"Over 400 specialist terms on paper conservation and restoration are listed in English, German, Chinese and Korean. The 3 main aspects of the guide are a book's structure, material and tools and book binding and conservation. A missing word means that in one language there is no adequate translation known. Some illustrations and explanations are added for better understanding. Readers can check words by content and category, or look up chapter and page number of words from the index."
. UKIC & Museums & Galleries Commission, The Conservation Unit, Training in Conservation: A Guide to Full-Time Courses in the United Kingdom, 1988. US Department of the Interior, National Park Service, Cultural Resources, CRM: Cultural Resource Training Directory, annual special edition on training. US Department of the Interior, National Park Service, Cultural Resources, Historic Preservation News: Special supplement, annual special edition on training. You can also try contacting local universities and colleges in:
Anthropology/archaeology department - Cultural resource management
Architecture department - architecture, historic preservation
Art/art history department - metals, ceramics, wood, etc.
History department - historic preservation
Home Economics/Textile department - textiles
Library & Information Science department - paper, photographs, books, audio-visual materials Other sources of conservation training are your local museum or historical society or a local library. This list is not all-inclusive. The Smithsonian Institution, Museum Conservation Institute (MCI), gives no endorsements for any products, materials or services mentioned in this pamphlet and is not responsible for problems from their use or misuse.
Subjects: Biodeterioration, Collections care, Conservation education & training, Conservation science, Conservation suppliers, Conservation treatment, Conservators, Copyright, Degradation of materials, Digital imaging, Disaster planning, Documentation, Ethics, Health & Safety, Intellectual Property, Library Binding, Mass deacidification, Mold, Pest management, Preservation-related organizations, Reprographics, Restoration, Terminology
To consolidate and repair more severe damage, I am using a Wheat Starch paste as an adhesive. This method of treatment is recommended by the Canadian Conservation Institute (CCI) for use with paper artifacts (both basketry and paper are cellulose-based). Wheat starch paste is chemically inert and stable, as well as strong, workable, and adaptable. Once prepared, it can be watered-down without losing strength or applied as a relatively thick gel.
The purpose of paper conservation or restoration work is to preserve and restore works on paper and make them accessible for exhibition, sale or study. Often, the works selected for conservation treatment are aesthetically damaged, too fragile for exhibition, or they are in imminent danger due to continuing deterioration. Each art work has its own history of previous treatment, framing, and environmental exposure, and consequently the conservation and restoration of each individual work presents a unique set of considerations. Galleries, collectors, and picture framers might wish to be aware of some of the terminology, problems, and possible treatments that may be undertaken by a paper conservator.
Unfortunately, there are not any pressure-sensitive adhesive tapes on the market that are safe for use on papers, books, or photographs despite manufacturer's claims to the contrary. Books and portfolios with detached spines and boards can be temporarily held together by wrapping flat cotton string, ribbons, or twill fabric sewing tapes around the item. Single items can be stored in sleeves of polyester terephthalate without plasticizers and coatings (MYLAR Type D™, Melinex 516™) to keep torn materials together until a conservator can be consulted. Tapes with water and moisture activated adhesives (examples are gummed glassine and brown paper) are often less damaging than pressure-sensitive tapes, however, they are becoming difficult to find in stores.
As in the other department laboratories, the Paper Conservation staff provide opportunities for University of Texas conservation students and interns from other conservation training programs to gain practical conservation experience to supplement their academic studies.
In addition to the examination, treatment, and proper storage of collection materials on paper, the paper conservators conduct research on the technology and history of media and support materials, literary and artistic processes and methods, and treatment procedures. Past research has included ink manufacture, stability of commercial inks, pencil manufacture, the alkalization of paper, and Japanese paper manufacture. The lab staff is currently participating in an American Society for Testing Materials/Institute for Standards Research (ASTM/ISR) to study the effects of aging on printing and writing papers.
The Paper Conservation Lab is responsible for the safe storage, care and conservation treatment of the manuscripts, prints, drawings, posters, and other works on paper in the Ransom Center collections. The work performed by the staff ensures that these collections will remain available for their enjoyment and study by future generations of visitors and scholars.
Conservators use cooked purified starch pastes and food-grade cellulose ethers applied to good quality, long-fiber, thin papers for repairing tears. These adhesives contain moisture that can expand papers or bleed inks so care must be taken not to damage the original while mending. Modern synthetic adhesives are sometimes used, chosen by project and adhesive characteristic. Single items can be stored in sleeves of polyester terephthalate without plasticizers and coatings (MYLAR Type D™, Melinex 516™) to keep torn materials together if mending is not possible.