Patent Application
20190322126
The present patent application is generally related to the art industry, and is more particularly related to substrates used for making artworks.
Before being hung on walls or displayed on tables, artistic works such as photographs are typically placed within frames. For many photographers and artists, however, it is frustrating to spend so much time and effort to produce a captivating photograph only to later draw attention away from the photograph by placing a frame around its perimeter. In response to this situation, many photographers and artists have begun to use curable, epoxy resins that are poured over photographs and then cured to provide thick, glossy topcoats that enhance the appearance of the photographs. Other artists have begun to apply the curable, epoxy resins to pictures that are painted on metal substrates.
Artists and photographers have confronted many problems when using existing curable, epoxy resin products. In the past, curable, epoxy resins were produced solely as industrial adhesives. Although the industrial resins provided artwork and photographs with a sleek, glossy look, and artists were generally pleases with the aesthetic effects, the industrial resins are hard to source, and produce toxic fumes that cause headaches. In addition, the cured resins tend to turn yellow over time, which discolors the underlying artwork and/or photographs.
Thus, there is a continuing need for improved curable materials that are placed over photographs and artwork that are safe, easy to use, and maintain clarity. There is also a need for improved substrates that receive the artwork and cured materials. Moreover, there is a continuing need for an improved artwork substrate that prevents the uncured resin material from spilling and/or flowing over the outer edges of the substrate and that prevents the formation of unwanted residue, beads, and/or nubs on the edges, sides or undersides of artwork substrate.
In response to the above-noted problems with pre-existing curable materials (e.g., curable resin products), ArtResin Inc. located on Waterdown, Ontario, Canada, has developed a curable resin that satisfies the needs of artists, that remains crystal clear, that does not yellow, that is safe and easy to use, and that does not have the performance limitations found in industrial resins.
Working with a chemist located in Texas, ArtResin Inc. developed a curable, epoxy resin that has two equal parts, a resin and a hardener, that are mixed together prior to being poured and spread over a photograph, artwork, etc. The new curable resin formula (“the ArtResin product”) does not require the use of a respirator in order to apply it to a surface. The ArtResin product is part of a “clean system” that has no solvents or non-reactive diluents. Everything in the ArtResin product reacts, so that there are no volatile organic compounds (VOCs) released into the air, and no chemicals that can irritate the lungs or skin. Many prior art, curable resins have a very powerful odor, but the ArtResin product has virtually no odor.
Similar to pre-existing, curable resin products on the market, the ArtResin product contains a UV stabilizer to protect against the damaging (i.e., yellowing) effects of UV light. In one embodiment, the ArtResin product contain something new, an additional additive, referred to as a hindered amine light stabilization (HALS) additive, which minimizes yellowing of the cured resin coating and the underlying art or photograph. The HALS additive works by inhibiting UV light-induced reactions that lead to degradation. The new ArtResin product has a unique chemistry that does not discolor works as other resins do. In one embodiment, the ArtResin product provides a clear, thick, glossy, rock hard, durable finish that transforms prints into a product of professional photography, and enhances the appearance of artwork.
The ArtResin product is purchased by photographers and artists from around the world. Unlike pre-existing resins, the ArtResin product can be easily shipped overseas because its chemical formula has no VOCs so that it is not classified as a hazardous material (HAZMAT).
The ArtResin Inc. website, wymartresin.corn, provides a wealth of information including how-to videos, a Frequently Asked Questions (FAQ) section, and a resin calculator tool to help users determine how much resin needs to be applied to a surface of a photograph or artwork.
In one embodiment, the following steps may be taken to apply the ArtResin product to an artwork. The steps may include measuring, mixing, pouring, and waiting.
Measuring. In one embodiment, wearing gloves, a user pours equal amounts of a resin solution and a hardener solution into a mixing cup. The User may refer to a resin coverage calculator at www.artresin.com to determine how much resin and hardener will be needed. In one embodiment, a 32 oz Starter Kit of the ArtResin product covers an eight square foot surface, a one gallon Studio Kit of the ArtResin product covers a 32 square foot surface, and a two gallon Professional Kit of the ArtResin product covers a 64 square foot surface.
Mixing. The resin and hardener solution is well stirred for at least three (3) minutes. During mixing, the sides and the bottom of the mixing cup should be scrapped to make sure the mixing is thorough (unmixed material will result in sticky spots being present in the poured resin layer that will not fully cure). Once the resin and the hardener are completely mixed together, a user has about 45 minutes of working time before the resin thickens and cures.
Pouring. After making sure that the artwork to be covered is level, the mixed ArtResin product is poured over the work. The uncured resin will start to level on its own, and a user may spread the resin around the surface and into place. If the resin runs over the outer edges of the artwork, a brush may be used to clean up the edges. Bubbles will begin to rise to the surface of the uncured resin layer. Many of the bubbles will pop on their own, but the bubbles can also be popped using an Artist's Torch or by blowing on the exposed surface of the uncured resin layer.
Waiting. After being applied over a surface of a substrate, an artwork, or a photograph, the ArtResin product needs to cure for several hours in a dust-free environment. About eight hours after being applied, the resin layer will be tacky, however, a user may pour a second coat of the ArtResin product, if necessary or desired. After about 12 hours, the resin coating will be dry to the touch, and within 24 hours, the resin coating will be 95% cured. The ArtResin product will preferably be fully cured within about 72 hours.
Resin coatings tend to “spill” over the outer edges of artworks, frames, and photographs, which results in the formation of undesirable hardened nubs that must be removed.
The ArtResin Inc. website, www.artresin.com, teaches five different techniques for avoiding and/or removing cured, resin nubs along the edges or undersides of artworks that have been coated with the ArtResin product or curable resins.
Technique #1: Let the resin run over the edges, down the sides, and rub it in. This is probably the easiest technique. When uncured, simply let the ArtResin product run over the outermost edges of the work piece and down the sides, and then rub it in and smooth it out with a gloved hand. Before applying any resin, however, it is a good idea to tape off the underside of the piece so that the drips of the resin that collect on the bottom will pull right off with the tape. When pouring the ArtResin product onto an artwork, users should insure that the artwork is spaced from an underlying supporting surface (e.g., a table) so that the work is not glued to the underlying supporting surface.
Technique #1 yields an unpolished, finished look, which some individuals may like and some (i.e., perfectionists) may not. To provide a more polished look, a user could try smoothing the ArtResin product repeatedly after 15 minute intervals, and quickly running a torch over the sides to thin and smooth out the ArtResin product Finally, the tape on the underside of the artwork may be removed within 24 hours for the least amount of headache.
Technique #2: Create a dam with tape. When ArtResin Inc. first started to apply resin coatings to artwork, it masked off the edges with rugged, wide tape, leaving a ridge above so that it created a low barrier in which the wet resin pooled. This technique worked very well, especially if using duct tape a few times around, folded over on itself so that the non-sticky side also faces in where the ridge is. One artist who routinely employs this technique, Josie Lewis, suggests using metal venting tape that can be found in any hardware store. It is more expensive but the results justify the cost.
Four to six hours after pouring the ArtResin product onto an artwork, the tape dam may be removed. Timing is critical because the four to six hour time period is when the resin has set up, but the resin material is still flexible enough so a user can remove the tape with minimal issues. A user could remove the tape the next day, but it will require a bit more elbow grease.
Once the tape is pulled off, a user may notice that the resin has formed a meniscus (i.e., an area where the resin curves up a bit around the perimeter due to surface tension).
With a proper tool, like a router table and bits, a user can cut the top edges at a 45 degree angle to provide a professional looking finish. In the absence of a router table, a razor knife having a sharp blade may be used. The blade may be run along the meniscus before the resin has cured for 24 hours old (i.e., when the resin it is still sufficiently soft so that a knife can easily pass through the resin material).
Technique #3: Trimming the outer edges of the artwork with a table saw. This technique may be one of the most professional methods for finishing edges, however, it requires using a table saw. In one embodiment, a user may start by taping the edges. Once the resin is cured, a user can machine it, meaning the user can cut it and drill it with power tools without concern. The table saw is set up and the guide is locked into place so the artwork will run smoothly along the table saw at the perfect spot. In one embodiment, a user will preferably trim off a blade's width around the perimeter of the artwork, sawing through the combination of the resin, the artwork, and the wooden support. The resin will preferably cut cleanly at 90 degrees to reveal an aesthetically pleasing cross-section of the resin. The wood will show as the finished edge, or the cut edges may be painted, if desired.
Technique #4: Sand irregular cured resin (e.g., nubs) and then paint. This technique is fairly self-explanatory. Cover the artwork with the resin coating and allow it to flow over the edges. Once the resin coating has cured for at least 24 hours, use sand paper, a sanding block, a file, and/or a power palm/hand sander to make the outer edges and underside of the artwork perfectly smooth. After removing the cured, hardened nubs, the sanded/field edges may be painted.
Technique #5: Dome the resin product, avoiding the sides all together. Unlike many epoxy resins, the ArtResin product domes up beautifully at the edge of the work so that it forms a soft curve between the surface of the artwork up to the natural level height of the resin. Doming is easy to achieve, it just takes a bit of patience. By pouring the ArtResin product in the center of the work and working slowly outward, the resin is viscous enough to only go where the user guides it. As a result, a user may guide it out to the very edge of the artwork without going over the edge. The edge may then be painted a desired color. Technique #5 looks very professional, however, ArtResin Inc. teaches that it may only be used on wooden panels where the edges form a sharp 90 degree corner.
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In one embodiment, an artwork system preferably includes an artwork substrate having a top surface, a bottom surface, and an outer perimeter. In one embodiment, the outer perimeter of the artwork substrate desirably includes a curved outer edge that projects above the top surface of the artwork substrate to define a raised rim that extends around the outer perimeter of the artwork substrate.
In one embodiment, an artwork, such as a painting or a photograph, is positioned atop the top surface of the artwork substrate. In one embodiment, the painting may be painted directly onto the top surface of the artwork substrate.
In one embodiment, a transparent resin coating overlies the artwork and the top surface of the artwork substrate. In one embodiment, the transparent resin coating has an outer perimeter that abuts against an inner surface of the curved outer edge of the artwork substrate.
In one embodiment, the artwork substrate is made of a metal such as aluminum or an aluminum alloy.
In one embodiment, the top and bottom surfaces of the artwork substrate are anodized.
In one embodiment, the top surface of the artwork substrate is flat.
In one embodiment, the artwork includes a painting overlying the top surface of the artwork substrate.
In one embodiment, the transparent resin coating includes a curable epoxy, an ultraviolet light stabilizer, and a hindered amine light stabilization additive.
In one embodiment, the curved outer edge has an inner surface that defines a concave curved surface an outer surface that defines a convex curved surface.
In one embodiment, the artwork system desirably includes a second artwork overlying a top surface of the first transparent resin coating, and a second transparent resin coating overlying the second artwork and the top surface of the first transparent resin coating. Additional artwork and additional transparent coatings may be placed over the second transparent coating to create art having multiple layers, depth, and/or a 3D-like appearance.
In one embodiment, an artwork system desirably includes a metal substrate having a top surface, a bottom surface, and an outer perimeter. In one embodiment, the top surface of the metal substrate is anodized.
In one embodiment, the outer perimeter of the metal substrate preferably includes a curved outer edge that projects above the top surface of the metal substrate to define a raised rim that extends around the outer perimeter of the metal substrate.
In one embodiment, the top surface of the metal substrate is covered by a painting.
In one embodiment, a curable, transparent, coating desirably overlies the painting and the top surface of the metal substrate. In one embodiment, the curable transparent coating has an outer perimeter that abuts against the curved outer edge of the metal substrate.
In one embodiment, the metal substrate may be made of metals such as aluminum, aluminum alloys, stainless steel, tin, and combinations thereof.
In one embodiment, the curved outer edge preferably has an inner concave surface that faces toward a center of the metal substrate, and an outer convex surface that faces away from the center of the metal substrate.
In one embodiment, the curable, transparent coating preferably has an outer perimeter that abuts against the inner concave surface of the curved outer edge of the metal substrate
In one embodiment, the artwork system may include a second painting overlying a top surface of the first curable, transparent coating, and a second curable, transparent coating overlying the second painting and the top surface of the first curable, transparent coating.
In one embodiment, a method of making an artwork unit preferably includes obtaining a metal substrate having a top surface, a bottom surface and an outer edge that defines an outer perimeter of the metal substrate, and bending the outer edge of the metal substrate to form a curved outer edge at the outer perimeter of the metal substrate. In one embodiment, the curved outer edge projects above the top surface of the metal substrate and has an inner concave surface that faces toward a center of the metal substrate and an outer convexly curved surface that faces away from the center of the metal substrate.
In one embodiment, the method may include anodizing at least the top surface of the metal substrate.
In one embodiment, the method may include placing an artwork over the anodized top surface of the metal substrate, whereby the artwork is bounded by the curved outer edge of the metal substrate, and depositing a curable, transparent coating over the artwork and the anodized top surface of the metal substrate.
In one embodiment, the method may include spreading the curable, transparent coating away from the center of the metal substrate and toward the curved outer edge at the outer perimeter of the metal substrate until an outer perimeter of the curable, transparent coating abuts against the concave inner surface of the curve outer edge.
In one embodiment, the method may include allowing the curable, transparent coating to flow away from the center of the metal substrate and toward the curved outer edge at the outer perimeter of the metal substrate so that an outer perimeter of the curable, transparent coating abuts against the concave inner surface of the curve outer edge.
In one embodiment, the method may include curing the curable, transparent coating to provide a first cured, transparent coating, placing a second artwork over a top surface of the first cured, transparent coating, and depositing a second curable, transparent coating over the second artwork and the top surface of the first curved transparent coating.
In one embodiment, the substrate is preferably placed atop a flat support surface prior to depositing the curable, transparent coating atop the top surface of the substrate.
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In one embodiment, the artwork substrate 100 is preferably made of metal such as aluminum, aluminum alloys, tin or steel. In one embodiment, the substrate is made of metal and is anodized prior to receiving the artwork or the clear coatings. In other embodiments, the substrate may be made of other materials including polymers, plastics, cellulose, paper, fiberboard, cardboard, metal, alloys, or combinations of two or more of any of the above-listed materials. In one embodiment, the artwork substrate 100 is preferably shaped so that it includes a top surface, a bottom surface, a raised edge that projects above the top surface, and a trough that is located between the top surface and the raised edge for collecting any resin material that flows beyond the outer perimeter of the top surface.
In one embodiment, the artwork substrate 100 has a circular shape. In other embodiments, the artwork substrate 100 may have other geometric shapes including but not limited to squares, rectangles, polygons, parallelograms, and triangles.
In one embodiment, a picture may be painted onto a surface of the artwork substrate 100 and the painted picture is preferably covered by a curable, resin coating. In one embodiment, the resin coating is cured to provide a clear coat over the painted picture. In one embodiment, the painted surface overlies the top surface 102 of the substrate 100 (
In one embodiment, the artwork substrate 100 is preferably made of aluminum and the top surface of the aluminum substrate is painted with a picture. After the picture is painted on the top surface, the resin coating is applied over the top surface of the substrate and the painted picture. The raised rim and the trough preferably prevent the uncured resin material from spilling over the outer perimeter of the substrate 100.
In one embodiment, the artwork substrate has a circular or disc shape and the raised edge is a raised rim that extends around the outer perimeter of the substrate, with a circular trough being located between the outer perimeter of the top surface of the substrate and the raised rim. In one embodiment, the raised edge extends above the top surface of the substrate to form a dam that extends completely around the outer perimeter of the substrate. In one embodiment, the circular trough preferably collects the resin material that flows outside the outer perimeter of the top surface and the raised rim prevents the resin material from spilling over the outer perimeter of the substrate so that nubs cannot form on the sides of the bottom surface of the artwork substrate.
In one embodiment, if the resin coating is applied over the top surface of the substrate 100 (
In one embodiment, if the resin coating is applied over the bottom surface of the substrate 100 (
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In one embodiment, the curved outer edge 206 may be formed by bending or curving the outer edge using a tool. In one embodiment, the curved outer edge 206 may be formed by spinning the substrate 200 on a lathe and pressing a tool against the free outer end 208 for bending the outer edge into the curved configuration shown in
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In one embodiment, the artwork substrate 200 is preferably made of metal such as aluminum, aluminum alloys, tin, steel and/or combinations thereof. In one embodiment, an artwork substrate 200 made of metal may have a matte finish, a glossy finish, a semi-glossy finish, or any type of finish between a matte finish and a glossy finish. In other embodiments, the substrate may be made of other materials including polymers, plastics, cellulose, paper, fiberboard, cardboard, metal, alloys, or combinations of two or more of any of the above-listed materials.
The artwork substrate 200 shown in
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Anodizing is an electrochemical process that converts the metal surface of the substrate 200 into a decorative, durable, corrosion-resistant, anodic oxide finish. In one embodiment, aluminum is ideally suited to anodizing, although other nonferrous metals, such as magnesium and titanium, may also be anodized.
The anodic oxide structure originates from the aluminum substrate and is composed entirely of aluminum oxide. This aluminum oxide is not applied to the surface like paint or plating, but is fully integrated with the underlying aluminum substrate, so that it cannot chip or peel. It has a highly ordered, porous structure that allows for secondary processes such as coloring and sealing. See https://www.anodizing.org/page/what_is_anodizing?
In one embodiment, anodizing is accomplished by immersing the aluminum substrate 200 into an acid electrolyte bath and passing an electric current through the medium. A cathode is mounted to the inside of the anodizing tank. The aluminum substrate acts as an anode, so that oxygen ions are released from the electrolyte to combine with the aluminum atoms at the surfaces of the substrate 200. Thus, anodizing involves highly controlled oxidation and enhances a naturally occurring phenomenon.
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In one embodiment, the artwork may be a photograph, an object, a paper, or any other type of art that may be positioned atop a surface of the artwork substrate 200.
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In one embodiment, because the curable material 212 is flowable, it is self-leveling and forms an even, level coating over the top surface 202 of the substrate 200. In one embodiment, the curable material 212 is allowed to cure to preferably provide a clear, transparent coat over the artwork 210 (e.g., a painted picture) and the top surface 202 of the substrate 200.
In one embodiment, the artwork substrate 200 has a circular or disc shape and the curved outer edge 206 is also circular or disc shaped and extends around the entire outer perimeter 204 of the substrate 200. In one embodiment, the raised, curved outer edge 206 preferably collects the curable material 212 that flows toward the outer perimeter 204 and prevents the curable material from spilling over the outer perimeter 204 of the substrate so that nubs cannot form on the bottom surface or sides of the artwork substrate.
In one embodiment, art having depth and/or a 3D appearance may be formed on an artwork substrate. Referring to
In one embodiment, the first artwork 310 may be a photograph, an object, a paper, or any other type of art that may be positioned atop a surface.
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In one embodiment, because the first layer of the curable material 312 is flowable, it is self-leveling and forms an even, level, first clear coating over the top surface 302 of the substrate 300. In one embodiment, the first layer of the curable material 312 is allowed to cure to preferably provide a first clear coat over the first artwork 310 (e.g., a painted picture).
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In one embodiment, because the second layer of the curable material 316 is flowable, it is self-leveling and forms an even, level, second clear coating that overlies the top surface 302 of the substrate 300, the first artwork 310, the first cured layer 312, and the second artwork 314. In one embodiment, the second layer of the curable material 316 is allowed to cure to preferably provide a second clear coat over the second artwork 314, the first cured layer 312, and the first artwork 310.
After the clear, transparent coatings have cured, the items disclosed herein may be hung on walls or placed atop surfaces to be displayed as artworks. The artwork placed over the surfaces of the substrate are preferably visible through the cured, clear and transparent coatings.
The headings used herein are for organizational purposes only and are not meant to limit the scope of the description or the claims. As used throughout this application, the word “may” is used in a permissive sense (i.e., meaning having the potential to), rather than the mandatory sense (i.e., meaning must). Similarly, the words “include”, “including”, and “includes” mean including but not limited to. To facilitate understanding, like reference numerals have been used, where possible, to designate like elements common to the figures.
While the foregoing is directed to embodiments of the present invention, other and further embodiments of the invention may be devised without departing from the basic scope thereof, which is only limited by the scope of the claims that follow. For example, the present invention contemplates that any of the features shown in any of the embodiments described herein, or incorporated by reference herein, may be incorporated with any of the features shown in any of the other embodiments described herein, or incorporated by reference herein, and still fall within the scope of the present invention.
The present patent application claims benefit of U.S. Provisional Application Ser. No. 62/660,214, filed Apr. 19, 2018, the disclosure of which is hereby incorporated by reference herein.
| Number | Date | Country | |
|---|---|---|---|
| 62660214 | Apr 2018 | US |
