{"id":11199,"date":"2014-07-14T16:45:54","date_gmt":"2014-07-14T21:45:54","guid":{"rendered":"http:\/\/www.conservators-converse.org\/?p=11199"},"modified":"2014-07-14T16:45:54","modified_gmt":"2014-07-14T21:45:54","slug":"42nd-annual-meeting-paintings-specialty-group-tips-session-may-29","status":"publish","type":"post","link":"https:\/\/resources.culturalheritage.org\/conservators-converse\/2014\/07\/14\/42nd-annual-meeting-paintings-specialty-group-tips-session-may-29\/","title":{"rendered":"42nd Annual Meeting – Paintings Specialty Group Tips Session, May 29"},"content":{"rendered":"

The PSG tips session at the 42nd annual meeting took place prior to the afternoon session on Thursday, May 29th.\u00a0 The following recaps the twelve tips that were presented.\u00a0 I’ve done my best to give you the most complete information possible, but please feel free to contact each tipper for more information or for clarifications.\u00a0 You can also always enter your questions into the comment section below!
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\nTip 1:\u00a0 “Texas Strappo” varnish removal, presented by Helen Houp<\/strong>
\nHelen began with a case study of a damaged painting with a thick varnish that needed to be removed.\u00a0 The thickness of the varnish combined with the severity of the damage to the painting precluded the use of traditional methods of varnish removal.\u00a0 A search for treatment alternatives led to the use of pressure sensitive tape for varnish removal.\u00a0 The tape was applied to the top layer of varnish and then pulled away gently to remove a thin layer of material without risking the paint underneath.\u00a0 It was also possible to use the tape to remove overpaint.\u00a0 The method allowed for a controlled removal of the varnish and overpaint in layers without leaving behind significant residues.\u00a0 I was unable to determine the type of tape that was used, but I’m sure Helen would be willing to provide details to those who may be interested.
\nTip 2:\u00a0 Reverse of Paintings Database, presented by Elise Effmann Clifford<\/strong>
\nElise previewed a database for “Information on the Reverse of Paintings” that she has been developing in cooperation with the Fine Arts Museums of San Francisco, which will host the final site.\u00a0 The goal for the completed database is to provide a searchable and expandable archive of shared information specific to the reverse of paintings with international access and contributions.\u00a0 In the interest of security and permissions, a login will be required and it will be possible to make entries available to the general public or adjust privacy settings to limit viewing.\u00a0 Members will be able to upload images with file size allowances up to 30MB.\u00a0 Transcriptions and key terms will allow searches for details like canvas stamps, stencils, labels, and seals.\u00a0 The project is destined for beta testing beginning some time in July 0f 2014.\u00a0 People interested in taking part in the testing or submitting future contributions should email Elise.
\nThe presentation of the database was followed by a brief question and answer period.
\nQ:\u00a0 Will any of the information contained in the database be found through a general internet search?
\nA:\u00a0 That will depend on the privacy settings.\u00a0 There will also be terms and condition sections on the site as well.
\nQ:\u00a0 Will uploaded images become property of the Fine Arts Museums of San Francisco once they are uploaded?
\nA:\u00a0 No.
\nQ:\u00a0 Will the database accept video?\u00a0 What kind of images are accepted?
\nA:\u00a0 It will not take video.\u00a0 Right now it cannot take RAW images but will handle things like jpg, tif, etc.
\nTip 3:\u00a0 Filling cracks at the edges of canvas, presented by Kristin Robinson<\/strong>
\nFine cracks along the turnover edges of a canvas can be very difficult and tedious to fill.\u00a0 Kristen suggested using dried modostuc, which can be held in the fingers and gently rubbed over the cracks to fill them quickly and safely.\u00a0 The dried material leaves very little residue and what remains can be gently wiped way.
\nTip 4:\u00a0 Edge lining iron support, presented by Kristin Robinson<\/strong>
\nKristin followed her first tip with a suggestion for edge-lining.\u00a0 A backing board or mat board can be folded into thirds to form a triangle, which can act as a rigid support for the iron to press against when applying an edge lining on folded margins.
\nTip 5:\u00a0 IMAT developments, presented by Nina Olsson<\/strong>
\nThis tip focused on recent advancements of the IMAT project, which is the natural progression of an earlier project Nina introduced to the Paintings Specialty Group in a talk presented at AIC’s 38th annual meeting in Milwaukee<\/a>.\u00a0 IMAT refers to “Intelligent Mobile Accurate Thermoelectrical” mild heating devices.\u00a0 The aim of the project is to provide conservators with a controlled and mobile tool for the structural treatment of materials.\u00a0 It is worth noting that Nina is a paintings conservator but the IMAT was developed with a broad audience in mind, including but not limited to conservators of works on paper and textiles.\u00a0 The details of the IMAT project are significant and advanced so this is merely a summary of what was presented at this tips session.\u00a0 Links to more detailed information about the IMAT are included at the end of this summary.
\nThe current IMAT team has developed working prototypes that should be ready for production within a few years.\u00a0 The current focus is on low temperature applications that can be sustained for many hours at a time with a low voltage requirements (I wrote 70-150 degrees Fahrenheit and 36 volts, though these should be confirmed through additional resources).\u00a0\u00a0\u00a0 The carbon nanotube heat source is galvanically insulated and has a thermosensor connected through bluetooth technology with a touch screen control for heating over time within a 0.5 degree Celcius fluctuation.\u00a0 The mats will be flexible and come in various sizes, though any customizable size will be possible.
\nThere are 3 IMAT forms at present.\u00a0 The first is a standard mat that is opaque and does not offer any breathability.\u00a0 The second is a black mesh mat with a gray polyurethane coating and thin silicone coating.\u00a0 The third, which is still in development, is a transparent mat with silver nanotube technology.\u00a0 A fourth incarnation–a textile-type mat of silk organza with silver nanowire–is next in line.
\nAll questions regarding the history and current developments of the IMAT project can be directed to Nina Olsson.\u00a0 Additional information can also be found via the following links:
\nPSG 2010 Postprints<\/a>
\nimatproject.edu<\/a>
\nH. Meyer, K. Saborowski, T. Markevicius, N. Olsson, R. Furferi, M. Carfagni. “Carbon Nanotubes in Art Conservation.” International Journal of Conservation Science<\/em>. 4 (2013): 633-646. <\/a>
\nTip 6:\u00a0 PSG Wiki, presented by Gabriel Dunn and Erin Stephenson
\n<\/strong>
\nIn May of 2013 a core team of paintings conservators formed the Paintings Specialty Group Wiki Committee under the guidance of Chief Wiki Editor Erica James.\u00a0 The group worked to bring organization to the PSG wiki page<\/a>.\u00a0 Gabriel and Erin presented the improvements that were made to the page and announced that the group is seeking contributions.\u00a0 They encouraged the PSG membership to visit the site and consider submitting material or reaching out to be paired with a liaison who can submit material on their behalf.\u00a0 Any questions or concerns about the PSG wiki can be directed to Erica James or any member of the current Wiki Committee listed on the main PSG wiki page.
\nTip 7:\u00a0 Fume extraction, presented by Robert Proctor<\/strong>
\nRob presented a design for a fome-cor “cabinet” that he built to enclose a painting during varnishing.\u00a0 The structure can fit around a painting to contain fumes, and hoses attached to the structure will remove the fumes before they escape into the studio space.
\nAnother fume extraction tip involved the wheels on portable fume extractors.\u00a0 Rob mentioned that the ones sold with the portable extractors are expensive and mark floors.\u00a0 He suggested making a mobile base using wheels purchased at a home improvement store that will not mark the floors.\u00a0 As a side note, he added that it is not necessary to purchase the proprietary prefilters for the portable units because those used for home air conditioning units work just as well.
\nI’m certain Rob would be happy to provide details for anyone who wants more information on his designs!
\nTip 8:\u00a0 Building your own microscope, presented by Ria German-Carter<\/strong>
\nMicroscopes are expensive and can be an especially significant cost for conservators in private practice.\u00a0 When faced with the task of acquiring a new microscope, Ria decided to put together her own.\u00a0 She was able to find some good quality used components on eBay and save on additional parts by purchasing through amscope.com<\/a>.\u00a0 She built an inspection microscope with the following specifications for under $1000:<\/p>\n