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This technique helps protect the painting from atmospheric pollution, but does not flatten or consolidate the paint surface. [2] The polyester lining supports the weight of the painted canvas and as a result, the canvas does not require to be stretched as tightly.
Storage of acrylic paintings should be clean and free of dust and heat – below room temperature is best as it will reduce further softening of the top layer of the paint. Exposing acrylic paintings to temperatures ranging near sub zero will cause damaging cracking. Acrylic paint is highly susceptible to mold growth.
A canvas sized with rabbit-skin glue can be made tighter than with other alternatives—such as an acrylic-based gesso—because of the shrinkage. This type of canvas is also valuable because it can be sanded to a flatter texture, which allows the painter to achieve a finer level of detail than can be achieved with a typical acrylic gesso ground.
The recommended handling method for panel paintings is similar to that of canvas and other two-dimensional works. Conservators are the only persons that should touch the front or back of a painting. The panel should be held by the edges using nitrile gloves and carried with two hands or in tandem by two people, depending on size.
Acrylic paint can be removed from nonporous plastic surfaces such as miniatures or models using cleaning products such as Dettol (containing chloroxylenol 4.8% v/w). [23] An acrylic sizing should be used to prime canvas in preparation for painting with acrylic paints, to prevent Support Induced Discoloration (SID).
The ground of the painting was then removed by solvents or scraping, until nothing remained but a thin skin of colour, pasted over with paper and held together by the muslin. A prepared canvas was then attached to the back of the paint layer, using the same method as was used for lining pictures. When the glue had dried, the paper and muslin ...
Paintings conservators treating a painting at the National Museum, Warsaw. A paintings conservator is an individual responsible for protecting cultural heritage in the form of painted works of art. These individuals are most often under the employ of museums, conservation centers, or other cultural institutions. They oversee the physical care ...
When used correctly, they can keep the paint wet from half an hour extra to a full day's working time. Applying too much retardant, however, can prevent a layer from drying correctly for as long as the retardant is present, causing future damage to the painting unless the affected layer of paint is removed or re-mixed.