Paint Composition Research Articles

Unveiling the Composition of La Pajarita PVAc-Based Paints in Joan Miró’s Studio and in Three Artworks from the 1970s

In this study, we present the first characterisation of the polyvinyl acetate (PVAc) paints of commercial Spanish brand La Pajarita preserved in the studios of Joan Miró (1893–1983) in Mallorca, Spain. Investigation of several black and white paint samples using complementary analytical techniques (XRD, SEM–EDX, FTIR, and Py–GC–MS) allowed for the identification of pigments and binding media in studio materials, as well as in three artworks dating from the 1970s. Through comparative analysis, it was possible to find significant similarities between the composition of La Pajarita paints conserved in cans in the artist’s studio with black and white painted layers from three artworks by Miró. Miró’s use of La Pajarita paints is extensively documented in studio notes, photographs, and videos, and these paints are known to have been used by other significant Spanish artists. However, their composition has remained largely undiscovered until now. This research contributes to the knowledge of PVAc paints, providing evidence of their use by Joan Miró. The analytical results serve as a valuable reference for comparing and identifying these synthetic paints in other artworks, as well as aiding in attribution or dating studies. Furthermore, the study demonstrates the significance of materials found in artists’ studios as a fundamental resource for identifying the materials present in artworks.

Development of methodology for the visual identification of Tributyltin (TBT) in antifouling paint matrices.

Organotin compounds (OTC), mainly tributyltin (TBT), have been used since the 1970s as biocides in the composition of antifouling paints. Due to its physical-chemical characteristics, TBT has high toxicity to the marine environment affecting non-target organisms. The present study aims to develop a method of direct visual identification of TBT in antifouling paints using the cyclopalladate complex, 4- (2-thiazolylazo) resorcinol (TAR-Pd), synthesized in our laboratory. Tests were performed in blank and in the paint matrix with the following OTC: TBT-O; TBT-Cl; TPT-Cl; DBT-Cl (tributyltin oxide, tributyltin chloride, triphenyltin chloride, dibutyltin chloride), in addition to the SnCl4 and SnCl2 compounds (tin IV chloride and tin II chloride), all at a concentration of approximately 20g/ kg of dry paint). The test was performed by applying paint samples to test bodies and scraping a few tens of milligrams of the dry paint film. The scraped paint samples were submitted to the test, showing a different staining reaction for the TBT-Cl and SnCl4 samples concerning blank and other samples (TBT-O, TPT, DBT-Cl, and SnCl2). Solution tests were performed to characterize reaction products by spectroscopy in the visible band. The method developed has potential for application in real samples, being selective for TBT-Cl and SnCl4 in an acid medium, obtaining a limit of detection, in the range of 1-10mg/kg dry paint.

WDXRF Analysis of White Colour Pigments Used by Ancient Artists in Central Tanzania Rock Paintings

In central Tanzania, there are large numbers of ancient rock paintings which have been drawn mostly on shelter rocks. Different colours were used in the paintings including white paint. The pigments and the material used by ancient artists in making these colours were not known. This study aimed to determine the composition of the white colour and suggests the pigments and materials used in making the white colour. A technique namely WDXRF was used to determine the composition of white paint in order to suggest the pigment used while a CHN elemental analyser was used to determine the presence and amount of organic carbon in the samples. The results from the analysis of the rock sample were compared to the results of the analysis of the paint sample. White colour was found to be from chalk (CaCO3) and gypsum (CaSO4X2H2O). Both pigments were found to contain some amount of organic carbon in different concentration. Organic carbon in the pigment is related to the use of organic binders during the preparation of the colour.

Study of Properties of Water-Dispersion Paint and Varnish Compositions with the Content of Modified Mineral Filler

This article presents the results of research work devoted to improving the characteristics of paint and varnish coatings based on aqueous dispersions of polyacrylates; it is proposed to modify them by introducing mineral raw materials as fillers and hydrated lime, with subsequent processing in a vortex layer apparatus. The introduction of activated diatomite does not cause the deterioration of covering power, adhesion or an increase in the porosity of the paint material. The modification of coatings contributes to an increase in their operational properties, which can be associated with a reduction in the free volume in the composite and the formation of polymer boundary layers with modified physical and chemical properties. The aim of this study is to obtain a water-dispersion paint and varnish composition containing modified diatomite on a polyacrylate basis and, subsequently, study its main physical and mechanical parameters. The work has been carried out by the following method: determination of porosity, adhesion, elasticity and covering power of the control composition; determination of porosity, adhesion, elasticity and covering power of the obtained composites using modified filler; investigation of the influence of radiation on the infrared spectrum of the paint coating surface using a FLIRB620 thermal imager. As a result of this research work, it was noticed that the modification of water dispersions with silica-activated diatomite helps to eliminate the main disadvantages of materials and coatings based on acrylate binders—low water resistance and low physical and mechanical characteristics. The introduction of modified diatomite into water-emulsion paint on an acrylate base does not lead to the deterioration of the main performance characteristics of paint coatings—porosity, adhesion, elasticity and covering.

Comprehensive Characterization of Drying Oil Oxidation and Polymerization Using Time-Resolved Infrared Spectroscopy.

Drying oils like linseed oil are composed of multifunctional triglyceride molecules that can cure through three-dimensional free-radical polymerization into complex polymer networks. In the context of oil paint conservation, it is important to understand how factors like paint composition and curing conditions affect the chemistry and network structure of the oil polymer network and subsequently the links between the structure and long-term paint stability. Here, we employed time-resolved ATR-FTIR spectroscopy and comprehensive data analysis to study the curing behavior of five types of drying oil and the effects of curing temperature as well as the presence of a curing catalyst (PbO). Extracted concentration curves of key reactive functional groups point to a phase transition similar to a gel point that is especially pronounced in the presence of PbO, after which curing reactivity slows down dramatically. Analysis of kinetic parameters suggests that PbO induces a network structure with a more heterogeneous cross-link density, and the ATR-FTIR spectra indicate lower levels of oxidation in those cases. Finally, lower temperatures appear to favor the formation of carboxylic acid groups in oil mixtures with PbO.

STATE, PROBLEMS AND MODERN DIRECTIONS OF MODIFICATION OF WATER-DISPERSION PAINT AND VARNISH MATERIALS

This article is devoted to the analysis of the state, problems and prospective directions of application of water-dispersion paint and varnish materials. Providing reliable and durable protection of coating remains the main task of water-dispersion paint and varnish materials technology. In this connection, modern technical solutions to improve the protective characteristics of paint and varnish compositions based on aqueous film-forming agents and, accordingly, the search for effective components in the direction of modification of paints and coatings acting as universal additives, in particular, dispersants and anticorrosive agents are considered.

Formulation of tattoo paints from the assemblage of the Upper Paleolithic site of Ushki V (Kamchatka)

In recent times, the practice of body modification in sociocultural, psychological, and art studies contexts has gained a new impetus for research. This article presents the results of the analysis of pigments found on the sur-face of stone artifacts identified as tattooing tools from the assemblage of layer VII of the Upper Paleolithic site of Ushki V (13–12 ka calBP, Kamchatka Peninsula). The aim of this study is to reconstruct the formulation of paints discovered on the surface of stone tools from the collection of Ushki V, that could have been used for tattooing. The reconstruction was carried out by means of determining the composition and microstructure of the paints using scanning electron microscopy and energy dispersive X-ray spectroscopy (SEM-EDX). The conclusions about the structure of colouring substances and the composition of paints are based on the element mapping method, which allows determination of the relationships of chemical elements and establishing the chemical com-position of individual components of the microstructure. Seven samples of red and yellow paint from the surface of six tools (carvers) have been thoroughly analysed. As a result, it has been found that three recipes were used for the manufacture of the pigments. The first (red paint) was based on mixing crushed mineral pigment (hema-tite) with organic binder of animal or vegetable origin. The second (yellow paint) implied the use of limonite, or-ganic binder and a thickener (aluminosilicate material or crushed bone). The third recipe (dark orange paint) in-cluded the compound of limonite and organic binder without thickener. The comparison of the formulations with previously obtained data on the analysis of paints from Ushki V allows for the conclusion that there were continu-ous technological traditions determined by the desired color and purpose of the paint. It has been established that the formulations have analogies both among the assemblages of other Stone Age sites of Eurasia and in ethno-graphic materials. Theoretical and practical significance of this research lies within extending of focused studies of the culture of peoples of the North and initiating of comparative research into similar Late Paleolithic and Neolithic complexes in the territories adjacent to Kamchatka and in the New World.

Comparative study of surface preparation for paint adhesion on CF-PEKK composites: Plasma, Chemical, and Flame treatment

Polyether ketone-ketone (PEKK) is a high-performance thermoplastic, and its fiber composites have various engineering applications. Fiber reinforced composites in long-term applications require a protective layer of coatings to avoid environmental degradation. In this work, the surface energy of carbon fiber-PEKK composites was modified by flame, chemical, and plasma treatments to improve paint adhesion. A detailed study was carried out to understand the physical, morphological, and chemical surface characteristics due to different surface treatments. We found through XPS that highly active surface functionalities (− C-Ȯ/−C = Ȯ) due to oxidation at the ketone/ether groups were for surface adhesion. In support of the enhanced surface functionality, we have also evaluated the wetting behavior of paint with respect to different treated surfaces using drop shape analyzer and found that the polar component of the surface free energy increased for all treatments compared to pristine. Surface crystallinity after surface treatment was assessed using XRD; flame and plasma showed reduced surface crystallinities (25.92 % and 38.18 %, respectively), compared to pristine (46.78 %), and yielded a good adherend for coatings. Surfaces with good wettability and functionalities show good adhesion between the paint and PEKK composites as found through adhesion tests following ASTM D3359. The findings demonstrate that plasma surface treatment outperformed flame and chemical treatments in terms of adhesion of the paint to the surface.

Exploring the Feasibility of Eu(TTA)3TPPO as Pigment for Fluorescent Paint

We outline the synthesis of rare earth hybrid organic β-diketonate Eu(TTA)3TPPO complex [Eu: Europium, TTA: Thenoyl Trifluoro Acetone, TPPO: Triphenylphosphine oxide] pigment to formulate luminous paints. Epoxy and urea formaldehyde resins were synthesized by catalytic homo polymerization and solution polymerization technique, respectively. The fluorescent pigment was synthesized at ambient temperature by solution technique, maintaining the stoichiometric ratio at pH 7. Nextly, fluorescent paint was developed on glass substrate with epoxy (E) and urea formaldehyde (UF) resins and toluene as solvent with thickness 0.1 mm, respectively. Photoluminescence (PL) spectra and photometric assessment of the complex were carried out to probe its photophysical parameters. The excitation spectra of the synthesized complex depicts a wide-ranging excitation peak at 466 nm with a wide shoulder at 538 nm, while emission spectra discloses an intense peak, recorded at 617 nm which portrays colour in the reddish-orange region of the visible spectrum. The paint compositions were checked for tack-free, hard dry, adhesion, water, salt, alkali and acid spray test to study their resistance against distinct surroundings. The painted panels also portrayed reddish orange emission at a unique wavelength of 617 nm. Amid all the paint compositions, the intensity of the painted panel with urea formaldehyde as a binder was found to be maximum, followed by the painted panel with epoxy as the binder. Photometric evaluation revealed reddish-orange emission from pure pigment as well as painted panels, which portrayed in the visible spectrum. This proposes a way to develop fluorescent paints that find applications in several areas such as flexible displays, glow-in-dark road paints, OLED devices, automotive rare lighting, fluorescent sensors, aircraft cabin and floor lighting, architectural and interior decorations and many more.

ColorNetVis: An Interactive Color Network Analysis System for Exploring the Color Composition of Traditional Chinese Painting.

In the field of digital humanities, color research aims to discover explanations for painting history and color usage habits. However, researchers analyzing color relationships is challenging and time-consuming, as it requires color extraction and a detailed review of many painting images for reference and comparison of color relationships. In our work, we propose ColorNetVis, an interactive color network analysis tool that enables researchers to explore color relationships through color networks. The core of ColorNetVis is a bipartite network model that establishes a bipartite relationship between colors and Chinese painting within a scope based on color difference measurement. It constructs a one-mode color network through projection algorithms and similarity calculation methods to discover the relationship between colors. We propose a coordinated set of views to demonstrate the combination of determined color networks with painting types and real-world attributes. We use color space view, color attribute distribution view, and single color query components to assist researchers in conducting detailed color analysis and validation. Through case studies, researcher reviews, and user studies, we demonstrate that ColorNetVis can effectively help researchers discover knowledge of color relationships and potential color research directions.

РАСШИРЕНИЕ ФУНКЦИОНАЛЬНЫХ СВОЙСТВ ЦЕМЕНТНО-СИЛИКАТНОЙ КРАСКИ

The paper describes a one-component cement-silicate paint based on white Portland cement and sodium hydrosilicate, which lacks expensive zinc oxide and potassium liquid glass. The paint is supposed to be produced as a dry mixture, which can be applied in the conditions of the construction area using mixers. It is shown that the introduction of chrysotile nano-fibers into the basic composition of the paint allows its use for painting hot surfaces operating at temperatures up to 700 ºC. The use of nanodispersed titanium dioxide in the composition of cement-silicate paint provides self-cleaning of the painted coating due to photocatalytic reactions on the contaminated surface

Innovative solutions in easel painting through the prism of the activities of artists of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov.

The subject of the study is a set of innovative solutions for easel painting by artists of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan from 1977 to 2008. Easel painting by artists-trainees of the Creative Painting Workshop of the Russian Academy of Arts in Kazan was chosen as the object of research. The review of the activities of the Russian Academy of Arts in the XX-XXI centuries is given, from the point of view of supporting the Russian traditions of easel painting in Russia and abroad. The characteristic of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan as an object of research in the context of painting of the Republic of Tatarstan and Russia is given. The methodology of the analysis includes the following concepts: genre, plot, composition, color, format, and their implementation in the works of trainee artists. Comparative methods of compositional and coloristic analysis are applied, compositional solutions are considered as innovations in the composition of easel painting of a subject-themed painting. The research materials confirm the high results of the creative work of the trainee artists in creating new compositional and coloristic solutions in easel painting in the laboratory of the Creative Workshop using a combination of innovations. Сonclusions are formulated about the need to popularize the work of artists-trainees of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov in Kazan. Russian realism traditions have been preserved, and the easel painting of the trainee artists is based on the artistic experience of Russian realistic art, using a combination of innovations in author's solutions.

Bioavailability, risk assessment, and source traceability of potentially toxic elements in bivalve species widely consumed in the emblematic Acapulco Bay, Mexico

The concentration of potentially toxic elements (PTE) was determined in edible tissue, digestive system, and shells of two bivalve species (Hyotissa hyotis and Spondylus limbatus) highly consumed in Acapulco Bay (southern Mexico) to evaluate the impact on marine ecosystems and human health risk associated with the consumption of potentially contaminated bivalves. PTE concentrations (Ba–Cd–Cu–Co–Cr–Mn–Ni–Pb–Sr–V–Zn) in edible tissues were lower than in the digestive system and shells in both bivalve species. Except for Cr, Pb, and Cd, PTE concentrations in the edible tissue of both species did not exceed international threshold limits. In addition, the biota-sediment accumulation factor values indicate bioaccumulation in edible tissues (Ni, Cd, Pb, Co, and Zn), digestive system (V, Ni, Cu, Cd, Pb, Co, and Zn), and shells (V, Cr, Pb, Co, and Mn), evidencing availability of pollutants in the Acapulco Bay. Contents of Pb and Cd found in edible tissue can threaten human health. Target Hazard Quotient values indicate that the consumption of edible tissue does not represent any risk of developing non-cancerogenic effects. However, the Target Cancer Risk values indicate a moderate risk of developing carcinogenic effects due to the accumulation of Cr and Pb and an even greater risk due to the accumulation of Cd. Additionally, although local rocks and sediments should be the only source of PTE in uncontaminated marine ecosystems, a low radiogenic Pb isotope composition was detected in the bivalve shells, which partially overlap with Pb isotope compositions of paints and gasoline, indicating anthropogenic lead sources participation in the Acapulco Bay.

Qian Xuan Pounding the Balustrade

In the late thirteenth century, the poet-painter Qian Xuan 錢選 (style [zi (字)] Shunju 舜举, sobriquets [hao 號] Zhaxi weng 霅溪翁, Yutan 玉潭; ca. 1235–ca. 1307) created a horizontal, multi-colored landscape painting known today as Wang Xizhi Watching Geese and owned by the Metropolitan Museum of Art in New York; a copy of the painting exists in the collection of the National Palace Museum in Taipei. The work depicts a waterside pavilion in which a figure stands with his right hand seemingly resting on the balustrade. This article offers a new interpretation of the painting's scene, and it will argue that the figure's hand on the balustrade is the key to an additional perspective of the painting's artistic statement. It begins by analyzing the painting composition, which includes the artist's inscription, before proceeding to a discussion of balustrade in Song ci-poetry and its significance in Qian Xuan's painting. A closer look at the architecture of the pavilion further reveals that the subject and theme of this painting is that of a dejected Song scholar-poet who laments his country's fate.

Extraction of Optical Characteristics of Diffuse Particles for Modelling a Dispersed Medium

Currently, virtual prototyping, i.e. preliminary modelling of processes on a computer has become ubiquitous. It is also applied to modern automobile paints in order to correctly reproduce the colour of the paint. The most practically important task is colour matching: calculation of the paint composition necessary to obtain a given colour. The complexity of modelling the propagation of light in paint is due to its complex structure and the wide variety of pigments, including diffuse ones. This problem can be solved by simulation of the light scattering by the dispersed pigment particles. To do this we need the optical properties of pigments, which are often unknown. In this paper, we propose several different methods for extraction of the pigment properties by measuring the light scattering of specially prepared samples. All methods are based on minimizing the difference between measured and calculated scattering values as a function of pigment properties. The methods differ in the types of paint samples that must be prepared and measured to obtain the pigment data. We describe the operation of the methods and test their robustness. As a result, one method has proven to be much more robust to the measurement errors. The colour of the real sample was also compared with the calculated colour of the paint, in the modelling of which the obtained properties of the pigments were used.

안악 3호분 벽화의 중원 색채와 그 의의

The main content of the mural painting of Anak Tomb No. 3, a tomb which belongs to the emergent stage of Goguryeo mural tombs, is the life of the tomb owner in his life. It is the same with the mural tombs of China from the Eastern-Han Dynasty. Anak Tomb No. 3 is quite similar to the mural tombs of central China and Liaoyang in terms of the structure of the tomb, as well as the composition and content of the mural painting. Various prestige goods such as a type of cart (通幰車), drapes and a tent (帷帳), a folding screen and flat bench (屛榻), a type of pole (節), a type of folding fan (麈尾扇) depicted on the mural painting of Anak Tomb No.3 represent the official rank, written in black ink on the mural painting of this tomb’s owner, and these contents are the same as those of the mural tombs of central China which are of the same level. This presence of objects originating from central China found on the mural painting of Anak Tomb No.3 and Deokheungri tomb indicates that the Daedong River Estuary basin (which includes the Pyongyang area) maintained a different social and cultural aspect from the Jian area, until the Goguryeo capital was relocated from Jian to Pyongyang in 427. There is a view that Dong Su was not the owner of the tomb, but a gate guard (門吏) written as “Jang Ha Dok” (帳下督) on the wall of the entrance of the western chamber. “Jang Ha Dok” is a subordinate official belonging to the first to third rank of the Wei-Jin Period. According to an ink handwriting record, Dong Su’s rank corresponds to the second to third official rank of the Wei-Jin Period. Therefore, Dong Su cannot be regarded as “Jang Ha Dok”. A type of pole called “jul” (節) on the mural painting reflects the office of “Sa Ji Jul” (使持節) written in black ink. In addition, the oxcart with the tomb owner is a type of cart called Tong Hun Gu (通幰車), which the second to third official rank rode. Therefore, it is most reasonable to regard the owner of Anak Tomb No. 3 as Dong Su, as is written in black ink.

Selective damage induced by pigment-medium interactions in a Neoplasticist oil canvas painting: Composition dans le cône avec couleur orange by G. Vantongerloo (1929)

This research focuses on the study of pigment-medium interactions in the film forming, ageing and degradation mechanisms of modern white oil paints observed in the Neoplasticist painting Composition dans le cône avec couleur orange by G. Vantongerloo (1929), conserved in the Institut Valencià d’Art Modern (IVAM). The observation of selective vertical cracks and the significant presence of protrusions in the painting suggested that the observed degradation phenomena were specific to the coloured area. To understand the composition of pigments governing the film formation processes and later degradation phenomena in the oil paint films, a hybrid experimental approach was taken, aimed at understanding the physical, chemical and mechanical mechanisms involved. For this purpose, digital portable microscopy and multiband imaging analyses were carried out. Furthermore, the technical study involved the use of micro-invasive analysis such as μ-Raman, ATR-FTIR spectroscopy and GC–MS analysis for a more comprehensive understanding of the nature of the binding media and products resulting from the auto-oxidation, film-forming, hydrolysis, and degradation processes of the lipidic binding media. The results obtained suggest that on-going degradation phenomena are closely linked to the chemical interaction between pigment and binding medium.

Anti-corrosion resistance of coatings based on powder epoxy paints containing modifiers

The corrosion resistance of coatings (thickness 70 µm) based on epoxy powder paints modified with aliphatic amine or a mixture of anticorrosive pigments to the action of sodium chloride solution and salt spray has been studied. It is showed that with the increase of molecuar weight of initial epoxy oligomer and also at the incorporation of chemisorbing alifatic amine, containing polar groups, to the decrease in the permeability of the sodium chloride solution into the coating material is observed. It has been established that the observed changes in the properties of the coatings are due to the formation of a spatial structure of the polymer with different cross-link frequencies. It is shown that the introduction of a mixture of anti-corrosion pigments into the composition of paints provides a significant increase in the protective properties of coatings and a high preservation of the physical and mechanical properties of coatings in comparison with the base compositions. For 9000 hours of testing in a sodium chloride solution, the strength characteristics of the coatings decrease by about 10–12 % from the original ones. Based on the results of tests of coatings to the action of salt spray, the possibility of using the developed epoxy powder paints for operation in environments of a high atmospheric-corrosive category – C 5–1, including the application of coatings directly on a metal surface (Direct to metal) without multi-stage preparation of the metal surface for painting, is shown.

Tinjauan Komposisi, Warna Dan Bentuk Pada Hasil Lukis Dengan Media Payung Di Sanggar Lukis Qalam Jihad

This research aims to determine the ability to organize compositions, process colors, adjust colors, and determine the level of suitability of shapes in the results of paintings using umbrella media at the Qalam Jihad Painting Studio Pematangsiantar. This research uses a qualitative descriptive method, by researching a topic in a systematic, factual and accurate manner obtained from data collection in the field and carried out based on existing facts and characteristics. This research is to review the composition, color and shape of paintings using umbrella media by studio students aged 13-15 years. The composition aspect gets the lowest score and the color aspect gets the highest score. This can be seen from the good coloring and color combinations with dark and light on the objects and colors that are seen clearly and appropriately by the studio students. Based on this, it produces a higher color aspect than other aspects. The classification of the results of reviewing the composition, color and shape of paintings using umbrella media at the Qalam Jihad Pematangsiantar painting studio is that 7 students are categorized as good with a score of 241.4 to 266 and an average score of 80.5 to 88.6. 8 students were quite good with scores of 211.2 to 234.9 with an average score of 70.4 to 78.3.

The Influence of the Color and Composition in Chinese Painting on the Animation"Cowboy's Flute"

This journal article examines the animation "Cowboy's Flute" produced in 1963 at the animation studio in Shanghai, focusing on its use of coloring and composition influenced by traditional Chinese watercolor and ink painting. By analyzing specific elements within the animation, such as the overall composition, depiction of nature, and the portrayal of a shepherd boy riding a buffalo, this article explores how the film embodies authentic Chinese aesthetics. Drawing upon the symbolism and cultural significance associated with these artistic elements, this article sheds light on the theme and artistic choices made in "Cowboy's Flute." The findings reveal the strong influence of traditional Chinese painting on the animation and its contribution to the portrayal of Chinese cultural values and aesthetics.