Job Recruitment Website - Job seeking and recruitment - Coating maintenance method flow

Coating maintenance method flow

The protection and restoration of works of art are two problems in an industry. Protecting works of art is for less restoration, and restoration is for better protection. The two are inseparable and restrict each other. The following is a flow chart of painting maintenance method I shared. Welcome to read and browse.

Repair method of oil painting

Cause of damage

Oil painting is a painting that mixes oil with pigment powder and is painted on the base of linen, cardboard or wooden board. Due to the oxidation of oil, the oil painting pigment is completely dried, and the dried pigment is bright, firm and tangible. Generally speaking, oil painting is solid and should not be bad, but it is not. The passage of time, the change of temperature and humidity, the adhesion of dust and the invasion of insects are enough to damage oil paintings for more than ten years.

There are many factors that lead to the aging and damage of oil paintings. Dust, insects, microorganisms, acid and moisture in the air, ultraviolet rays, temperature changes, self-weight of oil paintings and gravity of the earth. , will affect the stability of different levels of oil painting and different levels of combination. These effects are slow and lasting, and they are all the time. If it is not restricted and eliminated, it will gradually accumulate and complement each other, which will eventually lead to the destruction of oil painting-that is, to the point of irretrievable. It is impossible to paint a permanent oil painting. Artists can slow down and postpone the aging process as much as possible by choosing materials and using correct techniques, thus prolonging the life of oil paintings. However, once the works leave the hands of artists, they can only expect respect and love from others. In addition, you need to be lucky to avoid being destroyed by accident or human negligence. An oil painting can be appreciated by people after centuries with its finished appearance, which requires the joint efforts and cooperation of collectors and restorers for generations.

Repair process

Identification before maintenance

First of all, make a detailed inspection of the work before restoration. The inspection process can be divided into four aspects:

First, textual research of the works.

Know the author and creation time, and know the painter's related information and painting characteristics, such as the materials, colors, brushstrokes, creation style, creation concept, aesthetics, etc. This kind of investigation can make the restorer establish a deeper understanding with the work, and then grasp the original creative face of the work more accurately when repairing.

Second, national comments.

First of all, it is necessary to determine whether the painting technique is oil painting or rubber painting, and record the size, theme, artist's signature, completion date, storage status of inner frame and outer frame of the work, and then make an in-depth analysis after recording these basic situations.

Answer: base material: the materials used to distinguish the base material are flax, jute, cotton cloth, mixed fiber, wood board or fiberboard: the fixing method is nails with nails or nail guns; Whether the storage conditions are damaged, oxidized and corroded, damp and moldy, and invaded by microorganisms or insects; Whether it has been repaired by predecessors, the repair method and the adhesive used.

B. Substrate "bottoming": Know the color of substrate "bottoming" and whether the substrate is separated, floated, cracked, peeled off or invaded by microorganisms.

C. Paint layer: a binder for analyzing pigments; Thickness and thickness of paint layer; Whether the hue is bright, gray or dark: whether the color technique used is transparent or opaque; whether the brush strokes are delicate or rough; Whether the paint layer cracks, whether it is partial or comprehensive, how deep the crack is and whether it begins to peel off; Whether blisters appear on the surface of the color layer, etc. Comment and analyze the degree of these factors.

D. Protective layer: firstly, identify whether there is a protective layer, whether it is a full protective layer or a local protective layer, and the number and thickness of coating. Distinguish transparent colors carefully.

Whether there is any lesion or microbial invasion in the color of Wanis layer.

Third, laboratory diagnosis

Answer: Ultraviolet rays can penetrate the protective layer and paint layer. When this ultraviolet light shines on the surface of the work, it will present blue-purple refracted light. Using this refracted light, we can judge the chemical reaction of paint layer and the pathological condition of protective layer.

B. Infrared ray: Its radiation principle is similar to X-ray, but its radiation function is not as strong as X-ray, but its perspective range is far beyond ultraviolet ray, and it can reach the coating and sketch layer of the substrate, so it can provide quite correct information for restorers.

Fourth, take photos and file them.

Before and after the restoration of works of art, there is a completely different feeling. Therefore, before the repair, you must take photos and file them as a witness for future comparison. In addition, in the process of restoration, the original photo of the work is often needed as an aid to master the color and composition of the whole work. The focus of taking pictures includes the complete front, back, inner and outer frames of the work, and then the macro lens is used to take local close-ups in different shots.

Preparation before opening the bottom cover

First, prepare a new canvas.

Select the finest linen cloth with fine and uniform particles, and stretch the canvas on a frame 10-20 cm larger than each side of the original canvas. When stretching the cloth, you must keep a straight line equidistant, so that stretching the canvas will not cause imbalance of power. Then spray water on the canvas, and when the canvas is dry, rub it with your hands and then tighten it. Repeat this for three or four times, so that there will be no disharmony between the old and new canvases and the adhesion will be increased.

Second, the preparation of old paintings

Answer: Removal and cleaning of inner and outer frames: Do not remove the inner and outer frames arbitrarily, so as not to hurt the paint layer and substrate. Use a vacuum cleaner to gently absorb the dust on the surface, or use a brush to brush the capillary. Be gentle and careful when doing these tasks.

B. Flatten the canvas: stick the painting on the wooden frame with acid-free kraft paper. Sticking the edge of the picture, in order to avoid peeling during leveling, it is necessary to stick cotton paper on the picture, and then stick kraft paper around the picture covered with cotton paper. The old f 1} 1 cloth will be naturally tightened and leveled by the tension of the four sides in the process of drying in the shade.

C. Cleaning the back of the old painting: When the old painting is mounted on cotton paper, you can turn the work upside down and clean the back. Generally, old works are preserved for a long time, and a lot of dust, microorganisms and eggs will be attached to the back, so they should be thoroughly cleaned up, otherwise the adhesion effect after transplantation will be affected.

Thirdly, the preparation of wax.

The adhesion between the old canvas and the new canvas depends entirely on the prepared wax solution. The formula of wax is: pure beeswax: Dama resin: turpentine beeswax is sticky, Dama resin is also a good adhesive, turpentine can soften beeswax and Dama resin. The preparation method is that beeswax and dammar resin are heated and dissolved in a certain proportion, then turpentine is added, stirred and cooled, and after being completely solidified, it is heated and completely dissolved, so that it can be used.

Wax adhesion between old and new canvas

When all the steps are ready, you can start pasting the old and new canvases. First, put the flattened old canvas face up, seal it on the stretched new canvas with glue and cotton paper to dry, then melt the wax, and then apply the wax on the back of the hemp canvas with a brush. After painting, heat the wax with an iron to make the wax penetrate the new canvas and reach the old canvas. Pay special attention to the heating temperature and pressure at this time. After ironing, spread cellophane on the wax surface and cool it with iron sand to remove the excess wax. Press it with iron sand for another day or two. After blanching, cooling and flattening, the old and new canvases will be closely combined, and there will be a layer of wax at the peeling place of the pigment. At this time, wet the cotton sandpaper on the front and tear it off. What is not easy to remove can be wiped off with petroleum ether, and the old painting will be completely exposed. Cleaning and repairing the surface of the work is the most dangerous and difficult work, because once this work fails, it will directly affect the original appearance of the work. Especially the clean picture, if you wash it too much, you can't restore the original appearance of the work.

First, clean up the picture

When preparing a clean solvent, we must first distinguish the strength of the solvent. Many solvents will seriously damage the materials used in the works after use, and sometimes even corrode the coating of the works, making the texture of the coating soft, such as acetic acid, ammonia water, amine butyrate and so on. Commonly used solvents are: white alcohol for painting, pure turpentine, alcohol, acetone, benzene, xylene and so on. Many solvents can be mixed into two, three or even four kinds, and each solvent has its own characteristics and dissolution, which depends entirely on the pollution degree of materials and the tolerance of works. But no matter which way, the most basic thing is that the restorer must first test the cleaning function of the solvent in a corner of the work to make sure there is no problem before using it, so as not to cause regret and harm to the work. The cleaning process is to dip cotton in the solvent, apply it to the surface of the work and rub it gently. Gradually, it can be found that cotton turns dark yellow due to infection with Van Niss layer or dust, and it can generally be determined to be clean until cotton is no longer contaminated with any stains, and at the same time, it must not harm pigments. The success of cleaning depends entirely on personal experience and judgment on repair.

Second, fill in white pulp.

If the surface of the work is too cracked or damaged, resulting in many holes, it should be filled with white mortar to restore the flat surface. The daubing materials are as follows: firstly, take a proper amount of water-based animal glue, heat it with waterproof heating method, and gradually add a little honey, phenol and hydrated lime, then daub the heated white paste in the hollow, and shape corresponding strokes around it. The place filled with white paste is white.

Third, complementary colors

The work of complementary color has caused controversy among many artists and scholars. Because complementary color is undoubtedly from the hands of restorers, some people think that it will destroy the aesthetic value of the original painting. On the contrary, some people think that this can make up for the defect addiction of damaged works. When you decide on complementary color, you should first analyze the color layer, so as to achieve the effect of restoration. The material used for complementary color should be high-quality watercolor, which is easy to apply and risk-free, because it can be washed with water at any time. When the background color is dry, apply Vannis (protective varnish) and then apply special repair paint, which can be easily removed with turpentine. In principle, the complementary color should be lighter than the surrounding color for future identification. All attachments can be easily removed in the future. After the above series of work, a worn-out work has basically recovered. As for the framing work, it can be decided according to the work content and personal hobbies. The long-term preservation of oil paintings should be the main task of collectors. It is necessary to find out the cause of the damage and eliminate it to ensure the maximum extension of the life of the work. The major museums and art galleries in China are almost blank in painting protection, but the restoration of oil painting A involves many fields and deserves further study. This paper introduces the general situation of painting protection in general, aiming at attracting the attention of cultural circles. The restoration and protection of China's oil paintings should be paid attention to and undertaken by the cultural and artistic circles.