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Chapter 239 This beeswax. (for subscription)

Mr. Simon and Chu Liutian looked at them in amazement and kept praising them.

After Chuhe filled the white paste, he took the small fan in Li Xiaoqing's bag and fanned it gently to dry it as soon as possible.

While waiting, Chuhe carefully observed the portrait, and had to say that this painter named Li Ge was indeed a genius.

Being able to draw characters so vividly not only reminded him of Qi Baishi's shrimps.

Soon, after the white paste was completely dry, Chuhe asked everyone to make up the color.

When Yang Shuo analyzed the color layers of the portrait, the first step was to restore the effect of the original color.

The material used for complementary colors must be high-quality watercolor, which is convenient and risk-free, because it can be rinsed with water at any time.

Xue Lanqi and Li Xiaoqing were in charge of color adjustment, and then prepared to apply the base color.

Chuhe took out the repair pen that was rewarded by the system before. This pen looks no different from ordinary pens, so Chuhe is not worried that others will find something abnormal.

He took a restoration pen, dipped it in paint, and lightly filled in the base color.

When Mr. Simon saw this, he couldn't stop worrying in his heart. He was very worried that it would be destroyed by the Chu River if he was not careful.

But with Chuhe's restoration pen down, he found that it was as if Li Ge had come back to life.

After the background color was completely filled in, Yang Shuo added Fannis to the work.

Then, apply the special oil paint for restoration.

Seeing this, Chu Liutian couldn't help asking: "Is there any effect of adding Fannis?"

Zhang Yongjin immediately explained: "The purpose of Shangfannis is to protect Guangyou."

"Then what's the difference between the colors used now and the ones just now?" Mr. Simon was also like a curious baby.

"The oil paint specially used for restoration can be easily removed with turpentine. Even if there is a mistake in Chuhe, whether it is a line or a complementary color, it can be corrected quickly, and the oil painting will not be damaged. , is very common."

Zhang Yongjin is very familiar with the link of complementary colors, and Yang Shuo's technique is also taught by Zhang Yongjin.

When Chu Liutian translated this passage to Mr. Simon, he showed an incredible expression.

He kept praising: "It's really amazing."

When Chuhe was replenishing color, he didn't rush to start, but meditated for a while.

Every painter has a different style, preferred tones, and colors they mix.

Chuhe had to try to keep their style unified so that the painting could be flawless.

However, if you want to restore a work perfectly, you must understand the painter's state of mind at that time. When restoring a painting, some restorers must read sufficient information and understand the background of the painter before they dare to write.

Of course, Chuhe doesn't have that much time.

So Chuhe used his ability to trace back to the source, and saw in the painting the state of Rigo when he was painting.

Although he only stared at the painting for a minute, he could see from the painting how Rigo created the work!
Louis XIV valued Rigod very much and often talked with him.

One day, King Louis XIV summoned Rigaud and asked, "Master Rigaud, can you make a portrait for me?"

"Oh, my dear king, of course." Rigo replied politely.

Louis XIV was very happy, and continued to ask: "Then how should I pose?"

Rigo thought about it: "Why don't the king make a standing posture of arrogance."

Louis XIV nodded, and immediately asked the court attendants to bring out the best paints to paint for Rigo.

He stood, looked at Rigo, and asked him to draw his heroic figure.

In this way, Rigaud came to the court every day to paint for Louis XIV.

After two weeks of continuous painting, Rigo completed the work.

Chuhe saw this scene, and took note of the colors and strengths of Rigo's coloring.

After returning to reality, he picked up the repair pen and started repairing.

After a while, the coloring of the entire oil painting was completed.

Mr. Simon was very happy, and he thanked again: "Thank you so much."

"Don't worry, it's not good yet." Zhang Yongjin told Mr. Simon not to be too excited.

Yang Shuo had already prepared acid-free kraft paper beside him. He pasted the painting on the wooden frame and pasted all its edges in to prevent it from peeling off during the leveling process.

Xue Lanqi pasted cotton gauze paper on the painting, and then Chu He and Dong Lufan put the oil painting aside.

Chu Liutian didn't quite understand this step, and asked, "Why is this? Why, you still need to throw paper on it."

"The speculation of this kind of oil painting will be naturally tightened and flattened by Zhang Li, without wrinkles or warped corners." Li Xiaoqing and Chu Liutian explained.

These are all knowledge points that must be mastered for cultural relic restorers.

Although Chuhe and the others have already painted the color, because the work is not properly kept, there are a lot of bacteria, dust or insect eggs on the dust, so the protection of the back of the work is also essential.

Chuhe cleaned the surface of the oil painting thoroughly.

On the other hand, Xue Lanqi is preparing wax liquid, which will be used to mix the new and old canvases and the peeling paint.

Yang Shuo also prepared a certain proportion of pure beeswax and dammar resin for heating and melting. After he added turpentine, it cooled and solidified.

Mr. Simon looked at these operations, and he was really a layman who looked at the rules and was stunned.

Zhang Yongjin explained with a smile: "Turpentine is used to soften the blending effect of beeswax and dammar resin, and it also has a certain stickiness."

Upon hearing this, Mr. Simon hurriedly said, "Then I must prepare more turpentine in the future."

"No, if you don't know how to use it, just use turpentine indiscriminately, it will only destroy the oil painting." Zhang Yongjin shook his head.

After all the steps are ready, Chuhe is ready to combine the old and new canvases.

He put the flattened old canvas face up, and sealed it on the stretched new canvas with glue and cotton gauze.

The tension of the new canvas needs to be sprayed with water. After the canvas is dry, rub the canvas with your hands to make the canvas tight again. After repeating it several times, there will be no sense of incongruity.

After finishing these, Chuhe asked: "Excuse me, is there an iron?"

Chu Liutian was surprised, "What? Iron?"

"Yes, iron." Sylvia nodded.

When Chu Liutian brought this request to Mr. Simon, Mr. Simon was also surprised. He shook his hands and said, "Are you asking for an iron to make pictures? No way!"

"Trust me, Mr. Simon, nothing will happen." Chuhe assured.

Mr. Simon still hesitated, this iron is used for ironing clothes, how could it be used for heat painting? !
But in the end, Simon had the iron brought into the room anyway.

Chu He heated the wax with an iron, allowing the wax to penetrate the new canvas to the extent of the old canvas.

"It seems that the dripping wax of the Chu River is very enjoyable." Yang Shuo's casual words made everyone think that he was driving!

(End of this chapter)