CN112455141B - 铜像雕塑表面处理工艺 - Google Patents
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Abstract
本发明公开了一种铜像雕塑表面处理工艺,包括以下步骤:s1、紫铜表面本色处理;s2、清洗;s3、二次打磨抛光;s4、喷透明的氟碳亚光清漆;s5、罩生漆;s6、画五官;s7、干燥;本发明的具有表观以及存放时间与贴金箔的佛像相近但成本更低的优点。
Description
技术领域
本发明涉及齿轮加工的技术领域,更具体地说,它涉及一种铜像雕塑表面处理工艺。
背景技术
佛像一般是以铜为底基,通过锻造或者铸造加工而成。铜佛像一般都会进行一些表面效果的处理,一方面是让表面看起来更漂亮,让佛像看起来更庄严;另一方面就是掩盖生产过程产生的沙眼和焊接等粗糙部位。表面处理工艺主要包括热着色工艺、化学着色工艺、贴金箔、彩绘、镀金、鎏金、泥金几类,还有一些局部处理工艺,例如镶嵌、喷砂、压光等。佛像贴金箔不仅让佛像具有光亮、美观的色泽,因为金箔可以存放几百年,因此还可以保证佛像存放时间。因为佛像是容易被手接触到的,所以贴完金箔后要使用硬度高耐磨损的油性面漆罩面。
相关技术在进行表面处理后会依次对佛像进行喷金属底漆、刮金属灰和打磨抛光处理并反复3次,然后依次进行打生漆金底、贴金、罩生漆和扒珠处理,最后进行画五官,干燥后得到成品。
对于上述相关技术,发明人认为存在有金箔价格昂贵,制作的佛像成本过高的问题。
发明内容
针对现有技术存在的不足,本发明的第一个目的在于提供一种铜像雕塑表面处理工艺,具有表观以及存放时间与贴金箔的佛像相近但成本更低的优点。
为实现上述第一个目的,本发明提供了如下技术方案:一种铜像雕塑表面处理工艺,包括以下步骤:
s1、紫铜表面本色处理;
s2、清洗;
s3、二次打磨抛光;
s4、喷透明的氟碳亚光清漆;
s5、罩生漆;
s6、画五官;
s7、干燥。
通过采用上述技术方案,紫铜坚韧且具有紫红色光泽抗氧化性能优异,因此选用紫铜打底,在光泽度上能够与贴金箔相媲美,经过本色处理去除表面氧化层后,紫铜表面展现紫铜本来的颜色,制成的佛像看起来光亮、美观。清洗能够去除表面本色处理时留下的污渍,二次打磨抛光进一步提高表面的光滑度和细腻度,使得光泽度更佳。
手工涂刷生漆能够将佛像包覆起来,减小环境、气候等对佛像的侵蚀,从而减小佛像暴露在环境中由于环境、气候的影响失去光泽甚至受到腐蚀的可能性。但由于生漆与紫铜直接接触会发生反应,而且与紫铜的沾附性不佳,时间久了容易从佛像表面剥落,因此,在罩生漆前,先在佛像表面喷涂喷氟碳亚光清漆层,起到隔离生漆与紫铜的作用,并能将生漆与紫铜牢固的沾附在一起,长时间不剥离,达到与贴金箔同样的存放时间。
进一步地,所述s1步骤中,紫铜表面本色处理的具体方式为:采用240-320目的砂纸打磨。
通过采用上述技术方案,砂纸打磨抛光既能将佛像表面的污渍和氧化物等影响表观光泽度的杂物去除,使得表明更加光滑具有光泽度,又能减小对佛像的伤害,采用240-320目的砂纸打磨,既能去除佛像表面杂物,提高色泽度和光滑度,又不会使得佛像表面过于光滑,从而不利于隔离层沾附在紫铜表面。
进一步地,所述s2步骤中,首先采用加入了30%-50%去离子水的浓硝酸一次清洗,然后再用去离子水二次清洗。
通过采用上述技术方案,加入了30%-50%去离子水的硝酸可将本色处理时留在佛像上的汗渍、手印等污渍溶解去除,减小汗渍、手印等在佛像上发黑,留下黑点、黑块等影响佛像色泽度、美观性的可能性。再用去离子水清洗,能够除去佛像上的残留硝酸。
进一步地,所述s3步骤中,通过采用百洁布进行人工打磨。
通过采用上述技术方案,通过百洁布对佛像表面进一步打磨、抛光,起到进一步清洁的作用,去除顽固污渍,将表面擦拭干净,不损伤佛像表面,去除清洗的水痕,提高色泽度,还能增强隔离层与佛像之间的附着力,减小剥落的可能性。
进一步地,所述s5步骤中,生漆包含以下重量份的组分:大漆6-7份,熟桐油3-5份。
通过采用上述技术方案,大漆的形成的漆膜具有防腐蚀、耐强酸、耐强碱、耐溶剂、防潮、杀菌、耐热性高和耐久性好等优点,并且机械性能优异,包覆在佛像表面形成的漆膜坚硬且光泽明亮,亮度典雅,附着力强。加入熟桐油与大漆协同,既能弥补大漆漆膜的脆性,又能促进大漆随着时间和温度逐渐褪色,使得大漆涂敷到佛像表面后能够由原本的乳白色经由褐色、黑色变成无色透明、富有光泽的漆膜层,从而将紫铜的本色显现出来,提高佛像的光泽度和美观度。但熟桐油太少对大漆褪色促进作用不够,导致漆膜透明度低、光泽不好;而熟桐油过量又对大漆的硬度不利,使得漆膜的耐磨性、强度和硬度下降,不利于佛像的长久保存。温度在20℃时,大漆和熟桐油比重可为1:1,当温度低于20℃时,大漆的重量比可适当增加;温度高与20℃时,熟桐油的重量比可大于大漆。
进一步地,所述s5步骤中,罩面漆时,操作过程中还需加入5%-10%的稀释剂对大漆和熟桐油进行稀释。
通过采用上述技术方案,在使用过程中将稀释剂添加到生漆中,能够降低生漆的粘稠度并且不影响生漆的其他性能,便于工人将生漆涂敷到佛像表面,降低施工难度,方便操作。
进一步地,所述稀释剂包括汽油、煤油、松香水和松节油中的至少一种。
通过采用上述技术方案,汽油、煤油、松香水和松节油对生漆的稀释作用优良、对生漆其他性能影响最小,并且对人体伤害小,对施工条件要求低。
进一步地,所述s7步骤中,将佛像在温度25℃,湿度在75°的室内自然风干、褪色半年。
通过采用上述技术方案,在自然状态下逐渐风干,能够减小生漆起泡的可能性。
进一步地,所述s4步骤中,氟碳亚光清漆厚度为45-55μm,氟碳亚光清漆包含以下重量份的组分:固化剂1-2份,氟碳树脂5-8份,分散剂2-3份。
通过采用上述技术方案,通过稀释剂将氟碳树脂和固化剂调开混匀,使得氟碳树脂的耐热性、耐化学品性、耐寒性、低温柔韧性、耐候性以及结晶性等优良性能和固化剂的沾附性结合,从而能够一起沾附到佛像表面,起到保护佛像的作用。氟碳树脂和生漆中的漆酚互相融合,从而提高氟碳亚光清漆层和生漆的粘黏性,减小生漆层剥落的可能性。因此,氟碳亚光清漆层不宜太薄,否则起不到隔离生漆层和紫铜的作用,也不宜太厚,太厚会影响佛像的光泽度。
进一步地,所述氟碳树脂与固化剂的添加比为5:1。
通过采用上述技术方案,固化剂太少对氟碳树脂沾附性促进作用小,不利于氟碳树脂附着到佛像上;固化剂添加过多,会使得氟碳树脂层固化过快,急剧收缩,容易在产生裂纹。
综上所述,本发明具有以下有益效果:
1.通过对紫铜进行本色处理、罩生漆和喷氟碳亚光清漆协同作用代替贴金箔,从而减少成本,加工更加便利,同时还能起到和贴金箔一样的光泽度、美观性和保存时间;
2.通过熟桐油和大漆配合作用形成的漆膜,既具有良好的光泽度、防腐蚀、耐强酸、耐强碱、耐溶剂、防潮、杀菌性、耐热性高和耐久性好等优点,又能将大漆褪色完全,减小影响展示紫铜佛像色泽度的可能性。
具体实施方式
以下结合实施例对本发明作进一步详细说明。
本发明所涉及的原料和组分的规格和来源信息如表1所示:
表1原料的规格和来源信息
实施例
实施例1
一种铜像雕塑表面处理工艺,包括以下步骤:
s1、采用240目的砂纸对紫铜佛像表面打磨抛光,进行本色处理;
s2、首先采用加入了50%去离子水稀释过的硝酸对经过本色处理后的紫铜佛像进行一次清洗,然后再用去离子水进行二次清洗;
s3、人工使用百洁布对清洗过的紫铜佛像进行二次打磨抛光;
s4、利用喷涂机向经过二次打磨抛光过的佛向表面喷涂透明的氟碳亚光清漆层,自然晾干,其中,氟碳亚光清漆层厚度为45μm,氟碳亚光清漆层包含以下重量份的组分:固化剂1份,氟碳树脂5份,SRE-F026X高色素炭黑超分散剂2份;
s5、通过人工将生漆涂刷到喷涂氟碳亚光清漆层的佛像上,自然晾干,生漆包含以下重量份的组分:大漆6份,熟桐油3份;
s6、画五官;
s7、将佛像在温度25℃左右,湿度在75°的室内自然风干、褪色半年。
实施例2
与实施例1的区别在于:s1步骤中,采用的砂纸为280目。
实施例3
与实施例1的区别在于:s1步骤中,采用的砂纸为320目。
实施例4
与实施例1的区别在于:s2步骤中,采用加入了70%去离子水稀释的浓硝酸对经过本色处理后的紫铜佛像进行一次清洗。
实施例5
与实施例1的区别在于:s5步骤中,生漆包含大漆6.5份,熟桐油4份。
实施例6
与实施例1的区别在于:s5步骤中,生漆包含大漆7份,熟桐油5份。
实施例7
与实施例1的区别在于:s5步骤中,在罩面漆操作过程中,生漆中还需加入5%的稀释剂对大漆和熟桐油进行稀释,稀释剂为汽油。
实施例8
与实施例7的区别在于:s5步骤中,生漆中加入10%的稀释剂。
实施例9
与实施例1的区别在于:s4步骤中,氟碳亚光清漆层厚度为55μm。
实施例10
与实施例1的区别在于:s4步骤中,氟碳亚光清漆层包含固化剂2份,氟碳树脂8份。
实施例11
与实施例7的区别在于:s5步骤中,生漆中的稀释剂为煤油。
实施例12
与实施例7的区别在于:s5步骤中,生漆中的稀释剂为松节油。
实施例13
与实施例7的区别在于:s5步骤中,生漆中稀释剂为汽油、煤油和松节油按均份混合。
对比例
对比例1
与实施例1的区别在于:s1步骤中,紫铜板未经过本色处理。
对比例2
与实施例1的区别在于:无喷涂氟碳亚光清漆层的s4步骤。
对比例3
与实施例1的区别在于:无罩生漆的s5步骤。
对比例4
与实施例1的区别在于:生漆中大漆的重量份为0。
对比例5
与实施例1的区别在于:生漆中熟桐油的重量份为0。
对比例6
与实施例1的区别在于:氟碳亚光清漆中固化剂的重量份为0。
对比例7
与实施例1的区别在于:s4步骤中,氟碳亚光清漆层厚度为70μm。
检测方法
1、硬度:按照GB6739-410286《涂膜硬度铅笔测定法》测定紫铜罩生漆后的漆膜硬度;
2、光泽度:按照GB/T9754-1988《色漆和清漆不含金属养料的色漆漆膜之20°、60°和85°镜面光泽的测定》先测定经过光泽度测定后的紫铜在20°时的光泽度,然后测定同一块紫铜罩生漆后的漆膜在20°时的光泽度;
3、漆膜附着力:测定完紫铜的光泽度后,在紫铜上进行喷氟碳亚光清漆和罩生漆,然后按照GB/T1720-1989《漆膜附着力测定法》分别测定罩生漆层和氟碳亚光清漆层的漆膜附着力;
4、漆膜颜色:按照GB/T3181-1995《漆膜颜色标准》测定罩生漆层的漆膜颜色。
检测数据
以上实施例1-实施例13的性能如表2所示:
表2实施例1-实施例13的性能
以上对比例1-对比例7的性能如表3所示:
表3对比例1-对比例7的性能
由以上数据可以看出:
1、通过对比例1与实施例1相比可以看出,紫铜经过砂纸打磨的本色处理后,将表面包覆的氧化层和污渍去除,表面展现紫铜本来的颜色,因此光泽度更高;此外,由实施例2-3与实施例1相比可以看出,砂纸随着砂纸的目数增大,砂纸颗粒减小,粗糙度减小,因此,对铜表面的刮痕减小,因此,紫铜表面粗糙度减小,使得紫铜表面的光泽度增加;但由于紫铜表面过于光滑,会不利于隔离层沾附,因此氟碳亚光清漆漆膜附着力存在下降趋势。
2、由实施例4与实施例1相比可以看出,由于硝酸能够溶解本色处理时留在佛像上的汗渍、手印等污渍,因此,能够提高紫铜表面的清洁度,同时,随着硝酸浓度增加,不可避免的对紫铜本身造成轻微的腐蚀,使得紫铜表面的粗糙度略有提高,因此,紫铜的光沼泽度有所下降。
3、通过对比例4-5与实施例1相比可以看出,大漆和熟桐油之间存在协同作用,当生漆中缺乏大漆组分时(见对比例4),生漆的硬度大幅下降,光泽度和附着力也有所降低,可见,大漆优异的机械性能、光泽度好的特性和强附着力对生漆的硬度、光泽度和附着力其有效促进作用,同时,由于缺乏了大漆的协同,生漆展现的是熟桐油的浅黄色,影响紫铜的颜色露出,氟碳亚光清漆也由于失去和大漆的协同作用,附着力大幅度下降;当生漆中没有熟桐油时(参见对比例5),虽然生漆的硬度反而增强,但光泽度和附着力有所降低,而且由于没有熟桐油与大漆反应,使得大漆不能褪色,难以观看到紫铜的颜色。
4、由实施例5-6与实施例1相比可以看出,生漆中大漆和熟桐油的比重也会影响生漆的性能,具体来看,当大漆比重减小时(参照实施例5),生漆的硬度、附着力和光泽度都有所降低;当熟桐油比重增加时,生漆的光泽度提高,但硬度有所下降,也可以看出熟桐油对大漆的光泽度有益,大漆对生漆硬度起到有效促进作用,因此,大漆和熟桐油比重在(6-7):(3-5)范围内,对生漆的各项性能较好。
5、由实施例7-8、11-13于实施例1相比可以看出,汽油、煤油、松节油以及三者的任意混合对生漆的硬度、附着力和光泽度都几乎都没有影响,但是能够降低粘稠度,有利于施工时操作。
6、由实施例9以及对比例8与实施例1相比可以看出,氟碳亚光清漆层厚度也会影响佛像的性能,当氟碳亚光清漆层厚度在45-55μm范围内增加时,有利于氟碳亚光清漆层附着力增大(见实施例9);但当厚度过大时,则会使得本身透明度降低,从而影响佛像的光泽度。
7、由实施例10与实施例1相比可以看出,氟碳亚光清漆中氟碳树脂比重减少时,生漆和氟碳亚光清漆的附着力都有所下降,可见,氟碳树脂与生漆中的漆酚互相协同,可以提高氟碳亚光清漆层和生漆的粘黏性。
8、由对比例6与实施例1相比可以看出,氟碳亚光清漆中缺乏固化剂时,氟碳亚光清漆附着力降低,可见固化剂起到增强氟碳亚光清漆附着力的作用。
9、由对比例2与实施例1相比可以看出,当不喷涂氟碳亚光清漆将生漆与紫铜隔开时,紫铜会与生漆发生反应,使得紫铜被腐蚀发生腐蚀产物的颜色,影响紫铜的光泽度,同时由于渗入了腐蚀产物,生漆的硬度、光泽度和附着力都大幅度下降。
10、由对比例3和实施例1相比可以看出,当喷涂氟碳亚光清漆后不再涂敷生漆层时,由于氟碳亚光清漆对环境和气候的抵抗性较差,很容易受损从而失去对紫铜的保护作用,因此,紫铜光泽度下降;此外,由于破坏了生漆与喷涂氟碳亚光清漆中氟碳树脂的协同,造成氟碳亚光清漆自身的附着力也降低。
本具体实施例仅仅是对本发明的解释,其并不是对本发明的限制,本领域技术人员在阅读完本说明书后可以根据需要对本实施例做出没有创造性贡献的修改,但只要在本发明的权利要求范围内都受到专利法的保护。
Claims (2)
1.一种铜像雕塑表面处理工艺,其特征在于,包括以下步骤:
s1、紫铜表面本色处理;
s2、清洗:首先采用加入了30%-50%去离子水的浓硝酸一次清洗,然后再用去离子水二次清洗;
s3、二次打磨;
s4、喷透明的氟碳亚光清漆:氟碳亚光清漆厚度为45-55μm,氟碳亚光清漆包含以下重量份的组分:固化剂1-2份,氟碳树脂5-8份,分散剂2-3份,其中,所述氟碳树脂与固化剂的添加比为5:1;
s5、罩生漆;
s6、画五官;
s7、干燥;
所述s1步骤中,紫铜表面本色处理的具体方式为:采用240-320目的砂纸打磨;
所述s5步骤中,生漆包含以下重量份的组分:大漆6-7份,熟桐油3-5份;
同时在罩生漆时,还需加入5%-10%的稀释剂对大漆和熟桐油进行稀释;所述稀释剂包括汽油、煤油和松节油中的至少一种;
所述s7步骤中,将铜像雕塑在温度25℃,湿度在75°的室内自然风干、褪色半年。
2.根据权利要求1所述的一种铜像雕塑表面处理工艺,其特征在于,所述s3步骤中,通过采用百洁布进行人工打磨。
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