scholarly journals Hydrolysis optimization and application of animal glue binder for casting

2021 ◽  
Vol 1948 (1) ◽  
pp. 012217
Author(s):  
Tian-shu Wang ◽  
Zhen Zhang ◽  
Shao-jun Zhang ◽  
Ming-yu Wang
Keyword(s):  
2008 ◽  
Vol 59 (4) ◽  
Author(s):  
Irina Crina Anca Sandu ◽  
Constantin Luca ◽  
Ion Sandu ◽  
Viorica Vasilache ◽  
Mikiko Hayashi

This is the second paper belonging to a study concerning the authentication of ancient easel-paintings, on canvas and wood support, from private and public collections, by using the FT-IR spectrophotometry technique for the analysis of the painting materials. Different pigments, egg binders, caseins and animal glue, often found in ancient easel-paintings on wood or canvas, have been used as standards for establishing the ageing rate of the paintings by correlation with the dates presented in the first note. The determination of the degradation rate of the painting materials is an important archaeometric characteristic used in authentication.


2019 ◽  
Vol 14 (1) ◽  
pp. 63-69
Author(s):  
Ji Sun Choi  ◽  
Yong Jae Chung 
Keyword(s):  

2015 ◽  
Vol 28 (3) ◽  
pp. 221-227 ◽  
Author(s):  
Jongseo Park
Keyword(s):  

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Chen-chen Fan ◽  
Qian Tang

This paper aims to develop a modified animal glue sand binder for foundry casting with improved water resistance and bonding strength. An efficient method is reported by using sodium hydroxide as the catalyst to improve the operability of animal glue binder and allyl glycidyl ether as the modifier to improve the water resistance and bonding strength. Sand specimens prepared using allyl glycidyl ether-modified animal glue binder were cured by compressed air at room temperature. The proposed method saves energy and is environmentally friendly and inexpensive. Compared with unmodified animal glue binder, standard dog bone sand specimens with allyl glycidyl ether-modified animal glue binder had higher tensile strength of 2.58 MPa, flowability of 1.95 g, better water resistance (a lower decrease in tensile strength at 25 °C and relative humidity of 60%), and good collapsibility. This allyl glycidyl ether-modified animal glue binder is suitable for practical application in the foundry industry.


2013 ◽  
Vol 1 (1) ◽  
pp. 21 ◽  
Author(s):  
Parviz Holakooei ◽  
Abbas Abed-Esfahani ◽  
Samad Samanian ◽  
Hesam Aslani

The raised substrates of gilding decorations, called lāyachīnīī in Persian, were widely used throughout the Safavid period (1501-1736 AD) in Iran. This paper presents the first analytical data obtained from the lāyachīnīs of three seventeenth century royal Safavid buildings (ʿAlī- Qāpū, Chihil-Sutūn, and Hasht-Bihisht) in Isfahan, Iran, using energy dispersive X-ray spectroscopy, scanning electron microscope, Xray powder diffraction, and thin layer chromatography. According to the analytical data, different forms of calcium sulfate (dihydrate, β-hemihydrate, and anhydrite), the red iron oxides, and a proteinaceous binder (probably animal glue) are the main constituents of the raised lāyachīnī substrates. The results show that a dry mixture of the plaster of Paris and the red iron oxides are mixed with diluted animal glue to obtain a slurry to be applied in several layers, one top of the another, to achieve the raised substrates. This technique is similar to those European raised pastiglia substrates although the method of the preparation in the Persian technique is different from the European one.


1952 ◽  
Vol 44 (10) ◽  
pp. 2275-2284 ◽  
Author(s):  
William Q. Hull ◽  
Walter G. Bangert
Keyword(s):  

2020 ◽  
Vol 10 (10) ◽  
pp. 3558
Author(s):  
Petru Ovidiu Tanasa ◽  
Ion Sandu ◽  
Viorica Vasilache ◽  
Ioan Gabriel Sandu ◽  
Ioan Cristinel Negru ◽  
...  

The paper presents the expertise of authenticating a painting by Nicolae Grigorescu through the involvement of multi-analytical techniques, in order to identify and evaluate some archaeometric and chemometric characteristics of the pictorial materials and of the support, used in determining the age. The painting is made with oil colors on pressed cardboard, with preparation based on chalk powder and animal glue. The painting presents two elements as being counterfeit, which have attracted suspicions, namely the signature of the author (presenting a semi-transparent covering veil), and, on the back, a writing of dating, performed by a very controversial art historian. The investigation was carried out by direct analysis with magnification devices, in reflected UV (ultraviolet), VIS (visible), and NIR (near- infrared) light, and by OM, SEM-EDX, and μ-FTIR. The results showed that the painting is authentic and belongs to Nicolae Grigorescu, and the dating established previously by Amelia Pavel through the writing on the back is certain.


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