Painted Surfaces Research Articles

Technical features of traditional engrave panting in lacquer works at Binh Duong

Lacquer comes in a variety of forms and styles of expression, like clear warm cockroach paint and jet black lacquer, which merge in harmony with many other materials (eggs, pearls, gold, silver, lipstick, colors, and so on) to create a work of profound artistic language. Artists have conveyed these forms and techniques through lacquer paintings. With a comprehensive expression of typical materials combined with abrasive painting techniques (interlacing, snailegg carving techniques, embossed relief painting techniques, gold cupping techniques, sunken engraving techniques, engraved paint or so on), each type of lacquer painting in Binh Duong has become more effective than expected. Among the current lacquer techniques, the engraving technique involves the artisan's meticulousness and expertise when utilizing sharp, blunt tools to carve into the paint surface while also creating evenly spaced engraving lines. These engraved lines have become a defining feature of Binh Duong's painting and engravingtechniques. Because of the above distinguishing features, the author employed an artistic research approach to analyze and evaluate several traditional lacquer painting styles in Binh Duong. To clearly see the artistic value of the engraving technique in Binh Duong, it must be recognized as a true core value that deserves to be cherished and promoted in creativity, education, and vocational transmission, especially given the risk that traditional occupationsare gradually disappearing, as they are today.

The Hypogeous Roman Archeological Museum of Positano: Study of the Evolution of Biological Threaten and Development of Adequate Control Protocols.

Hypogea are natural or artificial spaces located underground often of great interest from an anthropological, archeological, religious, artistic, or historic point of view. Due to their features, these environments usually present conservative problems and biological colonization could be considered as one of the main threats. The present three-year study was carried out by specialists of the Central Institute for Restoration of Rome (ICR) in the hypogeous site preserved in the Roman Archeological Museum of Positano (Positano MAR) and focused on characterizing biological alterations present on the mural paintings; setting up efficient strategies and protocols for biodeterioration control; and monitoring the efficacy of direct and indirect interventions. Patinas with different morphologies were analyzed through microscopic observations, cultural analyses and next-generation sequencing. The results proved that the alterations comprised a great variety of microorganisms forming very distinct communities, differently distributed over space and time. The main taxa represented were bacteria of phyla Pseudomonadota and Actinomycetota, fungi belonging to the genus Fusarium and Gliocladium, and algae of the genus Chlorococcum. Preservation protocols were set up considering the alterations' composition and included the application of biocides, limiting daily temperature changes, decreasing illuminance values on painted surfaces, and the screening of natural light sources.

The Study of Pigments in Cultural Heritage: A Review Using Machine Learning

In this review, topic modeling—an unsupervised machine learning tool—is employed to analyze research on pigments in cultural heritage published from 1999–2023. The review answers the following question: What are topics and time trends in the past three decades in the analytical study of pigments within cultural heritage (CH) assets? In total, 932 articles are reviewed, ten topics are identified and time trends in the share of these topics are revealed. Each topic is discussed in-depth to elucidate the community, purpose and tools involved in the topic. The time trend analysis shows that dominant topics over time include T1 (the spectroscopic and microscopic study of the stratigraphy of painted CH assets) and T5 (X-ray based techniques for CH, conservation science and archaeometry). However, both topics have experienced a decrease in attention in favor of other topics that more than doubled their topic share, enabled by new technologies and methods for imaging spectroscopy and imaging processing. These topics include T6 (spectral imaging techniques for chemical mapping of painting surfaces) and T10 (the technical study of the pigments and painting methods of historical and contemporary artists). Implications for the field are discussed in conclusion.

Investigation on laser paint stripping of CFRP: Morphological evolution, damage mechanism, and adhesive performance

Damage to the substrate hinders the application of laser paint stripping (LPS) on carbon fiber reinforced polymers (CFRP), but the damage mechanism is currently unknown. In this paper, the LPS characteristics of CFRP, such as paint stripping depth, surface morphology and dynamic behavior, are firstly obtained. Subsequently, the surface damage mechanism of CFRP is discussed in detail by theoretical analysis and finite element method, and the effect of substrate damage on adhesive properties is investigated. The results show that it is difficult for LPS to obtain a complete surface free of paint residue. The strong laser plasma impact and resin pyrolysis pressure cause the resin to crack and flake before the paint is fully ablated. The carbon fiber then breaks and are thrown outward by heat and forces, and the surface with slightly fracture of the fiber will facilitate bonding with the paint.

Ozone Loss on Painted Surfaces: Dependence on Relative Humidity, Aging, and Exposure to Reactive SVOCs.

Ozone and its oxidation products result in negative health effects when inhaled. Despite painted surfaces being the most abundant surface in indoor spaces, surface loss remains one of the largest uncertainties in the indoor ozone budget. Here, ozone uptake coefficients (γO3) on painted surfaces were measured in a flow-through reactor where 79% of the inner surfaces were removable painted glass sheets. Flat white paint initially had a high uptake coefficient (8.3 × 10-6) at 20% RH which plateaued to 1.1 × 10-6 as the paint aged in an indoor office over weeks. Increasing the RH from 0 to 75% increased γO3 by a factor of 3.0, and exposure to 134 ppb of α-terpineol for 1 h increased γO3 by a factor of 1.6 at 20% RH. RH also increases α-terpineol partitioning to paint, further increasing ozone loss, but the type of paint (flat, eggshell, satin, semigloss) had no significant effect. A kinetic multilayer model captures the dependence of γO3 on RH and the presence of α-terpineol, indicating the reacto-diffusive depth for O3 is 1 to 2 μm. Given the similarity of the kinetics on aged surfaces across many paint types and the sustained reactivity during aging, these results suggest a mechanism for catalytic loss.

The Painting in Front of Itself: Frank Stella’s Atypical ‘Projective’ Spaces through Canvas, Paint and Colour

Abstract Frank Stella’s early works tend to be characterised as displaying the flatness of painted surfaces and an ambition to negate pictorial illusionism. However, beyond their emphasis on flatness, these early series of paintings generate new forms of illusions and, in some cases, initiate another type of pictorial space — one that bodies forth, coming toward the viewer, appearing as if in front of the canvas. We consider the materials of the painting format in Stella’s early work (1959 to 1986) that create or facilitate the emergence of such a protruding or ‘projective’ space: mainly canvas, types and colours of paint. After introducing notions of flatness and illusionism and our respective approaches, we focus on Stella’s use of unprimed, raw, canvas, on the one hand, and his use of reflective and fluorescent paint skins, on the other, and how paint and canvas relate to each other. We focus on the material conditions that Stella sets up to manifest his intentions regarding the perception of space in painting and where he believes painting ‘should’ go. Indeed, in a book published in 1986, Stella describes projective effects from painters who use different tactics than his, but he does not reveal how he achieves his own. We analyse precisely which elements in Stella’s early paintings trick the eye of the viewer into seeing a painting, as it were, in front of itself, and we demonstrate the aesthetic impact of Stella’s chosen materials. Or how colour, paint and canvas, working together in a sort of symbiosis, generate a protruding effect in a new, previously unseen manner, and challenge Stella’s assertions against illusionism.

Effects of factors from practical workpieces on ultrasonic LCR method stress measurement

The non-destructive stress measurement method is the main trend in residual stress analysis. The ultrasonic method, which utilizes the acoustoelastic effect of the longitudinal critically refracted (LCR) wave, is one of the time-saving measurement techniques. During the practical stress measurement on a workpiece, various external factors may impact the transmission of acoustic waves and the resulting stress value. This study revealed and discussed the effects of four factors on the LCR wave: surface roughness of the examined material, temperature of the material, external mechanical vibration, and surface paint. The stress coefficient was determined by comparing the offset time of the acoustic wave with the stress measured by X-ray analyzer in the zero-stress specimens, which had undergone annealing and deep cryogenic treatment. The test results indicated that the surface roughness did not affect the transition time of the acoustic wave, but it did decrease the intensity of the signal. The increase in temperature and the transition time of the acoustic wave were in a linear relationship. Mechanical vibrations from the environment would not affect the transition time or signal intensity of the acoustic wave, whereas the application of surface paint increased the transition time. Although the effect of paint on the actual workpiece could not be easily modified during stress measurement, the ultrasonic method was still suitable for monitoring the stress of a specific position of the workpiece throughout its operational lifetime. The experiment data in this study were applied to measuring the residual stress of an aluminum ship component, and the result showed a good correspondence with X-ray stress analyzer results.

Analysis of the manufacturing craft of the painted gold foils applied on the lacquerware of the Jin Yang Western Han Dynasty tomb in Taiyuan, Shanxi, China

Seven pieces of gold foils for surface decoration of the lacquerware were excavated in the late Western Han Dynasty tomb in the area of the Jin Yang (晋阳) Ancient City site in Taiyuan (太原), Shanxi (山西), China. These gold foils portray images of the carriage, the leopard, the tigers, the ox, and the dancer with fluttering sleeves, etc., with black lines outlining the contours and red paint depicting vivid patterns. The study used Stereo Microscopes, Metallurgical Microscopy, Environmental Scanning Electron Microscopy coupled with Energy-Dispersive X-ray Spectroscopy (ESEM-EDS), and Laser Raman Spectroscopy (LRS) to analyse the thickness of the gold foils, the alloy composition, the composition of the paint and other surface attachments, and investigate the manufacturing process. As the results show, the thickness of the gold foils is about 26 μm. The composition is a gold-silver alloy with about 96% Au/(Au + Ag) (surface) and 98% Au/(Au + Ag) (cross-section). The metallurgical observation shows that the gold foils underwent heating and forging. The black lines on the front side are Chinese ink lines, with cracking and peeling phenomenon, and parallel polishing lines can be seen at the peeling places, while no polishing lines are observed on the back side. Some red paint made of cinnabar is above the black lines, and the binder is organic. Some lacquer residues are found on the back. According to the results of the study, the manufacturing process of the gold foils applied on the lacquerware is as follows: the gold foils are obtained by heating and forging, the front sides of the gold foils are polished, the shapes are carved out, and the gold foils are pasted on the lacquerware when the lacquerware’s surface is not yet dry. The gold foils are painted with black Chinese ink and red cinnabar pigment. The study’s results offer important references for understanding the manufacturing craft of the gold foils applied on the lacquerware in the late Western Han Dynasty of China and guide the conservation of the lacquerware decorated with painted gold foils.

The overall performance of a novel semi-transparent photovoltaic window with passive radiative cooling coating – A comparative study

Semi-transparent photovoltaic (STPV) glazing is a promising building integrated photovoltaic (BIPV) technology for converting traditional windows into on-site energy-producing building components. Besides electricity generation, there is also an urgent demand to enhance the thermal management of STPV glazing. Passive radioactive cooling paint is an emerging nanomaterials technology that shows great potential to reduce the painted surface temperature. Aiming to further promote the PV window’s energy efficiency, this study designed and investigated a novel coated semi-transparent photovoltaic (CSTPV) glazing supplemented with highly transparent passive radiative cooling coating. In addition, the STPV/CSTPV’s impacts on indoor visual environments were investigated, especially on the rarely studied aspect of interior colour rendering performance.This paper employs a combination of numerical simulation and experimental measurements to comprehensively assess these innovative glass systems in terms of electricity generation, thermal performance, daylighting efficiency, and the impact of color on the indoor environment. The results indicate that the CSTPV windows can significantly reduce the heat gain rate by about 15 % and achieve excellent electricity generation, with an annual output approximately 3 % higher than that of STPV windows. Despite the radiative cooling coating, CSTPV glazing maintains a level of daylight illumination comparable to that of STPV glazing, with glare levels remaining within acceptable limits. Furthermore, the study emphasizes the effects of CSTPV and STPV on the indoor Color Rendering Index (CRI) and Correlated Color Temperature (CCT) performance. All samples measured have CCT values within the range of neutral light, and CRI values exceeding 96, demonstrating satisfactory high-quality indoor lighting conditions. This research shows that CSTPV and STPV glass technologies not only significantly enhance the energy efficiency of buildings but also provide a scientific foundation for sustainable development in architectural design.

Development and Experimental Verification of Inorganic Electromagnetic Pulse Shielding Paint for Building Interiors Using Carbon-Based Materials.

The term electromagnetic pulse (EMP) generally refers to high-power electromagnetic waves and can be classified into EMPs caused by nuclear weapons, non-nuclear EMPs, and EMPs caused by natural phenomena. EMPs can cause catastrophic damage to any electronic device consisting of electromagnetic components, including communications devices and transportation. In this study, the shielding effectiveness of paint was evaluated depending on the type and content of carbon material and binder. To analyze the compatibility and dispersibility improvement of the raw materials used in paint manufacturing, experiments were conducted in two stages, using 27 mixtures. The shielding effectiveness was evaluated for the optimal mixture developed through mixture experiments. The results of this study confirmed that the developed EMP shielding paint can improve the shielding effectiveness of concrete by 25-40 dB. Additionally, the adhesion strength and moisture resistance evaluation of the EMP shielding paint were evaluated. The average adhesive strength of the EMP shielding paint was 1.26 MPa. In moisture-resistance testing at a temperature of 50 ± 3 °C and a relative humidity of 95% or higher for more than 120 h, no cracks or peeling were observed on the painted surface.

Essential oil mediated synthesis and application of highly stable copper nanoparticles as coatings on textiles and surfaces for rapid and sustained disinfection of microorganisms

Rampant pathogenesis induced by communicable microbes has necessitated development of technologies for rapid and sustained disinfection of surfaces. Copper nanoparticles (CuNPs) have been widely reported for their antimicrobial properties. However, nanostructured copper is prone to oxidative dissolution in the oil phase limiting its sustained use on surfaces and coatings. The current study reports a systematic investigation of a simple synthesis protocol using fatty acid stabilizers (particularly essential oils) for synthesis of copper nanoparticles in the oil phase. Of the various formulations synthesized, rosemary oil stabilized copper nanoparticles (RMO CuNPs) were noted to have the best inactivation kinetics and were also most stable. Upon morphological characterization by TEM and EELS, these were found to be monodispersed (φ 5–8 nm) with copper coexisting in all three oxidation states on the surface of the nanoparticles. The nanoparticles were drop cast on woven fabric of around 500 threads per inch and exposed to gram positive bacteria (Staphylococcus aureus), gram negative bacteria (Escherichia coli and Pseudomonas aeruginosa), enveloped RNA virus (phi6), non-enveloped RNA virus (MS2) and non-enveloped DNA virus (T4) to encompass the commonly encountered groups of pathogens. It was possible to completely disinfect 107 copies of all microorganisms within 40 min of exposure. Further, this formulation was incorporated with polyurethane as thinners and used to coat non-woven fabrics. These also exhibited antimicrobial properties. Sustained disinfection with less than 9% cumulative copper loss for upto 14 washes with soap water was observed while the antioxidant activity was also preserved. Based on the studies conducted, RMO CuNP in oil phase was found to have excellent potential of integration on surface coatings, paints and polymers for rapid and sustained disinfection of microbes on surfaces.

The Application of Cathodoluminescence (CL) for the Characterization of Blue Pigments

The combined application of Cathodoluminescence (CL) with Scanning Electron Microscopy (SEM) on paintings and painted surfaces has the potential to identify both organic and inorganic pigments on a micrometre or even nanometre scale. Additionally, the combination with Energy-Dispersive Spectrometry (EDS) allows for a more holistic, elemental, and mineralogical characterization of pigments. In addressing the need for the creation of a robust, open access database of characteristic CL spectra of pigments, a large project has been undertaken, focusing primarily on common organic and inorganic pigments. The present paper focuses on the CL characterization of 10 significant blue pigments in pure powder form: cerulean blue, Egyptian blue, Han blue, indigo, lapis lazuli, Maya blue, phthalo blue, vivianite, ultramarine blue, and zirconium blue. The CL spectra present characteristic bands for most of the pigments, allowing their secure identification, especially when combining the results with the EDS analyses. The effect of binding media and of the mixture of different pigments was also studied, via the analysis of mixtures of pigments with oil painted over canvas. Overall, both the binding medium and the mixture of pigments do not appear to create significant differences in the occurring spectra, thus allowing the identification of individual pigments. EDS and RAMAN spectra are included in order to facilitate comparison with other databases.

Effect of impact-corrosion coupling damage on fatigue properties of 2198-T8 aluminum-lithium alloy

The peeling of aircraft surface paint due to foreign object impact can expose the aluminum–lithium alloy substrate to atmospheric corrosion, resulting in the fatigue performance being affected by the combined effect of impact damage and corrosion damage. In this work, the effects of impact damage and corrosion damage on the fatigue life of 2198-T8 aluminum–lithium alloy sheet were investigated. The strain field distribution of specimens with coupled impact and corrosion damage under cyclic loading was analyzed by Digital Image Correlation (DIC) technique, and the coupling relationship between impact and corrosion damage was analyzed based on the crack propagation path and fracture morphology. The results show that surface corrosion pits depth distribution of impact dents follows the same trend as residual stress distribution. For the coupling damage of the hemispherical punch, the coupled effect between impact damage and corrosion damage is most evident at low impact energy. At higher impact energies, the impact damage dominates the coupling damage. As the salt spray corrosion time increases, the fatigue life decrease rate gradually slows with increasing impact energy, and the impact damage has a greater effect on the fatigue life in the early corrosion stage. Compared to the salt spray corrosion environment at 35 °C, the fatigue life of the specimen at 25 °C increased by a maximum of 50.48 % as the impact energy increased from 10 J to 25 J.

Research on Laser Cleaning Technology for Aircraft Skin Surface Paint Layer.

In this study, a pulsed laser operating at a wavelength of 1064 nm and with a pulse width of 100 ns was utilized for the removal of paint from the surface of a 2024 aluminum alloy. The experimental investigation was conducted to analyze the influence of laser parameters on the efficacy of paint layer removal from the aircraft skin's surface and the subsequent evolution in the microstructure of the laser-treated aluminum alloy substrate. The mechanism underlying laser cleaning was explored through simulation. The findings revealed that power density and scanning speed significantly affected the quality of cleaning. Notably, there were discernible damage thresholds and optimal cleaning parameters in repetitive frequency, with a power density of 178.25 MW/cm2, scanning speed of 500 mm/s, and repetitive frequency of 40 kHz identified as the primary optimal settings for achieving the desired cleaning effect. Thermal ablation and thermal vibration were identified as the principal mechanisms of cleaning. Moreover, laser processing induced surface dislocations and concentrated stress, accompanied by grain refinement, on the aluminum substrate.

Preparing a microemulsion-loaded hydrogel for cleaning wall paintings and coins

Removing unwanted materials, such as organic coatings and soil, from the cultural relic surface is a complex and significant task in the field of cultural heritage conservation. Microemulsion-loaded gel can effectively and safely remove those organic coatings and soil. Here, we employed a simple solvent exchange strategy to prepare a microemulsion-loaded polyvinyl alcohol/polyethyleneimine (PVA/PEI) hydrogel. First, PVA and PEI were dissolved into DMSO to form a gel. Then, the gel was immersed into a microemulsion composed of water, ethyl acetate, propylene carbonate, sodium dodecyl sulfate, and 1-pentanol to exchange DMSO. Microemulsion-loaded PVA/PEI hydrogel can be synthesized by completely substituting DMSO. To investigate the microstructure, rheological properties, and mechanical properties of the gel, scanning electron microscopy, a rheometer, and a universal testing machine were used, respectively. Fourier transform infrared (FT-IR) analysis was conducted to explore the synthesis mechanism and confirm the successful loading of microemulsion within the microemulsion-loaded PVA/PEI hydrogel. Furthermore, FT-IR, a depth-of-field microscope, and a glossmeter were utilized to evaluate the cleaning efficiency of the microemulsion-loaded PVA/PEI hydrogel for removing animal glue and soil from the surfaces of cultural relics. Moreover, an X-ray fluorescence spectrometer was used to analyze the element component of the ancient coin. The application results showed that the microemulsion-loaded PVA/PEI hydrogel can effectively remove animal glue from an ancient wall painting surface. Moreover, it is capable of removing soil from an ancient coin surface as well, which helped to confirm the age of the coin. This offers a novel method to prepare microemulsion-loaded hydrogel and demonstrates great potential in the cleaning for cultural heritage.

Relationship between reflectance and degree of polarization in the VNIR-SWIR: A case study on art paintings with polarimetric reflectance imaging spectroscopy

We study the relationship between reflectance and the degree of linear polarization of radiation that bounces off the surface of an unvarnished oil painting. We design a VNIR-SWIR (400 nm to 2500 nm) polarimetric reflectance imaging spectroscopy setup that deploys unpolarized light and allows us to estimate the Stokes vector at the pixel level. We observe a strong negative correlation between the S0 component of the Stokes vector (which can be used to represent the reflectance) and the degree of linear polarization in the visible interval (average -0.81), while the correlation is weaker and varying in the infrared range (average -0.50 in the NIR range between 780 and 1500 nm, and average -0.87 in the SWIR range between 1500 and 2500 nm). By tackling the problem with multi-resolution image analysis, we observe a dependence of the correlation on the local complexity of the surface. Indeed, we observe a general trend that strengthens the negative correlation for the effect of artificial flattening provoked by low image resolutions.

Biodegradation effects of three Aspergillus species on iron-based oxides (Hematite − Goethite) in paint layer in oil paintings

The inorganic colour layer based on iron oxide is affected by microorganisms (fungi) and leads to its deterioration due to feeding on the mineral elements through the chemical composition of the colour in the presence of a suitable environment (medium). Damage occurs as a result of heavy metal elements being removed from the colour, leading to a defect in the chemical composition and the fading of the colours. The current study showed the effect of the different types of the most common fungi on oil paintings (Aspergillus flavius, Aspergillus fumigatus and Aspergillus niger) after cultivating the different types of fungi and obtaining pure colonies for each fungus separately and conducting a fungal infection on experimental samples with preparing the old techniques, coloured with hematite red and goethite yellow. Each colour is mixed with different proportions of linseed oil (1, 2, 3). They were aged artificially and incubated at a temperature of 262+- degrees and examined periodically until the fungi appeared on the surface in the form of colour spots ranging from very dark (severe infestation) to light (low infestation). The change in chemical composition was measured by Raman and EDX analyses of the samples before and after infection. Fungi showed the appearance of spoilage products from metal sulfides and metal carboxylates. The iron oxide ion decreased in both the red and the yellow colours, leading to a change after the fungal infection. Examination of the morphological surface using SEM, USB and measurement of colour change showed the change in the red colour more than the yellow and scattering of green and black colour dots on the surface of the sample. Correlation and Simple Linear Regression were applied for each colour before and after besides both colours together. It was found that these colours appeared around some of the fungal colonies as a result of the activities. Fungal species of some strains reduced Fe+3 to Fe+2 . This provides new insights into the role of microorganisms in the deterioration of painted surfaces.

Painting robot with three axis motion

Paint was applied directly to the painted surface while painting with a brush. There are occasionally unsatisfactory outcomes, such as paint stacking or streaks remaining. Spray guns yield better paint results, therefore a robot was developed that can regulate the spray gun's movement in order to apply paint. A painting robot that resembles an arm is one that has three axes of movement. The robot can move left-right on the x axis, up-down on the y axis, and back-front on the z axis. Its end effector is a spray cannon. An ultrasonic sensor is used to measure the distance between components and the spray gun; when the sensor measures near distances, such as between 4 and 8 cm, the test sensor distance measurements have a larger average error. When the test reading distance is increased from 10 cm to 14 cm, the average error reduces. Superior painting outcomes can be achieved with a paint distance of 10 cm, an air pressure of 80 psi, and a spray gun arm movement speed of 25 rpm. With average x-axis movement of 74.6 cm, y-axis movement of 14.8 cm, and z-axis movement of 88.2 cm, the largest volume that can be painted is 97,517.5 cm3. The rotation of the arm is used to determine the angular rotation needed to paint components. Painting the left side of the component at an angle of 10°, the back side at an angle of 100°, the right side at an angle of 190°, and only painting the front side of the component at the required angle of 90° require the rotational movement of the arm to the left.

Understanding the extent of detectability and heat transfer characteristics of hidden defects on metal-based envelopes

Metal hidden defects can either be due to corrosion or voids. The extent of their detectability and heat transfer characteristics, particularly with light-colored surface paints and assembly configurations, have been less explored. Observing surface thermal contrast and rate of temperature change (RTC) during “long-pulse” excitation can detect hidden defects regardless of the metal type, paint color, and assembly configuration. However, results from the active thermography approach only indicate their presence and not their location and type. Corroded layers have a lower surface temperature and RTC due to faster heat transfer, while pitted layers have a higher surface temperature and RTC.

The Influence of Surface Texture of Elements Made of PA6-Based Composites on Anti-Graffiti Effect of Paint Coating.

The aim of the work was to investigate the influence of the surface texture of composite based on PA6, intended for wet painting, on the stability of the colour and gloss parameters. The stability of the paint coating was required to be maintained despite exposure to mechanical stress resulting from attempts to manually remove graffiti stains. The study examined the influence of surface texture on the effectiveness of cleaning. In the case of painted surfaces from which graffiti stains were effectively removed, the roughness, colour parameters and gloss of the paint coating were measured. During the research, it was found that roughness after painting decreased to the value of Ra < 2.00 µm meets aesthetic expectations and at the same time ensures the effective removal of graffiti stains. For this surface, there were no negative effects of the mechanical impact on the textures or quality parameters of the coating as a result of manual graffiti removal. As a result of the conducted research, the recommended maximum values of roughness and textures of the surfaces to be painted were determined in order to ensure a sufficiently low amount of work necessary to effectively remove traces of graffiti.