The two most common china repair techniques are "museum quality repair" and "invisible repair". Although they're often cited by professional restorers in one breath, the two techniques are different.
Museum quality repair centers on gluing and bonding the item, sculpting the necessary missing pieces, and filling in the cracks. But it doesn't mask the hairline cracks or the restoration method. When a professional ceramic or porcelain restorer performs an invisible restoration, in addition to the above steps, he or she matches and replicates the color and pattern/design of the item, airbrushes and glazes the surface. When the process is done correctly, the restoration is not even visible under an ultraviolet light used at auction houses.
Below are the steps involved in museum restoration and the process' aesthetic considerations. Note that only the cold method (no firing) is appropriate for museum and invisible restorations, and at no point should the item that's being restored be subjected to any form of heating.
Proper Working Conditions:
It's preferable that the restoration is undertaken in daylight. Discolorations on the surface of a damaged item is not often visible in artificial light. A good dental drill with various drill bit sizes (preferably diamond-tipped), and a spacious container for uncooked rice in order to steady the item being restored without using unnecessary clamps that may damage the surface.
The Process:
Identify the cracks. Are they complete or partial? You can use an ultraviolet lamp to determine whether they are partial or complete. Usually, if a section of the damaged item looks darker (yellowish, if the surface color is white or off-white), that section has been over-painted to mask the bad repair. Black spots in the glaze is another dead giveaway.
Often, cotton swabs dipped in a commercial solvent, such as can be used to remove the access paint or discoloration; sometimes, however, it may be easier to immerse the entire item in a basin filled with methylene chloride rather than use swabs.
Another important aspect of the process is the removal of metal staples, which restores prior to the middle of the 20th Century commonly used. Although some collectors prefer to leave the staples in, as a relic from a previous era, modern museums prefer that the staples be removed because they are unsightly.
The staples can easily be removed with pliers after the area has been cleaned with warm water. Sometimes the riveted area needs to be carefully sewn in order to extract the staples. Green stains can be removed with warm water mixed with 30% ammonia.
The choice of the glue or adhesive to be used depends largely on the nature and texture of china or ceramic. While a cold-curing epoxy resin can be used on harder-bodied ceramic such as porcelain and china, 5 Minute Epoxy should be used on earthenware and stoneware.
Before proceeding with gluing and bonding, it is important to note that all the pieces should be clean and dry. If there are many pieces, they should be assembled and held in place with Scotch tape.
After bonding, all missing areas have be to filled. A white, soft but durable filling is used for china or porcelain, and ceramic.
Next step is retouching. Be sure that the surface is as clear and flat as it can be, otherwise even a slight discrepancy will spoil the process. It helps if one is a painter or graphic designer, for finding the correct color to match the surface of the item is one of the most important elements of professional restoration.
The degree is of shine is very important. You are not making the item look new, but "original", or they way it looked before it got broken or damaged. Although a regular paint brush will work, it is strongly recommended to use an airbrush or any spray brush that has a steady and even flow. Retouching requires expertise, so doing it one layer at a time would be the best solution for a beginning restorer.
Display:
No professionally restored object can be used for practical purposes - display only.
A restored object should never be displayed outside or in hot/humid indoor environment.
Avoid mounting the restored objects on wood panels or marble surfaces as damage could be done to the restoration.
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