Preservation Note 11

Identifying Historic Paint Colors

Finishes

August-91

Paints and Coatings-09900

Accurate identification of historic paint colors is an important part of
the General Services Administration\'s (GSA) restoration program. The
original architects of GSA\'s historic buildings selected paints and
finishes that would express their designs in the best possible manner.
Paint colors and textures were intentionally chosen to articulate the
architectural elements within each space and to convey the relative
importance of different spaces within the building.

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When to specify the use of historic colors: In painting contracts
involving historic properties, specify the use of historic colors for
the following location:

All exterior painted surfaces

Lobbies, entrance vestibules, corridors, auditoriums, libraries, and
other public spaces

Executive suites

Other significant spaces identified in the building\'s Historic
Structure Report (HSR), Chapter 9, \"Inventory of Significant Spaces and
Features\". \"When no HSR is available for a building, consult the
Regional Historic Preservation Officer for a space\'s historic
significance.

Locating historic paint color information: The building\'s historic
paint colors are provided in Chapter 5, \"Paint Analysis,\" of the HSR.
When no HSR is available for a building, or when the HSR does not
provide colors for the space in question, contract for paint analysis to
identify the historic colors.

Historic paint color identification: Paint analysis uses laboratory
techniques developed for the field of art conservation to identify and
document original paint colors and components. Paint color documentation
involves cutting through existing paint layers, examining paint
stratigraphies under magnification, and matching the first (i.e.,
original) layers to a standard color system.

Standard color systems allow precise documentation of original colors,
using alpha numeric codes which describe the color attributes of hue
(pigmentation), chroma (color intensity), and value
(lightness/darkness). Each alpha numeric code corresponds to a unique
color card which can be matched to any modern paint.

Computer color matching: Today\'s computer color matching machines,
available at most major supply centers, eliminate the subjectivity of
visual matching and error which occurs when paint colors are matched
under different lighting conditions than those present in the historic
building, a phenomenon called \"metamerism.\" See Preservation Notebook
No. 2, \"Reproducing Historic Paint Colors,\" for computer paint
matching specifications.

Preservation Review of Paint Analysis Results: Submit all paint analysis
reports to the Regional Historic Preservation Officer for review prior
to inclusion of the recommended paint schedule in the painting contract.

Contracting Paint Analysis: Use of the following specification to
contract for paint analysis:

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I. Scope of Work

II\. Experience Requirements

III\. Methodology

IV\. Documentation

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I. Scope of Work

The Conservator must perform all services and provide all materials and
equipment necessary to complete the study and prepare the report. A
summary of required services follows:

A. Provide paint sampling, analysis, and a written report of findings
and repainting recommendations for each location listed below (see VII,
\"Paint Sample Locations\").

B. Provide the government a detailed listing of a number of samples
required to identify all colors at these locations and the cost to
provide sampling and analysis.

C. Do not sample elements which visual inspection indicates are not
original.

D. Prepare paint chronology charts for all paint layers on the sampled
surface. Match the first finish paint layer to the Munsell or Plochere
standard color notation system; identify other colors by common color
names.

E. Provide 3\" x 5\" color chips (1 set) for the earliest or most
significant (if predetermined not to be the original finish layer) color
scheme, as a matching guide for repainting.

F. Identify original finish systems for clear finished wood elements.
Match original stain colors to the Munsell or Plochere systems. Solvent
test to identify the type of finish (shellac, varnish, lacquer).

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II\. Experience Requirements

A. Sampling: The conservator taking the samples must have a knowledge of
paint sampling techniques sufficient to identify locations where
complete stratigraphies are likely to exist, and where original paint
colors are least likely to have degraded. Verification of this knowledge
may be requested at the time of negotiation.

B. Laboratory Analysis/Interpretation of Samples: This must be done by a
conservator trained in the laboratory analysis of architectural paints
on buildings of similar complexity of those being studied for GSA.

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III\. Methodology

1\. Sampling

A. Sampling locations: In spaces designated for sampling, all original
paint/stain colors and clear finishes must be identified. Take samples
from areas that have been subjected to the least possible exposure.
Indicate sample locations on floor plans and/or evaluations of thespace
sampled. Take a sufficient number of sample to ensure:

1\. an accurate accounting of all of the finish layers on each sampled
surface.

2\. that \"like\" elements in the same area of type of space in the
building have the same number and sequence of layers.

B. Sampling Technique: For each surface to be sampled, reveal each paint
layer using a surgical scalpel or craft knife with a curved blade.
Expose 1/4 - 1/2 square inch of each layer.

1\. Matching: Using a daylight equivalent 3200 or 3400 Kelvin light
source, match the first significant paint layers and original stain
colors to the Munsell or Plochere System of Color Notation, according to
Section 5.2 and 5.3 of ASTM DI535-68.

2\. Original clear Finishes: Solvent test to identify the type of finish
(shellac, varnish, lacquer). Note the finish type in seriation charts
and report narrative.

3\. Decorative Finishes:

a\. Should graining, marbling, or other decorative finishes exist at any
layer, expose a sufficient area of each layer to reveal the pattern or
technique and photograph the exposed area. Note type of decorative
treatment (graining, marbling, stenciling) on the seriation charts and
code the base coat.

b\. Notify the Contracting Officer of frescoes or other decorative
finishes discovered during the course of this contract and note in the
report. The Conservator will not be held responsible for the
documentation of fresco painting under this scope of services.

4\. Other Analytical Techniques: No analytical techniques other than the
on-site seriation study and solvent testing of original clear finishes
are required. Precise metameric matching of colors and chemical analysis
of pigments and paint media are not required.

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IV\. Documentation

A. Chromochronology Charts

1\. Record all paint layers on standardized paint seriation charts,
using common color names. Show common color names and color codes for
first significant layers. Should a color fall between two such such
codes, list both codes, separated by a dash (e.g., 5Y9/1-5Y9/2).

2\. Record each layer of each different portion of the building fabric
in corresponding layering sequence, so that the overall color scheme of
each period of the building\'s history can be readily seen.

B. Narrative

1\. Accompany the charts with a narrative that documents:

a\. The actual methods used, including all tools and equipment.

b\. Paint analysis findings, describing original color schemes for each
location.

c\. Any special comments on paint techniques or materials

d\. Recommendations for repainting

C. Report Format

1\. Introduction: State the purpose of the paint analysis, recognize the
sample locations, and explain the \"period of significance\" for paint
restoration. Provide:

a\. Building name, number, and location

b\. Areas subject to analysis

c\. Examination dates and analysis names

d\. Research methods

2\. Paint Seriation Charts

a\. Present paint seriation charts (color-finish history) graphically in
columnar charts. Head each column with the name of the substrate,
primer, first finish layer, second finish layer, and so on, with the
present paint layer shown last, at the bottom of the column.

b\. Align paint chronologies of different elements so that the paint
scheme for any period can be read across a single horizontal line.

c\. For materials originally left unpainted, name the substrate at the
top of the column, as for other elements, and indicate \"(unpainted)\"
in the line corresponding to the original finish layers. Provide a
Munsell or Plochere code for the color of the substrate.

3\. Observation/Findings: Describe paint evidence in clear, physical
terms, e.g., \"first layer primer,\" \"first finish layer,\" rather than
\"first significant layer,\" or other terms ambiguous as to the position
of the layer in the seriation.

4\. Conclusion: Explain in general terms how the paint analysis findings
relate to the overall design of the space. State clearly what is known
and what is not known from the paint analysis. Do not abbreviate or
restate the analysis findings.

5\. Recommendations - Provide the following:

a\. Recommended restoration colors:

\(1\) Provide a narrative and a list of recommended finishes, by
location, including common color names for paints and stains, Munsell or
Plochere color codes, gloss levels, and clear finish types.

Recommended Colors and Finishes List: List elements verticallyby
location e.g., \"First Floor Main Lobby: Ceiling, Rosett, Coffer, Fret
Molding, Fret Background,\" etc. On horizontal axis, correlate each
architectural element (listed in the left column) to the recommended
paint/stain color name, finish (gloss level, texture, vehicle for clear
coatings), and standard Munsell Plochere color code (listed in the right
columns).

Decorative Finishes: Break original multicoat decorative finishes (e.g.,
glazed paints, graining out by component layers and describe the overall
intent, or common name of the decorative treatment. Note the type of
decorative treatment in the list. If the list does not provide adequate
space, name the components or layers of the decorative system in a
separate section. For example, \"mahogany graining\" may be broken down
into a ground paint layer followed by one or more glazes; a gold leaf
finish might include a yellow bole, gold leaf, and a lacquer; and
antiqued imitation gold leaf finish might include a \"Dutch metal\" leaf
made of ground copper and zinc followed by several textured glazes. Key
the ground or base of each decorative system to the Munsell or Plochere
system.

\(2\) Narrative: Explain the paint recommendations within the larger
restoration context. Unless unusual historic considerations dictate
otherwise, paint restoration must return the building to its original
appearance, i.e., as designed by the original architect. Justify the
recommended color scheme. Emphasize that colors, both natural and
applied, were part of the original architect\'s design.

\(3\) Period of Significance: In rare cases, the \"period of
significance\" for restoration may not be that of the earliest paint
scheme. The Conservator must provide strong justification, based on
scholarly restoration principles, for restoration paint schemes using
colors other than the original colors identified by the paint analysis.
Such exceptions are most likely to occur when the building has
experienced significant alteration over time, and when the alterations
have acquired significance in their own right. Check with the Regional
Historic Preservation Officer prior to starting analysis to determine if
such direction is already recognized.

\(4\) Recommended colors for materials originally left unpainted: Match
the substrate to the Munsell or Plochere system. Describe the
material\'s primary natural color names. Recommend whether or not
stripping to restore the natural finish is advisable. For example,
stripping may not be advisable if the surface has been patched with
dissimilar materials or the substrate is deteriorated or extremely
porous.

\(5\) Recommended colors for features lacking original paint: The
recommendations for repainting must addressed gaps in the physical paint
evidence. Provide recommended colors for all of the painted surfaces in
the space. Draw analogies, if possible, between elements with known
original paints colors (or clear finishes) and non-original or stripped
elements for which physical paint evidence is unavailable.

When paint evidence is unavailable, or an element is not original,
prescribe restoration colors/finishes using the following types of
evidence, in order of priority:

Physical paint evidence from the same area of the building.

Physical paint evidence from another, similar area of the building.

Historical documentation on the building, such as the architects\'
original specifications or architect\'s intent.

Physical paint evidence from studies of other buildings of the same
period, style, and type, preferable in the same region.

Scholarly research (primary or secondary, cite sources) on architectural
paint styles and practices of the period. Appropriate primary sources
include paint research on other buildings, period tastebooks, period
paint manuals, manufacturer\'s paint palettes of the period, letters,
diaries, paintings, etc.

b\. Color chips: Provide one set of 3\" x 5\" Munsell or Plochere color
chips corresponding to each first finish layer. If there are two periods
of significance, provide color chips for both periods.

c\. Graphic illustration of color scheme: Show the location of each
color or paint technique on drawings, floor plans, diagrams, or
photographs. If original or subsequent drawings of the building exist,
the Government will provide them. For complex polychrome surfaces,
illustrate the recommended paint scheme on a section (profile) sketch,
with broken lines marking where breaks between colors occur.

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V. Equipment

1\. The Conservator must supply all required color books, lights,
analytical materials, and color chips, as well as providing the
necessary scaffolding, swing stages, electrical modifications, or
removal of materials adjacent to the fabric to complete the inspection.

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VI\. Paint Sampling Locations

(INSERT LIST)

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VII\. Preservation Review of Paint Analysis Report

A. Substantially complete (95%) and completed paint analysis reports
will be submitted to the Regional Historic Preservations Officer for
review and comment prior to completion of the contract.