Search results
Results from the WOW.Com Content Network
Consolidants used can include Asian lacquer or other synthetic or organic adhesives such as animal glue or Paraloid B-72. [16] Adhesives can be thinned with solvents in order to be wicked beneath layers of lifting lacquer or into cracks and allowed to dry while securing the loose area in place.
Fielding notes that a number of different types of adhesives may be used in this process. Glue paste, beeswax, strong copal varnish, or a glue made from pounded cheese are all listed as acceptable materials to coat the back of the artwork with. [6] The main benefits of a pounded cheese-based paste is its water-resistance.
Lacquer is susceptible to cracks and loose joins from fluctuating temperatures and relative humidity. Extended exposure to light can also cause lacquer to lose its durability. [39] Over exposure can also cause discoloration and loss of lustre. Avoiding exposure to unfiltered daylight and fluorescent lamps can help to prevent this type of damage.
Differences can be seen to the naked eye due to discoloration, being matched poorly, and change in texture or gloss. Subtle difference can also be seen by restorers by using lighting and magnification. Overpaint and surface coatings can be removed either mechanically or with the use of solvents.
Lacquer is applied to a surface that has been cleaned with ethanol, acetone, or methyl ethyl ketone. Oils from human hands prevent the lacquer from adhering to the silver. Agateen No. 27 (cellulose nitrate) and Paraloid B-72 are the most commonly used lacquers however there is a debate which lacquer, cellulose nitrate or acrylic, is best. [10]
Methyl cellulose can be employed as a mild glue which can be washed away with water. This may be used in the fixing of delicate pieces of art as well as in book conservation to loosen and clean off old glue from spines and bookboards. [citation needed] Methyl cellulose is the main ingredient in many wallpaper pastes.
Wallpaper adhesive or wallpaper paste is a specific adhesive, based on modified starch, methylcellulose, or clay [1] which is used to fix wallpaper to walls. [ 2 ] Wallpaper pastes have a typical shear thinning viscosity and a high wet adhesive tack.
Using a removal tool, a sort of awl, the painting and the intonachino attached to the cloth and glue covering are then detached, from the bottom up. The back of the fresco is thinned to remove excess lime and reconstructed with a permanent backing made from two thin cotton cloths, called velatini, and a heavier cloth with a layer of glue.