A personal story, a historic manuscript, a crazy laminating machine and a final outcome. We’ll discuss about synthetic polymers, sorts of laminations and encapsulation. All these ingredients are seasoned with PFTE, TFA, HFIP, PE, DMSO, PET… cling, dong and BOOM!… An explosive -but most irresistible- cocktail. Continue reading
Can you match the colour but not the surface texture? Can you match the surface sheen but not the colour? Do you struggle with both? Do you never know what dyes to use? If you want to acquire a wider a range of inpainting techniques, this is your course. Held by knowledgeable professionals, it goes deeper into the tools, materials, techniques and tricks. The goal is to infill and in-paint the most challenging losses with confidence and success. Continue reading
No one would say that Esther feels burdened by the case she is working on: removing an old repair that was deforming some parchment manuscripts. And besides her patient attitude I can’t agree more with her when she says that … Continue reading
There are all sorts of projects, and when Mr. Goya knocks at the door, the red carpet is ready to receive him at the studio: Please, come in!
The Disasters of War by Francisco Goya arrived at the studio in a fairly intact condition, with its 80 etchings, corresponding to the very first edition (in later editions two more etchings were added, making a total of 82). This first one was edited in 1863, more than forty years after Continue reading
Fellows of joys and sorrows, conservators, here is why I am so excited with the “Cleaning workshop: Paper bathing/stain removal”, given by Wolbers: The idea is to make every conservation treatment a kind of custom-made dress for each particular object with a minimal initial investment. He speaks about solvents, gels, surfactants, conductivity and pH.
Nor in my wildest dreams had I imagined such a close, easy and useful chemistry. Thanks a lot Richard, we owe it to you. Continue reading
Or how to remove adhesive tapes, without removing them We have spoken about bibliopaths, about misuses and how to eradicate its effects… But, what happens when the artefact itself causes its own degradation? It’s not a spy movie’s myth: … Continue reading
I never enjoy anything as much as visiting other paper restoration studios, especially if they are private. They usually bear the imprint of a personal vocation, a personality which is barely present at institutional studios. I watch the space distribution, the tools, the jars… at Hildegard Homburger’s studio. Is there a better way to nose around than becoming a berliner restorer for two days? Continue reading
The bike riders from Sants reached my studio squeaking, rather than cycling!
Tears, foxing, discolouration, brittleness, acidity… All these damages have been carefully restored in order to let the splendorous riders finish line at the Municipal Archive of Barcelona. They are almost centenarian… and yet they ride wild along the repository! I’ll explain which beauty and health treatments these illustrated posters have passed through Continue reading
Foxing is mould… or not?
One of the main concerns in archives and libraries is the presence of mould. Not surprisingly: it develops without fanfare, and when it is detected, an irreversible loss of information might have taken place. Before pulling your hair out, you should identify whether the symptoms actually reveal fungal activity, or not. Not an easy assessment. Continue reading
Wrinkles and folds are a usual damage in documents made of paper, cloth or parchment. The common way to restablish these supports to its original condition is by pressure: under weights or in a press.
When the paper has a relief which must be preserved, it is then not possible to use pressure, as it would smash this relief.
Flattening under tension may be an interesting alternative on certain occasions or when a selective flattened is needed. It takes advantage of the natural shrinkage of the paper when going from wet to dry, so that the tension is given by the same paper. Continue reading
Approach to a new methodolgy to retrieve the lost flexibility to brittle papers.
Tracing papers -so usual among technical drawings- have in common their transparency, but there are significant differences in the process to make them. The properties and behavior will be very different then. Impregnated papers, for an instance, were applied oils or varnishes to provide them translucency.
Explanation restoration of several drawings in which the varnish was removed to replace it later. Continue reading
BluTack in papers? Never!
Restoration of a document from industrial heritage with a stain from this adhesive, property of the Municipal Archive (Barcelona) Continue reading
Which damages cause sellotapes? Can we release documentary heritage from these fatty strips?
Explanation for the degradation mechanisms of this historic “remedial” tapes that we can find in documents of all kinds, and restoration possibilities in each case. Continue reading
This map represents the typical scholar posters: with its wooden slats to roll and hang, lined on the back. It was very common to varnish them with shellac to waterproof and protect them from abrasion. This one was made of two pieces of printed paper, sticked together along the central horizontal stripe. It is from 1936, spanish civil war was barely breaking.
Removing the old varnish has allowed to repare other minor damages: tears, gaps and wrinkles. But most important is that the new varnish is not oxidizing nor yellowing. As it is very flexible it will not crack in the future. Continue reading
What are nanoparticles and chemical gels? Latest technological advances in restoration of archive material is about nanotechnology and chemical gels and so it is studied in the paper & books section of the IPCE Continue reading