Coloring and waxing process for imitation hardwood

Abstract

The invention discloses a coloring and waxing process for imitation hardwood. The coloring and waxing process comprises the following steps: S1, manufacturing a wood blank; s2, polishing the wood blank; s3, boiling color; s4, toning; s5, coloring the wood blank; s6, boiling wax with clear water; s7, wax is scattered on the surface of the wood blank; s8, wax drying with hot air; s9, removing floating wax on the surface; and S10, wiping. The red sandalwood, rosewood and phoebe zhennan furniture has the following advantages and effects that a unique color decocting technology is adopted, traditional Chinese medicine materials are adopted as main raw materials for color decocting and blending, one-to-one reduction of the red sandalwood color, the rosewood color and the phoebe zhennan color is achieved, the red sandalwood, rosewood and phoebe zhennan furniture is perfectly reengraved and reduced, and the red sandalwood, rosewood and phoebe zhennan furniture is suitable for repairing and protecting cultural relics and has a good market prospect. And original styles and features of cultural relics are recovered.

Description

Technical Field

[0001] The invention relates to the field of cultural relics restoration, and in particular to a hardwood imitation coloring and waxing process. Background Art

[0002] Cultural relic reproduction refers to the accurate reproduction of historical relics through modern technology to protect the original objects and facilitate research and display. This work plays an important role in the field of cultural heritage protection. It not only helps to reduce the risk of loss of originals, but also allows more people to have the opportunity to get close to and understand cultural heritage.

[0003] Currently, most of the furniture in ancient buildings is made of hardwood, among which rosewood, mahogany and nanmu are the most commonly used. Some furniture even uses three kinds of hardwood to splice together, making the furniture appear rosewood, mahogany and nanmu according to the original color of the wood.

[0004] However, at this stage, red sandalwood, mahogany and nanmu are becoming increasingly scarce, so it is particularly important to use imitation hardwood and combine it with coloring technology to restore ancient architectural furniture. Summary of the invention

[0005] In view of the deficiencies in the prior art, the purpose of the present invention is to provide a hardwood imitation coloring and waxing process that can perfectly reproduce the original ancient architectural furniture.

[0006] The above technical purpose of the present invention is achieved through the following technical scheme: a coloring and waxing process for imitating hardwood, comprising the following steps: S1, wooden frame production; S2, wood base polishing; S3, color boiling, respectively boiling the base colors of red sandalwood color, mahogany color and nanmu color, among which, Gardenia color boiling: boil red gardenia and water in a mass ratio of 1:5, and keep boiling for 1 hour, and obtain the gardenia color solution after filtering; Sophora japonica color boiling: Sophora japonica and water are boiled in a mass ratio of 1:10, and the boiling state is maintained for 0.5h-1h, and then black alum is added in a ratio of 0.5 to the mass of Sophora japonica, and the boiling state is continued for 0.5h. After filtering, a Sophora japonica color solution is obtained; Preparation of Zhangdanse: boil Zhangdanse and water in a mass ratio of 1:2, then turn off the heat and soak for 3 hours, and grind after cooling to obtain the ground juice; Tobacco color boiling: put the tobacco in a container, then cover the tobacco with rice paper, then mix the tobacco and alcohol in a mass ratio of 1:2, soak in alcohol for 24 hours, and obtain the soaked juice; Azure blue boiling: Place the azure blue leaves in a container, then cover the leaves with rice paper. Subsequently, mix the azure blue leaves and alcohol in a mass ratio of 1:2, soak them in alcohol for 3 - 4 hours to obtain the extracted juice. Scarlet red boiling: Place cinnabar in a container, pour hot water at 70°C - 90°C with a mass ratio of 1:2 to cinnabar for high-temperature scalding, and after cooling, grind it to obtain the ground juice. S4, Color matching. According to the colors obtained by boiling, proportionally perform color matching on the rosewood color, mahogany color, and nanmu color respectively. Rosewood color matching: Take sophora seed color, soot color, and azure blue color, perform final color debugging in a volume ratio of 10:2:1, and observe the color application on a sample board to make the sample board color. Mahogany color matching: Take the well-boiled sophora seed color, scarlet red color, and minium color, mix them in a volume ratio of 10:1:8, then drop in clear water for final color debugging, and observe the color application on a sample board to make the sample board color. Nanmu color matching: Take the well-boiled gardenia color and minium color, mix them in a volume ratio of 5:1 for final color debugging, and observe the color application on a sample board to make the sample board color. S5, Apply color to the wooden carcass. S6, Boil wax with clear water. S7, Sprinkle wax on the surface of the wooden carcass. S8, Dry wax with hot air. S9, Remove the floating wax on the surface. S10, Wipe.

[0007] In a preferred example, the present invention can be further configured as follows: In step S1, measure the dimensions of the original ancient architectural furniture, and use Chinese catalpa wood to manufacture and assemble the furniture.

[0008] In a preferred example, the present invention can be further configured as follows: In step S2, first perform dry sanding, use sandpapers with different grits from coarse to fine to sand the surface of the wooden carcass along the wood grain, then perform wet sanding, use wet and dry sandpapers to sand the whole body, and finally repeat the dry sanding process as a whole. After each sanding process, use a duster to brush off the dust; in step S2, after each dry sanding, check positions such as wood knots and cracks, level with putty, and polish and brush off the dust.

[0009] In a preferred example, the present invention can be further configured as follows: In step S3, all the containers for boiling are made of stainless steel.

[0010] In a preferred example, the present invention can be further configured as follows: In step S5, prepare painting brushes of different sizes and types, evenly apply color on the wooden carcass, and follow the standards of first brushing light colors then dark colors and first inside then outside when applying color.

[0011] In a preferred example, the present invention can be further configured as follows: in step S6, first boil the water, then add beeswax and Sichuan wax in a mass ratio of 2:8, boil until the two waxes are fused and then let stand to cool.

[0012] In a preferred example, the present invention can be further configured as follows: in step S6, 20 ml of turpentine is finally added to the boiled wax liquid and stirred evenly.

[0013] In a preferred example, the present invention can be further configured as follows: in step S7, hard wax is sprinkled on the flat surface of the wooden frame with a shovel, and the vertical surface is rubbed with a wax block. If soft wax is applied, an oil brush or coarse cloth is dipped in the soft wax to make it adhere to the surface of the wooden frame. The amount of wax sprinkled is controlled to be not less than 100g per 1㎡ to ensure that it is sprinkled fully and evenly.

[0014] In a preferred example, the present invention can be further configured as follows: in step S8, a hot air gun is used to ensure that the air outlet is 15 cm away from the wooden frame, the temperature is controlled at 90°C, the hard wax is baked and melted, the wax liquid is allowed to penetrate into the wood, and then a bamboo shovel is used to stir it evenly, and this is repeated many times until the wax oil no longer penetrates into the wood during the wax baking process.

[0015] In a preferred example, the present invention can be further configured as follows: in step S9, after the wax is heated until it no longer penetrates into the wood, it is left to cool, and floating wax on the surface is removed using a bamboo shovel to ensure that it is loose and clean.

[0016] In summary, the present invention has the following beneficial effects: 1. Through the use of a unique coloring process, and using plant and mineral pigments as the main raw materials for coloring and blending, the one-to-one restoration of red sandalwood, mahogany and nanmu colors is achieved, and red sandalwood, mahogany and nanmu furniture are perfectly reproduced and restored, which is suitable for the repair and protection of cultural relics and the restoration of the original appearance of cultural relics; 2. By adding turpentine to the wax, the flexibility of the wax is increased, the wax can better penetrate into the pores and texture of the wood, the adhesion of the wax to the wood is enhanced, the glossiness of the wax layer is improved, the viscosity of the wax is reduced, making it easier to apply and operate, the smoothness of construction is improved, the durability of the wax layer is improved, the service life of the wax is extended, and it is not easy to crack or fall off due to environmental changes. At the same time, turpentine is a natural vegetable oil. When mixed with wax, it can reduce the use of chemical synthetic materials and be more environmentally friendly. DETAILED DESCRIPTION

[0017] A hardwood imitation coloring waxing process comprises the following steps: S1, wooden frame making, measuring the size of the original ancient building furniture, and using catalpa wood to make and assemble the furniture.

[0018] S2, Wood tire sanding. First, perform dry sanding. Use sandpapers with different grits from coarse to fine to sand the surface of the wood tire along the wood grain. Then, perform wet sanding. Use wet and dry sandpapers to sand the whole body. Finally, repeat the dry sanding process as a whole. After each sanding process, use a duster to clean it up.

[0019] In step S2, after each dry sanding, check positions such as wood knots and cracks, apply putty for leveling, and polish and clean it up. The putty is prepared by mixing talcum powder, gypsum, blood material, whiting powder, and corresponding different colors for different parts to ensure the consistency of the base color.

[0020] S3, Color boiling. Boil the base colors of red sandalwood color, mahogany color, and nanmu color respectively. During the boiling process, the following steps are included: S31, Boiling of gardenia color. First, put red gardenia and water in a stainless-steel basin. Boil the red gardenia and water at a mass ratio of 1:5 and maintain the boiling state for 1 h. After filtration, obtain the gardenia color solution. During the boiling process, dip a brush in the dye and test the color on a sample board and observe the color, which is used as the main color of gardenia color for subsequent color matching.

[0021] S32, Boiling of sophora seed color: First, put sophora seeds and water in a stainless-steel basin. Boil the sophora seeds and water at a mass ratio of 1:10 and maintain the boiling state for 0.5 h - 1 h. Then add ferrous sulfate with a mass ratio of 0.5 to the mass of sophora seeds and continue to maintain the boiling state for 0.5 h. After filtration, obtain the sophora seed color solution. During the boiling process, dip a brush in the dye and test the color on a sample board and observe the color, which is used as the main color of sophora seed color for subsequent color matching.

[0022] S33, Boiling of minium color. Boil minium and water at a mass ratio of 1:2, then turn off the fire and soak for 3 h, and grind after cooling to obtain the ground juice, which is used as the minium color for subsequent color matching.

[0023] S34, Boiling of lampblack color. Place big lampblack in a stainless-steel plate, then cover the big lampblack with rice paper. Then mix the big lampblack and alcohol at a mass ratio of 1:2 and soak with alcohol for 24 h to obtain the soaked juice, which is used as the lampblack color for subsequent color matching.

[0024] S35, Boiling of light blue color. Place light blue leaves in a stainless-steel plate, then cover the light blue leaves with rice paper. Then mix the light blue leaves and alcohol at a mass ratio of 1:2 and soak with alcohol for 3 - 4 h to obtain the soaked juice, which is used as the light blue color for subsequent color matching.

[0025] S36, Boil in bright red. Place cinnabar in a stainless-steel plate, pour hot water at 70°C - 90°C with a mass ratio of 1:2 to cinnabar for high-temperature scalding, and then grind after cooling to obtain the ground juice, which is used as the bright red color for subsequent color mixing.

[0026] In the selection of raw materials, gardenia, sophora seed, minium, opium poppy seed and indigo leaf are all traditional Chinese medicines purchased from a traditional Chinese medicine store, and cinnabar is all mineral raw materials purchased from a painting store.

[0027] S4, Color mixing. According to the colors boiled, proportionally mix the colors of red sandalwood, mahogany and nanmu respectively. During the color mixing process, the following steps are included: S41, Production of red sandalwood color. Let the boiled color stand for 24 hours. After the color stabilizes, take sophora seed color, opium poppy seed color and indigo color, and conduct final color adjustment in a volume ratio of 10:2:1, and observe the color application on the sample board to produce a sample color that meets the acceptance requirements.

[0028] S42, Production of mahogany color. Take the boiled sophora seed color, bright red color and minium color, mix them in a volume ratio of 10:1:8, and then drip in clear water for final color adjustment, and observe the color application on the sample board, and determine after repeated color tests.

[0029] S43, Production of nanmu color. Take the boiled gardenia color and minium color, mix them in a volume ratio of 5:1 for final color adjustment, and observe the color application on the sample board, and determine after repeated color tests.

[0030] S5, Apply color to the wooden carcass. Prepare painting brushes of different models and sizes, and evenly apply the color on the wooden carcass. When applying the color, follow the standards of brushing the light color first and then the dark color, and from the inside to the outside. Pay attention to accurately depict the details such as round flower patterns and clip flower patterns with a fine brush to avoid flowing and contaminating other positions. For common detachable wooden components, if you want to quickly and evenly apply color, you can make a dyeing tank and immerse and color in the tank, and then dust off with a dry brush later.

[0031] S6, Boil beeswax in water. First, heat a stainless-steel basin with an induction cooker, then take away the stainless-steel basin, and dissolve 1 kg of block-shaped solid beeswax by swirling it around the bottom of the basin until it completely melts, and then leave the furnace to cool. The melting point of beeswax is relatively low, about 65°C. If the temperature is too high, the beeswax will start to burn and produce white smoke. Therefore, when boiling beeswax, it is necessary to strictly control the heat to avoid too high a temperature, and use the non-occurrence of white smoke as the control means during the process.

[0032] Add clear water to a stainless-steel basin and heat it to a gentle boil. Then put beeswax and Sichuan white wax in a mass ratio of 2:8. When putting them in, first put 20% of the beeswax. After it melts, add 80% of the Sichuan white wax. The melting point of Sichuan white wax is about 100°C. Then adjust and increase the power of the induction cooker, boil until the two waxes are fused, add 20 ml of turpentine and stir evenly. Finally, let it stand and cool.

[0033] By adding turpentine to the wax, the flexibility of the wax is increased, enabling the wax to better penetrate into the pores and textures of the wood, enhancing the adhesion of the wax to the wood, improving the gloss of the wax layer, reducing the viscosity of the wax, making it easier to apply and operate, improving the smoothness of construction, enhancing the durability of the wax layer, extending the service life of the wax, and making it less likely to crack or fall off due to environmental changes. At the same time, turpentine is a natural vegetable oil. When used in combination with wax, it can reduce the use of chemically synthesized materials and is more environmentally friendly.

[0034] S7, Sprinkle wax on the surface of the wooden carcass. Use a spatula to sprinkle the hard wax on the flat surface of the wooden carcass, and use a wax block to rub it on the vertical surface. If applying soft wax, use a paintbrush or coarse cloth to dip in the soft wax and make it adhere to the surface of the wooden carcass. The dosage of the sprinkled wax should be no less than 100 g per 1㎡ to ensure full coverage and even spreading.

[0035] S8, Heat the wax with hot air. Use a hot air gun, ensure that the air outlet is 15 cm away from the wooden carcass, and control the temperature at 90°C. Ensure that the temperature is uniform and not too high. Pay attention not to bake the wood to cause discoloration. Then melt the hard wax so that the wax liquid fully penetrates into the wood, and then use a bamboo spatula to turn it evenly. Finally, repeat many times until the wax oil no longer penetrates into the wood during the wax heating process.

[0036] S9, Remove the surface floating wax. After the wax is heated until it no longer penetrates into the wood, let it stand and cool. Use a bamboo spatula to remove the surface floating wax to ensure complete removal.

[0037] S10, Wipe. Use a bristle brush or high-quality silk cotton to polish until the surface of the wood is flat, smooth, and without astringency.

[0038] Therefore, applying the waxing process to the painted wooden carcass can seal the wood pores, form a protective film, greatly reduce the impact of the external environment on the wood, and also reduce wood cracking and the growth of bacterial spores on the wood, extending the service life of wooden products.

[0039] Moreover, it can highlight the beautiful texture and color of the wood itself. After the waxing and polishing process, the wooden material will show a natural, translucent, and warm patina like jade on its surface edges and lines over time, becoming more translucent and smooth.

[0040] The materials used for waxing are usually divided into soft wax and hard wax according to different usage parts and scenarios of wooden components. Soft wax is suitable for small wooden components such as purlins, ridges, and fancy work parts, while hard wax is suitable for hardwood decorations such as nanmu halls, flower canopies, and plaques, because hard wax has a higher hardness and is not easily scratched.

[0041] As a traditional wood surface treatment technology, the final inspection standard of the waxing process is crucial for ensuring construction quality and aesthetics. Final inspection standard for the waxing process: The wood after waxing should have a smooth surface, with a uniform wax layer and color. The wax layer should be firmly attached to the wood surface, and there should be no peeling of excess wax when scraping the surface with a wax spatula or fingernail, and the surface color should be consistent, evenly saturated, and shiny.

[0042] The specific embodiments are only explanations of the present invention and are not limitations thereof. Those skilled in the art can make modifications to the embodiments without creative contributions according to needs after reading this specification, but as long as they are within the scope of the claims of the present invention, they are protected by the patent law.

Claims

1. A coloring and waxing process for imitating hardwood, characterized in that: It includes the following steps: S1, making the wooden core; S2, sanding the wooden core; S3, boiling colors, boiling the base colors of rosewood color, mahogany color and nanmu color respectively. Among them, Boiling gardenia color: Boil red gardenia and water in a mass ratio of 1:5, and maintain the boiling state for 1 h, and obtain the gardenia color solution after filtration; Boiling sophora japonica color: Boil sophora japonica and water in a mass ratio of 1:10, and maintain the boiling state for 0.5 h - 1 h, then add copperas with a mass ratio of 0.5 to sophora japonica, continue to maintain the boiling state for 0.5 h, and obtain the sophora japonica color solution after filtration; Boiling minium color: Boil minium and water in a mass ratio of 1:2, then turn off the fire and soak for 3 h, and grind after cooling to obtain the ground juice; Boiling soot color: Place big soot in a container, then cover the soot with rice paper, then mix big soot and alcohol in a mass ratio of 1:2, and soak with alcohol for 24 h to obtain the soaked juice; Boiling indigo color: Place indigo leaves in a container, then cover the indigo leaves with rice paper, then mix indigo leaves and alcohol in a mass ratio of 1:2, and soak with alcohol for 3 - 4 h to obtain the soaked juice; Boiling scarlet color: Place cinnabar in a container, pour hot water at 70°C - 90°C with a mass ratio of 1:2 to cinnabar for high-temperature scalding, and grind after cooling to obtain the ground juice; S4, color matching, according to the boiled colors, color-match rosewood color, mahogany color and nanmu color respectively in proportion, Rosewood color matching: Take sophora japonica color, soot color and indigo color, and perform final color debugging in a volume ratio of 10:2:1, and observe the color application on the sample board to make the sample board color; Mahogany color matching: Take the well-boiled sophora japonica color, scarlet color and minium color, mix them in a volume ratio of 10:1:8, then drop in clear water for final color debugging, and observe the color application on the sample board to make the sample board color; Nanmu color matching: Take the well-boiled gardenia color and minium color, mix them in a volume ratio of 5:1 for final color debugging, and observe the color application on the sample board to make the sample board color; S5, painting the wooden core; S6, boiling clear wax; S7, sprinkling wax on the surface of the wooden core; S8, hot air drying wax; S9, removing the floating wax on the surface; S10, wiping.

2. The coloring and waxing process for imitating hardwood according to claim 1, characterized in that: In step S1, measure the dimensions of the original ancient architectural furniture, and use Chinese catalpa wood to make and assemble the furniture.

3. A coloring and waxing process for imitating hardwood according to claim 1, characterized in that: In step S2, first perform dry sanding, use sandpapers with different grits from coarse to fine to sand the surface of the wooden core along the wood grain, then perform wet sanding, use wet and dry sandpaper to sand the whole body, and finally repeat the dry sanding process as a whole. After each sanding process, use a duster to clean it; in step S2, after each dry sanding, check the positions of wood knots and cracks, etc., level with putty, and polish and clean.

4. A coloring and waxing process for imitating hardwood according to claim 1, characterized in that: All the containers for boiling in step S3 are made of stainless steel products.

5. A process for coloring and waxing imitating hardwood according to claim 1, characterized in that: In step S5, prepare painting brushes of different models and sizes, evenly apply color on the wooden core, and follow the standards of painting light colors first, then dark colors, and from inside to outside when applying color.

6. A coloring and waxing process for imitating hardwood according to claim 1, characterized in that: In step S6, first boil the water, then add beeswax and Sichuan white wax in a mass ratio of 2:8, boil until the two waxes are fused and then let stand to cool.

7. A coloring and waxing process for imitating hardwood according to claim 6, characterized in that: In step S6, finally, 20 ml of turpentine is added to the boiled wax liquid and stirred evenly.

8. A coloring and waxing process for imitating hardwood according to claim 1, characterized in that: In step S7, hard wax is sprinkled on the flat surface of the wooden frame with a shovel, and the vertical surface is rubbed with a wax block. If soft wax is applied, an oil brush or coarse cloth is dipped in the soft wax and allowed to adhere to the surface of the wooden frame. The amount of wax sprinkled is controlled to be no less than 100g per 1㎡ to ensure that it is sprinkled fully and evenly.

9. A coloring and waxing process for imitating hardwood according to claim 1, characterized in that: In step S8, a hot air gun is used to ensure that the air outlet is 15 cm away from the wood frame and the temperature is controlled at 90°C to melt the hard wax so that the wax liquid penetrates into the wood, and then a bamboo shovel is used to stir evenly, and this is repeated several times until the wax oil no longer penetrates into the wood during the wax baking process.

10. A coloring and waxing process for imitating hardwood according to claim 1, characterized in that: In step S9, after the wax is heated until it no longer penetrates into the wood, it is left to cool, and the floating wax on the surface is removed using a bamboo spatula to ensure that it is loose and clean.