Walls painting

Technological History (26,54—61). As a first approach, there are three groups of components supports, paint media, and pigments. The support is the substrate upon which the paint layers are laid down. This can be a specially prepared area on a wall for a wall painting, a wooden panel as in a panel painting, or a fabric in canvas paintings. Paper is a prevalent support in Oriental painting. Other supports are encountered less frequently, eg, metal panels such as copper sheet. 

The medium is the binder which provides for the adhesion of pigments. The most important types are the temper media (glue, egg, and gum), the oils, and wax. In addition, for wall painting there is the tme fresco technique, where the pigments are laid down in a fresh, wet plaster preparation layer. Several other media have been used, but much less frequendy, eg, casein temper. In modem paints, a number of synthetic resins are used for this purpose. Contemporary artist paints are often based on acryhc polymers (see Acrylic ester polymers Paints). 

The use of the various tempera and of wax has been identified on objects dating back to ancient Egypt. The Eayum mummy portraits are beautiful examples of encaustic painting, ie, using molten wax as medium. A rather special variation was the technique used by the Romans for wall paintings. In these, the medium, referred to by Pliny as Punic wax, probably consisted of partially saponified wax. In Europe, wax ceased to be used by the ninth century. 

N. S. Brommelle and P. Smith, eds.. Case Studies in the Conservation of Stone and Wall Paintings, The International Institute for the Conservation of Historic and Artistic Works, London 1986. 

P. Mora, L. Mora, and P. PhUippot, Conservation of Wall Paintings, Butterworths, London, 1984. 

On a volume basis, the most expensive component of flat wall paints is the TiO. Therefore, significant efforts are appHed to reach a standard hiding with the minimum possible level of Ti02. The efficiency of hiding by decreases as the concentration is iacreased above about 10 vol % it... 

Gloss Enamels. In contrast to exterior and flat wall paint, about half of the gloss paint or enamels sold are based on alkyd resins. Professional painters particularly favor the continued use of alkyd gloss paints. The need for reduction of VOC emission levels, especially in California, has led to efforts to increase the soflds content of alkyd paints or overcome the disadvantages of latex gloss paints. 

Colors in a laboratory should be coordinated, just as in a home. If pre-finished work benches are to be installed, they might set the color scheme. While they are available in several colors or combination of colors, the choice is not unlimited. In one case, the laboratory operator was color blind, so his wife took over the job as decorator. First, she selected a two-color scheme for the work benches. Color chips in hand, she then chose a floor covering from a number of samples submitted. For the wall paint, she found a standard color of the recommended quality that harmonized with the cabinets. A few appropriate charts and a colorful cloth wall-hanging of pipes and valves completed the decor. The result received many favorable comments from visitors to the facility. 

Bearat, H., M. Fuchs, M. Maggetti, and D. Paunier (eds.) (1997), Roman Wall Paintings Materials, Techniques, Analysis and Conservation, Institute of Mineralogy and Petrography, Fribourg Univ., Fribourg, Switzerland. 

L. Rampazzi, F. Cariati, G. Tanda, M.P. Colombini, Characterisation of wall paintings in the Sos Furrighesos necropolis (Anela, Italy), Journal of Cultural Heritage, 3, 237 240 (2002). 

M.P. Colombini, S. Francesconi, R. Fuoco, F. Modugno, Characterisation of proteinaceous binders and drying oils in wall painting samples by GC MS, Journal of Chromatography A, 846, 101 (1999). 

Wall painting in the Messer Filippo cell, Tower of Spilamberto (Modena, Italy). The painted surface is in an advanced state of deterioration the detachment of the pictorial matter from the plaster is evident, efflorescence is present, and the pictorial coating is almost completely covered by a grey-whitish film formed by microcrystalline gypsum, as proved by micro-Raman investigations. The FA profile, characterized by an A/P ratio of... 

Casadio F., Giangualano I., Pique F., Organic materials in wall paintings the historical and analytical literature, Reviews in Conservation, 2004, 5, 63 80. 

Katsibiri O., Boon J.J., Investigation of the gilding technique in two post Byzantine wall paintings using micro analytical techniques, Spectrochimica Acta, Part B Atomic Spectroscopy, 2004, 59B, 1593 1599. 

Ospitali F., Rattazzi A., Colombini M.P., Andreotti A., di Leonardo G., XVI century wall paintings in the Messer Filippo cell of the tower of Spilamberto Microanalyses and monitor ing, Journal of Cultural Heritage, 2007, 8, 323 327. 

Sixteenth century wall paintings in The pigment was applied directly on 117... 

Wall paintings of Protaton church, Egg and animal glue as binding 119... 

F. Casadio, I. Giangualano, F. Pique, Organic Materials in Wall Paintings the Historical and Analytical Literature, Reviews in Conservation, 5, 63 80 (2004). 

G. Gautier, M.P. Colomhini, GC MS Identification of Proteins in Wall Painting Samples A Fast Clean up Procedure to Remove Copper based Pigment Interferences, Talanta, 73,95 102 (2007). 

M.P. Colombini, R. Fuoco, A. Giacomelh, B. Muscateho, N. Fanelli, Characterisation of Proteinaceous Binders in Samples of the Giudizio Universale Wall Paintings at Florence Cathedral, Science and Technology for Cultural Heritage, 7(1), 49 58 (1998). 

A. Andreotti, M.P. Colomhini, G. Gautier, Proceedings of the Organic Materials in Wall Paintings Project Workshop, Prato/Florence (Italy), 17 June (2003). 

A.A. Gorbushina, K. Petersen, Distribution of Microorganisms on Ancient Wall Paintings as Related to Associated Faunal Elements, International Biodeterioration Biodegradation, 46(4), 277 284 (2000). 

V.J. Birstein, On the Technology of Central Asian Wall Paintings the Problem of Binding Media, Studies in Conservation, 20, 8 19 (1975). 

G. Gautier, A Reliable Analytical Procedure for the Characterisation and Identification of Proteinaceous Media in Wall Paintings, PhD Thesis, University of Pisa (2006). 

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