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Painting technique

Despite the ability to adapt spray painting techniques to cope with a multitude of shapes and sizes, all surfaces must be accessible for painting (and indeed for preparation). It is worth remembering that high output spray equipment is infinitely more cumbersome than the smaller set-ups used in laboratories. Thus, fins and ribs must be wellspaced with their edges made round and smooth to retain paint more readily. [Pg.326]

The catalyst inks were prepared by dispersing the catalyst nanoparticles into an appropriate amoimt of Millipore water and 5wt% Nafion solution. Then, both the anode and cathode catalyst inks were directly painted using a direct painting technique onto either side of a Nafion 117 membrane. A carbon cloth diffusion layer was placed on to top of both the anode and cathode catalyst layers [3-5]. The active cell area was 2.25cm. ... [Pg.589]

The powder painting techniques have led to considerably lower working costs. The following costs for solvent painting have disappeared with the use of powder painting.14... [Pg.35]

The Swiss painter Cuno Amiet (1868 1961) carried out experiments with binding media from at least 1902 onwards. Today, many of his paintings show several ageing phenomena that probably are due to the nature of the applied painting technique. On the... [Pg.152]

I.D. Van der Werf, K.J. van den Berg, S. Schmidt, and J.J. Boon, Molecular Characterization of Copaiba Balsam as Used in Painting Techniques and Restoration Procedures, Stud. Conserv., 45, 1 18(2000). [Pg.162]

Colour layers of artworks are a combination of powder dyes or pigments with binders. Although the binders form the minority of the colour layer, the name of the painting techniques are derived from them at present the most common techniques are oil and tempera. [Pg.168]

JJ. Boon, S. Peulve, O.F. van den Brink, M.C. Duursma, D. Rainford, Molecular Aspects of Mobile and Stationary Phases in Ageing Tempera and Oil Paint Films, in Early Italian Paintings, Techniques and Analysis, edited by T. Bakkenist, R. Hoppenbrouwers, H. Dubois, Limburg Conservation Institute, Maastricht, 35 56 (1996). [Pg.254]

S. Bianchin, U. Casellato, M. Favaro, P.A. Vigato, Painting Technique and State of Conservation of Wall Paintings at Qusayr Amra, Amman, Jordan, Journal of Cultural Heritage, 8, 289 293 (2007). [Pg.259]

S. Daniilia, E. Minopoulou, K.S. Andrikopoulos, A. Tsakalof, K. Bairachtari, From Byzantine to Post Byzantine Art the Painting Technique of St Stephen s Wall Paintings at Meteora, Greece, Journal of Archaeological Science, 35, 2474 2485 (2008). [Pg.259]

Acrylic Painting Techniques the Most Complete Guide to Acrylic Painting. 124 min. Crystal Productions, 2002. DVD. crystalproductions.com... [Pg.99]

XRF Pigment Analyses. The last five painterly and coloration characteristics listed in Table II are the result of XRF pigment analyses and show how these data can be used to extend and reenforce the visually observable physical characteristics and painting techniques. [Pg.138]

This painting technique is related to a centuries-old Chinese tradition for naturalistic flower painting in which white paint is used to form a base to give greater depth to the paint laid over it. Also, details can be painted onto the white paint without a loss of clarity, and it can be mixed with other colors to alter the strength of the tones (6). All 22 Chinese silks available for study showed this particular characteristic. [Pg.143]

Indian (11) painting techniques, we now believe that the precedent for the use of silver in this manner on Chinese textiles is of considerable antiquity. [Pg.149]


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See also in sourсe #XX -- [ Pg.257 ]




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