{"id":12405,"date":"2015-05-21T13:27:54","date_gmt":"2015-05-21T18:27:54","guid":{"rendered":"http:\/\/www.conservators-converse.org\/?p=12405"},"modified":"2015-05-21T13:27:54","modified_gmt":"2015-05-21T18:27:54","slug":"43rd-annual-meeting-objects-specialty-group-tips-session-may-16-lacquer-fills-by-ellen-promise-with-jessica-chloros-and-holly-salmon","status":"publish","type":"post","link":"https:\/\/resources.culturalheritage.org\/conservators-converse\/2015\/05\/21\/43rd-annual-meeting-objects-specialty-group-tips-session-may-16-lacquer-fills-by-ellen-promise-with-jessica-chloros-and-holly-salmon\/","title":{"rendered":"43rd Annual Meeting \u2013 Objects Specialty Group Tips Session, May 16, \u201cLacquer Fills\u201d by Ellen Promise, with Jessica Chloros and Holly Salmon"},"content":{"rendered":"

During the OSG tips luncheon, Ellen Promise, currently of Historic New England and formerly of the Isabella Stewart Gardner Museum, presented new techniques for filling and inpainting lacquer.\u00a0 The techniques, developed in collaboration with Jessica Choloros and Holly Salmon, are readily applicable to many types of objects, not just lacquer.
\nLacquer objects, especially those damaged by light, have very sensitive surfaces; therefore creating fills in situ can be dangerous.\u00a0 In the technique presented, Golden Acrylic Regular Gel Medium in matte was mixed with acrylic paint to a frosting-like consistency.\u00a0 The tinted mixture was then cast out onto silicone release mylar.\u00a0 After drying, the paint film remains flexible, has the bulk required for a fill, and resembles the sheen of aged lacquer.\u00a0 The paint film is trimmed to shape with a scalpel and then adhered in place with fish glue or B-72.\u00a0 While the fill isn\u2019t invisible at the edges, it is harmonious with aged, cracked lacquer and remains reversible.
\n

\"Acrylic<\/a>
Acrylic fill in situ on a Chinese Export Lacquer table<\/figcaption><\/figure>
\nPromise also described her experiments with inpainting lacquer, specifically the fine gold lines often found on these objects.\u00a0 While acrylic paint is easy to use, the texture and shine is often not a good match.\u00a0 Promise tested several other options \u2013 metallic pens and markers, metallic paints, and mica powders dusted over sizes.\u00a0 She evaluated the materials for color, texture, gloss, and adhesion to an acrylic substrate.\u00a0 For the object in her case study, a Chinese export table in the collection of Historic New England, she had the best results with a Decocolor opaque paint marker.\u00a0 The marker was a good color match and had a high pigment load without bulk.\u00a0 The marker, which produced a fine line, could be used directly on the fill, or the ink could be dispensed into a palette, mixed with solvent, and brush applied.
\n
\"Several<\/a>
Several options tested for inpainting lacquer<\/figcaption><\/figure><\/p>\n","protected":false},"excerpt":{"rendered":"

During the OSG tips luncheon, Ellen Promise, currently of Historic New England and formerly of the Isabella Stewart Gardner Museum, presented new techniques for filling and inpainting lacquer.\u00a0 The techniques, developed in collaboration with Jessica Choloros and Holly Salmon, are readily applicable to many types of objects, not just lacquer. Lacquer objects, especially those damaged … Continue reading “43rd Annual Meeting \u2013 Objects Specialty Group Tips Session, May 16, \u201cLacquer Fills\u201d by Ellen Promise, with Jessica Chloros and Holly Salmon”<\/span><\/a><\/p>\n","protected":false},"author":211,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[2,32,16,19],"tags":[75,737,1017],"class_list":["post-12405","post","type-post","status-publish","format-standard","hentry","category-annual-meeting","category-objects","category-specialty-sessions","category-wooden-artifacts","tag-aics-43rd-annual-meeting","tag-osg","tag-tips"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/12405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/users\/211"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/comments?post=12405"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/12405\/revisions"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/media?parent=12405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/categories?post=12405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/tags?post=12405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}