The installation of proposed separation device in the paint-spraying booths affects not only the quality of collecting solid particles, but also increases the service life of fine and coarse filters In the course of numerical studies, the results of impact of structural and technological parameters, namely, the impact of inlet rate and scale of separation device on the efficiency of collecting solid particles from the gas flow, were obtained.

60 years of street art: A comparative study of the artists’ materials through spectroscopic and mass spectrometric approaches

Abstract Street art murals are an artistic expression strictly interwoven in the urban landscape, and in recent years have received increasing attention as cultural heritage at risk. Today there is intense debate regarding the value assessment and choices related to the conservation of urban art; however, the evaluation of the stability of modern paint materials in outdoor environment is preliminary to any possible preservation strategy. In particular, the identification of the materials constituting a street artwork is critical for the preservation of these non-permanent heritage elements and to define the best restoration approaches. In this work, we performed a set of analyses of microsamples based on spectroscopy, analytical pyrolysis, gas and liquid chromatography, and mass spectrometry to identify paint materials (binders, pigments, additives, degradation products and conservation/restoration materials) of a selection of mural paintings, covering 60 years of history (1953–2014). The goal of this work was to identify the materials used to produce different mural paintings and to relate and compare their different compositions with previous studies in order to describe the evolution of the materials during the last 60 years. The collected knowledge and the limited data available in literature were exploited to increase the scientific background on the materials used by street artists, and to fill the lack of knowledge on this emerging topic.

Imaging and spectroscopic data combined to disclose the painting techniques and materials in the fifteenth century Leonardo atelier in Milan

The project “Leonardesque Artists beyond the Visible” was planned on the 500th anniversary of the death of Leonardo da Vinci, with the occasion of an exhibition held in Milan in 2019, where more than twenty works made by Leonardesque masters have been put on display. Among them, five representative paintings made by his closest pupils were selected for a comprehensive and multidisciplinary project. Portable non-invasive imaging and spectroscopy techniques were applied to supply useful information to scholars but also to the wider public: description of the material composition of the pigments, of the preparation and of the binders, existence or absence of underdrawing, and identification of the painters’ technique and style. Particular attention was paid also to the image processing techniques, mostly for hyperspectral and radiographic data, to get the most from both innovative and traditional techniques.Results highlighted for each author a peculiar painting technique showing hidden features such as pentimenti and the panel preparation methods, pigments, binders and varnishes.

Low-cost system for radiometric calibration of UAV-based multispectral imagery

ABSTRACT This study evaluated the use of low-cost materials for radiometric calibration of multispectral images. Four materials were tested: plywood panels painted with matte paint (M1); plywood panels covered with synthetic nappa leather (M2); Ethylene Vinyl Acetate (EVA) panels (M3), and plywood panels covered with Polyvinyl chloride (PVC) canvas (M4). The useful life of all materials and the errors associated with the calibration was determined. The M1 and M2 panels presented the lowest errors (RMSE), whereas the M4 panels showed the highest errors. Finally, the M3 panels showed the lowest resistance to use, whereas the M1 panels showed the greatest durability.

Towards a green and fast production system: Integrating life cycle assessment and value stream mapping for decision making

Integrating environmental commitment to manufacturing concerns seems unavoidable towards a more sustainable conduct. In the contemporary scenario, Value Stream Mapping (VSM) has been bringing new perspectives into companies' economics, improving production performance, whereas Life Cycle Assessment (LCA) has been the most complete tool for environmental assessment. Therefore, the present study aims to propose a model based on the integration of LCA and VSM to improve environmental and manufacturing aspects of organizations, the LCA-VSM model. Possible spots for integration, overlaps between LCA and VSM and potential gains were identified. The LCA-VSM model provides a simple tool for prioritizing action measures to improve the environmental-economic performance, and unlike many existing methods, it encourages continuous improvement instead of a one-off approach. The company where a case study was conducted to test the LCA-VSM model is a manufacturer of tools and painting materials for the civil construction sector. The use of the proposed model guided actions that decreased from 5% to 15% of environmental impacts (across nine impact categories), and reduced both non-value adding (lead time went from 103.26 to 24.01 days) and value adding (cycle time went from 35.7 s to 33.75 s) time. The main contribution of this paper is providing a structured approach to a practical integration of LCA and VSM towards decision making, prioritizing action measures based on the following criteria: environmental preference, economic feasibility, and ease of implementation, aiding more eco-efficient practices.

An investigation into adhesives to consolidate distemper paintings on canvas

This article investigates traditional and modern adhesives used to consolidate distemper paintings on canvas, with special reference to sixteenth century Hispano-tüchlein paintings, also called sargas. Such artworks are not only difficult to handle due to their large size, but they are also inherently fragile and/or are highly hygroscopic. This sensitivity is caused in part by the nature of the painting technique as well as the lack of varnish, which might account for why conservation methods related to these works have not been addressed in the past. This investigation was conducted on historical reconstructions samples to assess and develop treatment strategies for distemper paintings, in particular issues linked to powdery/friable matte paint layers. The impact of several adhesives on the painted surface of historical reconstructions was evaluated before and after the samples were subjected to humidity cycling tests using a range of analytical techniques. Such information can be used to aid conservators who face consolidation issues related to underbound paintings or artworks with similar surfaces. The results reveal that there is no one perfect adhesive for matte paint nor one that can be removed completely, once applied. Aquazol® 200 and Funori performed the best, but still introduced changes in colour and gloss, even if minimal.

Retouching matt contemporary paint layers: a new approach using natural polymers

Different painting techniques, materials and application methods that characterise contemporary artworks, with predominantly matt surfaces and uniform tones, make retouching one of the most complicated conservation treatments, since sameness is the main target. The retouching intervention carried out at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome on Tempi prospettici (1969), an installation by the Italian artist Carlo Alfano, gave the opportunity to investigate a method to obtain different matt/glossy values through the use of natural polymers as binders. The binders chosen (different polysaccharides, cellulose derivatives and isinglass) were analysed, both individually and mixed, through colorimetric and glossmetric measurements. The pigment-binder ratio and the addition of silica to get a modulation of the matt appearance of paint formulations were also evaluated. The comparation of the colorimetric values of painting samples and those of the original paint led to the identification of the best solution for the retouching of the artwork

Applications of Raman spectroscopy in art and archaeology

Applications of Raman spectroscopy in art and archaeology

Picasso’s 1917 paint materials and their influence on the condition of four paintings

This work aims to investigate the correlation between the painting materials used by Picasso to create four artworks in Barcelona in 1917 and their actual conditions. Specifically, a range of crack types and patterns was observed in the painted layers. The paintings, kept together in Picasso’s family house until they were donated to the Museu Picasso in 1970, had significant differences in their condition, even though they present several similarities in the choice of materials, technique and in their conservation history. A multi-analytical approach was adopted to characterise the painted layers by X-ray fluorescence spectroscopy, fibre optic reflectance spectroscopy in the 350–2200 nm range, gas chromatography-mass spectrometry, and Fourier transform infrared spectroscopy. The obtained results have been combined with those from a previous analytical campaign focused on the study of grounds and canvases of these four paintings and with visual examination of the cracks to establish hypotheses about the differences in degradation. This combined overview of non-invasive documentation techniques, chemical analysis and observations of the mechanical damage has provided an insight into the possible contribution each layer could have played in the damage observed in the four canvas paintings.

Methods and materials and the durability of canvas paintings: a preface to the topical collection Failure Mechanisms in Picasso’s Paintings

Paintings experience chemical, mechanical and biological damage over time. Whereas chemical and biological alterations have been widely studied in the recent decades, the study of the mechanical behaviour of painted structures deserves more attention. Damage to paintings (such as cracks, flaking paints or delaminations) has been traditionally associated to humidity and temperature fluctuations. While such assumptions are not completely wrong, the environment is not always the reason behind the failure observed in paintings. A deeper insight into the interactions between pigment and medium, as well as between the different paint layers is crucial to interpret damage found in the painted surface, but also to take more informed conservation decisions to ensure paintings stability over time. The Failure Mechanisms in Picasso’s Paintings Topical Collection in the journal SN Applied Sciences brings together a series of papers aimed to understand this relationship between the composition of painting materials and mechanical damage. Results suggest that slight modifications introduced by the artist in his works can induce different vulnerabilities, whose effects can be seen over time.

Integrated analytical approach to unveil the secrets of the recently discovered \u201cSphinx Room\u201d: a new piece of Domus Aurea puzzle

The recent discovery of the Sphinx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphinx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco. Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.

A comprehensive analytical approach for monitoring the physico-chemical changes of the paintings after exposure to environmental risks

The study is composed of three phases to describe the paintings at normal and several aging times: modeling of new icons similar to an ancient one, aging of the icons by heat and ultraviolet irradiation, and characterization of the icons. The results showed a change in the chemical structure of the painting materials, the crystallinity of the wood and canvas materials, and the chromaticity coordinates with darkening in the heat treatment and fading in the UV irradiation treatment. There is a correlation between the exposure time, the chemical properties of the materials, and the optical properties of the paintings.

Field characterisation of rock art paintings using non-invasive reflectance spectroscopy in the search for organic paint binders at Genealogy and Stickman Rockshelters in the Weld Range (Western Australia)

This paper reports on the search for organic binder materials in rock art paintings at Genealogy and Stickman Rockshelters in Wajarri Yamaji country, Weld Range (Western Australia). Portable visible, near infrared and shortwave infrared (VNIR-SWIR) reflectance spectroscopy requires no physical sampling or surface preparation. Eleven motifs were analysed in-situ. Only one of the motifs had absorption features characteristic of organic molecular bonds and resembled hematite and blood experimental paint reference materials. Constituent hematite and clay pigment minerals defined the spectra of the remaining ten motifs. This pilot study demonstrates that non-invasive VNIR-SWIR spectroscopy is an effective field characterisation tool for assessing painted rock art motifs for constituent organic materials and mineralogy including clay minerals and iron oxides. Without the need to take samples, the technique will be invaluable for rock art conservation, and as a screening tool in the search for organic materials suited for C14 direct dating in mineral pigmented rock art paint.

The study of Severini’s wall paintings in Switzerland: how to manage heterogeneity of data and team members?

A data management system has been created for the 4-year research project to manage the results of the study of the wall paintings by Gino Severini in fve Swiss churches (https://www.stluc.ch/). The project involves art historical and scientifc research to investigate painting materials and techniques. The data produced by the multidisciplinary team is vast and varied and is archived in a database (Db) designed to act both as a fle repository and as an exchange platform. The documentation is based on a 3D survey carried out with stereo photogrammetry and 3D laser scanning. The Db contains data sheets describing ‘entities’ which can be physical objects with cultural signifcance (e.g. a wall painting) or the structures containing them (e.g. the church). It is possible to establish hierarchical relationships between entities, e.g. the church, the apse, one of the paintings in the apse etc.. There are no limits to the number of sub-entities that can be created and nested one in the other recursively (as folders and sub-folders). In this way, the Db structure can register any type of activity involving the heritage by collecting all the documentation and data produced at all levels. Data includes vector drawings that are recorded as tables in the Db and can be visualized as maps. These allow the linking of any fle and data sheet, providing immediate access to information starting from the map. Data entry is carried out by the professionals creating it, i.e. the project team members. The system has a client-server architecture based on PostgreSQL with the PostGIS extension server side and is currently accessed by the team through a front-end application based on Access and a cartographic application based on QuantumGIS. The challenge and the innovation of this system is to allow professionals from the diferent disciplines within the research groups to safely enter and access data working with sophisticated profled privileges while the project is on-going. Once the project is completed, in an ‘Open science’ framework, data will be accessible to common users and to specialists. The Severini project is in its second year and currently two of the fve churches have been studied. The paper will discuss the challenges encountered, the solutions developed, and the potentiality and fexibility of the data model designed.

Hypercolorimetric multispectral Imaging and Pulse Compression thermography as innovative combined techniques for painting investigation: the case of a detached wall painting by Pastura

This contribution focuses the attention on an innovative approach in diagnostics of paintings, based on the combine use of two imaging techniques named Hypecolorimetric Multispectral Imaging (HMI) and Pulse Compression Thermography (PuCT) applied to a 15th century wall painting, attributed to the Italian artist Antonio del Massaro, also known as Pastura. HMI technique is based on the simultaneous exploitation of the electromagnetic spectrum from the ultraviolet to the near infrared region. The acquisition, made under a standard metric, allows for characterizing the investigated surfaces in a more detailed way than the standard colorimetry. The system transforms any spectra in the range 300-1000nm into sevenfold hypecolorimetric coordinates. HMI guarantees very high radiometric (better than 95%) and colorimetric precision (better than ΔE = 2). PuCT is a thermography technique based on the use of coded modulated heating stimuli in combination with the pulse-compression technique. A PuCT scheme, based on coded LED excitation capable of optimizing the estimation of the impulse responses compared to the state-of-the-art PuCT literature has also been proposed. The combined use of HMI and PuCT recently revealed its potentiality in the investigation of important panel paintings by highlighting hidden details, mapping the conservation status, characterizing painting materials, etc. in a completely non-invasive way. Their combined capabilities are here tested on a wall painting representing the Madonna with the Child and the Saints Jerome and Francis, which was investigated during the restoration in the Laboratory in order to supply information about the materials and techniques.