Petrochemicals are the chemical products obtained from petroleum by refining. Some chemical compounds made from petroleum are also obtained from other fossil fuels, such as coal or natural gas, or renewable sources such as maize, palm fruit or sugar cane.
Lacquer is a type of hard and usually shiny coating or finish applied to materials such as wood or metal. It is most often made from resin extracted from trees and waxes and has been in use since antiquity.
A whiteboard is a glossy, usually white surface for making non-permanent markings. Whiteboards are analogous to blackboards, but with a smoother surface allowing for rapid marking and erasing of markings on their surface. The popularity of whiteboards increased rapidly in the mid-1990s and they have become a fixture in many offices, meeting rooms, school classrooms, public events and other work environments.
Hot-melt adhesive (HMA), also known as hot glue, is a form of thermoplastic adhesive that is commonly sold as solid cylindrical sticks of various diameters designed to be applied using a hot glue gun. The gun uses a continuous-duty heating element to melt the plastic glue, which the user pushes through the gun either with a mechanical trigger mechanism on the gun, or with direct finger pressure. The glue squeezed out of the heated nozzle is initially hot enough to burn and even blister skin. The glue is sticky when hot, and solidifies in a few seconds to one minute. Hot-melt adhesives can also be applied by dipping or spraying, and are popular with hobbyists and crafters both for affixing and as an inexpensive alternative to resin casting.
Pressure-sensitive adhesive is a type of nonreactive adhesive which forms a bond when pressure is applied to bond the adhesive with a surface. No solvent, water, or heat is needed to activate the adhesive. It is used in pressure-sensitive tapes, labels, glue dots, stickers, sticky note pads, automobile trim, and a wide variety of other products.
Lacquer thinner, also known as cellulose thinner, is usually a mixture of solvents able to dissolve a number of different resins or plastics used in modern lacquer.
The conservation and restoration of silver objects is an activity dedicated to the preservation and protection of objects of historical and personal value made from silver. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer.
Conservation and restoration of ceramic objects is a process dedicated to the preservation and protection of objects of historical and personal value made from ceramic. Typically, this activity of conservation-restoration is undertaken by a conservator-restorer, especially when dealing with an object of cultural heritage. Ceramics are created from a production of coatings of inorganic, nonmetallic materials using heating and cooling to create a glaze. These coatings are often permanent and sustainable for utilitarian and decorative purposes. The cleaning, handling, storage, and in general treatment of ceramics is consistent with that of glass because they are made of similar oxygen-rich components, such as silicates. In conservation ceramics are broken down into three groups: unfired clay, earthenware or terracotta, and stoneware and porcelain.
Iron, steel, and ferrous metals constitute a large portion of collections in museums. The conservation and restoration of iron and steel objects is an activity dedicated to the preservation and protection of objects of historical and personal value made from iron or steel. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer. Historically, objects made from iron or steel were created for religious, artistic, technical, military and domestic uses. Though it is generally not possible to completely halt deterioration of any object, the act of conservation and restoration strives to prevent and slow the deterioration of the object as well as protecting the object for future use. One of the first steps in caring for iron is to examine them and determine their state, determine if they are corroding, and consider options for treatment.
The conservation and restoration of shipwreck artifacts is the process of caring for cultural heritage that has been part of a shipwreck. Oftentimes these cultural artifacts have been underwater for a great length of time. Without conservation, most artifacts would perish and important historical data would be lost. In archaeological terms, it is usually the responsibility of an archaeologist and conservator to ensure that material recovered from a shipwreck is properly cared for. The conservation phase is often time-consuming and expensive, which is one of the most important considerations when planning and implementing any action involving the recovery of artifacts from a shipwreck.
The lining of paintings is a process of conservation science and art restoration used to strengthen, flatten or consolidate oil or tempera paintings on canvas by attaching a new support to the back of the existing one. The process is sometimes referred to as relining. Most often a new support will be added directly to the back of an existing canvas. In cases of extreme decay, however, the original canvas may be completely removed and replaced. The height of the practice's use peaked in the late 19th century and in the following years its usefulness has been debated. There are many different factors that influence whether lining a painting will be successful. By paying close attention to an artwork's condition and response to treatment, conservation professionals better understand the lining process and when to apply it.
The conservation and restoration of painting frames is the process through which picture frames are preserved. Frame conservation and restoration includes general cleaning of the frame, as well as in depth processes such as replacing damaged ornamentation, gilding, and toning.
The conservation and restoration of lacquerware prevents and mitigates deterioration or damage to objects made with lacquer. The two main types of lacquer are Asian, made with sap from the Urushi tree, and European, made with a variety of shellac and natural resins. Lacquer can be damaged by age, light, water, temperature, or damaged substrate.
Textile stabilization is a conservation method for fiber and yarn-based cloth intended to mitigate damage, prevent degradation and preserve structural integrity. Stabilization is part of a broad set of techniques in the field of conservation and restoration of textiles typically undertaken by a specialist or textile conservator. Appropriate treatment is determined through risk assessment and close examination of a textile's characteristics and the nature of the damage. Organic and synthetic fibers become weak due to age, handling, and environmental exposure and display physical deterioration such as fraying, planar distortion, loss, and change in surface character. Treatment involves reinforcing tensile strength and reintegration of parts for aesthetic, functional, and historic preservation. Methods can include stitching, darning, reweaving, and the attachment of supports through overlays and underlays. Hand-sewing follows the mantra of “gently does it” using fine needles, supple yarns, and a light touch. Heavily damaged and fragile fabrics often require stabilization through adhesive consolidation, though this is less common. It is essential that conservators consider physical and chemical compatibility along with future treatability in choosing a stabilization technique.
The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports. Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind.
The conservation of taxidermy is the ongoing maintenance and preservation of zoological specimens that have been mounted or stuffed for display and study. Taxidermy specimens contain a variety of organic materials, such as fur, bone, feathers, skin, and wood, as well as inorganic materials, such as burlap, glass, and foam. Due to their composite nature, taxidermy specimens require special care and conservation treatments for the different materials.
The conservation and restoration of papyrus material is an activity dedicated to the preservation and protection of objects of historical and personal value made from papyrus from Ancient Egypt.
The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground, and an image layer. They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state.
HMG Heat and Waterproof Adhesive is a brand of cellulose nitrate adhesive manufactured by H Marcel Guest Ltd. It is one of the most popular cellulose nitrate adhesives used in conservation and restoration work, and is used on materials such as metal, wood, glass, and pottery. It is sometimes referred to as "the blue tube", in contrast to "the purple tube", the acrylic B72 Restoration Adhesive also manufactured by the company.
The conservation and restoration of photographic plates is caring for and maintaining photographic plates to preserve their materials and content. It covers the necessary measures that can be taken by conservators, curators, collection managers, and other professionals to conserve the material unique to photographic plate processes. This practice includes understanding the composition and agents of deterioration of photographic plates, as well as the preventive conservation and interventive conservation measures that can be taken to increase their longevity.
