Portfolio ingles henar

RESTORATION OF INORGANIC MATERIAL

Metal Piece. Nineteenth Century Popular employment Material: Iron Treatments: - Clean to superficial. Soil removal - Cleaning mechanical - Cleaning dry. Ultrasonics bath (distilled water and 50% alcohol) - Transformer application of oxide. Drying (6h.)


Metal Piece. Nineteenth Century. Anonymous Popular employment Material: Iron Treatments: - Clean to superficial. Soil removal - Cleaning mechanical - Cleaning to thinner(limpieza disolvente). White Spirit - End Process. Tannic Acid and Alcohol - Protection layer with satiny varnish


Plaster Mould. Decorative Ornament. Nineteenth Century Treatments: - Clean to superficial. Soil removal - - Cleaning mechanical

RESTORATION TO ORGANIC MATERIAL

Reliquary Altarpiece. Seventeenth Century. Consolidation. 1. To open way with mixture of alcohol and water (50%). 1. To inject acryl to 5%.

RESTORATION OF ORGANIC MATERIAL

Reliquary Altarpiece. Seventeenth Century. Plastered in the gaps (missing) in the paint layer. Process for recovering the height of the surface level. It is done manually with modeling tools. used MODOSTUC ®, which is applied with a spatula and the remainder is removed from the surface by a swab moistened with water and a scalpel.


Reliquary Altarpiece. Seventeenth Century. Sculpture crowns the whole. Figure dressed in clothing characteristic of an infant with a brocade petticoat. Parallel with Spanish portraits made throughout the sixteenth and eighteenth century.

The body is made using fabric glue and head, feet and hands in ceramics

- Treatments:

1. Consolidation with acrylic resin diluided in water . Fixative in the deataching.


- Cleaning Tratments. Fistly, to start cleaning superficial with brushes of different hardness.

- Removing adhesive residue with hot water by scraping with a scalpel.

- Chemical cleaning with a mixture of turpentine and 50% alcohol for removing varnishes. A procedure to poultices and swabs areas.


• To join the head and body were different treatments:

• 1. Removing residual adhesive found in the

neck part of both the head and body by applying hot water and scraped with a scalpel.

• 2. Drill for binding by the two joining portions to introduce a fiberglass shank.

• 3. Plastered neck area where there was lack matérica. We used Pollyfilla (stucco powder) and land pigments for ceramics tonality approach. This stucco was used to protect the area of the hands.

• 4. The right foot was attached using dental plaster white with water, making filling of matter.


Chromatic reintegration through pointillism.

• Plastered in losses MODOSTUC ® pictorial layer using spatula.


Oil paint. Clean the back of painting on canvas. Tratments: Wet cleaning with distilled water gelation and Mylar® Paper. Removing with a scalpel.


Tratments on canvas. - Tear mend - Patch - Intarsie - Strip linning


Tratments on canvas. Removing deformation by humidity, pressure and heat


Tratments on canvas Strip linning of beva film


Tratments on canvas

Hone to polychromy with alcohol and acryl 33


Tratments on canvas

Stuccowork and level a fill


Tratments on framework

Remove to overpaint with stripper and mechanically


Tratments on framework

Estructural consolidation through wood intarsie


Tratments on panel painting

Remove to solvent

PAINTING OF INORGANIC MATERIAL

Painting on metal. - Sanding - Preparation Layer - Pictorial Layer

PAINTING OF INORGANIC MATERIAL

Painting on marble. - Drawing prior - Sanding and preparation layer - Pictorial Layer

PAINTING OF ORGANIC MATERIAL

Painting on wood. Tempera to tail. Protein Making the bracket. Tables assembly. Reinforcement system. Querbalkens Applying layers of preparation. Calcium sulfate and bunny tail Paint layer. Preparing temple to the queue. Egg tempera Finishes

PAINTING ON ORGANIC MATERIAL

Painting on wood. Mixed. Applying layers of preparation. Rabbit Tail + linseed oil + load: calcium sulfate and rutile. Paint layer. Linseed oil and dammar resin.

MAKING SILICONE RUBBER MOLDS

Silicone rubber molds. Making a clay plate with different levels. Manufacturing of the container by cartons. Mixture: Silical 125 + Silical 120 to 50% Curing 24h.

DRAWING

Freehand drawing different objects. I have experience of drawing since I have use of reason. To do this: - Domain volumes. - Space domain. - Mastery of light and shadow. - Proportions Domain Materials: - Dry Techniques: Pencils, graphite, charcoal, chalk and pastels - Wet Techniques: watercolor, acrylics, watercolors and oil

WATER GILDING

BLOWN GLASS

1. Obtaining the glass paste by a long metal rod. 2. After removing the glass paste on the dipstick, it should be moving. 3. You blow on the other end of the rod and create an air bubble. With metal tongs help you to shape the neck of your glass vitreous. 4. Finally, a glass must be baked in an oven at high temperatures.

TREATY OF LEATHER

Making folders, leather bags and belts. 1. Manufacturing patterns. 2. Selecting skin. To translate the drawings, it moisturizes skin and pressed using metal utensils . 3. Dyeing with aerosols. 4. Sewn with sewing machines. And stitched finish manual.

EXCHANGE FINLAND

Exchange students. Finland and Spain. The School of Art and Burgos conducted a exchange program with the School of Art Ikata Finland. In 2010 I give opportunity to meet Art school in Finland, unique in the Country. Tampere. They present design studies, Restoration and Conservation, Stained, Forge, Glass, Textiles, Manufacture of musical instruments manufactured housing, etc. Páginas webs: http://ikata.lpkky.fi/dynamic/1/view_attachment/esite_eng.pdf?id=11 http://www.escueladearteburgos.com/actualidad/noticias/12-alumnos-a-ikata-de-finlandia/?lang=en

http://ikata.lpkky.fi/dynamic/1/view_attachment/esite_eng.pdf?id=11

http://www.escueladearteburgos.com/actualidad/noticias/12-alumnos-a-ikata-de-finlandia/?lang=en











CONTACT

María del Henar García Sánchez. Simón de Pedro Square, nº13. 09193.Cardeñajimeno. Burgos [email protected] Phone: 633546434

Portfolio ingles henar

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