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As with conventional pigments a binder thinner and if necessary additives will be added to make a paint that is ready to used by the artist. Whit this powder pigment the paint manufacturer goes to work. First it goes to a hammer mill, then to a specialized mill that can reduce the pigment particles to 3 to 5 micrometer. Because of the hardness this happens in two steps. For it to become useable for fluorescent applications it has to be ground. As soon as it cools down, the reaction - mixture becomes rock solid. The reaction stops when the highest viscosity of the mixture is reached. Because the quality increases over time the primary materials are kept in the reaction process as long as possible. The resistance to solvents or compatibility with paint solvents becomes bigger. The level of cross-linking determines the quality. In this molecule that we called carrier matrix or resin before, the dyes are being dissolved. Around a hundred degrees Celsius, the so called reaction water gets isolated and evaporates before the primary materials react with each other to form large cross-linked molecules.
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When, the whole reactor is heated the primary materials melt first and form a liquid mass. Sometimes UV-absorbers antifoam and antidust additives are being added. 9 Information André Smeets Radiant Color NV (Houthalen-Belgium)ĩIn a reactor the primary materials are being mixed with the dye (colorants).Finally, a possible remedy is being proposed. Afterwards, the causes of damage resulting from UV-light –and other factors- were thoroughly analyzed. The first topic of research for this thesis concerns the composition of these different sorts of paint and pigments. The title of this thesis is born out of this last problem: Conservation problems with paintings containing fluorescent layers of paint. The retouched damage is visible under UV-light. If a fluorescent painting has damage and needs to be retouched there is a big esthetical problem. A lot of fluorescent paintings are meant to be shown under UV-light. That's why there is not much information about their aging and ways to (preventively) conserve them. These only started to be used by artists from the 60’s. My research is about very recent materials: fluorescent pigments and paints. Every material needs to be researched individually so the exact intention of the artist can be preserved for a (relatively) long period. This causes a lot of new problems in the (preventive) conservation of works containing these materials. New materials like sponge, polyester, sand, etc. In modern art we can see that artists are breaking with traditional techniques. Pour conclure, un possible remède est proposé. Par la suite, les différentes causes de dégradation- lumière UV, chaleur, etc.- sont analysées en détail. La première partie de la recherche concerne la composition des différentes sortes de pigments et de peintures. La retouche devient visible sous les lampes UV. En cas de dommage, si l’œuvre a besoin d’être retouchée, ceci pose un grand problème esthétique. La majorité des tableaux fluorescents sont conçus pour être montrés sous éclairage UV. Pour cette raison les données concernant leur dégradation et leur conservation sont peu nombreuses. Ces derniers n’ont fait leur apparition qu’au vingtième siècle. La présente recherche concerne des matériaux très récents: les pigments et les couleurs fluorescentes. Chaque matériau doit être analysé individuellement afin de préserver le mieux possible l’intention de l’artiste à long terme. Ces développements amènent de nouveaux problèmes dans le domaine de la conservation (préventive) des matériaux en question. Des nouveaux matériaux tels que l’éponge, le polyester, le sable, etc. L’artiste moderne cherche continuellement de nouvelles techniques.