nyuuzyou/wikis huggingface dataset:
Photogenic Drawings, Salted Paper Prints, and Calotype Prints

Page Information	Page Information
Date initiated 	June 2012
Contributors 	Luisa Casella, Amanda Maloney, Stephanie Watkins
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==Photogenic Drawings, Salted Paper Prints, and Calotypes==
=== Historical Facts===
Invented: 
*Photogenic drawings was the name given to the images produced by William Henry Fox Talbot to the images produced by his earliest experiments in the 1830's. 
*Salted-paper prints: The first viable paper negative process was developed by William Henry Fox Talbot in the late 1830s. In turn, these paper negatives were used to make positive salted-paper prints. In 1847 Louis-Désiré Blanquart-Evrard developed a simplified version of Talbot’s formula and published it in France. 
*The calotype, a much improved version of the photogenic drawing process, was invented then patented by Talbot in 1841.
Patented: Talbot showed examples of his photogenic drawings to the (British) Royal Photographic Society in 1839, fuelled by the announcement of the daguerreotype in France. The first salt-print negative process was patented by William Henry Fox Talbot in England 1841 and called a calotype. 
Historic Practitioners: William Henry Fox Talbot, Hill and Adamson, Nicolaas Henneman, Langenheim Brothers; T, Hill, Louis-Désiré Blanquart-Evrard, Gustave Le Gray, Édouard Baldus, Heri Le Secq.
=== Identification Characteristics===
==== Image layer====
The image is formed by silver deposited directly in the paper support
==== Color ====
Range from warm brown to cool gray tones.
==== Support ====
paper, initially stationery, later wove papers that can withstand prolonged water immersion
==== Analysis ====
 (Non-destructive) XRF can be used to identify the silver image and also detect sulfur if the image has been fixed in sodium thiosulfate. 
(Destructive) GC-MS may be used to identify coating materials.
=== Conservation ===
=== Housing and Storage Considerations===
==== Housing====
There are a variety of good choices of paper and plastic materials that have passed the PAT and are suitable for housing paper. One must consider all factors (research, access, preservation, exhibition, art in transit) and balance the pros and cons for a specific collection. 
==== Storage====
Temperature: A stable temperature between 18 and 30°C is necessary to avoid embrittlement
Relative Humidity: Between 30% and 50%. 
=== Exhibition ===
=== Emergency Recovery === 
=== References ===
=== Further Reading===
*Root, M.A. 1864. The Camera and the Pencil, History of the Heliographic Art, Philadelphia
*Scully, France and Osterman, Mark. 2009. "Scully and Osterman" website: http://www.collodion.org/q&a_salt.html
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Category:Photographic Materials
Category: Photographic Processes
Photogenic Drawings and Calotypes

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Photographic Materials Conservation Catalog
Photographic Processes
Date: Initiated April 2014
Contributors:Luisa Casella
The Photographic Materials ConservationCatalog is created and maintained by the Photographic Materials Group of theAmerican Institute for Conservation for the convenience of the membership. Thetreatments, methods, or techniques described herein are provided forinformational purposes. The reader assumes responsibility for any applicationresults or interpretation of information.
==Photogenic Drawings and Calotypes==
Historical Facts
Invented: Photogenic drawings was the name given to the images produced by William Henry Fox Talbot to the images produced by his earliest experiments in the 1830's. The calotype - a much improved version of the photogenic drawing and was invented in 1841.
Patented: Talbot showed examples of his photogenic drawings to the Royal Photographic Society in 1839, fuelled by the announcement of the daguerreotype in France. He patented the calotype in 1841.
Main Period of Use:
Historic Practitioners: William Henry Fox Talbot, Hill and Adamson, Nicolaas Henneman, Langenheim Brothers
Identification Characteristics
 
 
Image layer:
 
 
Binder:
 
 
Support:
 
 
Analysis:
 
 
Non-Destructive
 
 
Destructive
 
 
Process Overview
 
 
 
Conservation and Treatment
 
 
 
Housing and Storage
 
 
 
Emergency Recovery
 
 
 
 
REFERENCES
 
 
 
Conservation
 
 
 
Process and Historic Material
 
 
 
Contemporary Practice 
 
 
 
Category:Photographic Materials
 
Category: Photographic Processes
 
Back to Photographic MaterialsChapter List
 
 
Back to PMG Photographic Processes
Physical Forces

=Definition of Physical Forces=
Examples of damaging physical forces may include those that are fast and catastrophic including both natural disaster and human error (such as earthquakes, or bumping or dropping an object), or slower acting with minor but repeated opportunity for damage (such as improper handling during research and educational use, or vibrations from nearby construction). Physical force is also a risk for artifacts that do not have proper support on exhibit or in storage and may sag or become misshapen, or for objects that are not properly padded in boxes or drawers and may roll around when moved.
=Prevention of Damage from Physical Forces=
*Proper storage of textiles can prevent damage from physical forces.
*Photographs with glass components (such as glass-plate negatives) have special housing and storage requirements. 
*When setting up a conservation lab in an earthquake-prone area, special considerations such as extra bracing should be taken in regards to shelving and art storage within the lab.
=Resources=
Agent of Deterioration: Physical Forces
Workshop Vibrations in Collections and in Transport, Collectiecentrum Nederland, Amersfoort, 30 November 2023
Category:Preventive Care
Pile reversal

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Pile reversal refers to a permanent change in a carpet’s appearance caused by the difference in the way light reflects off the sides and tip of a yarn as the pile lays in different directions. Shaded areas appear light from one direction and dark from another direction. This effect is generally noted in smooth surfaced, densely constructed, plush carpets (i.e. not in looped pile). Its cause may be foot traffic and once it occurs it is a permanent condition. The effect is often more visible after cleaning of a textile as dirt and grime may lower the reflectance of the fibers and make the issue less visible. 
300px|thumb|right|Section of 20th Century Limited carpet showing pile reversal seen as a squiggly dark line down the center of the carpet. This may have been caused by foot traffic in different directions on the left and right side of the carpet
=== Synonyms in English ===
watermarking, pooling, puddling, shading
=== Translation ===
English 	pile reversal
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	倒絨
==Discussion==
Pilling

a small ball of matted fibers that forms on the surface of a fabric (1).
== Related Terms ==
Washing
== Translation ==
English 	Pilling
French 	bouloches
Spanish 	moteo
Portuguese	borboto
Italian 	
German 	Pillingeffekt
Arabic 	
== Discussion ==
Pilling occurs from the rubbing or abrasion of fabric during normal wear and use when the fibers begin to unravel and become tangled together creating a tiny ball - or pill - on the surface of the fabric (2). Pilling happens primarily on man-made fabrics like polyester, polyester blends (3), acrylic, and nylon because shorter fibers are used in the creation of yarns for those products (2). Tightly twisted weaves show pilling less, while looser weaves made with shorter fibers allow for more movement therefore, more pilling (2). Pilling is more noticeable on knitted fabrics because the lint becomes tangles with the small fiber balls which makes them bigger and more obvious (2). 
To avoid pilling there are certain steps to follow (2)(3):
* Turn the garment inside out before washing
* Wash smaller loads so less abrasion happens in the wash cycle
* Use liquid detergent and fabric softener
* If possible, lay the garment flat and air dry
Pilling can be removed with a fabric comb, a motorized, handheld fabric shaver, or by cutting them carefully off with scissors (3).
== References ==
1. The Free Dictionary. (2011). Pilling. Retrieved March 20, 2016, from http://www.thefreedictionary.com/Pilling
2. University of Missouri Extension. (n.d.). What is Pilling? What Do I Do About it? Retrieved March 20, 2016, from http://missourifamilies.org/quick/materialqa/material13.htm
3. About Home. (2015, October). Prevent and Remove Pilling From Clothes. Retrieved March 20, 2016, from http://laundry.about.com/od/laundryproblems/f/preventpilling.htm
Pitting

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shallow and often irregular pin-sized losses scattered over an object's surface. Pitting may occur when corrosive elements or remains from a casting process accumulate on a surface, react to the material over time, and dissolve layers which produce small pits.Demeroukas, M. (2010). Condition Reporting. Museum Registration Methods: 5th Edition. R. Buck and J. Gilmore, Eds. Washington, D.C.: The AAM Press. pp.223-232
thumb|Severe 'pitting' on an auger tang|right thumb|Continued 'pitting' on the helix pattern
=== Synonyms in English ===
pit, dent, nick, hole & corrosion
 
=== Translation ===
English 	pitting
French 	piqûres
Spanish 	marca
Portuguese 	microfissuras
Italian 	vaiolatura
German 	lochfraß
Russian 	точечной коррозии
Chinese (Traditional)	孔蝕
==Discussion==
Pitting is the result of a microclimate forming on a surface which can contain corrosive elements - water, oxygen, carbonate ions, chloride ions, etc. Elements chemically interact with the surface to create an alkaline-like layer that dissolves ions from the surface effectively forming a corrosive product - pits. For example, when a copper interacts with water containing dissolved oxygen, soluble copper corrosion products can potentially convert to insoluble basic salts. In the form of a visible film, this layer of cuprous oxide can become thick, cathodic, and favorable to pitting.Scott, D.A. (2002). Chlorides and Basic Chlorides. Copper and Bronze in Art: Corrosion, Colorants, Conservation Los Angeles: Getty Conservation Institute (pp. 132-133)
Pitting is most commonly found on metals, iron, steel, bronze, ceramics and stoneware, and commercial copper products like pipes and boilers. Within cultural institutions, you can typically see pitting on cast iron cookware, military cannons, bayonets, and pistols, as well as maritime artifacts.
The term ‘pitting’ may also be used to describe natural history artifacts. For example, a Tortoise shell can have ‘pitting’. However, these pits are most likely produced by an insect or outdoor element – different method, but it still produces the same descriptive imagery.
Similarly, ceramic artifacts can have ‘pitting’ as a result of the outer glaze either reacting during the firing process or due to corrosion. Again, different method but similar descriptive imagery.
When recognizing pitting or proposing treatment, always look for evidence of active rust or corrosion. Handling pitted objects requires gloves (cotton or nitrile) as to not deposit any oils on the surface or cause any abrasion. As for treatment, general surface cleaning and storage and exhibition monitoring are appropriate. 
==References==
Little, M. (2000). Metals. The Winterthur Guide to Caring for you Collection (pp.91-102). Hanover and London: University Press of New England. 
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Poulticing

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the process of applying a moist mass of a substance with a soft, absorbent, or pasty consistency, to a surface for the purpose of cleaning, removing stains, or other undesirable substances in a controlled manner (AAT 2004). Poultices can be made from a variety of materials, including soft fibers, gelling materials, and clay. Different combinations of material and solvent are chosen, based on the needs of the object and type of contaminant present. 
 
 
200px|thumb|right|Removing a poultice for further cleaning 
== Synonyms in English ==
plaster; compress; salve, dressing
=== Translation ===
English 	poulticing
French 	cataplasme
Spanish 	cataplasma
Portuguese 	
Italian 	impiastro
German 	umschlag
Dutch 	kompres
Arabic 	
Chinese (Traditional)	塗敷
==Discussion==
Historically employed in the cleaning and desalination process of masonry and associated works of art, recent advances in material sciences makes the use of poultices increasingly relevant to other specialty areas. Poultice application allows the conservator to control the rate of cleaning over a larger area, and without the mechanical stress of traditional cleaning techniques. This method can also be combined with traditional techniques, removing and softening particularly persistent deposits to facilitate removal with a minimum of damage. 
 
Poultices can be created from a variety of substances including sponges, soft fiber mats (cellulose powder), synthetic clay (eg. Laponite), and gelling materials like methyl cellulose (CAMEO 2004). These materials can be combined with a wide variety of liquids based on the composition of the object being cleaned and the targeted contaminant, including distilled water, solvents, enzymes, chelating agents, and surfactants. 
 
==References==
Poulticing. 2004.Art and Architecture Thesaurus Online. Getty Research Institute. http://www.getty.edu/research/tools/vocabularies/aat/ (accessed 17 March, 2014).
 
Poultice. 2004. CAMEO (Conservation and Art Materials Encyclopedia Online). Museum of Fine Arts, Boston. http://cameo.mfa.org(accessed 17 March, 2014).
 
Verges-Belmin, Veronique; Heritage, Alison; Bourges, Ann.2011. Powdered Cellulose Poultices in Stone and Wall Painting Conservation Myths and Realities. Studies in Conservation 56 (4): 287-291.
 
Warda, Jeffrey; Bruckle, Irene; Bezur, Aniko; and Kushel,Dan. 2007. Analysis of Agarose, Carbopol, and Laponite Gel Poultices in Paper Conservation. JAIC 46 (3):263-279.
 
 
 
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Category:Lexicon
Category: Process Terms
Category:Technique
Powdering

Powdering is a term used to describe a substance that appears on vegetable tanned leathers, which usually signifies red rot.
=== Translations ===
English 	Powdering
French 	poudrage
German 	Pudern
Italian 	polverizzazione
Portuguese 	
Spanish 	pulverizacion
Chinese (Traditional)	粉化
== Discussion ==
Powdering was not an easy term to research as the term powder is used to describe a lot of different conservation issues. The term powdering seems to come up most in the discussion of vegetable tanned leather and red rot. Red rot occurs on leather objects that have been exposed to high humidity, high temperatures, and pollution (Applebaum). The disease presents it self in a red powder that is also accompanied by structural weakness and a felt like consistency.
Though powdering and red rot are not reversible, the spread of it can be stopped through the application of a consolidant that has been coated with a sealer (Mahoney and Pearlstein).
== References ==
 
Applebaum, Barabara. Guide to Environmental Protection of Collections p. 185. Sound View Press, 1991 
Mahoney, Caitlin and Pearlstein, Ellen. 2014. “Evaluation of Consolidants for the Treatement of Red Rot on Vegetable Tanned Leather”. Retrieved From: http://www.conservation-us.org/docs/default-source/annualmeeting/2014am_poster13_evaluation_of_consolidants.pdf
Preservation

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saving and safeguarding cultural heritage
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	preservation
French 	
Spanish 	preservación
Portuguese 	preservação
Italian 	
German 	
Arabic 	
Chinese (Traditional)	保存維護
==Discussion==
==References==
American Institute for Conservation (1996) Definitions of Conservation Terminology, accessed 22 September 2012.
AIC published conservation definitions in Newsletter volumes 4/4 (7); 20/2(10) and 21/3(15)
WAAC Newsletter published the definitions on the AIC website in 18/2 (May 1996)
International Council on Museums-Committee on Conservation (2008) Terminology to characterize the conservation of tangible cultural heritage http://www.icom-cc.org/242/about-icom-cc/what-is-conservation/#.UF4SU7RK422, accessed 22 September, 2012.
& Architecture Thesaurus® Online Getty Research Institute, accessed 25 September, 2012.
UNESCO's Safeguarding our Documentary Heritage - Glossary, accessed 3 October, 2012.
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Category:Lexicon
Category: Core Terms
Preventive Care

Category:Preventive Care
Preventive Care is defined as “actions taken to minimize or slow the rate of deterioration and to prevent damage to collections; includes activities such as risk assessment, development and implementation of guidelines for continuing use and care, appropriate environmental conditions for storage and exhibition, and proper procedures for handling, packing, transport, and use. These responsibilities may be shared by collection managers, conservators, subject specialists, curators and other institutional administrators.”Society for the Preservation of Natural History Collections. 1994. Guidelines for the care of natural history collections. Collection Forum, 10:32-40. 
=== The content areas in this section cover: ===
link=Collection_Care|center|x100pxCollection Care
Explore preventive conservation, collection care and the agents of deterioration	Environmental Guidelines
Information on the changing philosophies regarding appropriate museum environments
Exhibition Standards & Guidelines
Best practices and guidelines for creating preservation-sound exhibitions	Mounts & Mountmaking
Creative mountmaking solutions from the International Mountmakers Forum
Choosing Materials for Storage, Exhibition & Transport
The materials we use with collections matter in their long-term preservation. Learn why and where to find good options	Emergency Preparedness & Response
Reduce risk, be prepared, know how to respond when emergencies happen
====References====
Preventive conservation/care

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Contributions by: 
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	預防性維護
==Discussion==
==References==
Also see the following pages on the AIC wiki Preventive Conservation and Preventive Care
Category:Lexicon
Return to List of Lexicon Terms
Proper left/proper right

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refers to the point of view of the object itself. When describing a work of art, one should refer to the object's right (proper right) or the object's left (proper left). 
==Related Terms==
=== Synonyms in English ===
=== Translation ===
English 	proper left/proper right
French 	
Spanish 	
Portuguese 	
Italian 	
German 	
Arabic 	
Chinese (Traditional)	主體的左/右 (而非觀者的左/右)
==Discussion==
Much of the discussion surrounding the idea of proper left/proper right has to do with which works of art it should be applied to. Some institutions, such as the Smithsonian American Art Museum, require the use of proper left/proper right, but only when describing figures (in painting, in sculpture). Other sources suggest that the terms can be applied to any unambiguous work of art. In other words, any work of art that has a identifiable front and back, such as furniture.
==References==
Smithsonian American Art Museum. Inventories for American Painting and Sculpture: Guidelines for Reporting Works. http://americanart.si.edu/research/programs/inventory/report_form_guidelines.pdf
Category:Lexicon
Return to List of Lexicon Terms
Publishing

Navigate back to Emerging Conservation Professionals > Sharing Your Work > Publishing
=== Summary of ECPN Webinar on Publishing ===
On November 5, 2015, 2 ECPN hosted Demystifying the Publication Process in Conservation with Sanchita Balachandran, Michele Derrick, and Carolyn Riccardelli. The speakers shared insights from their own publishing experiences: Curator/Conservator Sanchita Balachandran has published in a variety of venues; Research Scientist Michele Derrick served as the editor-in-chief of the Journal of the American Institute for Conservation (JAIC); and Conservator Carolyn Riccardelli is AIC’s Director of Communications. The presenters discussed a range of topics including publishing platforms, the process of writing a peer-reviewed article, collaborative writing, and funding. 
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==== Webinar Follow-up Resources ====
The following PDFs are of slides from the webinar "Demystifying the Publication Process in Conservation":
* 
* 
**Typical article sections in a peer-reviewed publication, such as JAIC, include: title, abstract, introduction, body, illustrations, discussion, conclusion, references, and suppliers. Many projects in the conservation field are collaborative, but it can be difficult to decide which contributors are considered authors (and in what order), and which should be listed in acknowledgements. In her , Judith Bischoff discusses authorship guidelines within AIC and allied fields. 
* 
Category:Education & Professional DevelopmentCategory: Emerging Conservation Professionals
Rain barrel collection

Back to Water Purification and Use
Jon Minyard, MFA, of Minyard Box Fine Arts Services describes his system: His business is in an Art Deco gas station with a flat roof. He uses rain barrels to collect water and gets about 40-60 gallons after a good rain. The water can often be used as-is for cleaning of outdoor sculpture; the sculptures are exposed to rain water anyway. He recommends testing a small area first because some acidic rain can affect the patina. He also has a 3-stage reverse osmosis water filter to create purified water for drinking and conservation. He chooses not to buy jugs of distilled water in order to keep plastic out of the system. If you have any questions about creating a similar system, you are welcome to contact him.
Reading Lists

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The bibliographic references listed below are readings that AIC members have found useful in their courses for teaching students in conservation and museum studies programs about the decision making process for conservation treatments. References are followed by the name of the individual who first offered the recommendation. This list is for education purposes and should not be used as a substitute for consulting with a conservator when considering or evaluating conservation treatment. 
==Topics==
===Conservation Ethics===
Conservation Decision-Making
Approaches to Restoration
Controversy
===Conservation of Cultural Materials===
===History of Conservation===
Reconsidering Traditional Techniques

For example, felts and non-woven rayon can be used in place of blotters for blotter washing. The felts can then be washed and used again. They seem to get more absorbent and work better for this task the more they are rinsed. I have some photos that can be used here. Patty may, too - with textiles and rayon. The wooden stick from cotton swabs can be used repeatedly. Just use a canister with a small opening to remove the used cotton and roll a new one. (Yes! and not only does this not create much waste it is a lot cheaper to buy a package of cotton wool and some bamboo skewers than to buy a box of swabs. The other great advantage of making your own swabs is that you can make customized sizes for what you are working on. Tips for keeping the cotton on is to dip it in distilled water to slightly dampen it before rolling on the cotton, and occationally sharpening the tip with a rough sandpaper)
Although not technically a packing issue, reconsideration of framing, to protect artworks, is another area where we can have an impact. Engineering better framing systems to hold the environment better, keeping the environmental changes minimized when there’s failure of mechanical systems, reduces both damages to artworks and extreme burdens on mechanical systems.
Use soft natural sponges instead of cotton wool when cleaning large surfaces, or surfaces that can withstand less specific cleaning, such as stable glazed ceramics or stable stone. Sponges also have the benefit of not leaving fibers behind.