{"id":1189,"date":"2014-10-30T17:42:46","date_gmt":"2014-10-30T17:42:46","guid":{"rendered":"http:\/\/www.art-conservation.org\/?page_id=1189"},"modified":"2014-12-02T17:37:38","modified_gmt":"2014-12-02T17:37:38","slug":"glossary-for-works-on-paper","status":"publish","type":"page","link":"https:\/\/www.art-conservation.org\/?page_id=1189","title":{"rendered":"Glossary For Works on Paper"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Abrasions:<\/th>\nLoss of media (and often the support) caused by rubbing or scraping. \n
\n\"11\"<\/a> \"_1\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Accretions:<\/th>\nAn accumulation of extraneous matter on the surface of the artwork that alters the artist\u2019s design, i.e. dirt, dust, grime, etc. \n
\"11<\/a><\/div>\n<\/td>\n<\/tr>\n
Acidic Backboard:<\/th>\nRear board upon which paper art is mounted, made of wood, wood pulp or other acidic materials which will seriously damage art paper.\n
\n<\/div>\n<\/td>\n<\/tr>\n
Acid Burn:<\/th>\nAlteration to a work on paper (usually darkening \u2013 resembling burned paper) caused by lignin containing acidic materials in proximity to, or in contact with the art.\n
\n\"001\"<\/a> \"3\"<\/a> \"4\"<\/a> \"dc25\"<\/a> \"dd250\"<\/a> \"11<\/a> \"2\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Acidic Mat:<\/th>\nThe border around a picture, between the picture and the frame made of wood pulp paper or other acidic material which\u00a0 will seriously damage the art paper.\n
\n\"11<\/a> \"dd250\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Adhered to Backboard:<\/th>\nPaper adhered to a stiff board behind it; usually with glue or self adhesive tape.\n
\n\"1\"<\/a> \"dd216\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Adhesive & Tape Residue:<\/th>\nRemains of adhesive left by previous application of paste, tape, glue, etc; generally occurs during inept mounting of the sheet.\n
\n\"1<\/a> \"dscn1944\"<\/a> \"dscn2578\"<\/a> \"dscn3934\"<\/a> \"pic00007\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Auxiliary Support:<\/th>\nAn attachment to the sheet to add strength and stability. \n
\"dd250\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Backing Removal:<\/th>\nRemoval of a rear board (See Adhered to Back Board) to which a work on paper has been adhered.\u00a0 Removal can be wet, if the art can be immersed and the adhesive is water soluble, or dry with a scalpel if the work cannot be immersed in water. \n
\"010)during\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Biological Degradation:<\/th>\nSee \u201cMold\/Mildew\u201d and \u201cInsect Damage\u201d.\n
<\/div>\n<\/td>\n<\/tr>\n
Board:<\/th>\nA thin firm board made of compressed paper pulp, used as a support for drawing or painting.\n
\n<\/div>\n<\/td>\n<\/tr>\n
Cleaning:<\/th>\nRemoval of dirt, or other soiling; dry cleaning or wet cleaning (washing) are the two most common methods.\n
\"dscn0164\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Cleavage:<\/th>\nSeparation and lifting of media (gouache, paint, etc.).\u00a0 From the support layer (paper, board, etc.). \n
\n\"1<\/a> \"DSCN4732a\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Cockleing & Buckeling:<\/th>\nA wrinkle on broad system of wrinkles without creasing. \n
\n\"1<\/a> \"abst-ad1\"<\/a> \"scan454\"<\/a> \"figiro01\"<\/a> \"dscn3109\"<\/a> \"DSCN4729a\"<\/a> \"landscape05\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Consolidation:<\/th>\nProcedure to re-adhere delaminating media to its primary support sheet on board.\n
<\/div>\n<\/td>\n<\/tr>\n
Crease:<\/th>\n Line or mark made by folding or wrinkling.\n
\n\"1<\/a> \"before02\"<\/a> \"dscn3130\"<\/a> \"scan586\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Cut:<\/th>\nStraight separation in support caused by sharp slicing action. \n
\n\"1<\/a> \"before-det\"<\/a> \"titia010\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Deacidification:<\/th>\nMitigation or removal of conditions causing work to be or become acidic.\n
<\/div>\n<\/td>\n<\/tr>\n
Delamination:<\/th>\nSeparation of the layer(s) of the support and\/or media layer(s); often accompanied by flaking. \n
\n\"1<\/a> \"dd210\"<\/a> \"dd211\"<\/a> \"dd269\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Dimple:<\/th>\nAny small, hollow place.\n
<\/div>\n<\/td>\n<\/tr>\n
Dirt\/Grime:<\/th>\nDirt of any kind that has accumulated on the surface (accretion); may also be embedded into the support (soiling).\n
\n<\/div>\n<\/td>\n<\/tr>\n
Discoloration:<\/th>\nChanges of hues, often uneven and visually detrimental to the prevailing tones.\n
\n\"1<\/a> \"pic00005\"<\/a> \"dd216\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Dog-ear:<\/th>\nA folded down corner.\n
\"1<\/a><\/div>\n<\/td>\n<\/tr>\n
Draw:<\/th>\nStretch by tension.\n
\"scan454\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Edge Damage:<\/th>\nAny damage in and confined to the edge of a sheet of paper; usually small tears.\n
\n\"11<\/a> \"1<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Embrittlement:<\/th>\nSupport has become perceptibly fragile to the point of snapping, crumbling or breaking. \n
\n\"1<\/a> \"1<\/a> \"dr010\"<\/a> \"dscn0078\"<\/a> \"PIC000053\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Faded:<\/th>\nLosses of brightness or brilliance of the color(s).\n
<\/div>\n<\/td>\n<\/tr>\n
Fill:<\/th>\nMaterial used to replace missing areas of loss.\n
<\/div>\n<\/td>\n<\/tr>\n
Flaking:<\/th>\nMedia and\/or support layers to dislodging from the support.\n
\n\"1<\/a> \"dscn4731\"<\/a> \"before.1\"<\/a> \"before.2\"<\/a>\"1<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Flyspeck:<\/th>\nSmall dark spots of fly excretion.\n
\n<\/div>\n<\/td>\n<\/tr>\n
Foxing:<\/th>\nReddish-brown stains believed to be caused by metal particles in the paper being attacked by micro-organisms; foxing previously thought to be a variety of mold or mildew.\n
<\/div>\n<\/td>\n<\/tr>\n
Frass:<\/th>\nPowdery residue left by insects after attacking a sheet of paper or board.\n
<\/div>\n<\/td>\n<\/tr>\n
Friable:<\/th>\nInsufficient binding to adhere the media to the sheet or board (support).\n
<\/div>\n<\/td>\n<\/tr>\n
Fugitive:<\/th>\nUnstable colors that have or will diminish or suffuse into adjacent areas when exposed to light, moisture or solvents.\n
<\/div>\n<\/td>\n<\/tr>\n
Gouge:<\/th>\nA groove, indentation or cavity resulting from an object pressing or cutting into the surface without completely penetrating the support.\n
<\/div>\n<\/td>\n<\/tr>\n
Handling Dents:<\/th>\nShallow creases (usually in or near the edges) created by rough handling.\n
<\/div>\n<\/td>\n<\/tr>\n
Hinge:<\/th>\nA small folded rectangle of paper with adhesive (or tape) used to mount a sheet to a support.\u00a0 Usually part of a mounting or matting procedure.\n
<\/div>\n<\/td>\n<\/tr>\n
Hinge Damage:<\/th>\nDamage created by improper application of hinges to a sheet.\u00a0 Self adhesive tapes may bleed through creating a permanent stain; excessive mounting adhesives may also create permanent compression of paper fibres.\n
\n\"1<\/a> \"dscn1459\"<\/a> \"landscape03\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Hole:<\/th>\nOpen or hollow loss in the support.\n
\"image006\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Imbedded:<\/th>\nA variant of embedded.\n
<\/div>\n<\/td>\n<\/tr>\n
Inclusion:<\/th>\nA foreign body enclosed within the mass of the paper fibres.\n
<\/div>\n<\/td>\n<\/tr>\n
Infestation:<\/th>\nOver-run and invaded; usually associated with insects, bacteria or other microorganisms such as mold, although it can also pertain to other pests. \n
\"scan614\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Inherent Vice:<\/th>\nExisting condition that causes deterioration of an object as a result of its original construction.\n
<\/div>\n<\/td>\n<\/tr>\n
Insect Damage:<\/th>\nNumerous species of insects feed upon materials in\u00a0 paper borne works, inflicting damage which can be massive, resulting in partial or total destruction.\n
\n\"1<\/a> \"2<\/a> \"scan802\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Insecure:<\/th>\nA damaged work which maybe in the process of deterioration due to weakening of materials or due to weakness in structure or construction; work will probably sustain further damage if moved or handled without immediate attention.\n
<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n
Liquid Stain:<\/th>\nStain created by an unidentified liquid.\n
<\/div>\n<\/td>\n<\/tr>\n
Loss:<\/th>\n>Missing area in one or more layers of image; most frequently the result of flaking, abrasion, tearing, skinning, insect attack, etc.\n
\"1<\/a><\/div>\n<\/td>\n<\/tr>\n
Loss Compensation:<\/th>\nReplacing loss areas (holes, etc.) with material not original to the work. \n
\"c\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Mat Stain or Matburn:<\/th>\nDarkened area caused by acidic conditions related to the use of improper matting materials. See \u201cAcidic Mat\u201d. \n
\n\"dd250\"<\/a> \"paper015\"<\/a> \"1<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Mend:<\/th>\nReattach or reinforce cuts, tears, etc.\n
<\/div>\n<\/td>\n<\/tr>\n
Mold\/Mildew:<\/th>\nAny of various fungi growths that invade many organic surfaces provided sufficient moisture is present, producing enzymes that dissolve, stain, or degrade the host material.\n
\n\"07\"<\/a> \"dscn0154\"<\/a> \"dscn0814\"<\/a> \"dscn1465\"<\/a> \"dscn3582\"<\/a> \"image062\"<\/a> \"p2040005\"<\/a> \"pr-4-hud304-ad1\"<\/a> \"scan587\"<\/a> \"1<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Offset:<\/th>\nPlanographic printing using indirect image through such as photomechanical plates.\n
<\/div>\n<\/td>\n<\/tr>\n
Photo Oxidation:<\/th>\nDegradation of paper and\/or media by light.\u00a0 In media this results in fading; in paper it results in destruction of the molecular structure of the cellulose paper fibre and can result, in extreme cases, in the total collapse and loss of the sheet.\n
<\/div>\n<\/td>\n<\/tr>\n
Physical Degradation:<\/th>\nDegeneration of the overall structure.\n
<\/div>\n<\/td>\n<\/tr>\n
Planar Deformation:<\/th>\nStructural deformation of the support whereby it is no longer flat or in place. (See Cockling and Buckling).\n
\n\"1<\/a> \"dscn1030\"<\/a> \"dd201\"<\/a> \"dc24\"<\/a> \"dd268\"<\/a> \"dd196\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Powdering:<\/th>\nInsufficient binding media or failure of the binding media to adhere pigments to the support causing the media to become powdery, chalky or crumbly. \n
\"pt2-ad2\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Previous Restoration:<\/th>\nA restoration performed prior to the current examination.\n
\n\"1<\/a> \"scan510\"<\/a> \"scan568\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Primary Support:<\/th>\n>Material providing the foundation for the image. i.e. paper, vellum, etc.; called the \u201cprimary support,\u201d when a secondary support is present.\n
<\/div>\n<\/td>\n<\/tr>\n
Puncture:<\/th>\nHole created by impact.\n
\n\"1<\/a> \"figiro<\/a> \"pic00005<\/a> \"warhol\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Scratch:<\/th>\nLoss in the media, which may extend into the support caused by marking the surface with something sharp.\n
<\/div>\n<\/td>\n<\/tr>\n
Secondary Support:<\/th>\nBacking, backboard, mounting support or other material providing a foundation layer for the primary support. \n
\"_1\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Sheet:<\/th>\nA broad, thin, usually rectangular piece of paper serving as a support for media; drawings, watercolors, etc. are referred to by collectors as \u201csheet(s)\u201d\n
<\/div>\n<\/td>\n<\/tr>\n
Shellmark:<\/th>\nCrease in the pattern of a half circle; generally the result of a blow or impact when the object is rolled.\n
<\/div>\n<\/td>\n<\/tr>\n
Skinning:<\/th>\nExcessive intervention resulting in losses of the original media; also called \u201cover-cleaning\u201d or \u201cexcessive cleaning\u201d.\n
<\/div>\n<\/td>\n<\/tr>\n
Smudge:<\/th>\nSmear or blur caused by dirt, soot or ink.\n
<\/div>\n<\/td>\n<\/tr>\n
Soiling:<\/th>\nDirt driven deep into the surface.\n
<\/div>\n<\/td>\n<\/tr>\n
Split:<\/th>\nA rupture or tear running along the support, usually caused by stress.\n
<\/div>\n<\/td>\n<\/tr>\n
Stain:<\/th>\nA discoloration, usually darkening where the media and\/or support layer has been penetrated. \n
\n\"1<\/a> \"before02<\/a> \"dscn1463\"<\/a> \"dscn2572\"<\/a> \"PIC00001a\"<\/a> \"picassobefore\"<\/a> \"pr-11-Wal323B-ad1\"<\/a> \"scan573\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Stain Reduction:<\/th>\nDiminishing or removing discoloration.\n
\n\"1<\/a> \"2<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Support:<\/th>\nMaterial providing the foundation for the image. i.e. paper, vellum, etc.; also, called the \u201cprimary support,\u201d when a secondary support is present.\n
<\/div>\n<\/td>\n<\/tr>\n
Tape Stain:<\/th>\nStaining caused by migration of the adhesive from self-adhesive tape into paper fibres. \n
\"scan671\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Tear:<\/th>\nA rupture in the support layer as a result of tension. \n
\n\"image025\"<\/a> \"pap_before\"<\/a> \"oriental6\"<\/a>\n<\/div>\n<\/td>\n<\/tr>\n
Tenting:<\/th>\nDelaminating of paint or gouache along cracks where the delaminated media layers lift upward into a pattern resembling the peaked tops of tents.\n
\"IMAGE007a\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Thinning:<\/th>\nAbrasion of paper or board support creating areas which are thinner than the surrounding support.\n
\"p9120003\"<\/a><\/div>\n<\/td>\n<\/tr>\n
Tideline:<\/th>\nThe dark line created by drying liquid, at the farthest point of liquid migration in the paper or board.\u00a0 The line itself is dirt transported by the liquid; the dirt embeds itself deeply into the paper fibres becoming tenacious and difficult to remove. \n
\n\"1<\/a> \"pr-5-Hem267A-ad3\"<\/a> \"scan597\"<\/a> \"Water<\/a>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Degree:<\/h2>\n

The comparative extent of damage described by the following adjectives:<\/p>\n

Negligible:<\/h3>\n

Insignificant damage that may not need immediate attention but needs to be monitored.<\/p>\n

Slight:<\/h3>\n

Damage slightly more noticeable than \u201cnegligible\u201d; should be monitored by a conservator.<\/p>\n

Minor:<\/h3>\n

Existing condition, which is relatively unimportant; generally does not involve risk of loss; should be monitored by a conservator.<\/p>\n

Moderate:<\/h3>\n

Damage is noticeable and may be of middle or increasing severity of size; not serious but should be monitored or corrected by a conservator.<\/p>\n

Marked:<\/h3>\n

Readily identified damage, often with distinctive features and requires remediation by a conservator.<\/p>\n

Major:<\/h3>\n

Damages or existing condition are noticeable, if not conspicuous in extent; stability of the work is in question, often great risk is a factor. Requires immediate attention by a conservator to prevent further damage or loss.<\/p>\n

Extreme:<\/h3>\n

Most severe damage or existing condition has become very advanced. The work is insecure, no longer stable and at great risk.<\/p>\n

It is important to understand that damage to a work of art is rarely static and the work will continue to deteriorate. It is best to have a conservator monitor works annually.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Abrasions: Loss of media (and often the support) caused by rubbing or scraping. Accretions: An accumulation of extraneous matter on the surface of the artwork that alters the artist\u2019s design, i.e. dirt, dust, grime, etc. Acidic Backboard: Rear board upon which paper art is mounted, made of wood, wood pulp or other acidic materials which […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-full-width.php","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1189","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/pages\/1189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1189"}],"version-history":[{"count":26,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/pages\/1189\/revisions"}],"predecessor-version":[{"id":2152,"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=\/wp\/v2\/pages\/1189\/revisions\/2152"}],"wp:attachment":[{"href":"https:\/\/www.art-conservation.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}