• Conservation Science in Museum
• /
• v.14
• /
• pp.29-35
• /
• 2013

In cases, such as white porcelain with openwork lotus scroll design, where the ceramics has intricate form and decorations, we normally use casts to restore the work, in that current restoration materials have short molding time which causes difficulties in delicate work. However, since using a cast for restoration requires longer work-time and uses more materials, we decided to restore in direct. Since the molding time in the restoration material is closely related to the workability, restoration material which secures longer work hours is necessary when directly restoring a complex form of body. Therefore we experimented on the work-time, color variation and workability as time passes by making mixtures of Epoxy putty and Baked clay in different ratios. As a result of the experiment, the mixture ratio of OS8:RQ2 turned out to be the most effective ratio.

• Journal of Conservation Science
• /
• v.32 no.4
• /
• pp.459-469
• /
• 2016

The goal of this study was to examine property changes induced by the choice of filler used with an epoxy resin that was developed in 2014 to restore cultural assets and consider the applicability of the resin as a restorative agent. The properties of putty mixed with 9 types of fillers and as-developed resins were compared with those of existing materials with regard to stability, superiority and applicability. The potential of the putty as an alternative material was also examined. The materials produced the best adhesiveness, color change and hardness results when mixed with lime. Micro balloon produced the best wear rates and hardening times, while diatomite produced the best tensile and compressive strengths. A plaster and white mineral pigment mixture produced the best specific gravity. Every material except for lime exhibited about 2.5-20 times higher wear rates than the existing material, which is thought to exhibit an excellent cutting force. The hardening time was enhanced by about 0.5-9 times to improve convenience. The stability of the relic was also ensured by improving hand staining without any shrinkage or deformation. The material exhibited about 0.5-27 times less yellowing. Thus, it is thought to be a material that can reduce property changes and reduce the degree of relic fatigue which occurs during reprocessing and sense of difference from relic.

• Journal of Adhesion and Interface
• /
• v.16 no.4
• /
• pp.137-145
• /
• 2015

This study aimed to develop epoxy putty as a multi-purpose connection and restoration material that can be used for material-specific restoration work such as metal, wood, ceramics, earthenware and stone artifacts by replacing synthetic resins currently being used for preservation treatment of cultural assets. Existing synthetic resins have the issue of cutting force resulting from high strength, deflection resulting from long hardening time, contaminating the surface of artifacts through staining on tools or gloves and need for re-treatment resulting from material discoloration. Accordingly, paste type restoration material most widely being used in the field of cultural assets preservation treatment was selected and examined the property to select it as an object of comparison. Based on such process, epoxy putty was developed according to the kind of agent, hardener and filler. For the purpose of solving the issues of existing material and allowing the epoxy putty developed to have similar property, property experiments were conducted by selecting agents and hardeners with different characteristics and conditions. The study findings showed that both kinds are paste type that improved work convenience and deflection issue as a result of their work time of within 5~10 minutes that are about 3~10 times shorter than that of existing material. In regards to wear rate for increasing cutting force, it improved by about 3 times, thereby allowing easy molding. For the purpose of improving the issue of surface contamination that occurs during work process, talc and micro-ballon were added as filler to reduce the issue of stickiness and staining on hand. Furthermore, a multi-purpose restoration material with low shrinkage, low discoloration and high cutting force was developed with excellent coloring, lightweight and cutting force features.

• Journal of Conservation Science
• /
• v.19
• /
• pp.31-42
• /
• 2006

There are many materials used in restoring missing parts of pottery and ceramics and they are used according to the each quality of materials. In our research we tried to find the new repair materials to solve many problems exposed in the existing repair materials. As a result, we made new repair materials that we properly put oven bake clays into repair epoxy putty which is being used as oven bake clays for a long time. Fortunately, through testing yellowing, vickers hardness, coloring and heating temperature, We could get an idea that new repair materials would be the best materials in the efficiency of restoration, yellowing, and coloring.

• Conservation Science in Museum
• /
• v.16
• /
• pp.122-137
• /
• 2015

White porcelain pitcher with an openwork dragon and cloud design across its surface in the collection of the National Museum of Korea (Deoksu 5531) was acquired in 1915. The restoration has been so far completed only for the mouth of the pitcher. This study discusses a new method based on 3D scanning and printing for the restoration of missing parts in the openwork dragon and cloud design. A strength test was performed on six output materials that have been already commercialized for comparison with the strength of materials used for traditional restoration such as epoxy putty (Quick Wood^®) and epoxy (Araldite AY103+HY956^®). This process confirmed that the digital technology-aided making of a restoration model requires less time and efforts than handmade work, all the while producing a more precise model. More importantly, this method being a non-contact method, it reduces risks associated with handmade work. Another advantage of this method is that digital pre-restoration images can be saved and used for future references. Notwithstanding, future research is needed on how to effectively apply digital technology for restoration of ancient objects and how to evaluate and use 3D output as well as on the method of shaping, joining and coloring the 3D output.

• Journal of Conservation Science
• /
• v.30 no.1
• /
• pp.103-109
• /
• 2014

This study aimed to develop materials to compensate for problems of restoration for lost parts and material problems in the conservation treatment. First, there are several problems with existing materials as follows: secondary damage due to the high shrinkage rate and low adhesive strength, sense of difference due to the severe yellowing, remelting due to irreversibility of materials, processability due to the high strength, sag due to the prolonged setting time in the work process and surface contamination of artifacts due to tools or gloves. In order to solve these problems, this study set developmental goals after understanding the types and physical properties based on epoxy resin among the currently used restoration materials of pottery and earthenware. The developed epoxy resin is epoxy putty, which is cured within 5 minutes, for earthenware restoration. In the earthenware restoration method, the epoxy putty enhanced the workability by quickly curing in paste form and compensated disadvantages such as surface contamination. In addition, the use of white micro-balloon for the epoxy stock solution made coloring easier and weight lighter, and a restoration material with low shrinkage and superior processability was developed.

• Journal of Conservation Science
• /
• v.34 no.1
• /
• pp.23-29
• /
• 2018

This study synthesized poly-urea and used it as a filler material for the restoration of porcelain. The synthesized poly-urea was manufactured as a resin and hardener mix that does not undergo contraction during curing, and is unfading. Given an adhesion strength of $180kg/cm^2$ and shearing strength of $200kg/cm^2$, the synthesized poly-urea exhibited the same efficacy as the epoxy putty currently sold in the market. Moreover, it also overcame the drawback of foaming encountered by urethane restoratives, which are a structurally similar type. The hardening time and pot life could also be controlled using additives. The poly-urea used for the restoration of modern artifacts presented a pot life of approximately one hour and took 12 h for complete hardening ($T_{90}$). When a $2{\times}2{\times}2cm$-sized test sample was added to xylene, poly-urea started to separate approximately two hours later and completed perfect pulverization within the solution 24 h later, demonstrating its reversibility. When directly applied to contemporary artifacts, it demonstrated the potential for restoration, as well as convenience and colorfulness.