Please see below the backlist of IAP Virtual seminars which we have organised from 2020 until now. If you are interested in any of the topics shown (which you may have missed) please contact us via email at info@academicprojects.co.uk. We would be happy to discuss offering these seminars again in the future, either as an open seminar or for a closed group. You can find more information on present and forthcoming IAP Virtual seminars here.
Preservation of Rock Art
Andrew Thorn
This seminar will outline the principles that guide the role of the conservator who is confronted with paintings and engravings on natural rock surfaces. These are especially common to hunter gatherer societies at any time in history, from ancient engravings dating to 40,000 years ago to recent times. Topics covered include examples of environmental studies, condition surveys and treatment implementations and the relationship with custodial groups. Through working with such groups the conservator learns respect for the land, the culture and the people and the custodial groups can better understand how modern technology can be used by them, as they choose, to better protect their spiritual heritage.
Theft and Vandalism: Assessing Risk Factors for Art and Cultural Heritage
Gretchen Allen
This virtual seminar covers the most prevalent risk factors for theft and vandalism of art and cultural heritage and how they manifest in different situations. This is illustrated by an array of past and present case studies such as the recent Louvre jewel heist. Gretchen also discusses how these risk factors are complicated and amplified in high-risk political and conflict scenarios, and will outline the steps that guardians of cultural heritage can take when assessing and protecting the collections, sites, and objects in their care.
Health Hazards relating to Book and Paper Objects in Libraries and Archives
Larry Carr
This virtual seminar delve into the health hazards frequently encountered with book and paper objects of libraries and archives. The session primarily focuses on toxic pigments, pesticides and mould that may be present in these materials and aims to equip participants with the basic awareness to identify, manage and mitigate these risks in their professional practice. Attention is also be given to the rapidly growing corpus of ‘Bibliotoxicology’ research and its implications from an occupational health and safety perspective.
Magnets and Magnetic Fields in Conservation Practice
Zuzanna Szozda
This seminar examines the principles, risks and solutions when considering the use of magnets in the fields of conservation and display by introducing the fundamentals of magnetic fields in the context of art conservation and museum practice – how magnetic fields work, how magnets are used in conservation and display, and how they can be applied safely and effectively.
Mounting and Framing of Oversized Works on Paper
Simon Philpott
The focus of this virtual seminar is modern and contemporary artworks which, most commonly, pose challenges to conservators and conservation technicians. Tate standard processes and materials for mounting and framing works on paper are discussed as are ways that these methods are adapted on a large scale.
Conserving Modern and Contemporary Paintings
Rowan Frame
This virtual seminar, aimed at conservators in private and museum practice and students, provides a general overview of approaches and learnings derived from the collective experience of a conservation studio that specialises in modern and contemporary paintings. In particular, conservators who have recently been faced with the care or treatment of modern paintings for the first time may find this a useful introduction.
History of Pigments (from the 18th century to the present day)
Tracey Chaplin
This seminar discusses the pigments used in painting from the early 18th century onwards, introducing their chemistries, production methods and dates of use. The palettes used during this time period will be divided into 18th, 19th, early 20th and 20th/21st centuries, with the continuation of the use of natural pigments such as ochres, carbon blacks, chalk and cinnabar included, and the introduction of further synthetic pigments such as zinc white, cobalt blue, ultramarine blue, Scheele’s green, chrome yellow, titanium white, azo reds & phthalocyanine blue described.
History of Pigments (until early 18th c)
Tracey Chaplin
This virtual seminar discusses the pigments used in painting from prehistoric times until the early 18th century, looking at their chemistries, sources and production methods. The palettes discussed will be broadly divided into Prehistory, Antiquity, Medieval and post-Medieval to c.1704 with the significant introduction of Prussian blue. Both natural pigments such as ochres, carbon blacks, azurite, malachite, chalk, orpiment and cinnabar, and synthetic pigments such as lead white, verdigris, vermilion, red lakes and lead tin yellow will be covered.
Aerosol Suction Conservation Cleaning of Tapestries and Carpets
Pierre Maes
The conservation of tapestries is fraught with difficulties due to their size, weight, exposure to light, dust etc. Wet cleaning of tapestries has always been a challenge but over the last 30 years, since De Wit Royal Manufacturers installed a large aerosol suction cleaning chamber at their Mechelen (BE) conservation studio, they have developed an efficient and safe cleaning system which, together with their team of restorers, scientists, conservators has produced results which have been applied to many of the most important tapestries from the most prestigious collections worldwide. In this seminar Pierre Maes not only shows and explains how this works in terms of wet cleaning, drying, conserving etc. but also indicates how, despite the inherent advantages of the system, new challenges have constantly faced them.
Mounts and Microenvironments for Graphic Art and Paintings on Paper
Joanna Kosek
This seminar looks at historical and contemporary mounting and housing systems that have been used for Western graphic art and Asian paintings, and explores the effect that they have on pictorial art on paper and related materials. While the ambient environmental conditions and the quality of the mounting materials are obviously both fundamental for preservation, so are the material components of the artwork itself and the mount structure. Mounting styles and the intricacies of their construction are considered and how juxtaposition of mount materials with the artwork itself affects it.
The Technology and Metallurgy of Copper and Copper Alloys
Adam Wojcik
This seminar provides a concise review of the guiding metallurgy behind a range of copper alloys (particularly bronze and brass), starting with an appreciation of their properties, origins, and manufacture, but quickly moving on to their microstructures, and crucially how these link to the Copper – Tin and Copper- Zinc phase diagrams and their interpretation. The notion of non-equilibrium microstructures will then be introduced, and how these can be altered by working and heat-treatment.
Principles of Aqueous Chemistry for the Cleaning of Painted Surfaces
Matthew Cushman
This extended seminar will summarised options for tailoring both solution chemistry and physical delivery for improved control in aqueous cleaning of cultural heritage surfaces. Topics discussed include: pH, conductivity, chelating agents, surfactants and emulsions, thickeners, spreadable gels, and hydrogels.
Removing Pressure Sensitive Tape from Paper Substrates
Françoise Richard
Tape removal is a sticky problem for a paper conservator to solve and this presentation is a paper conservator’s approach to the removal of pressure sensitive tape. Every library, archive or museum collection has paper objects repaired with pressure sensitive tape (PST), or self-adhesive tape, that sticks when pressure is applied, without the need for heat or solvent activation. These tapes are ubiquitous and pose substantial problems for the long-term conservation of paper heritage because their synthetic adhesive layer generally degrades with time, leaving stains embedded in the paper. This virtual seminar discusses different and complementary approaches to the design of optimal treatment strategies for removing self-adhesive tape, including recently formulated rigid solvent-gels alongside traditional solvent application methods.
Insect pheromones and their use in Integrated Pest Management
Patrick Kelley and David Pinniger
This seminar examined insect pheromones and their function in the natural world and how they can be harnessed to prevent pest insects from harming heritage collections. The identification, synthesis and commercial development of pheromones will be described followed by examples of their value in practical pest management. This will be illustrated by case studies from the UK and USA and there will be an opportunity for questions and discussion.
An Introduction to Building and Engineering Stone
Ruth Siddall
This virtual seminar introduces igneous, sedimentary and metamorphic rocks and their suitability as building materials in a wide range of settings from Medieval churches to Victorian lighthouses. Case studies will examine the ways in which geological properties influence the suitability of stone for various purposes and provide a toolkit for the description of rock types used as stone. Resources and practical knowledge which can help conservators and architectural historians identify these materials in architectural and archaeological settings are also discussed.
An Introduction to Decorative Stone
Ruth Siddall
Marble has been widely used as a decorative stone in art and architecture for: inlays (e.g. pietre dure or intarsia using cut and polished stones to create an image); revetment; flooring; table tops; chimney pieces as well as numerous other applications. This seminar will define the word ‘marble’ as used both by geologists and stone masons and define a language for describing these stones and look briefly at their distinguishing features, range of composition, history of use and geological provenance. Resources and practical knowledge which can help conservators and architectural historians identify these materials in architectural and archaeological settings are also discussed.
Pigment identification – SEM-EDX, XRF & Raman microscopy
Tracey Chaplin
This seminar introduced three of the main instrumental non-destructive techniques routinely used to identify pigments on works of art – scanning electron microscopy energy dispersive X-ray spectroscopy (SEM-EDX), X-ray fluorescence and Raman microscopy. The processes, applications and limitations for each method will be described, with case studies used to illustrate each method. Such instrumental methods are often used in combination with visual and polarised light microscopy.
Pigment identification – visual examination and polarised light microscopy
Tracey Chaplin
This virtual seminar introduces the techniques involved in identifying pigments visually with the aid of a polarising light microscope. The different optical properties of pigments observable with the microscope will be described and demonstrated and methods by which the observed properties can then be used (either directly or from microscopic samples) to identify pigments found on decorative surfaces are discussed.
An Introduction to 3D Printing and its Applications in Cultural Heritage
Meredith Noyes
This virtual seminar provides an introduction to 3D printing and will present an overview of 3D printing processes, terminology, commonly printed materials, and application areas within a cultural heritage setting. Also covered are the findings from a recent field-wide survey on 3D printing and 3D printed objects in collecting institutions and ongoing research at the Image Permanence Institute in this area.
Iron and Steel – technology and metallurgy
Adam Wojcik
This seminar provides a concise review of the guiding metallurgy behind a range of iron alloys, starting with an appreciation of their properties, origins, and manufacture, but quickly moving on to their microstructures, and crucially how these link to the Fe-C phase diagram and its interpretation. The notion of non-equilibrium microstructures will then be introduced, and how these can be generated through heat-treatment and a basic knowledge of time-temperature transformation (TTT) diagrams. In this way, the black arts of steel and iron will be seen to be firmly rooted in science!
Conservation Cleaning inspired by Chemistry and Cuisine
Matthew Cushman
This seminar looked at the development of new biopolymer hydrogel formulations for conservation cleaning. For decades, conservator-restorers and conservation scientists have advanced the field of conservation cleaning through the introduction of new techniques and materials aimed at improved specificity and control. Recent trends have focussed on “greener” chemistry, economic sustainability, and varied working properties. Drawing inspiration from traditional foodways, modern food science, haute cuisine, and leading conservation researchers, this presentation detailed efforts to identify new biopolymer hydrogel formulations to meet each of these demands, yielding easy-to-prepare cleaning tools suitable across conservation specialisms.
History of Pigments (from the 18th century to the present day)
Tracey Chaplin
This seminar discusses the pigments used in painting from the early 18th century onwards, introducing their chemistries, production methods and dates of use. The palettes used during this time period will be divided into 18th, 19th, early 20th and 20th/21st centuries, with the continuation of the use of natural pigments such as ochres, carbon blacks, chalk and cinnabar included, and the introduction of further synthetic pigments such as zinc white, cobalt blue, ultramarine blue, Scheele’s green, chrome yellow, titanium white, azo reds & phthalocyanine blue described.
Termites: identification, monitoring and control
Patrick Kelley & David Pinniger
This virtual seminar will examine:
– Basic biology of the different types of termite and their distribution
– Structural inspection techniques for both drywood and subterranean termites with a focus on prevention of damage to structures and objects.
– Outdoor monitoring techniques for subterranean termites
– Treatment options once an infestation has been identified and an assessment of control measures.
The Changing Work of the Paper Conservator
Richard Hawkes
This virtual seminar looks at the changing nature of the work of the independent paper conservator from traditional restoration of prints and watercolours to the present dominance of the contemporary art market and the demands this places on paper conservators to meet the market expectations. The challenges include large, machine-made papers and the use of inherently unstable materials. At Artworks Conservation, Richard Hawkes has been developing the use of modern, digital technology to create archival-quality facsimiles of documents and manuscripts for use in museum displays. The increasing realism and detail achievable means that light sensitive materials can be replaced with copies – thereby allowing longer periods of display. The possible future of this area and the ethical considerations are discussed.
Interpreting and Displaying Historic Dress
Janet Wood
This virtual seminar examines the ways and means required to transform tired, flat garments (post 1720) into memorable displays of fashionable dress. The steps required from storage box to display case are discussed: assessing a garment and identifying its date and construction; discerning the type of pattern pieces a dressmaker at the time would have recognized; taking appropriate measurements; selecting or adapting display figures; the making of toiles to protect delicate garments and the making of underpinnings and arms to support skirts and sleeves.
Trends in climate management in museums and galleries
Bart Ankersmit
In this seminar Bart Ankersmit shared his considerable experience of observing and recording data and managing the indoor climate in museums and galleries in the Netherlands. Based on climate risk assessment, rational decision making and taking into account boundary conditions such as sustainability, knowledge, budgets and specific local situations, Bart tries to find the optimum climate control strategies that help to approach the targets which museums strive to attain.
Pigments and Inks in Medieval Texts
Richard Gameson
This virtual seminar explored current work on the scientific identification of the inks and pigments used in medieval texts, and on the cultural implications of the newest findings. It also considered the challenge of recovering erased texts, taking a particularly difficult and intriguing eighth-century ‘palimpsest’ as a case study.
History of Pigments (until early 18th c)
Tracey Chaplin
This virtual seminar discusses the pigments used in painting from prehistoric times until the early 18th century, looking at their chemistries, sources and production methods. The palettes discussed will be broadly divided into Prehistory, Antiquity, Medieval and post-Medieval to c.1704 with the significant introduction of Prussian blue. Both natural pigments such as ochres, carbon blacks, azurite, malachite, chalk, orpiment and cinnabar, and synthetic pigments such as lead white, verdigris, vermilion, red lakes and lead tin yellow will be covered.
A Reflection on Ancient Metal Technology in China
David Scott
In this seminar David Scott examines the sophisticated metallurgical techniques used in the fabrication of bronze mirrors which were used in China from the 3nd millennium BC to recent times – some 4,000 years of bronze technology. The different ways in which mirrors could be made reflect on the wider techniques employed in China for metal casting. Examples from different Dynasties will be illustrated and discussed. The problem of the authenticity of ancient Chinese bronze mirrors is a complex one and examples of these will also be discussed in the context of the milieux in which they were produced. The patinas and corrosion as well as surface examination under the binocular microscope are important for the study of the authenticity of such mirrors and examples will be given.
The Materials Science of Metals and Microstructure
Adam Wojcik
This seminar introduced the basic principles of materials science that govern the microstructure of metals and alloys. These principles also apply to other categories of materials, and the observation of microstructures is a well-established methodology in materials science for the characterisation of the properties of many types of materials. A sound understanding of what “science” lies behind a microstructure is often missing – whether one is working in a purely engineering context, or even as a conservator – and this seminar aims to address this. Using “metallographic” techniques to examine microstructures is often only the start of a journey that can ultimately provide information as to an alloys’ composition, its mechanical and chemical properties, and even the processes that were used in its manufacture and the fabrication of the component or artefact of which it is a part.
Adhesives and Conservation
Rebecca Ploeger
This seminar looked at adhesives from a chemistry perspective. Recognising that adhesives are an important class of materials used by conservators and cultural heritage caretakers, this seminar examines adhesion, consolidation, different types of adhesives and their properties and looks in more detail at one of the only adhesives designed for cultural heritage….in particular how all the components work together to make a good adhesive.
The Impact of Cennino Cennini on Art
Lara Broecke
Around 1400, a little-known Italian artist, Cennino Cennini, wrote a book describing the techniques and materials of his craft. Historians were aware that the manuscript existed, but it was not until 1823 that it was finally published. The effect of the publication was profound, on historians, conservators and practising artists. The story of the translations of Cennino Cennini’s Libro dell’arte into English is the story of some remarkable and fascinating figures in the history of art and of the roots and evolution of the discipline known as technical art history.
Climate Control and Sustainability in Museums and Galleries
David Saunders
Cultural heritage organisations face the challenges of ensuring future sustainability while preserving and displaying collections. This seminar traces the history and development of best practices and guidelines in the protection of collections from agents of deterioration and look at how these have been modified over the past decades to balance access and preservation, before exploring how considerations of sustainability and climate action are changing current and future assumptions and practice.
Topics covered will include: historic approaches to climate control; damage caused by inappropriate conditions; the development of environmental guidelines; classification of susceptibility; reassessment of tight control; climatology and sustainability and future directions in climatology.
The Conservation of Glass Objects
Stephen Koob
Glass is recognised as a material that is susceptible to damage from many possible sources e.g. water, everyday use, impact and even neglect. This seminar, based on the presenter’s long experience in the field of conservation of glass, looks at the issues, materials and techniques associated with the correct care and cleaning of archaeological, historical and modern glass objects, including the repair and re-repair of broken glass objects, gap-filling for both colourless and coloured glass and appropriate and safe handling.
Introduction to Corrosion of Metals & Alloys
Adam Wojcik
This virtual seminar is aimed at those working in the heritage sector, and will provide participants with a short introduction to corrosion science. Corrosion as a chemical process will be introduced very simply, initially considering dry corrosion (better known as oxidation), then quickly moving on to wet (or “electrochemical”) corrosion of metals. Theoretical aspects will be illustrated by reference to a number of corrosion case studies, some of which are taken from engineering situations, with others encountered in heritage contexts. Only a school-level understanding of chemistry and physics is assumed.
Polymers and Cultural Heritage
Rebecca Ploeger
Polymers – from natural to synthetic – are all around us. This virtual seminar looked at polymers and examines how they fit into the field of cultural heritage in terms of the materials from which objects are made and the properties of materials used for conservation purposes. Polymers are defined and shown how they differ from smaller organic molecules, and how the chains are organized to give some unique properties. Some basic knowledge of organic chemistry and cultural heritage practices will be very helpful.
Investigating Blue Pigments on Medieval Manuscripts
Richard Gameson
In this virtual seminar on Zoom, the non-invasive techniques employed to identify illuminators’ pigments are explained, and their strengths and weaknesses discussed. The evolution of blue pigments – indigo/woad, lapis lazuli, azurite and Egyptian blue – from the seventh century to the fifteenth are examined, and the various factors (economic, aesthetic, hierarchical) that affected when, where and how each was used, explored in the light of myriad new facts about their deployment in British books.
Conservation and Care of Japanese Textiles
Mie Ishii
This presentation includes a short history of the Japanese kimono in terms of materials and technique, traditional maintenance, tips for storage and display and the cultural preservation policy in Japan and in particular its relation to kimono conservation. Dr. Ishii draws on her interest in, and experience of, the continuation of traditional techniques to ensure that tangible cultural properties are passed down to future generations, while at the same time conducting scientific studies into topics such as the analysis of natural dyes, color fading caused by museum lighting, and testing conservation materials such as synthetic adhesives.
Recovery and Conservation of Objects from Marine Environments
Ian MacLeod
During his long career as a conservation scientist investigating the areas of materials degradation and preservation, Ian Macleod has used his electrochemistry background and his passion for understanding the decay mechanisms of shipwreck artefacts to develop new techniques and processes for conserving ships, their cargoes and fittings which are recovered from wreck sites. In this seminar, Dr. Macleod draws on his wide experience (he has worked on more than 75 historic shipwreck sites in many countries) to describe aspects of his work including the capturing of important data on the corrosion of metal artifacts in the marine environment which led to the use of sacrificial anodes to treat engines, anchors, and cannon on shipwrecks and corrosion modelling which allows for better management and treatment of shipwrecks. The data collected has also demonstrated the exquisite sensitivity of the biological microenvironment to the way in which shipwrecks interact with the bio-dynamic ecological systems.
Paraloid B-72 – an adhesive for ceramic, glass and other materials
Stephen Koob
Paraloid B-72 is an acrylic copolymer that has proven itself to be an almost ideal adhesive for numerous materials, especially ceramics and glass. This material has notable conservation qualities, including stability and reversibility, commendable working properties, excellent adhesion and a fast setting time. However these properties can easily be compromised by improper preparation and improper application. This seminar reviews the many ways that Paraloid B-72 adhesive can be prepared, modified, or manipulated to obtain efficient application as well as consistent and excellent results on glass, ceramics, stone, wood, bone, and ivory.
Examining and Conserving Painted Interiors in Historic Syrian Houses…in-situ and in the museum setting
Anke Scharrahs
From the 17th century, lavish decorative schemes adorned the interiors of the houses of merchants and notables in Damascus, Hama, and Aleppo. In this seminar, Anke Scharrahs discusses her findings from her investigations of the ‘al-ajami’ technique (pastiglia) and other decorative features she has discovered on wooden panelling in rooms in houses still in-situ in Syria and others translocated to museums in other parts of the world including Berlin, Dresden, Cairo, New York, Toronto, Doha, Honolulu, Cincinnati etc.
Mount making and Mounting (archaeological) objects for display
Tony Jones
This seminar discusses the issues confronted by the mount maker when deciding how to mount objects for display (taking the views of other interested parties into consideration). The practical issues and options relating to the type of mount required for particular situations are discussed in general and then in particular in relation to the mounting of Roman archaeological objects for the recent reconstruction and installation of the Temple of Mithras in the City of London below the newly-built European headquarters of Bloomberg.
Towards a History of Picture Lining in Britain, 1680-1980
Jacob Simon
Lining has long played an important role in the restoration of pictures on canvas. This seminar is an historical presentation rather than a technical discussion. It reviews the history of lining in Britain, treating the subject chronologically from the origins of lining in about 1680 until the immediate aftermath of the Greenwich lining conference of 1974. In this seminar early reports, methods and terminology are traced from the late seventeenth and eighteenth centuries. Specialist liners in the early nineteenth century are identified and differing practices traced from contemporary literature. Attitudes at the National Gallery and among artists are explored and the widespread adoption of lining as a standard process examined. The seminar concludes with the rise and fall of wax lining in the twentieth century, the introduction of hot tables, vacuum tables and new materials, the Greenwich lining conference of 1974 and the decline in lining in the late twentieth century.
Packing Art: moving towards sustainability
Jaap van der Burg
The seminar will offer an overview of an 8-step approach to packing for transport and storage. The first four steps concern awareness of: the object(s) to be handled; the plan to transfer the object from A to B; possible adaptations to either the object (condition) or our plans and what is actually needed to protect a particular object on a particular route. (Step 1. Risk assessment of the object, Step 2. Risk Assessment of the route, Step 3. Possible Improvements concerning object and/or route, Step 4. Defining the protection required). Step 5 is about the actual packing design itself and possible alternatives for the most frequently used products and methods. Steps 6 and 7 – Step 6. (Transport and couriering) and Step 7. (Unpacking, installation and ‘use’) – are crucial in terms of gathering data about the trip itself. Step 8. Evaluation, is where we learn from our experience and, if necessary, adapt and improve our methods for the future.
“Tempera” or “oil”? – Colloid chemistry and the microstructure of paints
Patrick Dietemann
Paintings are usually classified by their binder, such as ‘oil’ or ‘tempera’, thus the categories are traditionally linked to a material composition. However, this classification of paintings is based on the appearance of the painting and is often made by art historians or conservators, and is not the result of binder analysis carried out by chemists. The visual appearance depends mainly on the optical and rheological (flow) properties of the applied paints. This seminar shows that the flow properties of paints do not correlate to their chemical composition but to their colloidal microstructure. The seminar includes an introduction to rheology and colloid chemistry and ends with a suggestion for a modern definition of the terms “tempera” and “oil”. This includes examples of historic oil paintings that were made with tempera paints, or tempera paints that contain only oil as a binder.
Paint Brushes – The artists’ tools
Andrés Latorre
Painters use particular paint brushes to pick up, transport and deliver paint in particular ways onto particular surfaces. Understanding brushes as tools inevitably raises questions about their physical properties and as a result, their capabilities and limits according to the various natural hairs and synthetic monofilaments of which they are composed. This seminar examines the different physical properties of these hairs/bristles and the construction of paint brushes. It is seen how important it is for artists to consider these aspects when choosing a brush to make brushstrokes that respond to their specific needs and requirements.
Sustainability in Museum Lighting
David Saunders
The environmental sustainability of museum lighting was discussed within the context of wider strategies to reduce the use of non-renewable energy by cultural heritage organisations. Various measures to reduce energy and resource consumption will be presented, including switching to, or generating, renewable electricity, the installation of more energy efficient and longer lasting LED lamps, increased use of daylight, and changes to museum lighting practice that reduce energy consumption. The environmental sustainability of lamps and lighting systems was also explored in respect to the precepts of reduction, reuse and recycling of materials.
Flattening Modern Paintings: Lumps, Bumps and Rolls
Patricia Smithen
Modern paintings have their own particular challenges. Treatments devised for a ‘typical’ historic painting (linen canvas, glue size, priming, oil paint and varnish layers) are not always directly transferable to modern paintings. This presentation will focus on case studies of modern paintings treated at Queen’s University in Canada, identifying some of the key features which have helped to target effective parameters for manipulating the paintings into plane. A range of practical solutions will be described which deal with issues ranging from small dents to tightly rolled canvasses.
Historic Dyes: sources, properties and identification
Anita Quye
Dyed textiles are attractive in many senses and historical ones understandably invite curiosity about their colour sources and fastness, especially sensitivity to light. The history of natural and synthetic dyes is rich in technological, artistic, economic and political developments, and one that is encapsulated in the material properties of the dyes themselves. With a diversity of coloured textiles in decorative arts and social history collections as well as archives, it helps to understand what dyes might be present, their significance, and reasonable expectations for their identification. This session introduces some historically important dye sources and dyeing methods, explains the science behind colour creation and fastness, and discusses identification with and without scientific analysis and ethical considerations this raises for dyed textiles as cultural heritage.
Lasers and Laser Cleaning
Martin Cooper
Lasers are used to remove a wide range of unwanted layers from many different substrate types and there are now a range of wavelengths, pulse lengths and powers available to the conservator. This seminar provides an introduction to the basic theory of laser cleaning with the Q-switched NdYAG laser, the most common laser used in conservation currently, and will demonstrate the advantages of the technique through a series of short case studies, with a focus on sculpture and objects conservation.
Degradation of Plastics in Collections
Yvonne Shashoua
In the mid-1980s museums received the shock news that their collections of plastics objects would not last forever – as had been previously thought. Today, condition surveys of plastics in art, design, modern history, industrial and toy collections conclude that around 75% of the items show symptoms of degradation. This seminar discusses what the term degradation means when applied to cultural heritage plastic objects compared with plastic products in daily use or discarded plastic in the natural environment. The major factors that cause and accelerate degradation in semi-synthetic, fossil- and bio-based synthetic, post WWII plastics are detailed, and discussions focus on how the chemical and physical processes, that reduce the lifetimes of these materials in our collections, can be slowed down.
Showcases – the benefits, risks and management
David Thickett
Showcases allow different conditions to be provided for objects with different requirements in the same room, and can give very significant energy, cost and carbon savings in comparison to conditioning the air in large rooms. However, while showcases can be extremely beneficial for preventive conservation, they can also cause real issues for museum curators and conservators. The main benefits are their potential ability to tightly control a relatively small air volume – to buffer the relative humidity and to reduce particulate and gaseous pollution. The major risk is possible concentration of internally generated pollutants and the harm that these may cause to objects on display in the showcase. Daylight and other forms of illumination can cause issues with showcases and careful control is required.
Traditional House Paints and Pigments
Patrick Baty
This seminar, illustrated with case studies from the author’s long experience in analysing paint in historic contexts, explores and explains: what paint is; why it was used; when house-painting started in the UK; how paint was coloured; which pigments were employed and where they came from. During the 18th century ready-mixed paint colours were sold by colourmen who found ways to increase their output and lower their prices. The hierarchical nature of the colours on offer are explained.
Conservation of Historic Internal Plasterwork
Sarah Mayfield
The long history of decorative plasterwork in the British Isles demonstrates a wide range of resourceful applications of lime, gypsum and many other variants used to cover and/or decorate buildings depending on local resources and affluence and preference of the owner. This seminar provides a succinct overview of the development of plaster applications in the British Isles over the past 2000 years before focussing on the most common traditional methods of interior plaster construction found in historic buildings, their methods of application and failure mechanisms. Using an exclusive preview of an upcoming conservation guidance note, a range of conservation interventions and support methods are discussed including how to choose and adapt these methods according to current conservation principles and best practice. Whilst considering 20th century materials the challenges facing the heritage sector with ageing fibrous plaster ceilings are examined, with particular attention to the position of industry and research bodies in relation to caring for the large body of listed fibrous plaster ceilings.
Copyright for Conservators (and others!)
Bernard Horrocks
The presentation in this seminar gives an overall position to those persons working with objects, paintings, publications, photographs etc., of intellectual property rights, copyright, the moral rights of artists and artists’ estates, the ‘preservation’ exception and copyright in publishing research and associated images.
While aimed at conservators, the issues covered are relevant to other museum/ gallery personnel, artists, editors etc.
Joshua Reynolds’ painting (and restoration) techniques
Alexandra Gent
This seminar will present an overview of Reynolds’ materials and painting technique, drawing on the results of technical analysis of his paintings and paintings materials, along with art historical evidence. It will also examine Reynolds’ use of assistants in his studio and consider their involvement in producing replicas of his paintings. Additionally, Reynolds’ investigation of the materials and technique of the old masters, as well as his own involvement in restoration will be explored.
Beyond Science? Reflections on the Nature of the Conservator’s Knowledge
Salvador Muñoz-Viñas
In this seminar Salvador Muñoz Viñas explores the nature of the conservator’s knowledge and its relationship to science, suggesting that this relationship might have unwanted consequences for the conservation profession. He suggests that there is a marked tendency to understand conservation as a scientific discipline, or at least as a science-based discipline particularly in the published literature, in academic circles, and in other cultural institutions. The fact that science has contributed to the development of the profession in such important ways might make us forget that successful conservation treatments crucially require a type of sophisticated knowledge that falls beyond the reach of science.
Historic Interior Wall Coverings: Investigation, Conservation and Recreation
Allyson McDermott
The preservation and recreation of historic interiors requires much preliminary investigation in order to ascertain the original wall covering schemes. This may mean working from the tiniest shred of evidence and rediscovering century-old processes of traditional woodblock printing, varnishing, gilding, embossing, hand painting and flocking. This seminar examines the methods of investigation and the influence that the results of such investigations will have on devising a suitable conservation/restoration plan for each particular situation. The variety of this work and the range of conservation/restoration solutions is illustrated with case studies.
Long Term Storage of Plastics in Collections
Yvonne Shashoua
Condition surveys of plastics in art, design, modern history, industrial and toy collections have indicated that around 75% show symptoms of degradation. Once these degradation reactions have started, they cannot be stopped but can be slowed using specific microclimates. Suitable environments may be achieved using ventilation, adsorbents, low oxygen and low temperatures. However before developing a preventive conservation strategy, it is essential to identify the major factors and pathways of degradation for each plastic of concern. This seminar discusses which storage environments are most effective for long term storage of the least stable semi-synthetic and synthetic plastics in heritage collections.
Microclimate Frames for Paintings
Jørgen Wadum
The first known attempt to make a Microclimate frame, to protect paintings from pollutants and fluctuating relative humidity, was made by W.S. Simpson and patented in 1892. The year after, the most deteriorated of a series of paintings by J.M.W. Turner was installed in his vacuum frame, the “Simpson box”. Over 100 years later, and still in the frame, the painting’s condition was seemingly far superior to that of the others not included in microclimate frames. The Research programme microclimates: Paintings on panel and canvas from 1992 offered vital new information on the behaviour of a microclimate frame. These findings were further developed during the EU 6th Framework project: PROPAINT – Improved Protection of Paintings during Exhibition, Storage and Transit. While there may be benefits in the use of microclimate frames for display or transporting purposes, there may also be risks from volatile organic compounds emitted by components of the MC-frames.
Enzymes and the reduction of stains & adhesive residues from uncoated surfaces
Matthew Cushman
This seminar will be of particular relevance to paper and textile conservators in its exploration of the use of enzymes in conservation cleaning applications. Topics to be discussed include: a summary of key scientific concepts, enzyme selection, adjustment and control of aqueous solution parameters for the optimization of enzyme activity, and delivery methods.
Conservation of Globes
Sylvia Sumira
In this seminar Sylvia Sumira will give a brief overview of the history of printed globes and their use from the sixteenth to the twentieth centuries. The method of construction and materials used in their manufacture will be explored. Particular patterns of deterioration and damage which occur with globes will be discussed and conservation treatments will be described with reference to several illustrated case studies.
Girl with a Pearl Earring – Vermeer’s mid-career masterpiece, technique & illusion
Jørgen Wadum
This seminar examines the painting techniques of Johannes Vermeer (1632-1675) and take as its starting point the restoration and examinations of the Girl with a Pearl Earring. The artist’s understanding of light and perspective, the use of a traditional, yet effectful way of creating convincing spatial illusions will be set against his proposed use of a camera obscura. Debateable attributions will be presented and placed within the techniques of the master both early and late in his career.
Authenticity, ethics and value judgements which affect conservation, interpretation and presentation
Jonathan Wallis
In this virtual seminar Jonathan Wallis considers the philosophy around making difficult decisions as a conservator or curator as well as some of the tools that might be employed to help us explore questions of authenticity and ethics and their significance in museums, historic houses and historic landscapes/surroundings. Deciding how to deploy limited resources in heritage situations is never easy and while an understanding of the value that individuals and communities place on their heritage can be a guide for our decision making, one also needs to look at the things that we do and the changes our actions can bring about in society both now and in the future.
Museum Climate
David Saunders
Topics covered include: historic approaches to climate control; damage caused by inappropriate conditions; the development of environmental guidelines; classification of susceptibility; reassessment of tight control; climatology and sustainability; materials-based studies; future directions in climatology.
Tracing Paper: Fabrication, Properties and Conservation
Hildegard Homburger
In this seminar the different historical fabrication processes of tracing paper are explained. It also looks at the special properties of tracing papers created during production and how these properties impact conservation treatment.
Enzymes for the cleaning of paintings and decorative surfaces
Matthew Cushman
This seminar explores appropriate use of enzymes for the cleaning of painted and decorative surfaces. Topics to be covered include: enzyme catalysis, types of enzymes used in conservation, optimizing enzyme activity, and delivery methods.
Museum Pollutants
David Saunders
Topics covered in this seminar include: particulate pollutants; outdoor and indoor chemical pollutants; damage caused by pollutants; indoor and outdoor sources; measuring pollutant levels; recommended limits; mitigation measures; long term patterns in pollution levels; and future trends and issues in museum pollution.
Using Optical Microscopy to Discover Artists’ Ways of Paintings
Barbara H. Berrie
In this seminar Barbara Berrie show cases studies where optical microscopy has been an invaluable tool in discovering artists’ ways of painting. She will also discuss other cases which, though requiring instrumental analysis, also needed to make use of optical microscopy as part of an analysis protocol.
Rembrandt’s academy – the painting techniques of the master & his students
Jørgen Wadum
Rembrandt van Rijn (1606-1669) was the most innovative history and portrait painter of his time and he had more than 50 recorded students. Most works by these individuals remain anonymous, however their technique reveals aspects of the master’s working habits and also indicates how the students adapted this for their own purposes.
The Use of Agarose in Cleaning Painted Surfaces
Matthew Cushman
This seminar highlights the versatility and limitations of Agarose and Agar Agar in the conservation cleaning of painted surfaces. Topics discussed will include methods of preparation and application, alternative gel formulations, and the possibility for residues.
Museum Lighting
David Saunders
The topics covered in this seminar with David Saunders will include: historical approaches to lighting; damage caused by light and ultraviolet; defining and ranking vulnerability; the development of lighting guidelines; measuring light; risk-based approaches to decision making; lighting and sustainability; and future trends in museum lighting.
Turner’s Painting Materials and Techniques
Joyce Townsend
J.M.W. Turner (1775-1851) was the foremost landscape artist of his age. All his life, he exploited newly invented pigments and innovative ways of marketing his works as well as producing them, and his output was prodigious. Understanding and appreciating Turner’s materials and processes is relevant to understanding all of his contemporaries who worked in watercolour and oil.
Taking Care of Plastics
Maria Loerzel and Helena Ernst
This seminar examines the challenges that face curators and conservators in preserving plastics which, over the past 100 years have had an enormous influence on human culture, being omnipresent whether as cheap substitute materials, everyday objects, or collectors’ items.
Technical Imaging of Paintings (and other cultural heritage objects)
Nathan Daly
This seminar focuses primarily on paintings, (other objects will be mentioned when discussing the benefits/limitations of different techniques) and will examine traditional imaging methods (visible imaging, ultraviolet, infrared reflectography and X-radiography), other imaging methods (3D imaging, RTI, Optical Coherence Tomography, Terahertz imaging), Spectroscopic imaging/scanning methods (MA-XRF scanning, Hyperspectral imaging/reflectance imaging spectroscopy, MA-XRD scanning; Microscale scanning – Raman, FTIR, etc.).
Polarizing Light Microscopy for Pigment Identification
Kirsten Travers Moffitt
This online seminar reviews the principles of Polarizing Light Microscopy (PLM) and its use as a fundamental technique for the identification of pigments complementing and sometimes even providing information beyond what can be detected with some instrumental methods. The results of PLM can help date an artifact and elucidate its original appearance, use, and current condition The seminar will be illustrated with practical case studies taken from decorative arts, artifacts, and architecture in the Colonial Williamsburg collection.
Emulsions for the cleaning of painted surfaces
Matthew Cushman
This seminar explores the use of emulsions for the conservation cleaning of painted surfaces over the past 30 years. Using examples from the literature and from personal experience, Matthew Cushman will explain the science of emulsions, practical use cases for various types of emulsions, and advantages and disadvantages of these systems.
Towards a History of Transfers from Panel to Canvas in Britain, 1760-1980
Jacob Simon
This seminar examines the history of panel transfers to canvas in Britain. The process involved transferring the paint layer of a work, and sometimes the ground as well, by paring back the panel before applying a canvas as a new support. It was designed to deal with flaking paint and decayed panels, commonly in Italian panel paintings but also sometimes in British panel portraits and other northern paintings. A similar process was used for transfers from one canvas to another, as opposed to lining.
Chelators in Conservation
Matthew Cushman
This seminar explores applications of chelating agents for cleaning and stain reduction in conservation contexts. Specific topics will include: chemical structures of chelators, the role of chelating agents in cleaning solutions, tailoring chelating solutions to specific substrates, delivery methods, possibilities for ion-selective chelation, health & environmental safety considerations, and economic considerations.
Solvents and Solvent Gels
Matthew Cushman
This seminar focuses on practical aspects of solvent selection and solvent gel formulation for the cleaning of painted surfaces. Variations in application methods and the potential for gel residues will be explored.
Lake pigments – history, properties and painting practice
Jo Kirby
A lake is a pigment made by precipitating (or adsorbing) a dye onto an insoluble, relatively inert substrate. Until the late 19th century, the dye was obtained from a naturally occurring plant or insect source and the substrate was most commonly a form of amorphous hydrated alumina, or sometimes a calcium salt. Traditional lake pigments were thus translucent, an important property that artists exploited in various ways, and they were very widely used in spite of the fact that they were not particularly lightfast. The greatest variety of madder and cochineal pigments were produced during the 19th century, but this was also the period during which synthetic dyes were developed in ever increasing numbers.
Investigating Historic Paint Layers
Patrick Baty
Patrick Baty (who has been described as ‘The Paint Detective’) explained, by showing case studies, the wide range of issues and the type of projects that he is faced with when asked to investigate the paint layers of historic structures. The process, which includes the taking of samples from buildings, bridges and architectural details to produce a forensic history of the decoration from creation to the present day, involves the examination of cross-sections and microscopic analysis.
Nanocellulose Films in Art Conservation
Remy Dreyfuss-Deseigne
The field of nanotechnologies offers new possibilities to stabilize translucent and transparent supports with innovative materials and this seminar takes an overview of these nanomaterials – nanocellulose films, also known as nanopapers and their possible use in art conservation.
Turning Points in the History of Picture Restoration in Britain
Jacob Simon
This seminar explored some of the developments that have significantly impacted on the treatment and appearance of pictures since the 17th century. The idea is to explore these themes, and to consider their consequences across the years. How did we get to where we are today?
Organic solvents and paint films…healthy perspectives for greener conservation?
Gwendoline R. Fife
This seminar explained solvent modelling as applied within conservation research for oil paint films and examines the data obtained, the interpretation of such data and possible implications for the conservator in terms of solvent selection, and the application of green(er) solvents in conservation practice.
Library conservation – a multifaceted discipline discipline
Caroline Bendix
Caroline Bendix explained the ins and outs of dealing with the large and small issues involved in the preservation and conservation of library collections.
Ancient and Medieval Gemstones: types, cutting and settings
Jack Ogden
Coloured gemstones have been a part of human adornment for many millennia and their appeal is demonstrated by the huge distances over which they were traded, even by the early Bronze Age. One important limiting factor was the abrasives available to shape and polish them. This seminar will look at the types gems used in ancient and medieval jewellery, how and when the introduction of emery and diamond increased the variety of gems used and how settings developed to best show off these stones.
Ancient and Medieval Gold Jewellery Technology
Jack Ogden
Gold jewellery-making techniques have changed in various ways through the centuries and such developments which are evident in in many facets e.g. from wire production to overall assembly, can be identified by close visual examination. These characteristics can help date jewellery and, of course, help identify forgeries. In some cases, advances can be tied to developments in other areas, such as the availability of iron tools. This seminar will give an overview of early gold jewellery manufacture, focussing primarily on what can be observed with a stereo or digital microscope. It is aimed at conservators, curators and archaeologists who might not have ready access to more advanced laboratory equipment.
Gels: Thickeners, Aqueous Gels and Hydrogels
Matt Cushman
This seminar will focus on the use of thickeners and gel materials in the aqueous cleaning of painted surfaces. In addition to describing options for preparing thickened solutions and aqueous gels, the use of various hydrogel materials for the controlled delivery of aqueous solutions is considered.
The Magic of Black Inks
Han Neevel
Black inks, i.e. bistre, soot ink, iron gall ink, logwood ink and sepia, have played an important role in the history of mankind as a means of expressing information, either in writing or drawing. This presentation will deal with their history, appearance, chemical composition, manufacture and conservation issues. Special focus will be on logwood inks, as they were applied by 19th and 20th C. artists e.g. Vincent van Gogh. In 1847, Runge introduced the black chrome-logwood ink as an alternative to iron-gall ink, because the latter attacked steel writing nibs. Due to the profitable trade in importing logwood from Haiti, chrome-logwood ink became the cheapest and most widely spread black writing ink in France. This could explain why Vincent van Gogh, during his French period, used it for writing and drawing instead of iron gall ink.
Microfading – could it be useful for your light-sensitive collection
Joyce Townsend
Following a brief introduction on how microfading works in practice, the majority of the presentation will be devoted to brief case studies of modern and contemporary art, and a smaller number of examples of traditional art, to illustrate microfading results for paper-based and textile-based art in the Tate collection in particular. Microfading is a technique that can give useful information not obtainable using other methods. Its results can challenge previous assumptions about which colour in a given object will change colour the most. Microfading always requires critical thinking about the implications of its results. While it can clarify the vulnerability of an object or artwork in terms of light sensitivity, it is less useful for indicating stability.
Artists’ Techniques in the Golden Age of Watercolour c.1750-c.1880
Joyce Townsend
In the mid and later 18th century, artists such as Sandby, through J.S. Cotman, Girtin and Cox to J.M.W. Turner, would increasingly exploit the properties of watercolour as an expressive medium. Others such as William Blake used watercolour materials to blur the boundaries between image and printing. A study of the sketchbooks and watercolours of Turner, a consistently early adopter of newly-available pigments, virtuoso user of the full range of traditional watercolour techniques, and lifelong traveller, will be used to illustrate increasingly sophisticated uses of the medium over this period, which would culminate in very large-scale mixed media works made from new painting products by: the later Pre-Raphaelites Rossetti and Burne-Jones; jewel-like and detailed watercolours by G.F. Lewis and colourful impressionistic watercolours by J.S. Sargent. Traditional watercolourists’ techniques would become less common as the range of artists’ materials and colours grew broader.
Cleaning Painted Surfaces: Principles for Aqueous Methods
Matt Cushman
This online seminar will review the interconnected roles of pH, conductivity, chelating agents, surfactants, and thickening agents. Methods of application (i.e. gels) are discussed and a practical workflow for progressing through cleaning tests is considered.
Watercolour Materials: History and Use
Joyce Townsend
The history and use of the materials used for watercolour painting both artistic and documentary over this period will be discussed and illustrated with examples of the use of both older and new pigments by a number of artists. Public access initiatives in the later decades of the 19th century, and increasingly lengthy periods of display of watercolours, would lead to the Russell and Abney report on the action of light on watercolours in 1888 – a scientific investigation into the permanence of artists’ watercolour materials which can be seen as a forerunner and exemplar of today’s conservation science and its investigation of the agents of deterioration.
Data in Collections & Collection of Data
Diana Davis
This presentation discusses the collection of data for the purposes of Collections Care/Preventive Conservation, in particular environmental and pest data. This is presented from the context of historic ships conservation at the National Museum of the Royal Navy in Portsmouth Historic Dockyard, but considers principles and practice relevant to collections of many kinds. What can be expected from the data in reality and what can be done about the everyday stumbling blocks in this unusual museum environment?
Overview of the use of Gels for cleaning painted surfaces
Matthew Cushman
This first seminar in a series examines the material options and delivery methods available to the conservator for the cleaning of paintings and painted surfaces. By considering the advantages, compromises, and ideal use cases for each material, participants will gain an improved understanding of the current state of the cleaning toolkit.
The Use of Lime in the Preservation of Old Buildings
Robert Buckley
This illustrated seminar will covers the practical problems in dealing with the preservation of historic / old buildings (domestic and functional rather than public or monumental buildings), appropriate solutions, the history and basic chemistry of lime, the use and mixing of lime and aggregates, as well as aftercare.
Investigation and Conservation of Decorative Plaster Ceilings
Richard Ireland
Successful and appropriate conservation of historic plasterwork requires a broad range of skills.
This seminar gives an overview of some of the materials, the types of problems these present, and the implications of resolving these problems in an appropriate way that can ensure that both the physical integrity of the decorative scheme and its historic value are safeguarded. As such, this work often combines archival research, material analysis and whatever practical skills are required to facilitate long term preservation and safety.
Copyright for Conservators (and others!)
Bernard Horrocks
The presentation in this seminar gives an overall position to those persons working with objects, paintings, publications, photographs etc., of intellectual property rights, copyright, the moral rights of artists and artists’ estates, the ‘preservation’ exception and copyright in publishing research and associated images. Topics covered will include: Overview of Intellectual Property Rights, Overview of Copyright, Moral rights of artists / estates, relating to integrity of their work, The ‘preservation’ exception, and Copyright in publishing conservation research and associated images.
IPM: Latest insects and Q+A
with Jane Thompson-Webb
This course includes a short presentation on the latest ‘new’ insect pests to have been discovered in UK museums followed by a general Q and A session, when those persons attending will have a chance to ask Jane’s advice on any aspect of integrated pest management.
IPM: Controlling Insect Pests in Collections
with Jane Thompson-Webb and David Pinniger
This presentation explores the options for large and small collections including those in libraries, historic houses, museums and galleries in various climatic zones. The control options for both buildings and objects will include chemical, biological and high/low temperature methods.
IPM: Trapping and Monitoring
with Jane Thompson-Webb and David Pinniger
This IAP Virtual session examines the different types of trap which are available, how and where they can be deployed and how the information can be recorded. Trapping is only one half of the story, as we can use this monitoring data to identify problems and understand trends. For instance, in the UK, trap data is also being used to map pest distribution in order to better understand how (and why) things are changing.
Museum Lighting: Decision making for conservation
David Saunders
This seminar introduces the factors that most influence the decision-making process, including information on material vulnerability to light, the levels of illumination needed to view collections, and perceptions of acceptable object lifetimes. This information is then used to assess whether particular lighting scenarios meet expectations for visibility and longevity of objects and – if not – to look at what compromises can be made to balance future and current access, including a worked example.
