23.03.2013 Views

Series editors' preface - Wood Tools

Series editors' preface - Wood Tools

Series editors' preface - Wood Tools

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

Plastics and polymers, coatings and binding media, adhesives and consolidants 141<br />

formation temperature (MFFT) below which<br />

the droplets do not flow together and therefore<br />

do not form a satisfactory film. The MFFT is<br />

important in relation to working properties,<br />

hardness and susceptibility to creep (especially<br />

important where emulsions are employed as<br />

adhesives). Emulsions can be prepared with<br />

varying sizes of dispersed particles. Small particles<br />

give good penetration and binding of<br />

pigment particles whereas large particles tend<br />

to remain more on the surface. This can be an<br />

advantage where consolidation which minimizes<br />

darkening of a chalky friable surface is<br />

required. The observations made about coatings<br />

in general apply equally to films formed<br />

from emulsions.<br />

Before using emulsions as conservation coatings<br />

it is wise to investigate their composition<br />

since they are prepared by commercial emulsion<br />

polymerization processes and may contain<br />

undesirable additives. For an emulsion to form<br />

a satisfactory film it is necessary that the Tg of<br />

the polymer should lie some degrees below<br />

the ambient temperature. One way to achieve<br />

this is by use of a fugitive plasticizer in the formulation.<br />

Such plasticizer is slowly lost by<br />

evaporation in the final stages of drying causing<br />

Tg to rise and improving hardness. The<br />

nature of such plasticizers and other materials<br />

such as dispersing and coalescing agents<br />

should be known before use. Once dry, these<br />

films cannot normally be re-dispersed in water<br />

but require a polar organic solvent for removal.<br />

The nature of solvents needed for removal<br />

should be known before the material is<br />

applied. Emulsions are more thoroughly<br />

treated in the section on consolidation in<br />

Chapter 12.<br />

Each time a varnish is removed there is a risk<br />

of solvent action on the underlying paint,<br />

including leaching, swelling and partial dissolution<br />

of the paint film. All coatings change<br />

chemically as they age, to an extent that is<br />

largely predictable based on the known chemistry<br />

of the coating. It is therefore important to<br />

consider carefully at the time of application of<br />

a coating, the likely requirements for its<br />

removal and the effect this will have on the<br />

paint. A resin that is prone to chain scission, or<br />

the breaking apart of the molecule into smaller<br />

units, will cause the resin to loose some of its<br />

cohesive strength. A polymer that crosslinks as<br />

the coating cures and ages becomes insoluble<br />

making it difficult to remove. Polymers that are<br />

chemically stable, undergoing minimal chain<br />

scission or crosslinking over time, are the most<br />

likely to be long-lived coatings. It is easier to<br />

predict the behaviour of a pure substance than<br />

of a formulation or mixture containing several<br />

materials.<br />

4.4 Coatings – structures and<br />

preparations<br />

The basic elements of decoration considered<br />

from a structural viewpoint are the support, the<br />

ground, the ‘paint’ or other decorative layer,<br />

and the varnish. The relationship of these layers<br />

is shown diagrammatically in Figure 4.3.<br />

Each component in a decorative scheme has a<br />

particular function to fulfil. The desirability of<br />

properties varies with different components<br />

but adhesion to adjacent layers, internal cohesion,<br />

hardness, brittleness, strength, sensitivity<br />

to light, temperature and relative humidity,<br />

gold leaf<br />

bole<br />

(a)<br />

gesso<br />

binding medium<br />

void<br />

pigment<br />

particles<br />

(b) (c)<br />

gesso<br />

varnish<br />

paint<br />

gesso<br />

wood<br />

substrate<br />

Figure 4.3 (a) Diagrammatic representation of the<br />

layer structure of a painted and gilded surface,<br />

consisting of wood substrate and gesso ground, with<br />

paint layer/s and gilding (bole and gold leaf) covered<br />

by a varnish layer. (b) Underbound or ‘lean’ paint often<br />

appears matte. It has minimal binding medium that is<br />

often only barely sufficient to hold pigment in place.<br />

(c) Well-bound, medium rich or ‘fat’ paint usually<br />

appears glossy. The pigment particles are fully wetted<br />

by the medium

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!