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I recently finished kaphrixis using the scale 75 copper metallics. It's for a gift so it needs to be sealed and I am at a loss as to what to use. Using either a glosscoat or a dullcote will change the brightness of the metal. Does anyone have suggestions on which way to go? Or is there another option? If it were to remain mine I would just put it in the display case unsealed. Thanks for any help.
So I have the day off today, which means I was able to stay up nice and late last night painting. I got one of the little Partha goblins I've been working on around midnight, and then went to bed. Couldn't get my sorry buttocks up until about nine thirty this morning, went and made coffee, had some toast and then wanted to put finish on my little goblin so later today I could work on his base and finally call him done. So I used the Reaper brush on finish, mixing it with water, and as I was applying the finish, I noticed that I was literally wiping way the paint on the edges of the straps and on the arrow case (he's an archer). I thought this was kind of odd because I'd waited really about ten hours before I put the finish on. I normally wait a full day but wanted to take advantage with being on vacation today. I've put finish on miniatures before in less time than this and nothing has ever remotely happened like this. Has this ever happened to anybody else, or would this have been a freakishly exceptional case? So ending out the story, I touched up on the little guy which took about an hour, which cut highly into my joyful morning paint time, as I hate doing things over, but oh well....
I recently found a scholarly paper on conservation of acrylic paintings on the Tate's website: http://www.tate.org.uk/research/publications/tate-papers/06/effects-of-surface-cleaning-on-acrylic-emulsion-painting-preliminary-investigation It's quite dense and I'm sure very interesting to conservators, but I found it interesting for different reasons. As part of their testing of the effects of various solvents and cleaning techniques, they artificially aged some samples by heating them to 60C/140F for 24 hours. Some of the results of that are shown in figures 3 & 4. If I'm reading their data right, their heat treatment increased surface hardness and polymeric crosslinking significantly over the samples not so treated. (There was also an increase in the temperature at which the sample would soften, which is less important for our purposes, I think.) If I have that right, it would seem a disadvantage for paintings on soft surfaces like canvas, as harder paint is more likely to crack or flake when the substrate is flexed. But for painting on very hard surfaces like a miniature cast in a high-tin alloy, the increased surface hardness should increase resistance to scratches and abrasion (though reduce resistance to cracking or flaking if the miniature is bent and there might be an increased propensity to flake if the figure is subjected to rapid heating or cooling as might happen if the figure is left in a car in summer or winter). I have in the past baked minis after painting is complete and seen an apparent increase in film hardness, but that was purely anecdotal, not the result of systematic testing. If I read this study correctly, that impression reflects (or might reflect) an actual advantage to low-temp baking after painting.