FR2830544A1 - Accelerated aging of new hygroscopic substrates comprises applying a water-based ink, immersing the substrate in a vinegar bath, and physically distressing the substrate to simulate wear - Google Patents

Abstract

Accelerated aging of new hygroscopic substrates comprises applying a water-based ink comprising decolorized shellac or gum Arabic and a colorless diluent, immersing the substrate in a vinegar bath, and physically distressing the substrate to simulate wear. An Independent claim is also included for a kit for carrying out the above process, comprising a bottle of vinegar-based liquid, several bottles of inks based on shellac or gum Arabic, a bottle of colorless diluent, a bottle of dust patina, a bottle of colorless protective fixative, a pen holder and drawing pens.

Description

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DESCRIPTION The present invention relates to the development of an accelerated aging process, on recent, hygroscopic supports based on papers, parchments, fabrics, or the like, blank, written, drawn, painted, printed (ink drawings , chalk charcoal, gouache, watercolor and others) aging is obtained by immersion, in a reactive acetic acid product, causing real physico-chemical reactions, in order to achieve an authentic restitution of the old appearance on the various documents.

In the first instance, aqueous inks associated with additives are used. They will be used to execute any graphic, in a base whose color is brown preferably, to restore graphics of more than a century or so. Other colors can be used to execute contemporary designs. With the help of brown inks, part of the aging can be achieved by reconstitution, pitting, stains, soiling and so on.

In a second step, the brown inks are brought into contact with the reactive acetic acid product, the physicochemical reactions take place immediately. The inks undergo variations in their shades, oxidation, cracks, scales and others are formed, they freeze. The paper itself, is modified in its P. H, in its texture, structure, it frays by slight friction, wear (see degradations of the supports).

The product used ..

29, z d'un vinaigre d'alcool cristal, 8 , 1 de cire d'abeille, jaune, liquide, (filtrée dans un tissu),
1 % 4 d'huile de lin décolorée ou similaire, (l'huile a pour effet de coaguler l'encre, très rapidement), The substances used in this acetic acid product are neither toxic nor corrosive to the manipulator. The composition of the acetic acid product is prepared with the following non-toxic substances: 8 GRAMS - + (for 1 liter of the product) of a binder, based on: METHYLHYDROXYETHYLCELLULOSE powder, to be dissolved in the following liquid substances , 15 GRAMS 4 (per 1 liter of product) of sea salt, or the like, to be dissolved in the following liquid substances, 54,5% -> of a colored alcohol vinegar, 6, containing a coloring matter E: 150 and a preservative E: 222,

29, z of a crystal alcohol vinegar, 8, 1 of beeswax, yellow, liquid, (filtered in a tissue),
1% 4 of discolored linseed oil or the like (the oil has the effect of coagulating the ink, very quickly),

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1.5% - a flavoring based on: cologne (and lavender oil or similar, in the case where 1% discolored linseed oil is not used) to reduce fumes vinegar, 1.5% alcohol to burn at 90,
1% X of an aqueous liquid, preferably colorless,
9% X of a lemon juice,
1% -> of a preservative based on: ISO-THIO-AZOLINONES or the like.

If the inks are completely dry (more than 24 hours) it is not necessary to put oil in the formula, nor beeswax, these dosages can be replaced by crystal alcohol vinegar or similar.

And in that a mixture of these substances is carried out using an electric mixer or similar, of a minimum duration of 5 minutes. The mixture is allowed to stand at least 48 hours before use.

The acetic acid product may be associated with pigments, in order to obtain a more intense coloration (to yellow the documents for example).

It can be broadcast independently of other components in very large quantities on the market. Its advantage: it is not harmful to health, it can be marketed to professionals, amateurs and even teenagers.

Inks used.

The extra step is to use aqueous inks. For a very long time in history, we used brown and black inks such as Indian ink, the latter does not attack the paper if it is used pure. It can be mixed with brown inks in very small quantities: For 1 bottle of 100 ml., 3 to 5 drops are enough. In this case, we mainly use brown inks, in order to restore the nuances of the old inks named: "METALLOGALLIQUES".

And whose composition is prepared based on: Vegetable gum: ARABIC or LACQUER (discolored) and in that the mixture is made with a colorless diluent of the type: "020 colorless medium" or the like, associated with the inks with the following dosages : a) BROWN-DARK inks: similar to burnt sienna + 5% diluent + 5% water: b) BROWN-CLEAR inks: similar to burnt sienna + 3% diluent + 30% water : (yellowish ocher).

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 c) VERY CLEAR BROWN Inks: similar to burnt sienna + 2% diluent + 40% water: (shade, pale yellowish ocher).

Also, other colors can be used: SEPIA, BROWN-RED, BISTRE and other colors related to brown, for basic tint.

The inks can be mixed together to obtain other desired shades and hues.

Also, the Indian ink (carbon ink), can be used to make certain drawings, it can be associated with a certain percentage of water, in order to obtain various effects, (shades of gray).

For the various types of inks, a preservative based on: ISO-THIOAZOLINONES or similar is added, of the order of 1%.

These inks are used in order to carry out any graphics before immersion, in the acetic acid product and / or in order to carry out one or more additional steps.

Minimum drying time of the inks on the supports: d) Papers 5 to 10 hours and 24 hours if we want to carry out an additional step: "to show some graphic through a light paper", e) Scrolls-- 15 hours, f) Fabrics - 10 hours, (d + e + f) = According to a mean and ambient temperature of 20oc.

Waiting time before immersion in the acetic acid bath: g) Either, after drying the inks on the various supports, see above (def) h) Either, before complete drying (a few minutes), in order to accentuate oxidations, cracks, scales and others, on inks and supports. This mainly concerns all media, based on papers and scrolls. The tissues are less marked by these physico-chemical reactions, if the supports are natural, (absence of layers based on bone glue for example, spread on the bottom of the supports, or similar).

The various media mainly used.

The extra step is to use either papers, scrolls or fabrics. a) The papers.

Either whites or colors, (traditional manufacture AT THE TANK and the old preference), whose composition to examples: VELIN-LITHO, VELIN ENGRAVING, VELIN ARCHES, PUR CLOTH or similar (white papers) having also for basic reference: "ARCHIVES", "RESTORER", "ALARM", from 30 grams to 120 grams,

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 also "LIMESTONE", "NATURE", "GRAY MOUSE" in 200/250 gr and more, according to (card stock). Papers of colors.

Characterized in that the minimum immersion time is: From 5 to 15 seconds, for papers to 30 grams, from 20 to 40 seconds, for papers 30 to 120 grams, from 60 to 120 seconds, for papers 2 at 200/250 grams (card stock 2 300/350 gr).

Of course, there is a very large quantity of old-fashioned paper, nowadays, that can be obtained commercially, or in paper mills. The examples given above give a precise orientation on the choice of these supports used. Because an accelerated aging, made on a paper of manufacture to the old or modern, is determining, since the paper by itself, informs us on the time, the country, to see the place of its manufacture. Aging itself finds its origin, depending on the paper used.

supports soient du Xi'siècle par exemple étant donné qu'ils sont caractérisés, par une fabrication moderne. b) Les parchemins. Pour ce genre de support, la question est différente par rapport aux papiers, car leur méthode de préparation reste toujours la même, puisque la matière est à base de peaux d'animaux. Elles peuvent être de peaux diverses : De chèvres, moutons, porcs, gazelles ou similaire. Le VELIN à grains fins, est choisi pour sa grande qualité. All the papers of modern manufacturing, of "industrial" (synthetic) type, can be used to carry out accelerated aging, but one can not pretend, that these

The supports are of the nineteenth century, for example, since they are characterized by modern manufacture. b) Scrolls. For this kind of support, the question is different in relation to papers, because their method of preparation remains the same, since the material is based on animal skins. They can be of various skins: goats, sheep, pigs, gazelles or similar. Fine grain VELIN is chosen for its high quality.

Characterized in that the minimum immersion time is 300 seconds, depending on the preparations made on the supports (placement, bone glue, or other, sanded, glued with animal glue, for example).

c) Les Tissus. They were much less employed than the papers, since they required a long preparation of the skins and especially they were very expensive.

c) Fabrics.

Mainly based on "LIN" fabrics, very thin, wet, on back, after being stretched on a frame. SILK is more rarely used in Europe.

Other tissues can be used provided that they prepare the installation of a glue powder or the like, in order to perform additional steps.

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If you want to accent stains, stings and others, it is better to have prepared media. They were used in the 16th century to represent drapery studies.

The minimum immersion time is: From 20 to 40 seconds without preparations of supports, from 120 to 240 seconds with, various preparations of the supports.

And in that the minimum drying time of the various media used is: From 1 hour to 2 hours for PAPERS, from 2 hours to 4 hours for PAPERS CARDBOARDS, PARCHMINS, from 1 hour to 4 hours for FABRICS.

Drying times are based on an average and ambient temperature of 25OC.

Accelerated aging, following physicochemical reactions, is independent of the supports used and any preparations made beforehand. But any preparation can accentuate aging. For the preparations undergo, alterations due to physico-chemical reactions, resulting in an increase in these degradations.

Physical degradations by manual or mechanical process.

The additional step consists in carrying out physical and voluntary degradations (they are carried out on the already moistened supports, in a bath of salt water or in the bath of acetic acid preferably and then wrung or sponged). The various supports are the following: a) papers, b) parchments, c) tissues. a) The papers.

b) Les parchemins. Folding, wear, friction, tearing, tearing (to possibly evacuate part of the support), cuts, is also performed, assembling the various papers, if necessary.

b) Scrolls.

Wearing, folding, cutting, or the like is done. c) The tissues.

Cutting is done regularly or not, tears, wear, fixtures, various fabrics, or the like.

(A + B + C) = It is said that the supports have gaps.

It is not necessary to make all the recommendations described above, since some documents have arrived in a good physical condition. However,

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 Physicochemical degradations resulting from the aging process remain existential.

Reconstitution of bites and their origins.

The additional step consists in producing, before total evaporation of the acetic acid product (drying of the support), the reconstitution of pits.

The presence of bites is common on papers especially from the fifteenth century to the nineteenth century, we speak of paper "stitched". They originate from bacterial formation. They can be seen in two ways: either with a dark brown point and a yellowish halo, or in the form of brownish spots (see description of the spots). In order to reconstitute them, vaporized inks are used on the document, which is very moistened with the acetic acid product, and they freeze and reconstitute the punctures.

 The development is carried out, preferably using dark brown inks, also on light media between Igr and 120gr (mainly paper, and possibly tissue).

It is the light papers that are the most marked by these parasites, as a rule.

The material used is based on feathers: plant, animal, metal, or syringes, in order to position the bites in a precise manner, at the desired locations on the chosen support. For more speed and less precision, we use a toothbrush soaked in ink, which is sprayed on the document, in places not degraded (tears, ...). Physicochemical reactions occur on the bites and halos appear. We can combine all the techniques between them listed above on the same support.

Before complete drying of the support used and the inks used, a hairspray is sprayed to stabilize the assembly then wait for drying before spraying a second time on the dry document.

Reconstitution of a yellowed and stained support.

The extra step is to restore a yellowing, and the establishment of stains, soils, halos on the document. According to two methods a and b to achieve yellowing and stains.

Method a) Immersing the dry material back into the acetic acid product.

But this time the product will be associated with various color pigments, such as pigments from Italy: "umber", "red Pozzuoli" and other colors according to the desired hues. They are used in very low dosage of the order of 1%. Thus the document will be soaked with the tinted product and the yellowing will be achieved. On leaving the bath, we wipe the

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 surplus of liquid. Then let the document sit for a few minutes. Then, using dark or light brown inks, "yellowish ocher", (possibly mixed together), we realize, the establishment of the spots, with the help of a brush, rag, cotton, or similar, in some cases, a brownish oil may be applied to the document at the desired locations, and then any lacquer fixative is sprayed before and after drying.

Method b) By immersing the dry document, in a colorless salt water bath preferably (15 gr of salt, for 1 liter of water) then, the support is drained using a spatula to clean the windows (It is applied to the back of the graphic by placing the document on a cloth or a blotter). The yellowing of the support is then carried out using light and very light brown inks, preferably with a watercolor roller for example. Staining is done with a brush or spray or toothbrush, using the inks and brown tinted oil described in (a).

Then, before drying the support, the acetic acid product is sprayed at low dose in order to cause physicochemical reactions, then any lacquer-based fixative is sprayed before and after drying. Yellowing is mainly due to long-term exposure of a document to light, as air and moisture promote aging. The presence of small brown spots is common on old media (see description of the punctures), the bacterium that is the main cause of this kind of stains is called: ASPERGILLUS (class of ascomycetes). It develops at a moisture content, lower than that generated by the fungus (70%).

Achievement of halos: After complete drying of the support used, one wets the parts that one wants to work, with the aid of a brush or a cotton soaked with the product of acetic acid, or possibly water. One of the various brown inks is used to reconstruct the halos, using a fine brush, to work out the contours. On the original documents, they are caused by a runoff of water, or various liquids, following storage in a particularly humid environment.

Realization of soiling: When the document is dry, in its entirety, we carry out the installation, dirt, with the help of a pigment, "shadow earth of Italy" preferably, mixed with a certain percentage water, the effects sought. A cloth, a dry cotton, is used to spread the pigment. Dirt is achieved in the most degraded or torn areas of the support used, preferably.

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They are caused most often by the presence of fat, at the level of the supports, these causing the attachment of dust.

Realization of the transparency of any graphic. the additional step is to show some graphic design, drawn to the "RECTO" by means of a partial piercing of a brown ink, at "VERSO". This operation is carried out on a paper document preferably relatively light (from 1 to 120 gr maximum). The focusing is carried out by immersing the dry document, again in the acetic acid product for a maximum of 40 seconds, and then wringing it out of the bath. It is allowed to rest for a few minutes, before proceeding to the setting up (at the "VERSO" of any graphic design), of linseed oil, on a brush, soaked with acetic acid, applied on the support, (at the same level as the graphics). Then, before complete drying, the document is optionally subjected to one or more additional steps previously described in the paragraphs listing punctures, stains, yellowing, rings and soiling.

Aging a recent blank medium. the support is blank, and in that it undergoes one or more additional steps, described in the paragraphs describing tears, kinks and other (physical damage) as well as punctures, yellowing, stains, halos and dirt (physico-chemical degradation). By this accelerated aging process, virgin, aged media (mainly paper) can be marketed to satisfy the demand of many customers for such media. Since currently originals are naturally aged, they are very expensive and rare. With a new blank aged support, we proceed to the realization of various graphics based on: chalk, black chalk, blood, watercolor, wash, gouache and others, in order to reconstitute an old graphic document, but especially to protect them of the acetic acid product, the renderings being made using these materials listed above.

Because the use of these materials in contact with the product, can tarnish all the graphics (loss in brightness and luminous intensity). It can be made on parchments but the cost is expensive, also we can achieve accelerated aging on recent fabrics, virgin (according to research techniques or desired aesthetics).

Aging a recent support with any graphic.

The recent document is already written or drawn, manually, using various modern materials such as: pens, felts and others (in order to realize the aging process

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 accelerated for example, on a letter, a document or the like) and in that it is subjected, one or more steps, described in the paragraph "aging of a recent blank media".

Aging of a printed document.

The recent document is already printed on any support (examples: engravings, pages of books, images, newspapers and others) and that it undergoes one or more additional steps described, in the paragraph "Aging of a support recent virgin ".

The commercial purpose being to make large prints engravings or the like by reproducing the aging process.

Realization of a dusty document.

The additional step consists in applying a patina of dust (to the number of layers to be defined) according to the desired nuances. The material used is based on: brushes, brushes, cotton cloths, dry.

Focusing is carried out on a dry support at the desired locations. The desired effect: a dusty document. And in that the composition of the patina is prepared, with the following non-toxic substances: for a mixture of 100gr, 70 GRAMS of so-called natural dust, 23 GRAMS of so-called rotten earth, added with colored and white pigments,
3 GRAMS of natural sienna (Italian pigment),
2 GRAMS of white zinc (pure pigment),
1 GRAM of white marble powder,
1 GRAM of natural shade earth (Italian pigment).

And in that a mixture of these elements, by a manual or mechanical process.

The so-called natural dust comes from bags of vacuum cleaners or the like, sieved.

Protection of various documents.

The extra step is to use a protective fixative, preferably colorless. It is applied with a large flat brush or a roller. The development takes place on a document (dry or moistened with water) and in that the composition is prepared with the following non-toxic substances: 30% -> of white glue (dilution by addition of d water), 69% - + of an aqueous solution, colorless, preferably

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1% - + of a preservative based on: ISO-THIO-AZOLINONES or the like.

14 GRAMS-) for 1 title, a binder of the type: METHYCELLULOSE-TYLOSE MH 200 or similar.

And in that one carries out a mixture of these elements, by a manual or mechanical process Quality of fixative: it is transparent, invisible, without reflections, odorless, revives the colors, also makes it possible to reinforce the supports and to make some collages .

Restoration. said method is also applied in the context of any restoration.

For example: the damaged, degraded, missing parts of the support are reinforced, reconstituted and aged, all assembled on the old document, recent aged or not by the present process to imitate, to restore an old or contemporary restoration.

The stages of accelerated aging are independent of one another, but they can be combined with one another, depending on the desired effects.

Realization of a kítà to distribute in the trade.

Kit (briefcase) which would have the theme "aged graphics" for the implementation of the method according to any one of the preceding steps.

Characterized in that it contains: (a) The acetic acid product in a vial or spray bottle, (b) Aqueous brown inks based on Arabian gum or Lacquer in vials, (with colorless diluent and preservative) (c) Dust substances in vial, with colored and white pigments in bottles, d) Protective fixative in bottle, e) A set of feathers with drawings and feather feathers, f) Instructions for use of the invention.

The kit (or the briefcase) can be distributed in the commercial departments at the levels of fine arts, or paper mills and sold to professionals, amateurs (eager to reconstitute documents having the old appearance) such as, the restorers, calligraphers, copyists, draughtsmen, art students, sellers of old, aged (blank, written, drawn, printed) media by this process, also to teenagers and many others ...

Claims (22)

1) Accelerated aging process on recent supports, hygroscopic, based on papers, parchments, fabrics, for example, blank, written, drawn, painted, printed, characterized in that it comprises the following steps; a) preparation of the inks in an aqueous solution: the hue is brown, preferably, in order to reconstitute old inks, named: "METALLOGALLIQUES"; whose composition is prepared on the basis of: vegetable gum, ARABIC or LACQUERED LACQUER, mixed with a colorless diluent of the type; "020 colorless medium" for example, associated with inks, which are intended to be applied to the supports, b) immersion of the supports in a bath of reactive acetic acid, based on alcohol vinegar, causing physical reactions-reactions chemicals on inks and media, in order to achieve a return of an old aspect of the documents; c) deliberate damage to physical media, in order to reconstruct the wear of documents due to manipulations, by making folds for example. 2) Process according to claim 1, characterized in that inks are used in an aqueous solution; whose dosages are between; 5% of the diluent + 5% of water to obtain a dark brown ink, between 3% of the diluent + 30% of water to obtain a

 light brown ink, between 2% diluent + 40% water to obtain a very light brown ink; for the various types of inks, a preservative based on: ISOTHIO-AZOLINONES, for example of the order of 1%, is added; these inks are used to make any graphics before immersion in the acetic acid bath. 3) Method according to the preceding claim, characterized in that one carries out drying of the inks on a support used, before immersion in the acetic acid bath for a minimum period of about 5 to 10 hours for the papers; 15 hours for scrolls; 10 hours for fabrics at an average temperature and ambient of 20 c. 4) Process according to any one of the preceding claims, characterized in that an acetic acid product whose composition is the following, 54.5% of a colored alcohol vinegar, about 6, containing a dye E: 150 and a preservative E: 222 for example, 29.5% of a crystal alcohol vinegar, about 8 ', 1% of beeswax, yellow, liquid, 1% flaxseed oil for example discolored, <Desc / Clms Page number 12> Of ISO-THIO-AZOLINONES for example, 8 grams per 1 liter of the product, a binder, based; METHYLHYDROXYETHYLCELLULOSE powder, to dissolve in the liquid substances mentioned above, 15 grams per liter of the product, sea salt, for example, to dissolve in the liquid substances mentioned above, and in that a mixture is made of these substances with the aid of an electric mixer, for example, for less than 5 minutes, the mixture is allowed to stand for at least 48 hours before use; optionally may be associated with pigments, or dyes to obtain a more intense shade to yellow the documents for example, 5) Process according to claim 1, characterized in that uses recent media based papers; either white or colored, handcrafted LA CUVE and the old preference, whose composition for examples: VELINLITHO, VELIN ENGRAVING, VELIN ARCHES, PUR CLOTH or other white papers, also for basic reference : "ARCHIVES", "RESTORER", "ALARM" from 30 grams to 120 grams, also "LIMESTONE", "NATURE", "GRAY MOUSE" in 200 to 250 grams and more, depending on type of card stock, color papers. 1% of a preservative-based 9% of a lemon juice that is added, 1% of an aqueous liquid, colorless preferably,  1.5% of a base-based flavoring agent, such as cologne and lavender oil, if 1% of the discolored linseed oil is not added, 1.5% of the alcohol to be burned at 90% , 6) Process according to claim 1, characterized in that uses recent media based on papers of all colors, the manufacture of which is modern, of "industrial", synthetic type. 7) Process according to claim 5 and 6, characterized in that the minimum time of immersion of the support in the acetic acid bath is between 5 to 15 seconds for the papers; less than or equal to 30 grams, 20 to 40 seconds, for papers between 30 and 120 grams, 60 to 120 seconds, for papers, greater than or equal to 200 to 250 grams, card stock; greater than or equal to 300 to 350 grams. <Desc / Clms Page number 13>  8) Process according to claim 1, characterized in that recent parchments are used, they may be skins of various animals, goats, sheep, pigs, gazelles, for example. 9) Process according to claim 8, characterized in that the minimum time of immersion of parchments in the acetic acid bath is 300 seconds. 10) Method according to claim 1, characterized in that recent fabrics are used, mainly based on fabrics of "LIN", very fine, or "SILK", or other

 fabrics having undergone a preparation with a glue powder for example, yarat 11) Process according to claim 10, characterized in that the minimum time of immersion of the tissues in the acetic acid bath is between 20 to 40 seconds without preparation of the supports, 120 to 240 seconds with various preparations of the supports . 12) Process according to any one of the preceding claims, characterized in that deliberate damage of the physical order is carried out by manual or mechanical means on the supports employed, already moistened in the acetic acid bath, Supports are dewatered or sponged, at the exit of the bath, before proceeding to wear, creases, tears, cuttings for example. 13) Method according to any one of the preceding claims, characterized in that one carries out an additional step, after the realization of the deliberate damage, consisting of the reconstitution of pits, using brown inks which are sprayed, sprayed, for example on the support used; this operation is carried out before total evaporation of the acetic acid product, in order to create physicochemical reactions on the inks, 14) Process according to claim 13, characterized in that vaporizes any fixative, before complete drying of the support used to better stabilize the punctures, then vaporizes a second time when the support is completely dry. 15) Method according to any one of the preceding claims, characterized in that one carries out an additional step, after carrying out the deliberate damage, consisting in the yellowing of the dry support used, immersing it again in the bath of acetic acid, the product is this time associated with various color pigments, such as pigments from Italy for example, "umber", "red Pozz \, 1oli" and other colors according to the desired hues, which are used at a very low dosage, thus <Desc / Clms Page number 14>  The product is impregnated with the tinted acetic acid product and the yellowing of the support used is carried out, when it leaves the bath, the surplus of the liquid is blotted. 16) Method according to any one of claims 2 to 14, characterized in that one carries out an additional step, after carrying out the deliberate damage, consisting in the yellowing of the support used, immersing the dry document, in a colorless salt water bath, preferably at a rate of 15 g of salt, for 1 liter of water, then the support is wrung out and the yellowing of the support is carried out using clear and very clear brown inks preferably, that is applied to the bottom of the support homogeneously; then, before drying, the product of acetic acid is sprayed at low dose to cause physicochemical reactions.  17) Method according to any one of claims 2 to 14, characterized in that one carries out an additional step, after the realization of the deliberate degradations, consisting of the realization of spots and halos on a dry support, humidifying the parts that we want to work with a brush soaked in the acetic acid product and we use one of them. various brown inks to reconstruct all the spots and halos. 18) Method according to any one of the preceding claims, characterized in that one proceeds to an additional step, after the realization of the deliberate damage, consisting of the realization of dirt on the dry support; the placing of dirt is done using a pigment "earth Italy" for example, mixed with a certain percentage of water depending on the desired effects; a dry cloth or cotton is used to spread the pigment; the stains are made in the most degraded or torn places of the support used preferably. 19) Method according to any one of the preceding claims, characterized in that one proceeds to an additional step, after the realization of the deliberate damage, consisting of making any graphic appear, drawn in the "RECTO" by means of a partial piercing of the brown ink, at "VERSO"; for this, the dry document is immersed again in the acetic acid bath for a duration of about 40 seconds; then on leaving the bath the paper is wrung out, allowed to rest a few minutes, before applying a mixture of linseed oil and acetic acid product with a brush , to the "VERSO" of any graphic design. 20) Method according to any one of the preceding claims, characterized in that one proceeds to an additional step, after the realization of the degradations <Desc / Clms Page number 15>

1 GRAM of natural shade earth, and in that a mixture of these elements, by a manual or mechanical process, 1 GRAM of powdered white marble for example, 2 grams of white zinc, 3 GRAMS of natural Sienna,  volunteers, consisting of applying a patina of dust on the dry support, preferably used, the composition for 100 grams is as follows; 70 GRAMS of so-called natural dust, 23 GRAMS of so-called rotten earth, added with colored and white pigments,  21) A method according to any one of the preceding claims, characterized in that 1 one proceeds to an additional step, after carrying out the deliberate degradations, consisting in applying to the support used, preferably colorless protective fixative whose composition is as follows; 30% of white glue, 69% of an aqueous solution, colorless, preferably 1% of a preservative there. based,. of ISO-THIO-AZOUNONE for example, 14 GRAMS per 1 liter of a binder of the type, METHYCELLULOSE-TYLOSE MH 2000 for example, and eR what is carried out a mixture of these elements, by a manual or mechanical process. 22) MALETTE comprising a set of elements for the implementation of accelerated aging process, according to any one of the preceding claims, characterized in that it contains; (a) a bottle of the acetic acid product, based on alcohol vinegar, (b) several bottles of inks, the basic color of which is preferably brown, extracted from vegetable gums, ARABIC or LACQUER, (c) a bottle a colorless diluent of the type, "020 colorless medium" for example, d) a vial of the dust patina, e) a vial of a colorless protective fixative, f) a feathers holder, g) feathers with drawings .