DISSEMINATION/RESEARCH
Find below the portfolio projects related to DISSEMINATION/RESEARCH:
Lecture: ‘Classification of dyes and colorstuff’ at the IPCE
There is a wide variety of products that provide color to leather and paper which are often imprecisely referred to. A correct classification contributes to a better understanding of the their features and is therefore useful both in the recognition in the materials eligible for conservation, as well as in the application of dyes and colourstuff for a proper in-paint and retouch. The dyes and colorants will be discussed according to the most common classifications: pigmented or not, natural/synthetic and, above all, their substantivity: direct, ionic, reactive and complex.
Workshop: Match your Infill (The Hague, 2024)
Techniques, materials and products to infill and in-paint. Mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, colour, digital retouch, tips and tricks for retouching.
Lecture: ‘Diving in wet treatments’ 2nd edition (IPCE).
First edition of the confernces cicle Re-Enpapelamos was held solely in-person. This year it is repeated free and on-line. ¿Which are the main benefits of bathing? ¿Do wet treatments justify the potential drawbacks involved in them? Let's see it in four diverese artefacts, washed from least to major degree: a pencil drawing, a gouache and two hand-coloured manuscripts.
Course: Match your infill (London, 2024)
Techniques, materials and products to infill and in-paint. Mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, colour, digital retouch, tips and tricks for retouching.
Course: Match your infill (Tartu, 2024)
Techniques, materials and products to infill and in-paint. Mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, colour, digital retouch, tips and tricks for retouching.
Session: Use of paper pulp on paper conservation (Amsterdam, 2024)
Questions and answers session about the use of paper pulp in paper conservation. Dry application, wer, on suction table, manual and leaf-casting machine. Discussion of types and qualities, and how to adjust the colour.
Course: Match your infill (Mohammed Bin Rashid Al Maktoum Foundation, 2023)
Techniques, materials and products to infill and in-paint. Techniques, materials and products to infill an in-paint. Use of micro-powdered cellulose in paper conservation, mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, digital retouch, colour, tips and tricks for retouching.
Course: Match your infill (Prague, 2023)
Techniques, materials and products to infill and in-paint. Techniques, materials and products to infill an in-paint. Use of micro-powdered cellulose in paper conservation, mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, digital retouch, colour, tips and tricks for retouching.
Course: Match your Infill (Art Institute of Chicago, 2023)
Techniques, materials and products to infill and in-paint. Techniques, materials and products to infill an in-paint. Use of micro-powdered cellulose in paper conservation, mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, digital retouch, colour, tips and tricks for retouching.
Course: Match your infill (València, 2023)
Techniques, materials and products to infill and in-paint. Techniques, materials and products to infill an in-paint. Use of micro-powdered cellulose in paper conservation, mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, digital retouch, colour, tips and tricks for retouching.
Course: Match your infill (Leiden, 2023)
Techniques, materials and products to infill and in-paint. Mould casting of textures (either acrylic or cellulose powdered based), matching colour with paper pulp, dyes and colorants, colour, digital retouch, tips and tricks for retouching.
Course: Identificaction, conservation and preservation of photographs (Oslo, 2022)
Workshop with theoretic and practical sessions. Organization: National Museum (Oslo, Norway). Language: English. Dates: December 6-7th, 2022. Audience: Professional paper and photographs conservators.
Course: Inpainting and Loss Compensation on Paper Conservation (Oslo, 2022)
Techniques, materials and products to infill and in-paint. Use of micro-powdered cellulose in paper conservation, mould casting of textures, matching colour with paper pulp, dyes and colorants, colour, light, tools, criteria, un-restoration, digital retouch, tips and tricks for retouching.
Tailored workshop: Photographs, carte-de-visite and autographs conservation (Premià, 2022)
Tailored workshop: Conservation of photographs, cdv and autographs. General treatments (dry cleaning, tear repair, flattening). Chemical aspects of conservation (deacidification, chelating agents).
Lecture: Sewing, adhesion and grain direction in book conservation
Event: AIC 50th Annual Meeting, [...]
Preservation, housing, mounting and framing artwork on paper (Valls, 2021)
Which is the best way to preserve paper artefacts? How are they mounted and framed for exhibition? Technical session explaining products, materials & techniques.
Lecture: ‘Conservation of recycled bindings and fragmentology’ (Parts 1 & 2), SICP Chile
Book conservation involves a tough decision making regarding usability and long term preservation handling. Sometimes we are dealing with fragmentology, or disjecta membra (fragments of written supports are re-used as part of a binding, with a diverse purpose from the first use) whereas in other cases the purpose is the same, and the whole binding is being recycled to bind a different book. Incunabula and manuscripts with laced-case and limp vellum bindings are studied.
Workshop: Wet treatments of
Works on Paper (Amsterdam, 2021)
Theoretical and practical sessions. When to apply wet treatments on paper, and how. From the basis of handling wet paper to more complex moisturizing, humidification and washing techniques. Fugitivity tests, types of inks and their properties, and many case studies to show conservation treatments on real artwork: manuscripts and documents, drawings, watercolours, pastels, charcoal drawings...
Workshop: Wet treatments
of Works on Paper (Köln, 2021)
Theoretical and practical sessions. When to apply wet treatments on paper, and how. From the basis of handling wet paper to more complex moisturizing, humidification and washing techniques. Fugitivity tests, types of inks and their properties, and many case studies to show conservation treatments on real artwork: manuscripts and documents, drawings, watercolours, pastels, charcoal drawings...
Lecture: ‘Conservation of reused bindings’ (Part two), Dubrovnik
Book conservation involves a tough decision making regarding usability and long term preservation handling. Sometimes we are dealing with fragmentology, or disjecta membra (fragments of written supports are re-used as part of a binding, with a diverse purpose from the first use) whereas in other cases the purpose is the same, and the whole binding is being recycled to bind a different book. Incunabula and manuscripts with laced-case and limp vellum bindings are studied.
