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TSG Chapter IV. Documentation of Textiles - Section C. Factors to Consider

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The Textile Conservation Catalogue 
EXAMINATION OF TEXTILES PRIOR TO TREATMENT
C. Factors to consider
Date: April 2, 1998 
Compiler: Susan Heald
Contributors: Deborah Trupin, Denise K. Migdail, Gaelen Gorden, Gwen Spicer, Judith Eisenberg, Jane Hutchins, Jane Merritt, Lucy Commoner, Lorna Filippini, Patricia Ewer, Martha Winslow Grimm, Marlene Jaffe, Meredith Montague, Nancy Pollak, Sara Reiter, Suzanne Thomassen-Krauss, Susan Anne Mathisen, Zoe Perkins
Editors: M. Cynthia Hughes, Jane Lynn Merritt, Deborah Trupin, Sara J. Wolf
TABLE OF CONTENTS:
7.1.1 Purpose or reason for examination
7.1.2 Overall condition of the piece
7.1.3 Resources designated to the project
7.1.4 Extent of previous documentation
7.1.5 Standardization of Terminology
7.1.6 Permanence of records
7.1.7 Danger of further damage
Type and extent of the documentation may depend on several factors.
==7.1.1 Purpose or reason for examination==
a detailed report for an individual object needing specialized treatment vs. a large collection of items needing mass treatment will require different types of reports.
==7.1.2 Overall condition of the piece==
==7.1.3 Resources designated to the project==
time, staff, funds, equipment.
==7.1.4 Extent of previous documentation==
==7.1.5 Standardization of Terminology==
Words used to designate condition may have different meanings to different people within textile conservation, as well as conservators in other specialties.
:A. The use of subjective terms such as excellent, good, fair, and poor are helpful in comparing condition among a group of objects, but they are open to interpretation. Providing a list with guidelines for what constitutes "good", "fair" or "poor" condition would be useful to the reader for truly understanding the condition of the object.
:B. Due to discrepancy in the meanings of certain terms, the conservator should be specific and explanatory when using such terms as lining, backing, consolidating, etc.
:C. A glossary of accepted terminology of textile-related terms is helpful (such as Burnham, Emery, CIETA).
==7.1.6 Permanence of records==
Documentation files should be well stored and maintained.
:A. Use archival quality paper.
:B. Photograph with highly stable black and white or color film.
:C. Store in archival sleeves in appropriate environmental conditions for the film type.
:D. Save on electronic media that will readable in the future.
==7.1.7 Danger of further damage==
Thorough examination and photodocumentation require that the object be handled. Be aware of (and record) further damage sustained during the documentation process.
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TSG Chapter IV. Documentation of Textiles - Section C. Formats for Recording Information

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The Textile Conservation Catalog 
EXAMINATION OF TEXTILES PRIOR TO TREATMENT
C. Formats for recording information
Date: April 2, 1998 
Original Draft: Susan Heald
Contributors: Lucy Commoner, Judith Eisenberg, Patricia Ewer, Lorna Filippini, Gaelen Gorden, Martha Winslow Grimm, Jane Hutchins, Marlene Jaffe, Susan Anne Mathisen, Jane Merritt, Denise K. Migdail, Meredith Montague, Zoe Perkins, Sara Reiter, Gwen Spicer, Suzanne Thomassen-Krauss, Deborah Trupin
Editors: M. Cynthia Hughes, Jane Lynn Merritt, Deborah Trupin, Sara J. Wolf
Statement of Purpose
The Textile Conservation Catalog records current conservation treatments and practices for artistic and historic textiles. Each chapter compiles the variety of treatments and techniques currently used by textile conservators. The Catalog is a voluntary, cooperative project of the Textile Specialty Group of the AIC. Participating members have developed and commented extensively on the chapters. 
The Catalog is in the form of an outline. There are no detailed instructions for treatment, and the Catalog does not seek to establish definitive methods or standards. Entries are qualifies by including “factors to consider,” however the inclusion of a treatment in the Catalog is not an endorsement or approval of the procedures described. The Catalog is designed for trained textile conservators who are familiar with the vocabulary and processes included in the outlines. Chapters are intended to be a guide in the treatment decision-making process and allow conservators to explore treatment options. Each conservator remains responsible for the safety and appropriateness of any treatment. 
Although the focus of the Catalog is conservation treatment, related subjects such as environment, storage, and exhibition are included, but only insofar as the describe issues met and actions taken by textile conservators. 
Final Revision, April 2, 1998
TABLE OF CONTENTS:
7.2.1 Checklist
7.2.2 Outline
7.2.3 Narrative
7.2.4 Combination
==7.2.1 Checklist==
Form with blanks for information and descriptors with boxes to check for condition and treatment. [N.B. good for large surveys/mass treatment; usefulness to the custodian to evaluate needs or proposal, or for future conservator depends on how the checklist is developed.]
==7.2.2 Outline==
Sentences or phrase description for each heading; allows for more detailed description than the checklist format.
==7.2.3 Narrative==
Paragraph or essay form for the entire report. [N.B. Headings are necessary to locate specific information.]
==7.2.4 Combination==
Integrates checklist and phrase descriptions.
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TSG Chapter IV. Documentation of Textiles - Section F. Storage and Exhibition Records

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Back to Textiles Chapter List
The Textile Conservation Catalog 
EXAMINATION OF TEXTILES PRIOR TO TREATMENT
F. Storage and Exhibition Records
Date: April 2, 1998 
Original Draft: Susan Heald
Contributors: Lucy Commoner, Judith Eisenberg, Patricia Ewer, Lorna Filippini, Gaelen Gorden, Martha Winslow Grimm, Jane Hutchins, Marlene Jaffe, Susan Anne Mathisen, Jane Merritt, Denise K. Migdail, Meredith Montague, Zoe Perkins, Sara Reiter, Gwen Spicer, Suzanne Thomassen-Krauss, Deborah Trupin
Editors: M. Cynthia Hughes, Jane Lynn Merritt, Deborah Trupin, Sara J. Wolf
Statement of Purpose
The Textile Conservation Catalog records current conservation treatments and practices for artistic and historic textiles. Each chapter compiles the variety of treatments and techniques currently used by textile conservators. The Catalog is a voluntary, cooperative project of the Textile Specialty Group of the AIC. Participating members have developed and commented extensively on the chapters. 
The Catalog is in the form of an outline. There are no detailed instructions for treatment, and the Catalog does not seek to establish definitive methods or standards. Entries are qualifies by including “factors to consider,” however the inclusion of a treatment in the Catalog is not an endorsement or approval of the procedures described. The Catalog is designed for trained textile conservators who are familiar with the vocabulary and processes included in the outlines. Chapters are intended to be a guide in the treatment decision-making process and allow conservators to explore treatment options. Each conservator remains responsible for the safety and appropriateness of any treatment. 
Although the focus of the Catalog is conservation treatment, related subjects such as environment, storage, and exhibition are included, but only insofar as the describe issues met and actions taken by textile conservators. 
Final Revision, April 2, 1998
TABLE OF CONTENTS:
7.5.1 Storage Information should include
7.5.2 Exhibition information should include
==7.5.1 Storage Information should include==
A. Methods.
B. Materials.
C. Condition.
D. Location.
==7.5.2 Exhibition information should include==
A. Title.
B. Dates.
C. Location.
D. Light levels.
E. Methods of preparation - to the object, the exhibition materials, display techniques.
F. Monitoring devices.
G. Any changes in condition during display.
H. Any treatment preparation or modification for reintegration into storage.
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TSG Resources

#REDIRECT Textiles
TSG members have created or identified resources of interest to conservators that may be accessed from this page.
Ideas for additional resources are welcome, and can be forwarded to the TSG officers, or to the TSG wiki editor.
Contribute to the Textile Wiki
* Textile Wiki - Chapter List
* Postprints index
* Directory of Hand Stitches
* Textile Conservation Newsletter (TCN) Archive
* Video Links
**The Textile Specialty Group Wiki has organized playlists of videos about textile conservation in general, the work of textile conservators, and about specific projects and case studies. If you have suggestions for new videos and playlists to add, please contact the TSG Wiki Editors.
* Textile Conservation (all videos)
* Textile Conservation: Costume
* Textile Conservation: Tapestry
* Textile Specialty Group Subsite
Image: Textiles.gif‎‎ Textile Specialty Group Conservation Wiki 
Copyright: . The Textile Wiki pages are a publication of the Textile Specialty Group of the American Institute for Conservation of Historic and Artistic Works. The Textile Wiki pages are published for the members of the Textile Specialty Group. Publication does not endorse or recommend any treatments, methods, or techniques described herein. 
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Category: Textiles
TSG Sandbox 1

New template page for a catalog entry
Testing page for wiki conversion software
Draft page V.C. Fiber analysis
===== Draft pages for associated material types: =====
Metals (TSG)
Keratin-based materials (feathers, fur)
Calcium-based materials (bone, shell, ivory, pearls)
Plastics (TSG)
Glass (TSG)
Miscellaneous materials associated with textiles (wood, amber, jet, stones, beetle wings)
Tape removal

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The act of removing any material tape with adhesives from an object. Tapes vary from cellophane plastic to fabric and other synthetics, and vary in uses. Removal occurs through various methods, but mainly for the purpose of exhibit, storage, or safety. 
 
==Related Terms==
=== Synonyms in English ===
cellophane, adhesive
=== Translation ===
English 	tape removal
French 	retrait de la languette
Spanish 	retirada de la cinta
Portuguese 	remoção de fitas
Italian 	rimozione del nastro
German 	klebeband entfernen
Russian 	Удаление ленты
Chinese (Traditional)	除膠帶
==Discussion==
Tape can reside on a various surfaces and for many purposes. Typically present on paper and photographs, tape and any residue can stay on wood, textiles, metals, or plastics. Tape can be used for repair, adhesive to attach (to) another material, marking a feature on an object, or aesthetic design of contemporary art. 
Removal can be necessary because conflicting materials are joined and can be corrosive during exhibition and storage durations. Tape could also be a distraction from the objects cultural significance or aesthetics. 
Methods of tape removal include:
*Scotch tape or hinge tape can be removed with a hot tacking tool or heated flat iron. 
*Some remainder adhesives can be erased immediately after having the cellophane removed.
*Remove tape from aluminum or tintype photographs with acetone. 
*Tape can also be found on textiles. It is often sewn into a garment for pattern construction. Removal can include creating an exact diagram of the area as a guide for re-stitching, carefully unraveling the thread, removing the tape with steam (and any adhesives), and re-stitching the area as directed. Depending on the age and state of both the textile and tape (including adhesives, if any), the tape can be cut in small areas and gently removed from around the fabric and thread with tweezers or another extracting tool.
*Any removal of an object's material (paper backing or mounting) can generally be repaired with Japanese tissue paper and wheat starch. 
Cellophane tape is acidic in nature and can yellow and stiffen over time. Depending on the amount of time the tape has been attached to an object, the adhesive may seep into the material that can create an outline or discoloration compared to the rest of the object. 
==References==
Framers Equipment: Conservation/ Archival Tape. Explore the use of 'Zest-It' to remove tape and adhesives; as well as view Japanese tissue and other conservation supplies. (Accessed Mar. 19, 2014)
Victoria and Albert Museum. Caring for your Books and Paper: What Not to Do...Don't use pressure-sensitive adhesive tapes. (Accessed Mar. 17, 2014)
West Dean Conservation. Personal Blog about Tape Removal. (Accessed Mar. 17, 2014]
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Tarnish

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Tarnish is a discoloration or dulling of a metal surface due to a chemical reaction, such as oxidation. Typically, silver will react with atmospheric pollutants, such as sulfur oxides, to form a black silver sulfide tarnish. Copper, brass, aluminum, and lead are also susceptible to tarnishing (Mayer 1969).
==Related Terms==
corrosion; oxidation; silver sulfide; patina
=== Translation ===
English 	tarnish
French 	turnissure
Spanish 	deslustre
Portuguese 	deslustre, oxidação
Italian 	
German 	Beschlag
Russian 	матовость
Arabic 	
Chinese (Traditional)	金屬褪色
==Discussion==
===Prevention===
Lacquer coatings can be used on silver objects to protect it from the corrosive gases in the atmosphere, such as sulfur dioxide, that cause it to tarnish. In the 1980s, The Winterthur Museum began testing lacquer coatings and chose Agateen Lacquer #27, a cellulose nitrate polymer, to care for their silver collection. This coating provides the best visual results and is compatible with the silver surface, resulting in a durable bond. Agateen provides minimal visual intrusion, stability, and tarnish protection. However, there is a limited life expectancy for lacquer coatings - approximately 20-30 years dependent on environmental conditions. 
The surface of the silver needs to be completely dry and free of tarnish before the coatings can be applied. Two coats of Agateen are then applied using brush or by spraying. This is the most difficult part of the process. Achieving an even, continuous coat is necessary to properly protect the silver from tarnish. Once the coating is applied, it is allowed to dry for 2-3 weeks. Agateen coatings are soluble in acetone and become yellow and brittle with age (MFA Boston CAMEO).
===Removal===
One of the most common abrasives used to polish silver is calcium carbonate. It can be mixed with either water or ethanol to create a slurry that can be applied to the surface using cotton cloths or cotton swabs. Once the tarnish has be reduced or removed, the surface should be wiped clean using water or ethanol and buffed with a soft, clean cloth. Calcium carbonate is often used in museums because it can not scratch the surface of the silver and does not leave unwanted residues. 
==References==
Mayer, Ralph. A Dictionary of Art Terms and Techniques'. New York: Thomas Y. Crowell Company, 1969.
Museum of Fine Arts Boston. Agateen Lacquer. CAMEO. http://cameo.mfa.org/wiki/Agateen_Lacquer (accessed March 24, 2014).
Ohio Historical Society. Making it Shine. Ohio Historical Society Collections Blog. http://ohiohistory.wordpress.com/2011/06/02/making-it-shine/ (accessed March 24, 2014).
Winterthur Museum. Preserving the Sheen of Winterthur's Silver. http://www.winterthur.org/pdfs/Silver_Coating.pdf
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Category:Condition Terms
Category:Objects
Teaching and Learning

Back to Education and Training Page
Contributors: 
Suzanne Davis, Eric Pourchot
The resources listed here are intended for conservators who teach, with a focus on materials that discuss teaching strategies and methodology.
===Online Resources===
Project Zero is an initiative that, since the late 1960's, has sought to study and improve education through the arts. The Project Zero website offers useful reference lists, full text articles, and downloadable teaching tools.
The University of Michigan's Center for Teaching and Learning provides a number of useful teaching resources, addressing topics including Diversity and Inclusion, Teaching Strategies, and Preparing to Teach.
===Readings===
Peterson, M. and M. Hittie, 2010, Inclusive academic instruction, Part I: Planning inclusive lessons and units, Pearson, Upper Saddle River, NJ.
Tidshman, S., A. McKinney, and C. Straughn, 2007, Study center learning: an investigation of the educational power and potential of the Harvard Art Museum’s study centers. Project Zero website. Available at: http://www.pz.harvard.edu/
Vgotsky, L. and V. Davidov, 1997, Educational psychology, St. Lucie Press, Boca Raton, FL.
===Teaching Guides and Tips===
The FAIC has created useful guidelines for Workshop and Webinar instructors.
Technical Studies

This page title was changed from Technical Studies to Case Studies in 2020. 
This page highlights case studies that exemplify the use of research, testing and analysis to advance the work of cultural heritage. 
==Materials Working Group Round Robin Testing==
Ongoing since the November 2018 MWG meeting, the MWG Testing & Standards committee has been conducting round robin testing (i.e. interlab comparison) of a selection of microchemical, accelerated ageing, and instrumental volatiles tests on a range of standardized samples. Read more about the techniques and protocols as well as the Materials analyzed in 2019 - 2020.
==Conferences & Symposia==
===International Symposium on the Testing of Materials for Storage and Display of Cultural Heritage===
Videos of 10 presentations given at this November 6, 2019 meeting, organized and hosted by the Metropolitan Museum of Art, New York are now available for viewing on the MET's website. 
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Session 1 talks: Conventional materials tests and resources: overview and advances
*Survey of Different Methods to Assess Materials Used in Museums From Approved Lists to Piezoelectric Crystal - Jean Tétreault, Senior Conservation Scientist, Canadian Conservation Institute
*Updating The Met's 3-in-1 Oddy Test, Successes and Issues - Eric Breitung, Research Scientist, The Metropolitan Museum of Art
*WHO KNEW?! An Overview of Materials Resources, Usage and Future Plans in AIC's Online Universe - Rachael Perkins Arenstein, Principal, A.M. Art Conservation
*Oddy Vs. PAT Smackdown! - Daniel Burge Senior Research Scientist, Image Permanence Institute
Session 2 talks: Advances in materials testing and pollution monitoring using analytical tools 
*Selection of Low Emitting Material for the Construction of Display Cases Based on the BEMMA-procedure - Wolfgang Horn, Senior Scientist, Bundesanstalt für Materialforschung und-prüfung
*The Paper Test, a Novel Analytical Approach for a Semi-quantitative Oddy Test Alternative - Francesca Volpi, Andrew W. Mellon Fellow, The Metropolitan Museum of Art
*Development of a Semi-quantitative GCMS-based Thermal Desorption 'Toolbox' to Examine and Limit the Risk to Collections From Volatile Compounds - Eric Monroe, Supervisory Scientist, Library of Congress
*Oddy Testing and SPME GC-MS Analysis of Acrylic Adhesives Used in Museums - Catherine H. Stephens, Associate Research Scientist, The Metropolitan Museum of Art
*Determining Material Suitability by Direct Isothermal Desorption: Rigid PVC Boards for Vitrine Decks and Back Panels - Michael Samide, Professor of Chemistry, Butler University
*Making and Interpreting Pollution and Corrosion Rate Measurements During Exhibitions - Dr. David Thickett, Senior Conservation Scientist, English Heritage
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Back to Research and Analysis page 
Category:Materials
Category:Testing
Category:Choosing Materials
Templatetest

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Back to Sustainable Practices
COMMITTEE ON SUSTAINABILITY IN CONSERVATION PRACTICE
This wiki was created and is maintained by the Committee on Sustainability in Conservation Practice. It is intended to provide information for AIC members and other interested parties. Any treatment should be carried out by a qualified conservator. Find a Conservator
Please note: Highlighted links will take you to off this page. If you prefer to open the link in a different window (in most browsers); select the link, right click on a PC or press 'Control' on a Mac, then choose from the menu. 
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= Imaging Working Group =
The AIC Imaging Working Group (IWG) was established in the Spring of 2020 in recognition of imaging’s importance to the ethical and evolving practice of conservation. The IWG aims to develop both a community and resources to support conservators in utilizing the growing number of imaging technologies and practices. The IWG is partnered with the AIC Research and Technical Studies (RATS) Specialty Group.
The Working Group’s purpose is to:
* Support communication and cross-disciplinary collaboration through meetings, community events, and projects;
* Identify and address the imaging needs and challenges that conservators encounter in their work through the development of the IWG Wiki and IWG Community Discussion boards;
* Promote best conservation imaging practices by providing resources and community support through the IWG Wiki.
If you are interested to learn more or get involved in the Imaging Working Group, email AIC.ImagingWG@gmail.com.
Current IWG Leadership Team : E. Keats Webb (Chair), Adam Neese (Vice Chair), Kenzie Klaeser (Secretary), and Wendy Rose (Wiki Lead)
== The IWG Wiki ==
Welcome to the IWG Wiki! The IWG Wiki aims to establish an online platform that shares information about conservation imaging techniques and encourages users to share imaging resources, case studies, and workflows. The Wiki is intended to be a dynamic resource for the community and like all Wiki's, the site’s content is a collaborative work-in-progress. You can:
* Search the entire AIC Wiki by using the "search" box at the top of each page...
* Browse the Imaging Wiki by using the links below...
* Get Involved by visiting the Help: IWG Help Wanted and the Help:IWG Contributors' Toolbox for recent updates and upcoming projects.
Imaging Group Wiki 	Imaging Group Wiki
Imaging Techniques 	Visible light imaging · Infrared radiation imaging · Ultraviolet radiation imaging · False-color image processing · Thermography · Imaging Spectroscopy · Reflectance Transformation Imaging · 3D Imaging · X-Radiography
Community Resources 	Workflows · Glossary of Terms · Imaging Equipment Resources · References · Interpretation of Results
Wiki Contributor Resources 	Contributors' Toolbox ·  IWG Wiki Referencing Protocol · Accessing Conservation Literature (AIC) · Help Wanted · Template for New Page
Imaging Working Group Resources	 IWG Meetings and Meeting Information · Community Projects ·
Contributors: Jiuan Jiuan Chen, Dawn Kriss, Dale Kronkright, Anna Serotta and E. Keats Webb.