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Stabilizing Wet Books

thumb|Drying wet books at the San Francisco Public Library
This page addresses wet salvage of books during emergency response. More information about the conservation treatment of books can be found on the Book and Paper Group Wiki. 
See also: Stabilizing Wet Paper and Stabilizing Wet Skin and Leather
== Facts about books ==
Books are generally fabricated from paper which is made from a variety of fibers such as bast, cotton, hemp and wood. Fibers can be good or poor quality, coated, calendared, sized and unsized. They all react differently to water depending on their composition, use and past storage conditions. 
*Paper expands and contracts
*Surface texture can be very smooth to very rough, some are clay-coated
*Fillers are added to increase weight, density and strength
*Paper has a “grain direction”
*A variety of media can be present on any given artwork 
*Books can be composites and very complex in nature
*Paper is 90% air and is very absorbent
*Books can be constructed using parchment and other unusual materials
*Books are usually shelved in a specific order – maintain the order.
== What to expect when books get wet ==
*Old mends and bindings will release where adhesives are water soluble
*Books (text block in particular) can be very heavy and difficult to pick up without support
*Media and some binding materials may run or bleed
*Pages will cockle and staining may occur
*Capillary action will wick up moisture and create tidelines
*Mold growth is possible
*Coated papers will block (stick together) if not frozen immediately
*Books on a shelf may swell and be difficult and dangerous to remove
== Drying books ==
*Air dry actively moving the air with fans
*Freeze to buy time if necessary
*Use carrying supports for large items or weak papers
*Blot off excess water, be careful of sensitive media
*Air dry by fanning out pages
== Salvage priorities ==
*Unstable books first (bleeding inks, coated papers, parchment)
*Composite constructions (metal fasteners, encrusted covers, mixed media)
*If media or binding materials are bleeding onto other items, remove first.
*All very wet to slightly damp books are prone to mold.
*Freeze as soon as possible if drying space and resources are limited
*Low priority are replaceable books or circulating collections
Category:Emergency Response and Recovery
Category:Book & Paper
Stabilizing Wet Furniture and Wood

==Facts about wood==
Because wood is porous it will easily take up and release water and expand and contract.
==What to expect when wood gets wet==
*Because wood move differently in different directions, contracting at different rates it is prone to warping and cracking as it dries.
*Surface layers on artifacts (e.g. paints and varnishes)become fragile when damp, and are easily lost or damaged so great care is needed in handling.
*Hide or fish glues commonly used on wooden objcts and furniture are softened by moisutre, so joins may separate and veneers may lift.
*Drawers and doors may stick.
*Mold may grow on damp wooden surfaces
==Drying wood==
*If wood is fully wet and dirty consider rinsing it with clean water
*Pat dry, don't wipe
*Dry slowly, not in direct heat; cover with polyethylene to slow drying if necessary
*If possible, open doors and drawers to allow air to circulate
*Remember that you can take the back off if you need to
*Be prepared to freeze show fabrics from upholstered items. If you have cotton stuffing material you will almost certainly need to replace it. Horsehair stuffing can usually be saved.
==Salvage priorities==
*Objects of composite construction (e.g. musical instruments objects with inlay)
*Objects with veneer/fine surfaces
Stabilizing Wet Inorganic Materials

=METALS=
==Facts about metals==
Many metals will corrode under damp conditions. Iron objects and archaeological metals are especially at risk. 
==What to expect when metals get wet==
Corrosion can proceed very quickly in unstable objects. Corrosion such as rust can stain nearby objects.
==Drying metals==
* Handle with gloves. 
* If water was contaminated and metals are fully wet, rinse in clear water if possible. 
* Blot dry, then air dry in actively moving air (fans and dehumidifiers). 
* A hair dryer, heater, or oven can be used to gently accelerate drying priority materials.
* If possible, package after drying with a desiccant material such as silica gel.
==Salvage priorities== 
* Any iron object or component.
* Archaeological metals, especially iron and copper alloys.
=CERAMICS=
==Facts about ceramics==
The lower fired a ceramic object is, the more vulnerable it is to damage from water. Low-fired archaeological ceramics with soluble salts are especially at risk.
==What to expect when ceramics get wet==
Low-fired objects become soft and may disintegrate when wetted. Salt-damaged vessels may lose surface skin. Joints of reconstructed vessels may fail. (This is especially likely in archaeological ceramics that have been repaired with white glues.)
==Priorities==
Ceramics are generally a low salvage priority in a mixed collection. Exceptions are low-fired wares and objects with instabilities such as friable surface due to salt damage, or insecure repairs.
==Drying Methods==
* Pat and blot dry. Rinse in clean water if muddy or contaminated.
* Blot dry, then air dry in actively moving air (fans and dehumidifiers). 
* Use a hair dryer, heater, or oven to gently accelerate drying priority materials.
* Protect broken edges from further damage.
* Be sure objects are truly dry on the interior before packing.
Stabilizing Wet Paper

This page addresses wet salvage of paper materials during emergency response. More information about the conservation treatment of paper materials can be found on the Book and Paper Group Wiki. 
See also: Stabilizing Wet Books
== Facts about Paper ==
Paper is made from a variety of fibers such as bast, cotton, hemp and wood. Fibers can be good or poor quality, coated, calendared, sized and unsized. They all react differently to water depending on their composition, use and past storage conditions.
* Paper expands and contracts
* Surface texture can be very smooth to very rough
* Fillers are added to increase weight, density and strength
* Paper has a “grain direction”
* A variety of media can be present on any given artwork 
* Paper objects can be composites and very complex
* Paper is 90% air and is very absorbent
== What to expect when paper gets wet ==
* Old mends will release where adhesives are water soluble
* Paper can be very heavy and difficult to pick up without support
* Media may run or bleed
* Capillary action will wick up moisture and create tidelines
* Mold growth is possible
* Coated papers will block if not frozen immediately
* Items in a container may swell and be difficult to remove
== Drying paper ==
:See also: BPG Drying and Flattening
* Air dry actively moving the air with fans
* Freeze to buy time if necessary
* Use carrying supports for large items or weak papers
* Blot off excess water, be careful of sensitive media
* Air dry in a single layer on blotting paper or screens
== Salvage priorities ==
* Unstable paper items first
* Composite constructions
* If media from one part of an artwork is bleeding onto other items, remove it first.
* All very wet to slightly damp paper materials are prone to mold.
* Freeze as soon as possible if drying space and resources are limited
Category:Emergency Response and Recovery
Category:Book & Paper
Stabilizing Wet Skin and Leather

thumb|A book binding with leather darkening from water damage during a flood
This page addresses wet salvage of animal skin and leather during emergency response. For more information about leather, see Animal Skin and Leather and Leather Research on the BPG Wiki, and Leather and Skin on the OSG Wiki. For more information about parchment, see Parchment and Parchment Bookbinding on the BPG Wiki.
See also: Stabilizing Wet Books
==Facts about skin and leather== 
Skin products may be: untanned; semi-tanned (oil tanned, smoke tanned, alum tawed); or fully tanned (vegetable or mineral tanned). Remember that some skin products (in particular natural history specimens and ethnographic objects) may have been treated with pesticides and it is necessary to wear appropriate PPE when handling them. 
==What to expect when skin products get wet==
* Untanned products will shrink, stiffen, thicken, cockle and discolor. With prolonged soaking, untanned products will disintegrate or gelatinize. These include parchment, vellum and rawhide. 
* Some semi-tanned products (e.g. alum tawed leather) are as unstable as untanned products. Others, such as oil-tanned and smoke-tanned leathers, fare better, but may stiffen and become discolored in water.
* Fully tanned leathers are resistant to deterioration when wetted, but may still stiffen and darken. These include vegetable tanned leathers (shoes, belts, horse trappings) and mineral tannages (mainly 20th century, mainly shoes).
==Drying skin products==
* Skin products (including parchment, vellum and study skins) can be freeze-stabilized if necessary. Avoid direct handling of wet study skins, which will be greatly weakened, as they are easily distorted; allow them to dry in their storage trays.
* Controlled air drying is preferred. If dealing with large quantities, such as NH study skin collections, consider desiccant air drying. 
* Pad out shaped items such as shoes and bags to shape while damp.
==Salvage priorities==
High priorities:
* Parchment
* Vellum
* Rawhide
* Alum tawed leather
* Most natural history specimens
* Oil/smoke tanned leather (somewhat lower priority)
Lower priorities:
* Vegetable tanned leathers
* Mineral tanned leathers
Category:LeatherCategory:Emergency Response and Recovery
Stabilizing Wet Textiles and Clothing

==Facts about Textiles==
Textiles are composite objects. Different fibers will react differently to water.
* Cellulose (cotton, linen, rayon, cedar bark, etc.)
* Protein (wool, silk, horsehair, etc.)
* Embellishments (leather, ivory, mother of pearl, metal, etc.)
==What to expect when textiles get wet==
* Old textiles are fragile – and even more fragile when wet
* Textiles are not self-supporting – and are heavy when wet
* Colors may not be stable in water
* Mold growth is possible
==Drying textiles==
* Air dry 
* Freeze to buy time if necessary
* Use carrying supports
* Blot off excess water
* Air dry in a single layer, or stuff out layers
* Ensure good overall support during drying
* Pad out shaped items (hats, shoes) to correct shape with absorbent materials
* If dyes from one part of a textile are bleeding onto other parts, cover with a cloth to draw dye out and away
==Salvage priorities==
* Fragile textiles
* Composite constructions
* Bleeding dyes
* Textiles with water-soluble, ivory, baleen, bone or iron components
Stain

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soiling or discoloration of an object that cannot be easily removed because it is embedded in the substrate. Stains may be the result of uneven aging, foreign substances, chemical reactions, and improper handling.
==Related Terms==
smudge
=== Synonyms in English ===
splotch; smudge; smear; blotch; blemish; spot
=== Translation ===
English 	stain
French 	tâche
Spanish 	mancha
Portuguese 	mancha
Italian 	macchia
German 	fleck
Russian 	пятно
Arabic 	اللطخة
Chinese (Traditional)	汙漬
Ukrainian 	пляма
==Discussion==
For classification purposes, there are two basic types of stains: water-based and oil-based. Many stains are considered complex, consisting of a combination of water and oil components, particulates, and acids or bases. Typically, water-based stains require an acid mixture to counteract the acidity of the stain. Oil-based stains often require "dry cleaning" with non-aqueous chemicals. (Smithsonian Institution 2013) 
For textiles, stains are sometimes pre-treated utilizing wet cleaning with water or mild solvents. Further treatment might include cleaning with a chemical enzyme designed to counteract the specific type of stain being addressed. Use of such chemicals may weaken fabrics, however, and individual assessment of fabric condition is necessary to determine if chemical treatment is appropriate. Textile cleaning treatments such as wet cleaning, may also cause stains when performed improperly. Bleeding and tide marks are two types of stains that may result from treatments. Contact with metal may also cause a chemical staining to occur. Metal fasteners or metal pieces woven into the fabric may cause staining that is unavoidable and irreversible. (Bachmann 1992)
Other mediums such as wood, marble, alabaster, etc. may become stained from prolonged exposure to moisture or light, acidic chemicals, adhesives, and improper handling.
==References==
Bachmann, Konstanze (ed.). 1992. Conservation Concerns: A Guide for Collections and Curators. Smithsonian books. ISBN 9787560981749.
J. Paul Getty Trust. 2004. Stains (damage). http://vocab.getty.edu/page/aat/300379497 (accessed 8 October 2020)
Matero, Frank G., Tagle, Alberto A. 1995. "Cleaning, Iron Stain Removal, and Surface Repair of Architectural Marble and Crystalline Limestone: The Metropolitan Club". JAIC 34 (1): 49-68. http://cool.conservation-us.org/jaic/articles/jaic34-01-004.html (accessed 21 March, 2014).
Stain Removal. 2013. Smithsonian Institution. http://www.si.edu/mci/english/learn_more/taking_care/stains.html (accessed 21 March, 2014).
Category:Lexicon Category:Condition Terms
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Stretchers and Strainers

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
Compiler: Barbara A. Buckley
:*Acknowledgements
:*Introduction
:*Factors to Consider
:*Materials and Equipment
:*Treatment Variations
:*Glossary
:*Addendum
:*Cumulative Bibliography
Subst:HistoryofConservationandConservators

Name of Individual 
:Other names known by: 
:Date and place of birth: 
:Date and place of death: 
:Nationalities:
:Relatives of note: 
==Education ==
:Notable teachers/mentors: 
:Notable students: 
:Professional association involvement:
:Special achievements, honors or awards:
==Curriculum vitae==
 
:Websites: 
*A description of the link. 
:Images: 
:Publications: 
:Conference presentations: 
:FAIC Oral History entry: 
:Location of papers or archives:
==References==
----
Main Catalogs Page History of Conservation and Conservators
Conservators (last names A-F) Conservators (last names G-K) Conservators (last names L-P) Conservators (last names Q-T) Conservators (last names U-Z)
Category: History of Conservation and Conservators
Category: Entry Template
Surface cleaning

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Surface cleaning refers to the removal of dirt, dust, varnish and other debris from the surface of an object. By cleaning, colors may become more vibrant, details may become more clearer and previously unseen aspects of an object may become more visible.
==Related Terms==
skinning, accretions, dust, surface dirt
=== Synonyms in English ===
wash, swab
=== Translation ===
English 	surface cleaning
French 	nettoyage de la surface
Spanish 	limpieza de superficies
Portuguese 	limpeza da superfície
Italian 	pulizia delle superfici
German 	Oberflächenreinigung
Russian 	очистки поверхности
Arabic 	تنظيف السطح
Chinese (Traditional)	表面清潔
==Discussion==
The manner of cleaning is dependent on the type of object to be cleaned. A cleaning test may be used to determine the best method to clean an object or painting. Cleaning should be undertaken with an an understanding that removing all debris is not always warranted. The Winterthur Guide to Caring for Your Collection suggests that vacuuming, using low suction, is a safe way to clean textiles Landrey 2000. It is particularly important that an object is not excessively cleaned. This is called skinned when too much cleaning has resulted in the loss of paint or damage to the material.
==References==
Surface Cleaning. Book and Paper Group Wiki.
 Landrey, Gregory, Kate Duffy, Janice Carlson, Lois Olcott Price, Bruno P. Pouliot, Margaret A. Little, Linda Eaton, Debra Hess Norriss, John Krill, Betty Fiske, Mark F. Bockrath, Michael S. Podmaniczky, and Mary C. Peterson. 2000. The Winterthur Guide to Caring for Your Collections. University Press of New England. ISBN 9780912724522.
 The Fine Arts Conservatory. "Skinned". Last modified 2006. from http://www.art-conservation.org/Glos_paint/skinned/gloss_det_paint.htm
 The Fine Arts Conservatory. "Cleaning Test". Last modified 2006. from http://www.art-conservation.org/Glos_paint/Cleaning_test/gloss_det_paint.htm
 Northeast Document Conservation Center. "7.2 Surface Cleaning of Paper". Retrieved from: http://nedcc.org/free-resources/preservation-leaflets/7.-conservation-procedures/7.2-surface-cleaning-of-paper
Category:Lexicon
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Surface dirt

__NOTOC__
dirt, dust, grease, and particulate matter which has accumulated on the surface of an object. Surface dirt may accumulate from improper handling of objects or through natural settling of particles in the atmosphere. Superficial dirt and grime may also embed into the support of an object, making removal more difficult. (The Fine Arts Conservancy 2006)
==Related Terms==
grime; surface cleaning
=== Synonyms in English ===
dirt; dust; grime
=== Translation ===
English 	dirt
French 	poussière
Spanish 	suciedad
Portuguese 	sujeira, sujidade
Italian 	sporcizia
German 	schmutz
Russian 	грязь
Arabic 	الوسخ
Chinese (Traditional)	表面污垢
==Discussion==
Some in the conservation field make a distinction between surface dirt and surface grime. For these purposes, dirt would be classified as foreign matter made up of organic and inorganic soil-like particulates, while grime would be foreign matter with a greasy and/or oily component. (Museum of Fine Arts, Boston 2013) It is worth noting that dirt seems to be the preferred term as searches in conservation article databases consistently return a greater number of articles using the term dirt versus grime. The Bibliographic Database of the Conservation Information Network database contains 709 records referencing dirt and 188 records using the term grime. The Getty Conservation Institute retrieves 35 records for dirt and 17 for grime. The Getty's Art and Architecture Technical Abstracts (AATA) returns 43 records for dirt and 0 for grime.
The cleaning of dirt, dust, and grime is sometimes performed for aesthetic purposes or to improve viewing of an object. However, cleaning of accumulated surface dirt may also be necessary to prevent pest infestations, as well as corrosion, tarnishing, and premature aging. The Winterthur Museum explains that surface dirt may be prevented or limited through the use of proper storage techniques, filtered heating and air conditioning systems, and regular dusting. (Landrey et al. 2000)
==References==
Landrey, Gregory, Kate Duffy, Janice Carlson, Lois Olcott Price, Bruno P. Pouliot, Margaret A. Little, Linda Eaton, Debra Hess Norriss, John Krill, Betty Fiske, Mark F. Bockrath, Michael S. Podmaniczky, and Mary C. Peterson. 2000. The Winterthur Guide to Caring for Your Collections. University Press of New England. ISBN 9780912724522.
Soil. 2013. Museum of Fine Arts, Boston. Conservation and Art Materials Encyclopedia Online (CAMEO). http://cameo.mfa.org/wiki/Soil (accessed 24 March, 2014).
Superficial Grime. 2006. The Fine Arts Conservancy. Stoneledge Inc. http://www.art-conservation.org/Glos_paint/Superficial_Grime/gloss_det_paint.htm (accessed 14 March, 2014).
Category:LexiconCategory:Condition Terms
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Sustainability Committee Public Statements

Sustainability Committee Statement on U.S. Tornados
Posted 12-20-2021 16:21
The deadly tornadoes earlier this month in Kentucky, Mississippi, Missouri, Arkansas, Illinois, and Tennessee were unprecedented due to their strength, number, and the time of year in which they occurred. They have resulted in great loss of life and put additional people and cultural heritage in these areas in danger. The Sustainability Committee extends heartfelt thoughts to all those who have been affected. 
Events of this strength and size will become more prevalent world-wide as the climate warms and changes due to human activities. One way we can lessen the impact our actions have on future weather magnitude is to apply sustainable practices to conservation and collections care. By utilizing risk assessments and best sustainable practices, we can determine what actions are truly necessary for the preservation of cultural heritage and minimize our impact.
Culture and heritage advocates are on the front lines of many of these disasters and play a key role in demonstrating resilience and advocating for the current and potential loss of cultural sites and monuments. Designing for resilience is more important now than ever before as we adapt to this new normal. If you would like to make positive change in your community, the Sustainability Committee recommends looking to potential cultural partners to work synergistically toward the common goal of combating climate change. We must all make sustainable preparations to stand together against the next wave of destructive extreme weather, which we know is inevitable.
Practical information about disaster response is available through the National Heritage Responders, who are available 24/7 by phone at 202.661.8068 to provide support to institutions whose collections have been impacted by disasters. Resources for personal preparedness and recovery can be found at <https://www.ready.gov/hurricanes>. Please share the NHR hotline information with colleagues in potentially impacted areas.
Has the climate crisis affected you? Let us know how.  Email us at: aicsustainability@gmail.com.
------------------------------
Katharine Fugett
Associate Objects Conservator, Metropolitan Museum of Art,
Network Officer, AIC Sustainability Committee
------------------------------
Sustainability Now Newsletter Issues

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=== Sustainability Now ===
Sustainability Now is a periodic email blast sent to AIC members with an interest in environmental sustainability. To subscribe to the email, log in to your AIC community profile, under "Profile Information" click "Edit/View Information", scroll down to "Professional Characteristics" and click "Sustainability" in the "Program Interests" box. Past issues of Sustainability Now are archived below. 
----Issue One (January 2021)
Issue Two (August 2021)
Issue Three (December 2021)
Issue Four (April 2022)
Issue Five (June 2022)
Issue Six (September 2022)
Issue Seven (December 2022)
Issue Eight (February 2023)
Issue Nine (April 2023)
Issue Ten (September 2023)
Issue Eleven (January 2024)
TSG-Blind Stitch

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== BLIND STITCH ==
===Other names===
::Invisible Stitch 
::Tunnel Stitch
===Directions===
Work from right to left. This stitch is executed between two layers of fabric. Roll back the edge of one layer of fabric. Insert needle into this fabric at 1, catch a few threads and bring out at 2. Move needle slightly to the left and insert in the second layer of fabric at 3. Catch a few threads and bring needle out at 4. Continue to alternate the stitches between layers of fabric. Do not pull thread taut.
===Comments===
These stitches give the appearance of the Running Stitch on the reverse sides of the fabric layers.
===Possible uses for this stitch===
Attaching Lining, Dust Covers and Backings
 
Hemming
 
Joining Fabric
TSG-Overcast Stitch

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__NOTOC__
== OVERCAST STITCH ==
===Other names===
Whip stitch
===Directions===
Work from right to left. Bring needle out to the front side at 1. Move thread to the left and to the textile edge at 2. Wrap thread over the edge, keep needle perpendicular and insert needle from the reverse side to the front side at 3. Repeat.
===Possible uses for this stitch===
Attaching Lining, Dust Covers and Backings
 
Finishing and stabilizing edges
 
Finishing and stabilizing warp ends
Mounting
Reinforcing selvedges
===See also===
Diagonal Basting Stitch 
Overhand Stitch 
Oversewing Stitch 
Tapestry Overcast Stitch