The interaction of a shock wave with a boundary layer is a classic viscous/inviscid interaction problem that occurs over a wide range of high speed aerodynamic flows. For example, on transonic wings, in supersonic air intakes, in propelling nozzles at offdesign conditions and on deflected controls at supersonic/transonic speeds, to name a few. The transonic interaction takes place at Mach numbers typically between 1.1 and 1.5. On an aerofoil, its existence can cause problems that range from a mild increase in section drag to flow separation and buffeting. In the absence of separation the drag increase is predominantly due to wave drag, caused by a rise in entropy through the interaction. The control of the turbulent interaction as applied to a transonic aerofoil is addressed in this thesis. However, the work can equally be applied to the control of interaction for numerous other occurrences where a shock meets a turbulent boundary layer. It is assumed that, for both swept normal shock and unswept normal shock interactions, as long as the Mach number normal to the shock is the same, then the interaction, and therefore its control, should be the same. Numerous schemes have been suggested to control such interaction. However, they have generally been marred by the drag reduction obtained being negated by the additional drag due to the power requirements, for example the pumping power in the case of mass transfer and the drag of the devices in the case of vortex generators. A system of piezoelectrically controlled flaps is presented for the control of the interaction. The flaps would aeroelastically deflect due to the pressure difference created by the pressure rise across the shock and by piezoelectrically induced strains. The amount of deflection, and hence the mass flow through the plenum chamber, would control the interaction. It is proposed that the flaps will delay separation of the boundary layer whilst reducing wave drag and overcome the disadvantages of previous control methods. Active control can be utilised to optimise the effects of the boundary layer shock wave interaction as it would allow the ability to control the position of the control region around the original shock position, mass transfer rate and distribution. A number of design options were considered for the integration of the piezoelectric ceramic into the flap structure. These included the use of unimorphs, bimorphs and polymorphs, with the latter capable of being directly employed as the flap. Unimorphs, with an aluminium substrate, produce less deflection than bimorphs and multimorphs. However, they can withstand and overcome the pressure loads associated with SBLI control. For the current experiments, it was found that near optimal control of the swept and unswept shock wave boundary layer interactions was attained with flap deflections between 1mm and 3mm. However, to obtain the deflection required for optimal performance in a full scale situation, a more powerful piezoelectric actuator material is required than currently available. A theoretical model is developed to predict the effect of unimorph flap deflection on the displacement thickness growth angles, the leading shock angle and the triple point height. It is shown that optimal deflection for SBLI control is a trade-off between reducing the total pressure losses, which is implied with increasing the triple point height, and minimising the frictional losses.

Neste trabalho são apresentados os resultados da determinação, por ICP OES, de elementos tóxicos e/ou potencialmente tóxicos (AI, Cr, Ni, Cu, Cd, As, Co e Pb) em tintas de acabamento imobiliário à base de água ou de solvente orgânico. Foram desenvolvidas e comparadas método de digestão de amostras utilizando diferentes misturas ácidas em bombas de decomposição, em fomo de microondas (sistema com radiação focalizada e com cavidade) e método de cinzas. O Método de digestão utilizando fomo de microondas com cavidade permitiu solubilização rápida e eficiente de todos os tipos de tintas testados, em tempo inferior a 35 minutos. As método apresentaram valores aceitáveis para a maioria dos elementos nos testes de adição e recuperação dos analitos. Os resíduos resultantes da digestão foram avaliados por MEV-EDS e não apresentaram os elementos estudados, comprovando a eficiência da metodologia. Mercúrio foi determinado usando um Analisador Direto de Mercúrio (DMA) e apresentou valores entre 43,0 ± 4,5 e 188 ± 9 µg Kg-1, valor considerado baixo quando comparado ao limite de 100 mg Kg-1, estabelecido na norma NRR 10004 para disposição de resíduos sólidos sem instalações especiais. O estudo da migração dos elementos para o ambiente após a exposição da tinta a agentes \"agressores\" , como raios ultravioletas e umidade, foi realizado usando câmara do tipo \"Weather-Ometer\" (envelhecimento acelerado). A avaliação dos resultados foi feita por MEV EDS e ICP OES. As micrografias de MEV mostraram que houve mudança na morfologia do polímero que foi submetido ao intemperismo acelerado. Os resultados obtidos não foram conclusivos quanto à migração dos analitos em função da baixa razão entre as massas degradada e não degradada das amostras. Uma proposta de metodologia para a avaliação por ICP OES das tintas e da disponibilidade de elementos tóxicos e potencialmente tóxicos, baseada na lixiviação de amostras secas em ambiente controlado é apresentada. São mostrados resultados de lixiviação de AI, Cr, Ni, Cu, Cd, As, Co e Pb com vários extratores e tempos diferentes de extração. Os resultados mostram que ocorre a migração de alguns elementos para as soluções estudadas e que, dos extratores avaliados, a chuva ácida apresentou maior potencial de lixiviação. / This work presents the results of the determination, using ICP OES, of the toxic and/or potentially toxic elements (AI, Cr, Ni, Cu, Cd, As, Co and Pb) in paints based in water or organic solvent. Sample digestion method were developed and compared using different acid mixtures in decomposition pumps, in microwave oven (focused and with cavity) and ash method. The digestion method using microwave oven with cavity allowed fast and efficient solubilization of ali tested types of paints, in inferior time to 35 mino The methodologies showed acceptable values for the majority of the elements using addition and recovery tests. The residues resulting of the digestion were analyzed by SEM-EDS and did not present the studied elements, checking the efficiency of the method. Mercury was determined using a Direct Mercury Analyzer (DMA) presenting values between 43.0 ± 4.5 and 188 ± 9 µg.kg-1, value considered low when compared to the Iimit of 100 mg.kg-1, established in the norm NBR 10004 for disposition of solid residues without special installations. The migration of the elements for the environment was studied afier the exposition of the paints to aggressor agents, Iike ultraviolet radiation and humidity, using a Weather-Ometer type chamber (accelerated aging). The evaluation of the results was performed by SEM-EDS and ICP-OES. The SEM micrographs showed changes on the polymer morphologies submitted to accelerated aging. The obtained results were not conclusive on the migration of elements because of the low mass ratio between the degraded and non-degraded samples. The proposed method for the evaluation by ICP-OES of paints and the disponibility of toxic and potentially toxic elements, based on the lixiviation of dry samples in controlled environment is described. Lixiviation results of AI, Cr, Ni, Cu, Cd, As, Co and Pb using several different removal agents and extraction times are presented. The results show that happens the migration of some elements for the studied solutions and that, among ali removal agents, the acid rain showed the highest lixiviation potential. that, among ali removal agents, the acid rain showed the highest lixiviation potential.

Organic coatings are extensively used as protective coatings in several industries including the automotive and aircraft industries. The last few years have witnessed an increased interest in improving not only the mechanical properties but also the corrosion protection properties of organic coatings. Among the currently investigated methods of improving the performance of organic coatings is the incorporation of additives in the organic paint matrix. Vapor grown carbon nanofibers (VGCNFs) are a class of carbon fibers that are produced by catalytic dehydrogenation of a hydrocarbon at high temperatures. Depending on the method of synthesis and the post-treatment processes, the diameter of the VGCNFs is normally in the 10-300 nm range. The small size, light weight, high aspect ratio, and unique physical, thermal, mechanical, and electrical properties of VGCNF make it an ideal reinforcing filler in polymer matrix nanocomposites to enhance the mechanical properties of the pure polymeric material in high performance applications in several industries such as the automotive, aircraft, battery, sensors, catalysis, electronics, and sports industries. The main objective of the current investigation was to study the corrosion protection offered by the incorporation of VGCNFs into a commercial alkyd paint matrix applied to the surface of mild steel coupons. The corrosion protection was investigated by immersing samples in air saturated 3% NaCl solution (artificial seawater). The samples were studied by electrochemical impedance spectroscopy (EIS) along with other measurements, including electrochemical (open circuit potential, cyclic voltammetry), chemical (salt spray test), electrical conductivity, and surface analysis (SEM, AFM, optical profilometry, and nanoindentation). The study involved the investigation of the effect of the weight percent (wt %) of the VGCNF as well as the coating film thickness on the corrosion protection performance of the coated steel samples when exposed to the corrosive electrolyte. By way of contrast, the EIS behavior of steel coupons coated with a paint coating incorporating different weight percents of powdered silicon carbide (SiC) particles was also studied. The EIS spectra were used to calculated and graph several corrosion parameters for the investigated systems. At the end, the studied coatings were ranked in order of their anticorrosive properties.

Summaries in Afrikaans and English. / Hierdie studie fokus op ‘n interpretasie van die Beni Hasanmuurskildery en meegaande inskripsie wat in Graf BH3 in Egipte ontdek is. Die skildery dateer uit ongeveer 1892 v.C. en kom voor in die graftombe van die provinsiale goewerneur van die Oryxprovinsie – Khnum-hotep II. Met die muurskildery en inskripsie deur die koninklike hofskrywer Neferhotep as vertrekpunt en teoretiese raamwerk, word daar ‘n kwalitatiewe ondersoek gedoen na die herkoms, identiteit en rol van die handelaars en ander items, veral oogverf, wat in die skildery uitgebeeld word. Benewens die interpretasie van die Beni Hasanmuurskildery, steun die studie ook op beskikbare inligting in eietydse teologiese- en argeologiese publikasies. Deur ‘n multi-dissiplinêre benadering te volg, word daar gepoog om meer inligting te bekom oor die geografiese ligging en argitektuur van Graf BH3, die belangrikheid van graf-outobiografie, die identiteit van die handelaars en die doel van hulle besoek. Dit blyk dat die muurskildery ‘n belangrike gebeurtenis in Egipte en die Semitiese wêreld van die pre-monargale tydperk uitbeeld, en meer spesifiek die tyd en konteks waarin verhale van die sogenaamde ‘aartsvaders’, soos hulle in die Hebreeuse Bybel beskryf word, afgespeel het. Aangesien daar ‘n gebrek aan argeologiese en geskrewe (Bybelse en buite-Bybelse) bronne oor die proto-Israelitiese samelewing bestaan, hoop die studie om ‘n bydrae te lewer tot navorsing oor die tydperk, en veral die verhouding tussen die Semiete en Egiptenare. Spesiale aandag word gegee aan die uiterlike voorkoms van die handelaars en goewerneur, en aan die aard en funksie van elke gebruiksartikel wat in die skildery uitgebeeld word, soos die kleredrag, donkies, wapens en musiek-instrumente. Omdat daar in die inskripsie spesifiek melding gemaak word van oogverf, word die belangrikheid van oogverf ten opsigte van magies-religieuse, kultiese, mediese, begrafnis-, ekonomiese (handels-) en kosmetiese gebruike, asook die vervaardiging en samestelling daarvan, breedvoerig ondersoek / This study focuses on an interpretation of the Beni Hasan mural and accompanying inscription discovered in Tomb BH3 in Egypt. The painting dates back to about 1892 BC and is found in the tomb of the provincial governor of the Oryx province - Khnum-hotep II. With the mural and inscription by the royal court writer Neferhotep as point of departure and theoretical framework, a qualitative inquiry is made into the provenance, identity and role of the merchants and other items, especially eye painting, depicted in the painting. In addition to interpreting the Beni Hasan mural, the study also relies on available information in contemporary theological and archaeological publications. By following a multi-disciplinary approach, an attempt is made to obtain more information about the geographical location and architecture of Tomb BH3, the importance of tomb autobiography, the identity of the merchants and the purpose of their visit. It appears that the mural depicts an important event in Egypt and the Semitic world of the pre-monarchic period, and more specifically the time and context in which stories of the so-called 'patriarchs', as described in the Hebrew Bible, played. As there is a lack of archaeological and written (biblical and extra-biblical) sources on proto-Israelite society, the study hopes to contribute to research on the period, and especially the relationship between the Semites and Egyptians. Special attention is paid to the external appearance of the merchants and the governor, and to the nature and function of each commodity depicted in the painting, such as the dress, donkeys, weapons and musical instruments. Because the inscription specifically mentions eye makeup, the importance of eye makeup with regard to magical-religious, cultural, medical, economic (trade) and cosmetic uses, as well as the manufacture and composition thereof, is extensively investigated. / Biblical and Ancient Studies / D. Th. (Godsdienswetenskap)

Διερευνήθηκε η δέσμευση/αποδέσμευση ιόντων Cu(II) ή/και αντίθετα φορτισμένων επιφανειοδραστικών ενώσεων από συμπολυμερή τύπου κτένας. Ο κεντρικός σκελετός ήταν το πολυ(ακρυλικό νάτριο), PANa, ενώ οι πλευρικές αλυσίδες ήταν το Πολυ(Ν,Ν-διμεθυλακρυλαμίδιο) και το πολυ(Ν-Ισοπροπυλακρυλαμίδιο). Η συμπλοκοποίηση των συμπολυμερών με τα ιόντα Cu(II)σε υδατικό περιβάλλον διερευνήθηκε με θολομετρία, ιξωδομετρία, φασματοφωτομετρία UV-Vis, δυναμική σκέδαση φωτός, ιχνηθέτηση με φθορίζοντες ιχνηθέτες και προσδιορισμό του ζ-δυναμικού. Σε επόμενο στάδιο διερευνήθηκε η δυνατότητα σχηματισμού τριμερών συμπλόκων ΡAΝa/Cu(II)/επιφανειοδραστικής ένωσης σε υδατικό περιβάλλον. Από τη φυσικοχημική μελέτη των συστημάτων σε συνάρτηση του pΗ, ελήφθησαν σημαντικές πληροφορίες σχετικά με τον ανταγωνισμό των δύο ειδών (ιόντα Cu(II)ή ιόντα επιφανειοδραστικής ένωσης) να σχηματίσουν σύμπλοκα με το PANa. Ως τελικό στάδιο, παρασκευάστηκαν αδιάλυτα στο νερό υβριδικά υλικά πολυμερούς/Cu(II)ή πολυμερούς/Cu(II)/επιφανειοδραστικής ένωσης. Έπειτα από διερεύνηση της συμβατότητας/αναμιξιμότητάς τους με εμπορικές μήτρες που χρησιμοποιούνται συνήθως στη βιομηχανία χρωμάτων, ορισμένα από αυτά ενσωματώθηκαν σε πραγματικά χρώματα. / The binding/release of Cu(II) ions or/and surfactants from comb-type copolymers was studied. The backbone was poly(sodium acrylate), PANa, whereas the side chains were poly(N, N-Dimethylacrylamide) and Poly9N-Isopropylacrylamide). The complexation of these copolymers with Cu(II) ions in water, was studied by turbidimetry, viscometry, UV-Vis fasmatophotometry, dynamic light scattering, fluorescense probing and ζ-potential. As a next step, the possible formation of ternary PANa/Cu(II)/surfactant complexes in water was studied. From the physiocochemical studies with pH, important information was taken as far as the competition of the two species (Cu(II) ions and surfactant) to form complexes with PANa is concerned. As a next step, water-insoluble hybrid polymer/Cu(II) or polymer/Cu(II)/surfactant materials were produced. After studies upon the compatibility/mischibility of the hybrid materials with matrices that are usually used in paints, some of the materials were incorporated to paints.

Bei der Anwendung von Radarsensoren zur Fahrzeug-Umfelderfassung müssen verwendete Blenden (Radome), welche den Sensor vor externen Einflüssen schützen und das Fahrzeugdesign unterstützen, die hochfrequente elektromagnetische Welle ohne Beeinflussung transmittieren. Allerdings werden beim Durchstrahlen eines Bauteils unterschiedliche Anteile der Welle absorbiert, reflektiert oder transmittiert. Mit dem Ziel die Transmission von Materialien zu erhöhen, werden im Rahmen dieser Arbeit die Einflüsse auf den Materialparameter Permittivität von Kunststoffen und Lacken untersucht. Dadurch kann auch die praktische Umsetzbarkeit der theoretisch hergeleiteten Kompensationsmethoden für hochreflektierende Lacke nachgewiesen werden. Zur Absicherung der Radarfunktion müssen darüber hinaus auch Einflussfaktoren aus Design, Fertigungsprozess und Umgebung bekannt sein.:1 Einleitung 2 Problemstellung und Zielsetzung 3 Stand der Wissenschaft 4 Elektromagnetische Eigenschaften von Kunststoffen 5 Einfluss elektromagnetischer Eigenschaften von Lacken 6 Radome im Gesamtaufbau 7 Zusammenfassung und Ausblick Anhang / When radar sensors are used for vehicle environment scanning, the cover (radome) used to protect the sensor from external influences and support the vehicle design must transmit the high-frequency electromagnetic wave without interference. However, when the wave passes through a component it is absorbed, reflected or transmitted. The range of the radar sensor can be reduced, the sensor can be blinded by reflections and inhomogeneous reflection distributions can lead to angular errors. To increase the transmission of materials, the influences on the material parameter permittivity of plastics and paints are investigated. Furthermore, the practical feasibility of the theoretically derived compensation methods for highly reflective paints can be demonstrated. To ensure the radar function, influencing factors, including the design, the manufacturing process and environment, must also be known.:1 Einleitung 2 Problemstellung und Zielsetzung 3 Stand der Wissenschaft 4 Elektromagnetische Eigenschaften von Kunststoffen 5 Einfluss elektromagnetischer Eigenschaften von Lacken 6 Radome im Gesamtaufbau 7 Zusammenfassung und Ausblick Anhang

[ES] La reintegración cromática es una materia que, más allá de los principios clásicos de respeto, reconocimiento y reversibilidad, o del tratamiento de las lagunas y la controversia que ello genera, apenas se presenta de forma extensa y detallada. La falta de monografías específicas que engloben, además, temas tan importantes como la percepción del color o las fuentes de iluminación, requiere en primera instancia, de una recopilación y recensión de material bibliográfico. Mediante este proceso, se muestra una especialización del léxico para denominar el proceso de reintegración cromática, quedando incluidos en esta nueva terminología los criterios y normas que dicha intervención lleva implícitos. La revisión crítica de las teorías de la restauración que abundaron a partir de mediados del siglo XX así como de las más recientes, identifica el estado actual de la cuestión del retoque en la pintura de caballete, en la cual se halla una clara influencia de principios teóricos más propios de otras áreas de la restauración como la pintura mural, la arqueología o la escultura. Resulta igualmente importante el análisis de la evolución de criterios en materia de reintegración, pues permite la identificación de las carencias y problemáticas que presentan si se extrapolan a la praxis actual. El extenso estudio del tratamiento de las lagunas y los sistemas de reintegración cromática requiere de una revisión que permita la ordenación, de forma coherente y con ejemplos gráficos, de los sistemas de retoque pictórico existentes, definiéndolos y clasificándolos correctamente, con el propósito de servir como referencia. Esta sección demuestra la diversidad del uso de sistemas según factores geográficos, así como la falta de una unificación terminológica de reintegración a nivel nacional e internacional que evite errores de traducción y confusiones, los cuales pueden derivar en malas prácticas por parte de los restauradores. Existen también otros parámetros, como la textura de los estucos, las fuentes de iluminación y la indumentaria de trabajo, que pasan inadvertidos pero de los cuales se demuestra, por medios experimentales, la importancia que juegan en el desarrollo de los procesos de reintegración cromática y en la calidad de su resultado final. De esta forma, se enfatiza que el retoque pictórico en pintura de caballete debe ser abordado más allá de los conceptos tradicionales y del tratamiento de las lagunas. Asimismo, se revisan también las técnicas utilizadas en la reintegración cromática de pintura de caballete, demostrando la permanencia de materiales tradicionalmente usados como las acuarelas para la restitución acuosa, y los colores aglutinados al barniz para los retoques no acuosos. En relación a esta última técnica, aunque es común el uso de pinturas comerciales, en la última década ha crecido en popularidad la elaboración propia de colores al barniz por los restauradores con motivo de las ventajas que presentan. Este suceso ha requerido un análisis detallado de su viabilidad mediante ensayos de laboratorio, descubriendo si estas pinturas artesanales cumplen unos mínimos estándares de calidad para poder ser utilizadas de forma segura en obras reales. En definitiva, la revisión crítica y el estudio de la reintegración cromática más allá de los medios tradicionalmente expuestos, remarcan la importancia de tratar esta fase de intervención como una disciplina propia e independiente. / [CA] La reintegració cromàtica és una matèria que, més enllà dels principis clàssics de respecte, reconeixement i reversibilitat, o del tractament de les llacunes i la controvèrsia que això genera, a penes es presenta de forma extensa i detallada. La manca de monografies específiques que engloben, a més, temes tan importants com la percepció del color o les fonts d'il·luminació, requereix en primera instància, d'una recopilació i recensió de material bibliogràfic. Mitjançant aquest procés, es mostra una especialització del lèxic per a denominar el procés de reintegració cromàtica, quedant inclosos en la seua terminologia els criteris i normes que aquesta intervenció porta implícits. La revisió crítica de les teories de la restauració que van ser abundants a partir de mitjans del segle XX així com les més recents, identifica l'estat actual de la qüestió del retoc en la pintura de cavallet, en la qual s'hi troba una clara influència de principis teòrics més propis de altres àrees de la restauració com la pintura mural, l'arqueologia o l'escultura. Resulta igualment important l'anàlisi de l'evolució de criteris en matèria de reintegració, doncs permet la identificació de les carències i problemàtiques que presenten si s'extrapolen a la praxis actual. L'extens estudi del tractament de les llacunes i els sistemes de reintegració cromàtica requereix d'una revisió que permeta l'ordenació, de forma coherent i amb exemples gràfics, dels sistemes de retoc pictòric existents, definint-los i classificant-los correctament, amb el propòsit de servir com a referència. Esta secció demostra la diversitat de l'ús de sistemes segons factors geogràfics, així com la falta d'una unificació terminològica de reintegració a nivell nacional i internacional que evite errors de traducció i confusions, els quals poden derivar en males pràctiques per part dels restauradors. Existeixen també altres paràmetres, com la textura dels estucs, les fonts d'il·luminació i la indumentària de treball, que passen inadvertits però dels quals es demostra, per mitjans experimentals, la importància que juguen en el desenvolupament dels processos de reintegració cromàtica i la qualitat del seu resultat final. D'aquesta forma, s'emfatitza que el retoc pictòric en pintura de cavallet déu ser abordat més enllà dels conceptes tradicionals i del tractament de les llacunes. Així mateix, es revisen també les tècniques utilitzades en la reintegració cromàtica de pintura de cavallet, demostrant la permanència de materials tradicionalment utilitzats com les aquarel·les per a la restitució aquosa, i els colors aglutinats al vernís per als retocs no aquosos. En relació a esta última tècnica, encara que és comú l'ús de pintures comercials, en l'última dècada ha crescut en popularitat l'elaboració pròpia de colors al vernís pels propis restauradors amb motiu dels avantatges que presenten. Aquest succés ha requerit un anàlisi detallat de la seua viabilitat mitjançant assajos de laboratori, descobrint si aquestes pintures artesanals compleixen uns mínims estàndards de qualitat per a poder ser utilitzades de forma segura en obres reals. En definitiva, la revisió crítica i l'estudi de la reintegració cromàtica més enllà dels mitjans tradicionalment exposats, remarquen la importància de tractar aquesta fase d'intervenció com una disciplina pròpia i independent. / [EN] Chromatic reintegration is a subject that, beyond the classical principles of respect, recognition, and reversibility, or the treatment of the losses and the controversy it generates, is hardly presented comprehensively and in detail. The absence of specific monographs covering such important subjects as perception of colour or light sources necessitates, first and foremost, a compilation and review of bibliographical material. Through this process, a specialisation of the lexicon is shown to name the process of chromatic reintegration, including the criterion and rules implicit to this intervention. According to the review of restoration theories from the mid-20th century onwards as well as more recent ones, it is identified the current state of the question of retouching in easel painting, in which there is a clear influence of theoretical principles more typical of other areas of restoration such as mural painting, archaeology or sculpture. Analysis of the evolution of reintegration criteria is also important since it allows for the identification of shortcomings and problems if they are applied to current practice. The extensive study of losses treatment and chromatic reintegration demands that the existing systems of pictorial retouching to be organised in a coherent manner including graphic examples that clearly define and classify them, with the aim of serving as a reference. This section demonstrates the diversity of the use of systems according to geographical factors, as well as the need of unification of reintegration terminology at national and international level to avoid translation errors and confusion, which can lead to bad practices by restorers. Experimentation has shown that there are also other parameters, such as the texture of the fillers, the light sources and the working clothes, which go unnoticed but which are important to the development of the chromatic reintegration processes and the quality of the final result. In this way, it is emphasised that pictorial retouching in easel painting must be approached beyond traditional concepts and the treatment of losses. The techniques used in the chromatic reintegration of easel painting are also reviewed, demonstrating the permanence of traditionally used materials such as watercolours for aqueous restitution, and varnish-bonded colours for non-aqueous retouching. However, according to the latter technique, although commercial paints are commonly used by restorers, the use of self-produced varnish colours has grown in popularity over the past decade due to the advantages they offer. To determine if these handmade paints are safe for use on real paintings, a detailed analysis of their viability has been conducted through laboratory tests. Definitely, the critical review and study of chromatic reintegration beyond the traditional means highlight the importance of treating this phase of intervention as an independent discipline. / Doménech García, B. (2022). La reintegración cromática en pintura de caballete. Revisión crítica de los principios teóricos, evolución, técnicas y materiales [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/186055 / TESIS