Acrylic emulsion paint films: The effect of solution pH,conductivity, and ionic strength on film swelling and surfactant removal

To date, a limited number of aqueous conditions have been tested experimentally as potential cleaning reagents on modern acrylic paint films. Those assessed have tended to extract measurable quantities of paint film components and distort the paint films physically. In this paper the results of a series of experiments designed to examine pH, conductivity, and specific ion effects of potential aqueous cleaning solutions on a series of commercial acrylic paints are reported. A three-dimensional microscopic technique was used to characterize the physical (volume and surface roughness) changes and liquid chromatography-tandem mass spectrometry was used to characterize the chemical (extracted surfactant) changes following paint film exposure to the aqueous solution. The tested paint films in this study clearly exhibit an isotonic point below which swelling and extraction is significant, and above which the swelling and extraction is diminished. Manipulation of conductivity and the ionic species in solution can reduce both the physical film changes and surfactant extraction from acrylic paint films; while pH appears to be of limited use in controlling aqueous cleaning effects. Moreover, there seems to be a specific ion effect for both swelling and de-swelling in acrylic paint films that can be rationalized through the Hofmeister Series.     

环氧—丙烯酸乳液涂料的研究(Ⅱ)

通过将环氧树脂接枝到甲基丙烯酸聚合物上,成功地合成出一种水乳型环氧丙烯酸涂料。并在本论文(Ⅰ)的基础上就胺用量对涂料性能的影响进行了考察。同时,为了改善漆膜性能,降低成本,我们又对在环氧丙烯酸树脂中加入第二种聚合物对涂料性能的影响进行了研究。所得样品主要性能均可达到美国样品的水平。     

瓦楞纸用水性油墨的研制

以自制丙烯酸乳液为连结料,添加碳黑色浆,消泡剂,流平剂,增稠剂、成膜助剂制备了水性油墨,对水性油墨的细度、耐水性、光泽度等指标进行了测试,结果表明：水性油墨的各项指标符合工业标准。     

腈纶废水的微波处理研究

应用微波技术对腈纶废水进行了降解处理,考察了反应时间、微波功率、溶液的酸碱性及催化剂对降解反应的影响,并考察了最佳反应条件下腈纶废水的可生化性能．实验结果表明,微波法处理腈纶废水的最佳条件为:反应时间为20s,功率为中档,初始pH=3-5;二氧化锰和二氧化钛两种催化剂对降解反应的催化效果比较明显,当每1L废水中加入1g此催化剂,pH=3-6时,化学需氧量(COD)去除率可达60％．     

The evolution of Lucio Fontana's painting materials

Abstract

The study focuses on the range of pigments and media that the Italian artist Lucio Fontana (1899–1968) employed for selected works dating between 1949 and 1968. Samples were taken from ten groups of works, all on canvas support, as well as from painting equipment that survived in the artist's former two studios. Techniques of analysis used were pyrolysis-gas chromatography–mass spectrometry for media identification, and laser desorption ionization time-of-flight mass spectrometry and Raman microspectroscopy for pigment identification. Fontana's reputation as a daring and experimental artist, best known for his group of slashed paintings called tagli, is seen to correspond with certain unusual material choices he made. The study also points to several links that exist between seemingly unrelated cycles. These links are, among others, based on experiences with in part novel media such as oil, alkyd, polyvinyl acetate, acrylic, acrylic–vinyl, and mixtures of them. With regard to pigments, the selection of samples showed that they were mostly of a synthetic organic nature.     

Fungal bioreceptivity of Japanese tissue papers treated with plant dyes,watercolours, and acrylic paints in paper conservation

Despite substantial literature on the dyeing of textiles, there is a lack of research about colouring Japanese mending papers (tissue papers) used for paper conservation purposes. This study investigates the fungal bioreceptivity of Japanese tissue papers after they have been treated with various dyes and pigments. A variety of toning materials including plant dyes, watercolours, acrylic paints, inks, pastels, gouaches, and colour pencils are commonly used by conservators for paper toning purposes. In this study, two Japanese tissue papers (Yukyu-shi and Sekishu Mare) were treated with selected plant dyes, watercolours, and acrylic paints and then inoculated with fungal species. Quantitative real-time polymerase chain reaction (qPCR) was used to quantify the DNA from Aspergillus niger and Penicillium rubrum as a proxy for fungal species abundance before and after inoculation and artificial moist heat ageing. qPCR primers which were universal for fungi amplified DNA from papers inoculated with A. niger and P. rubrum and these species were found to grow less on treated Sekishu Mare and Yukyu-shi papers compared with untreated papers. Sekishu Mare papers treated with artists' acrylic paints were found to be more resistant to fungal growth than similarly treated Yukyu-shi papers. This study suggests that for the best long-term preservation outcomes for paper materials in archives, libraries, galleries, and museums, acrylic paints generally perform better in conservation terms than most plant dyes and watercolours, although most colourants displayed some bioinhibition.     

The evaluation of selected poly(vinyl acetate) and acrylic adhesives: A final research update

Abstract

The final report on the Canadian Conservation Institute's poly(vinyl acetate) and acrylic adhesive research is given after 25–27 years of dark aging and 12–15 years of light aging. A total of 27 poly(vinyl acetate) and 25 acrylic adhesives were tested for pH, volatile emissions (mostly acetic acid), flexibility, strength, and yellowing after aging. In 1996, the work was first published after three to five years of aging data had accumulated. Measurements for pH, yellowing, strength, and flexibility were recently repeated again and these results are reported here. These new data points are reported to provide insight into the effect of these longer aging periods on the products included in the study. As well, the most stable (according to set criteria) poly(vinyl acetate) and acrylic adhesives tested are revealed, which, except for a few products, do not differ greatly from those reported in 1996.     

外墙涂料基料—硅丙乳液的制备及表征

以丙烯酸丁酯、甲基丙烯酸甲酯、八甲基环四硅氧烷为单体,通过乳液聚合制得了有机硅-丙烯酸酯共聚物,探讨了影响乳液性能的因素,确定了乳液聚合的最佳反应条件.     

The influence of temperature and humidity on swelling and surfactant migration in acrylic emulsion paint films

It has often been observed anecdotally and implied through experimentation that acrylic emulsion paintings accumulate and entrain soils over time due to the inherent mechanical softness in artist's acrylic paint films, through the presence of hydrophilic film components, and by virtue of the ubiquitous presence of surfactant moieties on these film surfaces once they dry. In the present study, it has been this last effect that we have sought to describe more fully in terms of surfactant responsiveness to both temperature and relative humidity (RH). Surfactant hydration and dehydration under varying temperature and RH conditions affects the ultimate partitioning of the surfactant at the paint–air interface, as well as the inherent size, aggregation tendencies, and solubility of surfactant in the bulk paint materials which contain components that are highly responsive to changes in temperature and RH (e.g. polyacrylic or polymaleic anhydride-type dispersal materials). In this work, analytical techniques including three-dimensional microscopy and quartz crystal microbalance with dissipation were used to add to and reinforce current understanding of the physical and mechanical changes to acrylic paint films with temperature and RH. The migration of surfactant at the film surface was studied using desorption electrospray ionization-mass spectrometry and attenuated total reflectance Fourier transform infrared microscopy.