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• White acrylic paint pigment is slightly alkaline and foxing-resistant. • Acrylic-gesso-coated watercolor paper can be used as an anti-foxing backing. • Acrylic gesso coating is simple & cost-effective against foxing. One of the concerns of watercolor artworks on paper is the natural oxidation process of the paper, leading to the development of unsightly yellow-brown spots referred to as foxing. Historically, efforts to preserve watercolor pieces in museums, institutions, and private collections have relied on intricate and expensive techniques. Unfortunately, these methods are not practical for the broader community of artists and less affluent collectors. Furthermore, the introduction of foreign preservation materials, which can interact with the artwork's components, poses a risk to the original visual appeal. Consequently, watercolor art collections have lost some of their appeal compared to oil paintings on canvases. This study endeavors to offer an alternative, straightforward, and cost-efficient approach to safeguarding watercolor artworks created on high-quality watercolor paper, a type commonly used by typical watercolorists, making it a suitable candidate for this investigation. This approach also avoids introducing additional substances to the artwork. The protective technique involves the application of commercially available acrylic gesso to a fresh sheet of watercolor paper. This gesso-coated paper serves as a backing for framing and displaying the original watercolor artwork, without the need for any foreign preservation materials to be added to the artwork itself. To assess the effectiveness of this protection method, a comparison was made between the foxing tendencies of protected and unprotected paper artworks stored for a decade. These samples were subjected to various analytical techniques, including optical microscopy (OM), confocal laser scanning microscopy (CLSM), field emission scanning electron microscopy with energy dispersive X-ray spectroscopy (FESEM-EDX), X-ray diffraction (XRD), attenuated total reflectance-Fourier transform infrared spectroscopy (ATR-FTIR), and thermogravimetric analysis (TGA). The results revealed that, when compared to untreated samples, rarely any foxing spots were observed on any of the treated samples, and both the oxidation and degradation of cellulose fibers were diminished. Additionally, the analysis showed that the acrylic gesso comprised inorganic components such as calcium carbonate (CaCO 3), dolomite (CaMg(CO 3) 2), rutile (TiO 2), and organic acrylics. The carbonates created a mildly alkaline environment, neutralizing the acidity in the paper. The titanium dioxides exhibited biocidal and fungicidal properties due to their photocatalytic characteristics. The acrylic component bound and dispersed the inorganic constituents, and the coating formed a less impenetrable barrier layer as indicated by the scanning electron microscopy (SEM) results. In addition to significantly improving the resistance of the paper to foxing, the methods outlined in this study are highly cost-effective and readily accessible to artists and collectors. Importantly, they do not involve the addition of any restoration materials to the original artworks. [ABSTRACT FROM AUTHOR]

During the storage of celluloid pictures for animation films over half a century, an interleave paper adhered to acrylic paint. The purpose of this study is to establish a methodology to cleanly remove the paper from the paint. A layered film, a replica of the celluloid pictures, adhered with paper was prepared and immersed in water or ethanol. The effect of these solvents on the peeling behavior was investigated using a peel test. The maximum peel force for the dry layered film in was distributed at ~0.5 N, independently of the peel speed. The peel force was significantly reduced after the layered film was immersed in pure water or ethanol. A morphological observation revealed that the dry paper was peeled off via the cohesive failure of the paper. After the layered film was immersed in pure water, the paper was also peeled off via cohesive failure. The layered film immersed in ethanol was peeled off at the paper/paint interface. To clear the effect of the volume change in the paint on peel behavior, the relative volume was determined via image analysis. The relative volume of paint was 1.56 in pure water and 1.37 in ethanol. It can be considered that the large difference in the volume of paint induces a large shear stress at the paint/paper interface. [ABSTRACT FROM AUTHOR]