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Oil painting how to better repair the

oil painting the identification the repair before basic repair processes and principles. First repair to oil paintings to do a detailed inspection can be divided into the following aspects to be tested .
Must first understand the author of the work and creative years, looking for information on the artist and painting characteristics, such as the painter usual color, strokes, materials, style, creative ideas and aesthetic point of view such investigations can repair division and works to establish a deeper understanding of, and during the repair in order to more accurately grasp the work of the original creative outlook.
Second, we must first determine the painting technique is the the
oil painting or gouache painting, the size of the recorded works, themes, artist signature, complete the date, within the frame and frame store status, record these basic information and then conduct in-depth analysis.
A substrate material: to distinguish the material of the substrate material used flax, jute, hemp, cotton, mixed fibers, wood or fiberboard: fixed with nails or nail gun, nail needle; state of preservation without damage, oxidation, corrosion , damp and mold, microbial or insect against the phenomenon; after previous repair, repair and application of the adhesive mass
Drawing layer: analysis of pigment use adhesive agent; the coating paint layers thick and thin; tone is belong to next color, gray or dark hue: the color techniques used transparent painting method or opaque painting method: brush strokes delicate or rough; painting whether cracking layer, partial or full crack, crack depth, the peeling phenomenon; color layer surface blisters. assessment, then the extent of these factors, and analysis.
3, the protective layer: first to identify whether there are protective layer is coated, is a full or partial, the number of coated thickness. Careful to distinguish the color of the transparent color with the Farnese layer sick deterioration or microbial against
4, the substrate material "priming": understanding of base objects "priming" color, substrate material with or without separation, float against phenomena such as cracking, spalling or micro-organisms.
Third, laboratory diagnosis
the An ultraviolet radiation: ultraviolet radiation perspective within the protective layer and painting layer, when this ultraviolet light irradiation in the work surface, showing a blue-violet refraction of light, the use of this refracted light, you can determine the chemical reaction of the painting layer protection layer lesions situation.
2, infrared: its principle of radiation like X-ray radiation, but radiation function is not like X-ray so strong, but the perspective is much more than UV irradiation, can reach the substrate material coated the bottom of the sketch layer, can provide the correct information restorer.
After the repair, painting works of art restoration, has sentenced the two paintings the feeling as the future than on the testimony, before the repair be sure to take pictures archive. In addition, in the repair process often requires the original photographs of the works as a supplement to grasp the whole God works, color, composition and other key focus camera works full front and back sides, and then apply a macro lens, frame, split to do a partial close-up camera.
1, the preparation of the new canvas selection of fine particles, even the finest linen canvas stretched on each side than the original canvas 10-20 cm
frame . when stretched cloth to maintain the same distance from a straight line, so stretched canvas will not cause the imbalance of forces. and then spray the canvas with water until the canvas done by hand on canvas rubbing wear, canvas and then tighten three to four times and so forth, will not produce the incompatibility of old and new canvas, and to increase adhesion.
2, old paintings ready
A, inside and outside the box demolition and clean-up: inside and outside the box is removed must not be of any force, must be dismantled quite careful to avoid damage to the painting layer and the substrate material, gently sucked clean surface dust with a vacuum cleaner, or hair is very thin application pen brush can also carry out these tasks must be gentle, careful
B, flattening the canvas: painting attached to the wooden frame on the free acid kraft paste the good side of the screen, in order to avoid flattening process of peeling off phenomenon, the need on the screen covered with cotton yarn, paper, then paste kraft paper around the screen covered with cotton yarn paper mounted good old cloth in the process of dried four sides of the tension of the natural tension leveled.
C, the old painting on the back of Clean: When the old painting mounted cotton yarn paper work anti-Go to the back of the back of the cleaning work. old works to save quite a long time, there will be a lot of dust, micro-bacteria, insects eggs attached to the back of the surface to be completely cleaned up, otherwise it will affect the transplant adhesion effect.
A cleaning screen in the modulation of the cleaning solvent, you must first distinguish between the strength of the solvent, the solvent after use, it will seriously undermine the work using the materials, and sometimes even erosion of coating the bottom of the works, painted the bottom of the softened, such as acetic acid, ammonia, acid, amine and so not to use the commonly used solvents are: painting with white alcohol, pure turpentine, alcohol, acetone, benzene, xylene, many solvents can be mixed into two kinds, three or even four used together, each solvent has its own characteristics and dissolution features, this completely depends on work the materials, the degree of pollution tolerance level, but no matter what way, the basic repair division in advance must first works the corner of the experimental solvent cleaning function to determine that there is no problem to use, so as not to regret the harm caused the work to the cleaning process is the modulation a good solvent coated work surface and gently rub with a cotton stick from the gradually become dark yellow cotton infection to the Farnese layer or dust, generally until the cotton has not tainted with any stain, generally can be sure that you have a clean, while never hurt the paint can be found. the success of the cleaning work, completely personal experience and judgment to look at repair.
If the surface of the work cracking peeling or damage is too severe, a lot of depression in the space will be carried out to fill the white pulp, it replies flat surface application of the material to take the appropriate amount of water-based animal glue impermeable heating method of heating, gradually adding a little honey, phenol and hydrated lime, heated white pulp is applied to the depression of the blank space and shape corresponding to the surrounding brush strokes to fill in the white pulp at the white (fill the white pulp).
Complementary color have caused many artists with the academic home of the controversy, the complementary color is no doubt is from the repair division of the hand, therefore some people think this way would undermine the original painting aesthetic value. Relative, also some people think this way can be said that impaired complement works of flaw addiction. complementary color, the first analysis of the color layer, and are done to restore the effect of materials used by the complementary color, high-quality watercolor, this watercolor application convenience without risk, because at any time should after water washing. background dry, on the Farnese (protective varnish) and then on to fix the special paint, this paint can be easily removed with turpentine. than four weeks on the principle of complementary color at once pale, for the future to identify all fill at the future can be easily removed. an old series of works on the basic repair, As for the installed
frame According to the work content and personal hobbies.
short in order to guarantee the maximum extent possible to extend the life of a work to make the painting to long-term preservation should be the main task of the collectors to identify the causes of damage and to exclude the world major museums, art galleries in the
oil painting almost a blank in the areas of painting repair There are many worthy of further study. The repair process of oil painting, people from all walks of life and the cultural sector concern.