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Nic

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Posts posted by Nic

    I have a piece of art that was done on 2 pieces of paper. I would like to glue or tape the seam to make it more attached. Any suggestions?

    in Artwork Conservation | Preservation | Framing

    Posted

    6 hours ago, Ibrahim_UK said:

     

    So from your image, I can see that the two Papers have already been glued but have slightly come apart.

    If you cannot have this done professionally, as @Nic said, using a Clear PVA conservation-grade glue should do the trick.

    A quick search online turned this product up, which has excellent reviews and is used in Bookbindings.

    I would get a thin brush, lift the connecting seam, and brush the glue into the crack.

    Even though this is a clear PVA, only apply a thin layer. When you place a weight/book on top, you don't want any to spill.
    Best work in small sections.

    @Nic What do you think of this product?

    Lineco : White Neutral PH PVA Adhesive : 8oz

    I know that rice starch and wheat paste are used as glue for mounting. That glue is sold as acid free, I’m sure it’s a great product, but it’s used for books and for mounting, not for retouching the front of an illustration. I don’t have the knowledge regarding touching the front of a painting. Really, depending on the pigments and the chemical used, anything may happen.

    @Coleman, why don’t you frame the painting and block it to the board with good acid free (not buffered!) conservation tape or paper mounting? Who cares if the painting is made of two pieces: it’s part of the game in my opinion. Just keep it together.

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    I have a piece of art that was done on 2 pieces of paper. I would like to glue or tape the seam to make it more attached. Any suggestions?

    in Artwork Conservation | Preservation | Framing

    Posted

    Adding any chemical to the front, in my opinion, is very risky: you don’t know how the painting would react. Glue or tape (with glue) are too risky.

    Taping on the back with a pro acid free tape can be done, but you’ll still keep the detached line in the front.

    You should ask to a pro restorer.

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    Why do you collect artworks?

    in General Collecting Discussion & Questions

    Posted

    Simple question. What makes you collect artworks?

    My line: artists had to make desirable a game on the shelf of a shop. Had to add what limited hardware couldn’t tell. Had to express, expand, flourish what designers, programmers and all the staff built, exploiting our imagination. Being able to own and touch the original art made for all of the above for me was unbelievable when I first began the hobby and today is like the top of a climax of the archaic true video game culture and media collecting and preserving. (Please forgive the usual bad English)

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    How do you store your artwork?

    in Artwork Conservation | Preservation | Framing

    Posted · Edited by Nic

    5 hours ago, Bronty said:

    I've seen 30 year old pieces of glassine that are still fine?   I've never seen one adhere, have you?    To your point though, whatever one uses for the flyleaf its probably a good idea to swap it out after 10 years or whatever.

    I’ve seen it adhere, without damage, on a few piece. Then made researches and found a few sources that suggest not to use glassine for long term. Here’s a cool link: https://www.artcons.udel.edu/mitra/Documents/MITRA_Storage_Exh_Handling.pdf

    I also read glassine is hygroscopic so may retain moisture.

    For me it was enough to swap to Tyvek and the difference in price is not so big too.

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    How do you store your artwork?

    in Artwork Conservation | Preservation | Framing

    Posted

    Great tips. One suggestion: as far as I know glassine isn’t good for long term storage. It has been heavily used by artists because it’s cheap and easy to use. During long term storage the glassine may deteriorate and adhere to the painting. Use for pro materials, like Tyvek.

    Do not stack up too many artworks otherwise the ones at the bottom may get stuck.

    Regarding plan chests, mostly wooden ones: beware lacquers. The gas may damage the paper during long term storage.

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    Glass alone will not save your Artwork

    in Artwork Conservation | Preservation | Framing

    Posted

    Remember, we will talk only about glass. The board, the frames with its lacquers, the tapes used and the climate of the storage area is another huge subject.

    Back to glass, it’s a common mistake that framing under one million dollar museum quality crystal will save your artwork.
    The fact is: if you can see the painting, the painting can see the light. As a conservation expert that sells products to Gallerie degli Uffizi in Florence once told me, UV is dangerous but all of the remaining frequencies will also make damage over time.

    Don’t hate me, but the best way to preserve your painting is by storing away from light it in a completely climate controlled environment.
    Second best is a climate controlled room with no other lights than LED lamps. Or, as Steinar Lund once suggested:
    "Make a giclée of what you want to hang on your walls and store the original."

    What increases the problem is that most of the artworks that we collect were made to be immediately copied. Pigments were cheap, rich, colorful and…weak. Boards were non acid free. You know it: once used, artworks were stored randomly if not thrown away. Back to pigments, the colors had to be vivid and the material cheap. Like a butterfly, an artwork had to live enough for its purpose. That’s why most of our illustrations have been made with acrylic. You could keep an original on your wall for years without noticing any change. The fact is that if you keep a picture of when you first receive it, once you see the difference it’s already too late.

    I’m sorry. I personally keep my collection in a room with climate control and no windows, only LED light and I get the paintings out of conservation boxes only for limited periods.

    A few years ago I’ve asked an artist about all this. Let me paste some excerpts from its reply:

    "It's a good question and subject of discussion.  The short answer is, glass or no glass, it's definitely best to keep the paintings out of prolonged direct sunlight.
    Regardless of brand of paint or type of paint, some pigments will fade if placed in direct sunlight.  These pigments are called "fugitive" pigments and it's just a matter of their chemical structure.  Most of the colors that both     Boris and I use are made of heavier minerals and are less fugitive, so it's not as likely.  The tubes of paint we use are labeled in terms of how fugitive they are and we mostly stick to the ones that are less fugitive.
    …
    Still, it's always advised not to have any paintings in direct sunlight.  I've read that some pigments used in oil paint (which we use) like cadmium, are very lightfast (non-fugitive), but when used in acrylic paint they become very fugitive and will fade in sunlight."
    Julie Bell

    In conclusion: Know what you’ve got, the medium used and the board. Then use museum glass while keeping it in a room with no sun and no big change in temperature (the best is 18-24°C) and constant humidity (around 40-55%).

    Another big advantage with museum glass is that it avoids reflections so you can enjoy your pieces of art at their best!
    Check this side by side comparison (real pics of framed art):

    museum-vs-standard.jpg.b9b857d0b610773b6add7aa72490650b.jpg

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