ACRYLIC PRIMERS IN FILLING THE GAPS OF THE PICTURAL LAYER ON

WOODEN STAND
Ioana HUTANU
Alexandru Ioan Cuza University Iasi- Faculty of Geography and Geology; Nature Science
Str.Universitatii nr. 1, 500068 Brasov, Romania
Ion SANDU
Alexandru Ioan Cuza University Iasi,
ARHEOINVEST Platform, Blvd. Carol I 11, 700506, Iasi, Romania
Viorica Vasilache
Alexandru Ioan Cuza University Iasi,
ARHEOINVEST Platform, Blvd. Carol I 11, 700506, Iasi, Romania
Abstract
Restoration of structural physical integrity of heritage objects, which are in various stages of
decay-deterioration, requires special attention and implementation of fundamental principles of
restoration. The present study describes a few experiments which test the compatibility and
adaptability of acrylic primers applied in superficial and deep gaps. Samples were taken from an icon
in collapse, from personal collection. The samples were kept for 12h at a temperature of 115C, which
is equivalent to aging at 20C for one year. For the calculation of the artificial aging factor through
thermo-oxidative was used the Arrhenius equation. The analyses were made using the following
techniques: SEM-EDX and CIE L*a*b* colorimetry.
Key words: panel painting, acrylic primer, acrylic binder, SEM-EDX and CIE L*a*b* colorimetry.
INTRODUCTION
Since ancient times, the composition and application of primers on paintings on wood panel,
were essential clues for the recognition of painting schools and periods. For a very good adhesion
between the wood panel and the painting, the primer should have a suitable permeability to ensure
optimum adhesion to the substrate and the original binders (Sandu et al. 2000; Sandu 2007, Knut
2000). If in the Latin countries, the primer composition consisted of plaster or chalk, in the Northern
Europe was used crete, kaolin or white clay.
Sometimes, the elements mentioned above were mixed with marble dust to increase the
uniformity and smoothness of the composition (Sandu et al. 2001c). Therefore, in order not to create
tensions between originals (Lukomski 2012) and those used in restoration, it is essential to know the
elemental composition of primers and binders which are apply on gap areas (Rachwal et al. 2012).
OBJECTIVE
The main objective of the present research is to test the adaptability and the compatibility of
new acrylic primers and binders. More precisely, these primers and binders were used on samples
taken from an old icon. The samples were artificial aged.
MATERIAL, METHOD, EQUIPMENT
The experiments were made on six old wood samples which have the following dimensions:
3.5x3x2cm. The wood samples were taken from an icon painted in tempera, with gesso, in collapse,
from a personal collection. The samples were taken from particular areas. (Fig. 1). The samples have
superficial and deep gaps (Hutanu et al. 2015).

Fig. 1.
The image of the icon
a front; b back
In completing the gaps from the pictural layer of the samples, it was used three acrylic
primers: Acrilic Primer for painting, producer Sonnet, Gesso Acrilico, producer Maimeri SpA, Apla
Stoco, producer Atlas Corporation S.R.L. and two binders: Acrylic Binder, producer Maimeri SpA
(Hutanu et al. 2015), Woodfix Super D3 for wood and laminated flooring, producer Den Braven.
The first three samples (marked with A1, B1 and C1) were brushed with Acrylic Binder and
after drying it was applied, gradually, on each sample, each one of the three primers: A1 with Apla
Stoco, B1 with Acrylic Primer and C1 with Gesso Acrylico. The following three samples were brushed
with Woodfix Super D3 for wood, over which was applied, gradually, in the same order, the primers
presented in this study. Then, those six samples were subjected to artificial aging through controlled
heating in an oven with thermoregulation at 115C, for 12 hours, the equivalent of natural aging by one
year, at normal temperature.
The table below provides primers and binders included in this study, along with their technical
data sheet.
Table1
The primers and binders with technical sheet
Primers and
binders

Acrylic Primer for

painting

Gesso
Acrilico

Apla
Stoco

Acrylic
Binder

Woodfix Super
D3

Producer

Sonnet

Maimeri SpA

Maimeri Spa

Den Braven
Republica

Made in Rusia

Made in Italy

Acrylic primer on the

basis of wateracrylic dispersion is
used for coating of
canvases,
cardboard, wood
surfaces for oil,
acrylic tempera and
gouache colors.

Contains:
Acrylic resin in
water-based
emulsion.
Titanium
Dioxide Filler.
Stabilizer
ready to use,
satin finish
and an
excellent white
point. Ideal for
canvas, paper,
wall, wood
and metal.

Atlas
Corporatio
n S.R.L.
Made in
Romania
Apla Stoco
is a white
acrylic
putty for
interior and
exterior
use. It is
suitable for
filling and
leveling
wall
surfaces
made of
plaster,
concrete,
bricks,
gypsum
boards.

Made in
Italy
Ideal for
dense
painting, it
binds any
amount of
sand in
powder and
grains,
marble in
dust and
fragments,
paper, wood
in powder or
chips, glass,
asphalt and
any other
inert fill.

Moldova,
Chisinau
Is a liquid one
component wood
adhesive, fast
tacking water
resistant. The
glue dries
translucent. Is
designed to glue
wood on wood,
laminated
flooring, furniture,
window frames,
doors, paneling
and ladders

Technical
sheet

The analysis have been made using a scanning electron microscope, type SEM VEGA II LSH,
made by Czech TESCAN, coupled with EDX detector type QUANTAX QX2, made by
BRUKER/ROENTEC, Germany. The microscope connected to a computer, has a tungsten electron
filament, which can reach a resolution of 3nM to 30kV, with 30x zoom and a million X, accelerating
voltage 200V to 30kV, scanning speed 200ns to 10ms for each pixel. Pressure is lower with 1x10-2
Pa. The resulted image can be formed with secondary electrons (SE) and retro diffusion electrons
(ESB). QX2 QUANTAX is an EDX detector used for the quality and quantity of the micro-analysis.
For calculation of the artificial aging factor through thermo-oxidative was used the Arrhenius
equation: AAF = Q10[(TAA-TRT)/10]. The accelerated aging time was done by dividing the desired time to the
AAF factor (http://www.westpak.com/page/Calculators).
The evaluation of discoloration was performed using LOVIBOND RT 300 (Reflectance Tintometer)
spectrophotometer. This allowed the registration of each stage of chromatic deterioration, directly on
the sample, before and after consolidation, through the CIE L*a*b* system. The total color change
(E*) was calculated in each point, according to equation (Schanda, 2007):
E *

(L* ) 2 ( a * ) 2 ( b * ) 2

Where: L* is the luminosity change in the respective point after completing the gaps with primers and
at different time intervals, until one year, comparative to initial value:
L* L*s .completed L*initial
a* is the change of the red-green coordinate in the respective point after completing the gaps and at
different time intervals, until one year (equivalent with 12 hours by artificial aging), compared to initial
value:
*
a * a s*.completed ainitial
b* is the change of the yellow-blue coordinate in the respective point after completing the gaps and at
different time intervals, until one year, compared to initial value:
*
b * bs*.completed binitial
The obtained data was then transferred to the computer and processed, allowing a
background to the discussions and conclusions on the results of investigations.
All the five curves of graphics were statistically processed through Microsoft Excel, using the
method of Regression analysis, which allows the positioning of the tendency line, whose
characteristics are presented in the top of each graphic.
RESULTS AND DISCUSSION
First, we studied the nature of the original gesso, acrylic primers and binders, on the base on
chemical composition EDX, the form, morphology and layout of chemical components of these
experiments using SEM (Fig. 2).

Fig. 2.
The EDX microphotographs of the primers and binders (500xBSE and SE):
a Original gesso of samples, b Apla Stoco, c Acrylic Primer,
d Gesso Acrilico, e - Acrylic Binder, f - Woodfix Super D3
From these microphotographs we can observe that Acrylic Primer has the same morphology
as Gesso Acrilico. The other binders and primers have a different morphology (Fig. 2).
TABLE 2
CHEMICAL COMPOSITION OF THE ELEMENTS EDX OF THE PRIMERS AND BINDERS
From the elemental analysis (Table 2) it was found that the first primer has in his composition
kaolinite (aluminum hidroxisilicat), CaCO3 and TiO2. Primer 2 has CaCO3 and TiO2. The third primer
PRIMERS
Elemental composition in weight percent
AND
Si
Al
Ca
Mg
P
Ti
S
C
O
BINDERS
Acrylic
Primer for 5,646 6,782 26,309
8,394
2,308
50,558
painting
Gesso
0,604 1,562 16,168
25,570
4,626 51,466
Acrilico
Apla
0,123 22,454 0,069
6,168 71,183
Stoco
Original
gesso of
12,450
10,605 1,579 75,365
samples
Acrylic
0,222
0,109
0,224 24,680 74,761
Binder
Woodfix
0,470 35,449 64,080
Super D3
has only CaCO3. Original primer is based on CaSO4. The two binders are of organic nature.
The films of the two binders, brushed on all six samples, had initially white color, but after 30 '
they became colorless. After the applied primers were dried, we start to polish them, considering the
fact they have to be chromatic integrated. Samples A1 and A2, filled with APLA Stoco, were both very
well polished with cotton soaked in warm water, and with a scalpel. B1 and B2 samples, completed
with Acrylic Primer, could not be polished because the primer has become elastic and shiny. The
polishing with wool stick of samples C1 and C2, filled with Gesso Acrylico, was difficult. Instead, the
polishing with the scalpel had no problem.
For the calculation of the aging factor through thermo-oxidation, it was used the equation of
Arrhenius: AAF = Q10[(TAA-TRT)/10]. The time of accelerated aging was calculated by dividing the 12 hours
time (the duration of artificial aging) to AAF factor (http://www.westpak.com/page/Calculators).
Chromatic modification resulting after artificial aging has been determined through CIE L*a*b*
colorimetry method, by reading the L*a*b* values and the evaluation of DE from 3 to 3 hours, an hour

being equal to one month aging in normal conditions. Chromatic deviation was evaluated in the
coordinates L* a* and b*, in relation to the initial value for the same sample and in the same point
(Table 3).
TABLE 3
L*, a*, b* VALUES FOR THE SAMPLES DURING ARTIFICIAL AGING

Samples
Acrylic
Primer

CIE L*a*b*
L*

initial
83.21

3h
84.11

6h
80.63

9h
83.12

12h
82.33

a*
b*
L*

+1.03
+8.56
87.77

+1.47
+9.23
84.9

+1.53
+9.24
87.05

+1.66
+9.98
88.81

+1.70
+9.65
88.82

Apla Stoco

a*
b*
L*
a*
b*

+0.59
+10.35
90.56
+1.17
+10.77

+1
+11.18
89.71
+0.93
+9.97

+1.24
+10.09
89.22
+1.04
+10.53

1.62
+10.89
89.83
+1.73
+11.96

+1.74
+11.41
89.65
+2.04
+12.13

Acrylic
Primer with
Woodfix D3

L*

87.66

88.23

88.10

88.80

85.71

a*
b*

+1.38
+9.51

+1.38
+9.57

+1.58
+10.03

+1.42
+9.51

+1.72
+9.63

L*

86.03

91.56

85.52

86.23

84.55

a*
b*

+0.57
+7.72

+0.72
+8.73

+1.03
+8.76

+1.08
+8.98

+1.24
+9.13

L*

87.46

90.12

89.04

88.05

87.11

a*
b*

+0.97
+9.78

+0.79
+8.68

+1.44
+10.55

+1.22
+9.64

+1.66
+10.31

Gesso
Acrilico

Gesso
Acrilico
with
Woodfix
D3
Apla Stoco
with
Woodfix D3

The color change was calculated for each color coordinate (L*, a* and b*) as related to its
initial value in the same point (Fig. 3).

A1 - Apla Stoco with acrylic Binder

A2 - Fig. Apla Stoco with Woodfix Super D3

B1 - Acrylic Primer with acrylic Binder

B2 - Acrylic Primerr with Woodfix Super D3

C1 - Gesso Acrilico with acrylic Binder

C2 - Gesso Acrilico with Woodfix Super D3

Fig. 3.
The E* variations of the six samples,
where t = time and h = hours
The equation has the following form y = a x + b, where b indicates the value of y when x = 0
and a is the regression coefficient. R 2 which appears on the graphics, it is called determination
coefficient, indicating the percentage from the dependent variable (y) estimated by explicative variable
(x), through subsequent equation of regression. The more R 2 is closer to 1, the more the correlation
between the two variables is higher (Anghelache (Dumbrava) 2010, Benjamin et al. 2010).
Comparing the samples brushed initially with acrylic Binder with those brushed with Woodfix
Super D3, before the filling of the gaps with all three primers presented in this study, we can observe
that the smallest chromatic deviation is 0.94 and it was highlighted on sample A1, brushed with
Woodfix Super D3 and completed with Apla Stoco. Afterwards, on the brushed samples with the same
binder, E* variations modify, passing 2 units, for samples B2 with cu Acrylic Primer and C2 cu Gesso
Acrylico. The best values were registered on brushed samples with acrylic Binder. E* variations start
from 1.55 for sample B1 completed with Acrylic Primer and reach up to 2 units for A1 with Apla Stoco
and C1 with Gesso Acrylico. Comparing the samples C1 and C2, we can observe that the tendency
line for sample C2 with Gesso Acrylico, brushed with Woodfix Super D3, indicates a stabilization of the
chromatic deviation. Instead, for sample C1, E* variations are insignificant, even if the tendency line
is ascendant.
CONCLUSIONS
As we can see from the graphics, E* variations registered by all six samples, after one year
aging, at an temperature of 115C, are all almost insignificant. The highest chromatic deviation is 2.15,
registered by sample C2, and the smallest is 0.94, registered by sample A2.
Taken into consideration the fact that samples B1 and B2 with Acrylic Primer cannot be
polished because they have an elastic texture after drying, Acrylic Primer cannot be utilized in filling
the gaps of the pictural layer.
After artificial aging by one year, E* variations are insignificant for samples C1 and C2. Of all
the new acrylic primers used, we can say that primer Gesso Acrylico can be used in filling the gaps of
the pictural layer because, after drying, he can be polished and chromatic deviation is minimum.

For sample A1 brushed with acrylic Binder, E* variations registered on the entire period of
artificial aging are insignificant. E* variations registered for sample A2 are minimum, even if it
exceeds two units at three hour. The tendency line indicates a chromatic stability. In conclusion, the
primer Apla Stoco can be used with good results in completing the gaps of pictural layer.
ACKNOWLEDGEMENT
This work was supported by the strategic grant POSDRU/159/1.5/S/133652,
co-financed
by
the
European
Social
Fund
within
the
Sectorial
Operational
Program Human Resources Development 2007 2013.
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