DOCSLIB.ORG

Guidelines for Matting and Framing Paper and Photographs, Part Ii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guidelines for Matting and Framing Paper and Photographs, Part Ii MUSENEWS TECHNICAL BULLETIN 23 Sponsored by the Oklahoma Museums Association and the Oklahoma Historical Society GUIDELINES FOR MATTING AND FRAMING PAPER AND PHOTOGRAPHS, PART II Karen Tidwell, Paper Conservator, Commonwealth Conservation Center, Harrisburg, PA Introduction Check bom the framing hardware and ment particles off the art and onto the Proper framing can protect exhibited pho­ the wall hangers to ensure that they can glazing. Acrylic is preferred for works on tographs and works on paper from dirt, pol­ support the weight of the framed picture. paper with non-powdery media, for color lutants, insects and vandalism. Using inap­ Screw eyes tend to pull loose from the photographs, and for short term use with propriate framing materials or techniques wood, so nickel plated 'D' ring hangers black and white photographs. It will not can cause irreversible damage. The follow­ are preferred. 'D' ring hangers with a shatter when dropped, but is easily ing information, along with Part I of the tech­ two-hole design are more secure than sin­ scratched. Whenever possible, use acrylic nical bulletin in MUSENEWS, October 1994, gle-hole hangers. Measure the frame's glazing that filters out most ultraviolet can be used as a guide for matting and framing entire height and attach the 'D' ring hang­ light (e.g. Plexiglas UF-3, Acrylite OP-3, museum, archival or private collections. ers to the vertical frame members one- Lucite SAR UF-3). third of the distance down from the top, Before framing, smooth the edges of the Frames using wood screws. new, paper-covered acrylic sheet with a file as necessary, and wipe away the resulting Before photographs and works on paper Hang the framed picture from two wall dust with a damp cloth. Peel off the paper are framed, they should always be properly hooks rather than one for added security. Never reuse old picture wire; it may break. just before framing the art to avoid dust and matted (see Part I). Frames for works on If possible, eliminate the wire and hang me soiling. New acrylic glazing does not need paper can be made of either wood or metal. frame directly from two wall-mounted pic­ to be washed. However, reused sheets may If using a wooden frame, the inside of the ture hooks that attach to the 'D' ring hang­ be cleaned with a lint-free cloth and a very rabbet (the opening where the picture rests) ers. However, if this is not possible, use dilute solution of mild detergent (such as can be sealed to protect the art from acids in new, very heavy copper wire. Ivory Liquid) in water. Using commercial the wood. Barrier films (Marvelseal 360 or anti-static polishes on Plexiglas appears to Marvelseal 470 plastic/foil laminate) can be Glazing be safe for framed art on paper, but the adhered inside the rabbet with a hot tacking effects on photographs are unknown. iron. Purchase Marvelseal without the red Framed photographs and works on paper Non-reflective Glass — Choose one of ink inscriptions if possible, because some should always be covered with glazing the newer types, such as Tru-View, Sandel tests suggest that the ink is reactive. The (either glass or an acrylic sheet, such as or Denglas, that does not have to be placed rabbet also may be sealed with 4 coats of Plexiglas) to protect them from soiling and directly against the art to prevent reflections. diluted Polyglaze 1-175 or Sancure 878, other damage. Some of these glasses are shatterproof water-based urethanes available from Glass — When framing a work that has and/or capable of filtering out ultraviolet Camger Chemicals. Allow the urethane powdery media such as charcoal, pastel, light Most have surface coatings that can be coatings to dry for at least a week before chalk, graphite, and flaking gouache, always scratched or damaged. Follow the manufac­ framing. Another protective option, using a use glass. For long term use with black and turer's instructions for cleaning, and for sealed package, is described below. white photographs, glass is preferred over acrylic. whether the glass can be taped during tran­ Photographs are readily tarnished and sit. If the glass can not be taped when trans­ damaged by a variety of materials, including Before framing, dull the edges of freshly cut glass with a glass seamer tool. Then go porting the object, place a temporary acrylic wood. Instead of wood, use non-corrosive or taped glass glazing in the frame for the metal frames, such as steel, brass, anodized over the edges and surfaces of the glass with a razor blade to remove any glass splinters. trip, and pack the non-reflective glass in a aluminum, and aluminum with an oven- separate crate. baked enamel finish. Frames for pho­ Clean the glass with either warm water, a A note on cleaning glazing — To clean tographs and paper should never be repaint­ very dilute solution of mild detergent (such glazing on a framed object, buff it with ed with oil-based paints. as Ivory Liquid) in water, or water with a clean, dry chamois leather or a soft, lint-free Before framing, check the joints of the small amount of dilute, clear, non-sudsy ammonia. Let the glass dry well, half a day cloth. Use a slightly moist cotton swab to frame for looseness or splitting, and make to a day, before framing the art remove smudges and marks. For very dirty any necessary repairs. Valuable historic glazings, unframe the object and wash the frames should be treated by a conservator. Glass does not scratch readily, but it glazing separately. If that is not possible, lay When reusing a frame, clean old bits of breaks easily. If transporting framed artwork to another site, tape the glass in a network or the framed art horizontally on a table and paper and adhesive residues off the back, wipe the glazing with a lint-free cloth or unless they contain information of historical crisscrossing fashion with 3M #336 tape (which does not leave a residue) or with chamois slightly dampened with water or significance. It may be necessary to soften alcohol. (Do not use ammonia, because it the adhesive first with a small amount of masking tape, and position the art to travel vertically in its crate. After unpacking the art can damage certain frames and works of moisture, but avoid dampening the wood. art) Wipe the glazing dry. Do not apply the Dust the inside and outside of the frame and removing the tape, use a razor blade to remove any adhesive residue on the glass. cleaner directly to the glass or use too much with a soft brush. If the frame is not deep on the cloth, because excess liquid can Acrylic — Do not use acrylic glazing enough to hold the matted art and backing splash onto the frame and drip inside, dam­ over powdery media because it generates a board, nail strips of wood to the back to aging the mat, frame and object. increase the depth. static electric charge that pulls small pig­ MUSENEWS 25:1 WINTER 1995 5 Spacers Securing the Art in Place Please note that the matted art and the Paper and photographs should never Once assembled, place the frame face backing board must be kept at 40% to 55% be framed in direct contact with the glaz­ down on a table that has a soft, padded sur­ relative humidity (R.H) for approximately a ing. In most cases, adequate space will face. Then secure the mat and backing week before the package is sealed, to ensure be provided by a standard window mat board in place by inserting blued (corrosion- that the humidity inside the package remains made of 4, 6 or 8-ply mat board, or by a resistant) or brass brads (about 19 gauge, moderate. Additional humidity control can be sink mat. (Refer to Part I for information 1/2" to 3/4" long) or brass escutcheon pins obtained by inserting a sheet of Art Sorb, on matting.) However, invisible spacers into the frame rabbet, using a brad pusher or conditioned to 50% R.H., between the back­ can be placed under the frame rabbet if a pistol grip framing tool instead of a ham­ ing board and the outer waterproof backing. window mat is aesthetically inappropri­ mer. A few brads can be inserted before If your institution does not have good humid­ ate, or the art has severe bulges and moving the frame from the easel to the ity control, avoid constructing sealed pack­ cockling. table, to hold the framed package together. ages after the matted objects and backing Spacers should be made of strips of If the glazing/matted art/backing board boards have been exposed to long periods of archival quality materials such as rag board, package is thick enough to fill the frame dryness or excessive dampness. Instead, wait archival corrugated board, and Plexiglas, rabbet, it can be held in place with brass until the end of a week-long period of 40% to that extend around the entire perimeter of mending plates (1/2" by 2"). Thicker pack­ 55% R.H. before constructing the sealed the frame rabbet. Multiple layers can be ages can be accommodated by attaching package. If this is not possible, do not use a joined together with 3M #415 double-sided wood strips to the back of the frame, sealed package. Foxing and mold growth will tape, or with an archival adhesive, such as increasing the depth of the rabbet. If neces­ almost certainly occur if the contents are con­ Jade 403 or Elvace 40-704.
Load more

Recommended publications
  • Introducticn Tc Ccnservoticn
    introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments.
    [Show full text]
  • A New Method for the Conservation of Ancient Colored Paintings on Ramie
    Liu et al. Herit Sci (2021) 9:13 https://doi.org/10.1186/s40494-021-00486-4 RESEARCH ARTICLE Open Access A new method for the conservation of ancient colored paintings on ramie textiles Jiaojiao Liu*, Yuhu Li*, Daodao Hu, Huiping Xing, Xiaolian Chao, Jing Cao and Zhihui Jia Abstract Textiles are valuable cultural heritage items that are susceptible to several degradation processes due to their sensi- tive nature, such as the case of ancient ma colored-paintings. Therefore, it is important to take measures to protect the precious ma artifacts. Generally, ″ma″ includes ramie, hemp, fax, oil fax, kenaf, jute, and so on. In this paper, an examination and analysis of a painted ma textile were the frst step in proposing an appropriate conservation treat- ment. Standard fber and light microscopy were used to identify the fber type of the painted ma textile. Moreover, custom-made reinforcement materials and technology were introduced with the principles of compatibility, durabil- ity and reversibility. The properties of tensile strength, aging resistance and color alteration of the new material to be added were studied before and after dry heat aging, wet heat aging and UV light aging. After systematic examina- tion and evaluation of the painted ma textile and reinforcement materials, the optimal conservation treatment was established, and exhibition method was established. Our work presents a new method for the conservation of ancient Chinese painted ramie textiles that would promote the protection of these valuable artifacts. Keywords: Painted textiles, Ramie fber, Conservation methods, Reinforcement, Cultural relic Introduction Among them, painted ma textiles are characterized by Textiles in all forms are an essential part of human civi- the fexibility, draping quality, heterogeneity, and mul- lization [1].
    [Show full text]
  • Conservation of Cultural and Scientific Objects
    CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art.
    [Show full text]
  • Creativity Matters: the Arts and Aging Toolkit © 2007 by the National Guild of Community Schools of the Arts, 520 8Th Avenue, Suite 302, New York, NY 10018
    NATionaL GUILD OF CommUniTY SchooLS OF The ARTS CREATIVITY NATionaL CenTer For CreaTIVE Aging NEW Jersey PerForming ARTS CenTer MATTERS THE ARTS AND AGING JOHANNA MISEY BOYER TOOLKIT CREATIVITY MATTERS THE ARTS AND AGING TOOLKIT Creativity Matters: The Arts and Aging Toolkit © 2007 by the National Guild of Community Schools of the Arts, 520 8th Avenue, Suite 302, New York, NY 10018 All rights reserved. Published 2007 Printed in the United States of America Evaluation: Performance Results, Inc., Laytonsville, Maryland Editing: Ellen Hirzy, Washington, DC Design: fuszion, Alexandria, Virginia Photo Credits: Cover (top) and 14: PARADIGM, Solomons Company/Dance, Inc., New York, NY; cover (center): detail of work by Hang Fong Zhang, Center for Elders and Youth in the Arts, Institute on Aging, San Francisco, CA, Jeff Chapline, artistic director; cover (bottom) and 184: Concord Community Music School, Concord, NH, National Guild member since 1984; xxii, 32, 174, 178: Stagebridge Senior Theatre Company, Oakland, CA; 44: Amatullah Saleem (storyteller), Pearls of Wisdom program, Elders Share the Arts, Brooklyn, NY; 24: Alzheimer’s Association Orange County, Irvine, CA; 70: detail of work by Celia Sacks, Center for Elders and Youth in the Arts, Institute on Aging, San Francisco, CA, Jeff Chapline, artistic director; 122: The Golden Tones, Wayland, MA; 146: Irv Williams and Carla Vogel (musician and dancer), Kairos Dance Theatre, Minneapolis, MN; 164: Jesse Neuman-Peterson and Moses Williams (dancers), Kairos Dance Theatre, Minneapolis, MN. The author would like to acknowledge the support of Neil A. Boyer and the inspiration of the ladies on the garden level and her own well elder, Edward G.
    [Show full text]
  • 4-10 Matting and Framing.Pdf
    PRESERVATION LEAFLET CONSERVATION PROCEDURES 4.10 Matting and Framing for Works on Paper and Photographs NEDCC Staff NEDCC Andover, MA The importance of proper matting, mounting and framing Do not use any type of foam board such as Fom-cor®, is often overlooked as a key part of collections care and “archival” paper faced foam boards, Gator board, preventative conservation. Poor quality materials and expanded PVC boards such as Sintra® or Komatex®, any improper framing techniques are a common source of lignin containing paper-based mat boards, kraft (brown) damage to artwork and cultural heritage materials that paper, non-archival or self-adhesive tapes (i.e. document are in otherwise good condition. Staying informed about repair tapes), or ATG (adhesive transfer gum), all of which proper framing practices and choosing conservation-grade are used in the majority of frame shops. mounting, matting and framing can prevent many problems that in the future will be much more difficult to MATTING solve or even completely irreversible. As Benjamin Franklin said, “An ounce of prevention is worth a pound of The window mat is the standard mount for works on cure.” paper. The ideal window mat will be aesthetically pleasing while safely protecting the piece from exterior damage. Mats are an excellent storage method for works on paper CHOICE OF A FRAMER and can minimize the damage caused from handling in When choosing a framer it is important to find someone collections that are used for exhibition and study. Some well-informed about best conservation framing practices institutions simplify their framing and storage operations and experienced in implementing them.
    [Show full text]
  • Practical Techniques for Restoration of Architectural Formation Elements in Historical Buildings
    World Journal of Engineering and Technology, 2019, 7, 193-207 http://www.scirp.org/journal/wjet ISSN Online: 2331-4249 ISSN Print: 2331-4222 Practical Techniques for Restoration of Architectural Formation Elements in Historical Buildings Mahran Anwar Conservation Department, Institute of Tourism, Hotel Management and Restoration, Alexandria, Egypt How to cite this paper: Anwar, M. (2019) Abstract Practical Techniques for Restoration of Architectural Formation Elements in His- Restoration of architectural formation elements is basically trying in estimat- torical Buildings. World Journal of Engi- ing the optimization method which places it old architectural artist in his neering and Technology, 7, 193-207. work. The article aims at rooting the methodology of restoration of the archi- https://doi.org/10.4236/wjet.2019.71013 tectural formation elements. It is essentially intellectual effort by the restorer Received: December 24, 2018 in assessing the best way the artist and the old architect in his work. In order Accepted: February 11, 2019 to reach the purpose behind this works and analyze the original available Published: February 14, 2019 techniques in the creation period, the restoration process can be completed as Copyright © 2019 by author(s) and fully as possible. The research is concerned with re-confidence in the classical Scientific Research Publishing Inc. methods in the restoration of buildings as consolidation and reconstruction. This work is licensed under the Creative The classical method is a real way to restore the building to its original form Commons Attribution International License (CC BY 4.0). especially in the availability of all technological tools to achieve reporting and http://creativecommons.org/licenses/by/4.0/ documentation.
    [Show full text]
  • Cultural Heritage in Postwar Recovery ICCROM Conservation Studies 6
    ICCROM COnseRvatIOn studIes 6 Cultural Heritage in Postwar Recovery iCCROM COnSeRvatiOn StUdieS 6 Cultural Heritage in Postwar Recovery Papers from the iCCROM FORUM held on October 4-6, 2005 EditEd by nicholas Stanley-Price Cultural Heritage in Postwar Recovery. Papers from the ICCROM FORUM held on October 4-6, 2005, edited by Nicholas Stanley-Price. ICCROM Conservation Studies 6, ICCROM, Rome. ISBN 92-9077-201-8 © 2007 ICCROM International Centre for the Study of the Preservation and Restoration of Cultural Property Via di San Michele, 13 00153 Rome, Italy www.iccrom.org Designed by Maxtudio, Rome Printed by Ugo Quintily S.p.A. Contents Preface v NICHOLAS STANLEY-PRICE the thread of continuity: cultural heritage in 1 postwar recovery 1 NICHOLAS STANLEY-PRICE Cultural destruction by war, and its impact on 17 2 group identities NEAL ASCHERSON Postwar reconstruction and the recovery of cultural 26 3 heritage: critical lessons from the last fifteen years SULTAN BARAKAT divided cities and ethnic conflict in the urban domain 40 4 JON CALAME Hmong postwar identity production: heritage maintenance 51 5 and cultural reinterpretation GARY YIA LEE Recovering a family heritage: a personal experience in east 60 6 Germany HERMANN GRAF VON PÜCKLER Cultural Heritage in Postwar Recovery. Papers from the ICCROM FORUM held on October 4-6, 2005, edited by Nicholas Stanley-Price. Political conflict and recovery of cultural heritage in Palestine 68 ICCROM Conservation Studies 6, ICCROM, Rome. 7 SUAD AMIRY AND KHALDUN BSHARA ISBN 92-9077-201-8 Armed conflict
    [Show full text]
  • The Actions and Effects of Dr. Zahi Hawass
    Wright State University CORE Scholar Browse all Theses and Dissertations Theses and Dissertations 2011 Museums and Restitution: The Actions and Effects of Dr. Zahi Hawass Bonnie Jean Roche Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/etd_all Part of the Arts and Humanities Commons Repository Citation Roche, Bonnie Jean, "Museums and Restitution: The Actions and Effects of Dr. Zahi Hawass" (2011). Browse all Theses and Dissertations. 1049. https://corescholar.libraries.wright.edu/etd_all/1049 This Thesis is brought to you for free and open access by the Theses and Dissertations at CORE Scholar. It has been accepted for inclusion in Browse all Theses and Dissertations by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. MUSEUMS AND RESTITUTION: THE ACTIONS AND EFFECTS OF DR. ZAHI HAWASS A thesis submitted in partial fulfillment of the requirements for the degree of Master of Humanities By BONNIE JEAN ROCHE Bachelors of Liberal Arts Bowling Green State University, 2008 2011 Wright State University WRIGHT STATE UNIVERSITY SCHOOL OF GRADUATE STUDIES June 10, 2011 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Bonnie Jean Roche ENTITLED Museums and Restitution: The Actions and Effects of Dr. Zahi Hawass BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Humanities. _________________________________ Donovan Miyasaki, Ph.D. Project Director _________________________________ Ava Chamberlain, Ph.D. Director, Master of Humanities Program Committee on Final Examination: __________________________________ Dawne Dewey, MA. __________________________________ Karla Huebner, Ph.D. __________________________________ Andrew Hsu, Ph.D. Dean, School of Graduate Studies ABSTRACT Roche, Bonnie Jean.
    [Show full text]
  • A Review on Image Inpainting Techniques and Datasets
    A Review on Image Inpainting Techniques and Datasets David Josue´ Barrientos Rojas Bruno Jose´ Torres Fernandes Sergio Murilo Maciel Fernandes Escola Politecnica´ de Pernambuco Escola Politecnica´ de Pernambuco Escola Politecnica´ de Pernambuco Universidade de Pernambuco Universidade de Pernambuco Universidade de Pernambuco Recife, Brazil Recife, Brazil Recife, Brazil Email: [email protected] Email: [email protected] Email: [email protected] Abstract—Image inpainting is a process that allows filling in target regions with alternative contents by estimating the suitable information from auxiliary data, either from surrounding areas or external sources. Digital image inpainting techniques are classified in traditional techniques and Deep Learning techniques. Traditional techniques are able to produce accurate high-quality results when the missing areas are small, however none of them are able to generate novel objects not found in the source image neither to produce semantically consistent results. Deep Learning techniques have greatly improved the quality on image inpainting delivering promising results by generating semantic Fig. 1. Digital Inpainting example using Context Encoders [2] hole filling and novel objects not found in the original image. However, there is still a lot of room for improvement, specially on arbitrary image sizes, arbitrary masks, high resolution texture II. INPAINTING TECHNIQUES synthesis, reduction of computation resources and reduction of training time. This work classifies and orders chronologically the Existing image inpainting techniques can be divided into most prominent techniques, providing an overall explanation on two different groups: traditional and deep learning-based meth- its operation. It presents, as well, the most used datasets and ods. evaluation metrics across all the works reviewed.
    [Show full text]
  • Accelerated Aging of Paper: Can It Really Foretell the Permanence of Paper
    Preservation Research and Testing Series No. 9503 Accelerated Aging of Paper: Can It Really Foretell the Permanence of Paper Chandru Shahani Preservation Research and Testing Office Preservation Directorate Library of Congress Washington, D.C. November 1995 Proceedings from the ASTM/ISR Workshop on the Effects of Aging on Printing and Writing Papers. Philadelphia, PA July 1994 Accelerated Aging of Paper Preservation Research and Testing Series No. 9503 November 1995 Page 1 of 18 Library of Congress ♦ Preservation Directorate www.loc.gov/preservation/ Accelerated Aging of Paper: Can It Really Foretell the Permanence of Paper Chandru Shahani Preservation Research and Testing Office Library of Congress, Washington, D.C. Introduction After more than a century of scientific investigation into the permanence, or lack thereof, of paper (Kantrowitz, 1940; Fellers, 1989), this field of inquiry is more fertile than ever. We, and our predecessors before us, have done our utmost, and we still wonder about exactly how paper ages. This is a tribute to the complexity of paper and the everchanging, constantly advancing technology of its manufacture. Many issues remain to be resolved, but few merit as much concern as the development of a consensus around a sound and practical accelerated aging methodology. Such a development would in itself serve to resolve many other long-standing issues. The present NISO, as well as ISO standards for permanent paper are heavily weighted towards specifying the composition of paper, rather than its performance (NISO, 1992; ISO, 1994). While the recent revision of ISO 9706 improved upon the NISO permanent paper standard by incorporating an accelerated aging test, it did not do so to replace any of the composition related requirements.
    [Show full text]
  • Detection and Inpainting of Facial Wrinkles Using Texture Orientation Fields and Markov Random Field Modeling Nazre Batool, Rama Chellappa
    Detection and Inpainting of Facial Wrinkles Using Texture Orientation Fields and Markov Random Field Modeling Nazre Batool, Rama Chellappa To cite this version: Nazre Batool, Rama Chellappa. Detection and Inpainting of Facial Wrinkles Using Texture Orienta- tion Fields and Markov Random Field Modeling. IEEE Transactions on Image Processing, Institute of Electrical and Electronics Engineers, 2014, 23, pp.3773 - 3788. 10.1109/TIP.2014.2332401. hal- 01096624 HAL Id: hal-01096624 https://hal.inria.fr/hal-01096624 Submitted on 17 Dec 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 Detection and Inpainting of Facial Wrinkles using Texture Orientation Fields and Markov Random Field Modeling Nazre Batool, Member, IEEE, and Rama Chellappa, Life Fellow, IEEE Abstract—Facial retouching is widely used in media and BeautifyTM [15], Perfect365TM [16]) which provide minimum entertainment industry. Professional software usually require user interaction for facial touch ups have also been introduced. a minimum level of user expertise to achieve the desirable However, both professional and user-friendly software have results. In this paper, we present an algorithm to detect facial wrinkles/imperfection. We believe that any such algorithm would limitations.
    [Show full text]
  • Creativity & Aging Study
    PROJECT TITLE: The Creativity and Aging Study The Impact of Professionally Conducted Cultural Programs on Older Adults Final Report: April 2006 Executive Summary In 2001, the National Endowment for the Arts developed a cooperative agreement with The George Washington University to conduct a multisite national study with the aim of measuring the impact of professionally conducted community based cultural programs on the general health, mental health, and social activities of older persons, age 65 and older. Referred to as the Creativity and Aging Study, the project’s formal title is “The Impact of Professionally Conducted Cultural Programs on Older Adults”. No previous study of this nature using an experimental design and a control group had been carried out. The study takes place in three different sites across the country—the metro Washington, DC area; Brooklyn; and San Francisco. Each site involves two groups—(1) the Intervention Group, comprised of older individuals involved in a weekly participatory art program, and (2) those involved in a Control Group, comprised of individuals involved in their ongoing activities as usual. Each site recruited at least 100 older persons—50 participants in the Intervention Group and Control Group alike. The overall study has had 300 participants—150 in the Intervention Groups, 150 in the Control Groups. The average age in all three sites, Intervention and Control Groups alike, was approximately 80 years of age, The age range has been 65-103 years. Approximately 30 percent of the participants reflect racial and ethnic minorities. The groups were very well matched in level of functioning at the start of study, with very similar physical health, mental health, and level of activity profiles.
    [Show full text]