Component Materials, 3D Digital Restoration, and Documentation of the Imperial Gates from the Wooden Church of Voivodeni, Sălaj County, Romania

The wooden churches from Transylvania, Romania, are a unique and representative cultural heritage asset for rural communities, both in terms of architecture and the style of painting that defines them as monuments of national heritage. These churches are in danger of degradation because rural communities are beginning to abandon them for various motives (e.g., they are too small, are expensive to maintain, or are being replaced by modern churches, built of stone and modern materials). The reason behind their accelerated degradation is that they are covered with shingles that need to be periodically changed and repaired to prevent water from reaching the inner painting layer, a process that is, in many cases, ignored. Imperial gates are the symbol of these churches and separate the nave from the narthex. They are made entirely out of wood and were sculpted and painted manually by skilled craftsmen and still represent the central element of these churches, in terms of art and aesthetics. The digital preservation of these heritage assets is an interdisciplinary undertaking, which begins with the physico-chemical analysis of the pigments in the painting layer, continues with three-dimensional (3D) digitization of the monument and of the objects of interest (such as the imperial gates), and finishes with a digital restoration of these monuments and artefacts. This paper presents a working methodology, successfully applied in digitizing and digitally restoring imperial gates from wooden churches in Transylvania, namely from the wooden church of Voivodeni, Sălaj County, Romania (Transylvania region). X-ray fluorescence and FTIR spectroscopy were used to determine the pigments in the painting layer of these artefacts, and after they were identified, they were synthesized in laboratory conditions. The resulting color was digitized and used for digitally restoring the artefact(s) to its (their) pristine condition. To popularize these cultural heritage assets, the authors make use of virtual reality to mediate the interaction between the general public and heritage objects in their current state of preservation, in a digital environment. Moreover, to showcase how these heritage objects were degraded over time, a digitally restored version of the artefact in pristine condition is presented alongside a version in its current state (as is, digitized, but not yet digitally restored).

A Characterization of Laser Cleaning Painting Layer From Steel Surface Based on Thermodynamic Model

In this study, the environmentally friendly nanosecond ultraviolet (UV) laser is innovatively employed laser cleaning to remove the painting layer from the AH36 steel substrate. The feasibility of UV laser cleaning the painting layer is innovatively proposed and it has been calculated by the model theoretically, followed by elaborating the prominent interaction mechanism of UV laser exactly. The initial cleaning threshold and completely cleaning threshold are 2 J/cm2 and 5 J/cm2, respectively. Afterwards, the UV laser cleaned surface quality is evaluated by the scanning electron microscopy (SEM), energy dispersive spectroscopy (EDS), optical microscopy (OM) and optical profiler (OP), respectively. The mechanical properties have enhanced dramatically after laser cleaning and characterized by the Vickers hardness tester and universal testing machine. By varying laser fluences (2, 5, 7 J/cm2) during laser cleaning, microstructures registering various sizes of corrugated shaped, craters and ring-shaped could be acquired. In addition, the mechanical properties analysis including rapid melting, quenching and dislocation density effects illustrates that laser cleaning could effectively increase surface microhardness, tensile strength and bending strength. Thus, laser cleaning method has emerged as a favourable means to strip painting layer in lieu of traditional methods for marine industry as well as this study could promote the development of laser cleaning in the field of marine engineering.

Blurring of ancient wall paintings caused by binder decay in the pigment layer

In this paper, the effect of binder decay rather than a change in the pigments on the blurring of ancient wall paintings was researched. The simulated wall paintings were prepared by brushing an aqueous solution containing gelatine and ochre grains on the surface of cylindrical compressed soil samples. Then, the dried samples were calcined at 650 °C for 2 h to obtain the simulated wall paintings with the degraded binder gelatine. Next, the calcined samples were brushed with a certain amount of acetone solution containing an ionic liquid ([BMIm]PF6) to obtain the corresponding repaired samples. Based on the results from various characterization methods (UV–vis, FTIR, XRD, XPS, SEM, TG), the following conclusions were drawn. The degradation of the binder caused by calcination increases the surface roughness of the painting layer, resulting in enhanced scattering. In this case, because scattering decrease the light absorption by the pigments, even if unchanged pigment exists in the painting layer, its colour can become blurred. The filling of the ionic liquid into the pores caused by gelatine decay in the painting layer can decrease the scattering, and the blurred colour can be restored to some extent. As typical examples, this principle was successfully applied to restore the blurred colour of an ancient Chinese wall painting (Tang Dynasty) and a pottery (Eastern Han Dynasty).

PAINTING TECHNOLOGY OF ICONS “CHRIST ENTHRONED” AND “BLESSED VIRGIN MARY AND BABY JESUS” (POKROVSKY CHURCH IN PRIORKA) PAINTED BY IVAN S. YIZHAKEVYCH. PROBLEM OF AUTHOR AND NON-AUTHOR RENEWALS

This article is dedicated to features of the late period in the icon painting of Ivan S. Yizhakevych which coincides with the religion persecution in the USSR as well as features of the study of icons in functional churches.In this paper we have set out the complex analysis of nomadic icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” from Pokrovsky church in Priorka in Kyiv. By means of the visual research using the concentrated visible light and macro photography technical, technological and painting features of the icon painting have been specified.Based on the study of the painting layer features of the author icon painting style of Mr. Yizhakevych and stylistic features that are typical for his late creative period between 1940 and 1960 have been analyzed.Based on the comparative analysis between the above icons and other icons painted by Mr. Yizhakevych we have specified the attribution and considered the possibility of author icon finishing painting in a given period in order to return brightness to faded areas and restore partially lost ones. The possibility of repainting of separate parts of icons in order to specify dimensions of separate fragments or change in the compositional position of figures is also studied.In this paper we have specified typical techniques of the author style of Ivan S. Yizhakevych used by him for the primary layer of icons and author renewal and the assumption has been made that his students had likely helped him in preparation activities and painted parts of painting that are secondary according to their composition. Based on the analysis of the painting technique and features of Mr. Yizhakevych’s style the assumption have been made that the non-author finishing painting had been made approximately between 1990 and 2000 during one of the thorough repairs of the church.In this paper it has been established that the latter non-author renewals had significantly damaged the appearance of both icons by adding the rude and unprofessional performance to their separate elements which is not typical for the artist; this fact causes major difficulties when considering these icons to be integral works of Ivan S. Yizhakevych.This paper is illustrated by pictures of icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” as well as their schematic images including the analysis of author and non-author renewals.

Ion milling: the perfect cross-section of a painted textile

The successful study and conservation of historical objects is greatly enhanced by accurate materials analysis. Here embedded cross-sections from a processional marching banner were viewed by scanning electron microscopy (SEM) pre and post ion milling The application of ion-milling to the resin embedded cross-sections of the painted textile improved the sample surface resulting in greatly enhanced SEM images by producing clear distinctions between layers. It also enabled clear images which show the areas where ingress of the ground paint layer had seeped into the textile support in some areas and not on others. This perhaps indicates deliberate differences in the preparation layer depending on the type of final painting layer or it could simply be due to a lack of accuracy in its application prior to painting. The analysis of cross-section samples from painted textiles often includes the textile itself making sample preparation more complex due to the possibility of fraying of the textile during sample polishing; the ion-milling technique prevented this from occurring. To enhance findings further analysis on these ion milled cross-section samples by the use of mapping spectroscopic techniques such as Fourier transform infrared spectroscopy (FTIR) and Raman would facilitate material identification of the layers.

Assessment of Paint Layers Quality by FTIR and DSC Techniques

In order to identify the causes that led to microbiological degradation by biofouling increases a top coat painting layer applied to a railway bridge was analyzed by both FTIR and the DSC methods; the analysed painting material was that used to paint the bridge in 2013.The determinations were performed comparatively on samples of a similar painting material after 10 days of curing in a natural atmosphere at 25 � 5 �C, after 60 days of storage under laboratory conditions (22 � 5 �C, RH 60 � 10 %, natural lighting), and on samples from the painting material of a certain railway bridge after approx. 4.5 years (exposed natural weathering of temperate climate with Mediterranean influences). From FTIR determinations, the amount of oxygen containing groups (C = O, C-O, C-O-C, -HO) resulted from ageing under various conditions of the painting material.From DSC determinations, the resistance of the paint to the oxidative degradation decreases with the ageing time as resulted from oxidation onset temperatures and oxidation activation energies values - which decreases with 4 kJ / mole (about 2.2 %) in only 60 days of storage in the laboratory and with 7 kJ/mole (about 3.9 %) following exposure to 100 w/m2 for only 15 h and 29 kJ / mole (over 16 %) after exposure to 4.5 years of natural weathering.

Methodology of a glass latern conservation and restoration painted by cold technique

Предметом исследования и реставрации является фонарь матового стекла из коллекции музея-усадьбы Останкино. Он был частью убранства Этрусской гостиной Фонтанного дома графа Д.Н. Шереметева. Состояние сохранности плафона было удручающим, он был разбит на десятки фрагментов, живопись на стекле осыпалась. Для определения плана и материалов консервации и реставрации были проведены физико-химические исследования, устанавливающие технику росписи – необжиговыми красками на основе органической смолы. Далее была разработана методика укрепления, очистки и восполнения красочного слоя. После укрепления и очистки красочного слоя была проведена склейка предварительно подобранных фрагментов. Затем были восполнены утраты: небольшие – доливались по месту клеевым составом, большие – восполнялись путем снятия силиконовых форм и отливки в них восполнений. После восстановления всей формы фонаря были тонированы восполнения и клеевые швы, а также проведен монтаж предварительно очищенной бронзовой оправы. The subject of our research and restoration comes from a collection of the Ostankino Estate. This lantern is a part of decoration of the Etruscan living room of the Fountain House in St. Petersburg belonged to a count Sheremetev. The condition of safety of a lantern was disappointing, it was broken into several large and many medium and very small fragments. It consisted of 100 fragments. Many pieces were lost. On all surface of glass and a painting layer we could observe the strong pollution. The color layer was badly destroyed, the surface of the fragments was very dirty there was a widespread peeling of the paint scales, the painting was constantly crumbling at every touch. From the point of view of conservation and restoration operations it is interesting to know the old manufacturing technology of the lantern, namely technique of painting. Therefore at first we took samples of a paint layer and gave them on the analysis to our physical and chemical laboratory. The research was conducted by the following methods: microscopy in the reflected light, microchemistry, X-ray Fourier microspectroscopy. After that the technique of consolidation, cleaning and filling the gaps of a paint layer was developed. The joining process was initiated with the selection of fragments belonging to each other. Gluing started with the tiny fragments, until you get several large pieces of the lantern, let's call them blocks. Small loss on the already glued small blocks was then filled in place with an adhesive composition. The next stage was making of silicone molds of lost fragments. Large missing fragments were made using Araldite 2020. After reconstruction the whole form of the lantern, was completed tinting all the small losses, chips and adhesive joints by the developed technique. And the last step was the installation of pre-treated bronze frame.

Variables Control in the Application of Electrostatic Powder Paint: An Alternative to Reduce the Defective Fraction of Metal Parts

The high number of defective parts and constant claims from the consumer market, are some problems that the Ecuadorian metal-mechanic industry must face in the production of a variety of pieces, metal items and capital goods. The objective of this research is to propose an alternative to increase the quality of the products and reduce the defects in the production of metal parts, manufactured in the metal-mechanic industry, through the appropriate application of an electrostatic powder paint coating in the polymerization process. A diagnosis of the problems in the painting process was made and the defects in the metal parts caused by a poor control of the main variables in this process were evaluated. In addition, some aspects were experimentally tested: the effect of the temperature at which the painted parts are exposed with electrostatic powder paint, the polymerization time of the pieces remaining inside the furnace and the thickness of the applied painting layer. The results showed that the thickness of the electrostatic painting layer applied to the metal parts at different exposure times and polymerization temperatures have a considerable impact on the quality and finish of the parts for their acceptance, use and durability.