just paintPublished by Golden Artist Colors, Inc. / Issue 15 SPECIAL CONSERVATION ISSUE From Formulation to Finished Product: Causes and Potential Cures for Conservation Concerns in Acrylic Dispersion Paints

By Jim Hayes From time to time - I know you may be surprised to hear this - we’ve been accused of being just slightly too technical in our Just Paint. In an effort to be accurate we have sacrificed some potential readership. Others have simply shared with us that they’ve been able to replace their sleeping aids without the side effects of sleep eating. I have taken a stab at creating a summary of a paper Numerous professionals in the field recently attended the Modern Paints Uncovered Symposium at Tate Modern in London to learn about research regarding modern materials. that I had the good fortune to collaborate Photo courtesy of Andrew Dunkley,Tate Photography on with Dr. Gregory Smith, the Andrew W. Mellon Assistant Professor of Conservation Science at Buffalo Modern Paints Uncovered Symposium State College. I hope that I can do justice in at Tate Modern in London translating the essence of our presentation so that it might be of greater By Mark Golden much of the symposium was focused on value to the professional artists who enjoy Modern Paints Uncovered, the recent three areas: improved methods for the science behind what we do. symposium held at Tate Modern in analysis, better understanding of the London, which was co-organized by the physical properties and surface Introduction Getty Conservation Institute, the characteristics of modern paints, and Paint formulation is a balancing act of National Gallery of Art in Washington, assessment of the effects of cleaning both complementary and competing D.C. and Tate, drew together the varied treatments on acrylic emulsion paints. aims. The formulator (me) dials in strands of research currently being As a follow-up to the event and in an properties like film flexibility and toughness, adjustable drying times, a conducted by conservation scientists and effort to gain an even greater variety of sheens and textures in order to conservators on modern paint materials understanding of modern materials deliver a high value, safe, waterborne and addressed some of the concerns (especially acrylic paint), GOLDEN paint. The physical and chemical associated with these paints and the recently invited four very distinguished properties of the water-based acrylics, challenges inherent in developing individuals who are right in the center (correctly titled acrylic dispersion paints) appropriate conservation protocols. of this work to participate in a are largely determined by choices made at Most of the issues relevant to the conference call to discuss what their the point of product formulation. The conservation of these modern materials research and investigation has meant to selection of binder material and additives is still unclear and needs further them and the field. impart the many celebrated investigation. The MPU symposium Participants of the call included Dr. characteristics of this medium; a was intended to take stock of where the Tom Learner, the Senior Conservation waterborne coating that dries quickly, is resistant to photodegradation and research is and where it’s proceeding, to Scientist at Tate in London and the host remains tough, yet flexible. provide conservators with new resources of Modern Paints Uncovered. Learner However, most of these choices bring and to eventually provide artists who are has also been the lead researcher in the with them concomitant properties that concerned with the longevity of their consortium developed between Tate in often are not desirable. Many of these artwork with accurate information. London, the Getty in Los Angeles and characteristics are a source of concern for Although many topics were covered, Continued on next page Continued on page 12

Issue 15 page 1 © 2006 Golden Artist Colors, Inc. the National Gallery in Washington, D.C. MG: Alison can I ask you a favor? some incredibly bright scientists who Joining the call from Kingston, Ontario Could you describe the difference have chosen to be part of the modern was Dr. Alison Murray. Described as between a conservation scientist and a materials field, but also we gain access “Canada’s number one chemist to the conservator? to their facilities and instrumentation. arts,” Dr. Murray is a leading conservation This is proving pivotal in being able scientist and professor in the Art Dr. Alison Murray to analyze and understand these Conservation Program at Queen’s (AM): Conservators materials at a much deeper level. University, who has conducted a research do hands-on program for optimizing cleaning treatments and MG: Tom, if I can characterize this treatments used in the conservation of preventive correctly, you’ve been asked to take acrylic paints and grounds, which conservation; they the lead in the consortium of integrates information including have to understand institutions, including your group at mechanical testing data, chemical analysis, about the history and the context of the Tate, the National Gallery, and the and surface analysis. From Buffalo, NY, painting or object. Conservation Getty Conservation Institute (GCI). was the panel’s third conservation scientist, scientists have a background in science, And, if you could, please describe the Dr. Gregory Smith, who is the Andrew W. chemistry for example, or engineering. process that brought these groups Mellon professor of conservation science at They’re interested in performing together to begin to answer some of Buffalo State College and previously the research and analyses related to the work the critical questions surrounding lead investigator at the National Gallery of of conservators. Conservation scientists these modern materials. Art in the study of the acrylic dispersion might identify materials to understand system. And lastly, whether an object is Dr.Tom GOLDEN Technical “...A COLLABORATION a fake or a forgery. Learner (TL): Director Jim Hayes also And so, conservation Sure. …there joined the discussion. THAT TRULY BRIDGES scientists don’t do were a couple of Jim has managed all of OUR FINE ARTS the hands on quite key meetings the research and COMMUNITY treatment, but they in the very early development functions at FOR THE DISCUSSION understand what the part of this decade GOLDEN for the last 20 conservators are – in Paris in 2000 and in New York in years. Hayes also leads its OF HOW TO CARE FOR doing and they try 2001. …Both those meetings Custom Lab, making AND TREAT to provide the required funding to get everyone individual products for ACRYLIC PAINTINGS.” conservators with the together, and that was largely supplied artists as well as for the necessary scientific by the Andrew W. Mellon Foundation Mark Golden conservation community. information – which has been extraordinary in Major portions of this wherever possible. pushing research and funding for conversation are included below. If you research in this and other fields – are interested in reading the complete MG: … Jim, you’ve been working with but also the GCI, the Getty transcript, you can find it on our Web site the conservation community for some Conservation Institute, co-organized at www.goldenpaints.com. time now. Can you describe the the New York meeting. benefits of being able to work with this Mark Golden (MG): community in pursuing your own work? So what happened at both those We are delighted to be meetings was a discussion about the able to bring together Jim Hayes (JH): I conservation concerns and need for a collaboration that feel a key benefit is in research into all sorts of different truly bridges our fine realizing that the materials ranging from modern plastics arts community for the conservation to installation art, and from the dyes in discussion of how to community is really inkjet printers to modern paints. I saw care for and treat acrylic paintings. an extension of that we – as a profession – seemed to ourselves. These be extremely capable of identifying So, to help us accomplish this, I am joined folks get to see our products used in real many of the conservation problems of by Dr. Tom Learner, the senior life situations, and the impact our a whole gamut of modern materials, conservation scientist at the Tate in products have on the properties of the but we seemed far less capable of London, Dr. Alison Murray, Associate finished artwork, both good and bad… moving on from that and coordinating Professor in the Art Conservation Program This relationship yields valuable the research to address some of those at Queen’s University, Dr. Greg Smith who information that as a responsible problems. I felt we were just becoming is the Andrew W. Mellon professor of manufacturer we then utilize, trying to overwhelmed with the scale of the conservation science at Buffalo State improve the quality of our paint to problem and had become obsessed College, and finally, my colleague Jim potentially overcome some of these with wanting to tackle it in its entirety, Hayes, the technical director at Golden weaknesses. I think also in collaborating and that required prioritizing the Artist Colors. Good morning, or good with the conservation community, it’s resources, which was an impossible afternoon everyone. great that we gain access to not only task. I mean, how do you agree to put

Issue 15 page 2 © 2006 Golden Artist Colors, Inc. the needs of one artist’s work or and strength of materials; we look at any instrumentation and new ways to one type of material over another chemical changes; and we also look at analyze the material. Can you describe, artist or type of material? It’s such a the surface of the materials to determine maybe to an artist why that particular subjective consideration… if there are any changes in roughness, in goal was so important and its value to gloss, in color. We’ve tried to approach understanding the acrylic medium? So I just felt we needed a group to start the problem in different ways. So far, looking for some of the solutions, and we’ve examined different acrylic paints Dr. Greg Smith the decision on what we were going to and grounds, and we’ve tried to (GS): Sure. Some work on was not necessarily going to be understand the materials themselves, of that arose from based on the types of materials that were how they age and how their material frustration at what most in need of research, that’s to say properties change when the temperature Alison was those that were most likely to fall apart or relative humidity is altered. We describing. That before our very eyes. Instead, I wanted wanted to know what happens when when you’re looking to base it on what could be paints or grounds are exposed to water, at paints out of the tube, there are so accomplished most quickly, and I felt so we’ve done some swabbing and some many variables and unknowns about the that with my background and those of immersion tests as well. material depending on the other people at the meetings there was a manufacturer, the pigments and all the huge potential for research on modern We’ve tried to quantify the different other ingredients that it becomes hard paints. The other justification for changes that the various materials to try and understand what your results looking at paints was that painted undergo. And, we’ve been able to mean. And so, I took a step back and surfaces are obviously a hugely capture or understand the different began with something easier and simpler important part of most collections… variables. For example, the various just by removing a lot of the unknowns manufacturers of acrylic paints will and starting with the basic binder …I was the person who actually obviously include different ingredients material, the acrylic emulsion. proposed the idea to the National in their paints and these are proprietary Gallery and to the GCI, and they both and change over time. Paints with So a lot of my work has been on Rohm said yes. It has been a superb venture, different pigments will also have & Haas acrylic dispersions and some and the symposium (that I know we’re different properties. We want to other European manufacturers of the going to talk about later) really was a make statements about the trends, basic acrylic emulsion. I have been milestone in terms of taking stock of realizing there are trying to understand where the research has got to after three such huge numbers “...WHEN YOU’RE how the emulsions years. Now it wasn’t just this of parameters. LOOKING AT PAINTS behave on their own partnership that has looked into modern and then hopefully paints, of course. Alison’s group at As we’ve looked for OUT OF THE TUBE, trying to find some Queen’s, and other groups in Europe trends, we’ve been THERE ARE SO MANY generalizations in my and North America have been doing able to come to some VARIABLES AND data that can be work as well, so we wanted to open the conclusions, but more UNKNOWNS ABOUT applied to all of the symposium up to the entire profession, needs to be done. We artist paints out there. so we could all see how far we have got also have to ask, if we THE MATERIAL And of course, with the research, identify where the see changes, how DEPENDING ON THE understanding that as thinking was going, and hopefully to important are they? MANUFACTURER, it becomes more and get more dialogue going… As well as using test THE PIGMENTS AND more complex in the samples, we are formulation that the MG: Alison, obviously you folks have looking at treating ALL THE OTHER behavior of the paints been investigating modern materials at actual works of art INGREDIENTS...” will be changed Queen’s since at least the mid-90s… and, as well as Dr. Greg Smith somewhat. To that Can you share some of the areas of working with end, the custom research that you and your students students, we are working with formulation work that Jim Hayes has have advanced? conservators who are out in the field. done for me has been invaluable. That’s the second part of the project: By making paints of known AM: I’ve been working with we have applied these various scientific composition, you can get around conservation students at Queen’s, as well techniques to materials, but now a lot of the uncertainties of using as with conservation science students. we have to see how we can synthesize commercial products. We try to tailor the different research our results so that they are useful projects to a student’s background and to conservators… In order to undertake these studies, I interests. For the science point of view, had to work first on developing some our approach has been to look at the MG: …Greg, your work had also been analytical protocols that would allow me problems from different angles: we particularly important in creating a to determine the components of the carry out mechanical testing, so baseline for studying acrylic medium, acrylic emulsion. And then, with that understanding more about the stiffness even to the point of developing being a fundamental development, it

Issue 15 page 3 © 2006 Golden Artist Colors, Inc. can now be applied to the commercial conservators as well as curators and some conservators do question this, paints and to other modern materials. artists. But it is good that conservators it is very common practice to simply are having these discussions now, while brush the crystals off the surface. …Now I’ve started to accumulate data and so much research is going into the They usually brush off very easily, and some understanding of how these scientific study of the subject. Now, if you don’t cause any damage to the emulsions behave. And, looking forward, conservation scientists do show – for paint film. Sometimes you can’t get it the research topics that I’m developing example – that surfactant does comes to all off, but you can certainly get most currently are trying to make further sense the surface on these paint films in real of it off and then you might consider of the behavior that I’ve observed. As an situations, and that it can be removed a little bit of water to help the final example, we talked a lot at the symposium with cleaning, and that if it is removed removal, or some slight heat just to re- about surfactants and the tendency of then it’s not really problematic in terms dissolve the crystals and get them to surfactants to migrate to of the resulting paint go back into the film. But, whatever interfaces and how this film still retaining you do, you are removing original can be problematic in “...CONSERVATORS sufficient flexibility, so material from that paint film. And terms of optical clarity, SHOULDN’T WAIT AND that the potential that seems to be OK, ethically adhesion and dirt pick SIT BACK AND ONLY DO changes that occur speaking, for conservators. If someone up. A lot of my work with its removal are so presents that kind of treatment at a was looking at what THINGS WHEN THEY’RE small compared to conference, nobody will stand up and happens when these are TOLD THAT THEY’RE OK, other changes that accuse them of irresponsibly removing removed, how is the THAT SOMEHOW could happen. If all original material. paint film affected? We SCIENCE IS GOING TO that is demonstrated, know that if you remove then the question So, I think the same kind of criteria the surfactants, which GIVE THEM COMPLETE about whether it is has to be applied to acrylic paint. So have a plasticizing effect ASSURANCE THAT A right to remove it or if the surfactant is an original part of on the film, the films PARTICULAR not does become the paint that has now ceased to have become firmer. TREATMENT IS 100% more ethical. a real purpose…and if it’s causing an Personally, I think we optical problem or if it’s causing a The big question now SAFE.” have to consider this problem that might, for example, is, of the changes that Dr. Tom Learner more widely than just increase the likelihood of dirt pickup, we have observed, how worry about one of then I think there’s a very strong case meaningful are they? Is the components in the to argue that it’s acceptable to clean washing the surface a good thing to do to acrylic paint films, especially because acrylic paintings with water, which we an acrylic painting? Obviously, if optical conservators do remove original material know now does remove these clarity is a problem, the only way to in other instances. The obvious example surfactants very effectively. improve that is to wash the surface. to compare this to is oil paints. There’s a However, if we remove surfactants from fairly common problem that happens in But, it is interesting though. I think the surface, does that affect the hardness of oil paintings from the mid 1920s to the in the symposium, if I remember the surface, the ability of that surface to early 1940s that have not been correctly we heard different scientists pick up dirt? Does it affect the purported varnished, where you can get a take the whole spectrum of opinions, static charge that acrylics are supposed to crystallization appearing, an from the one who said ‘no, you carry? Now I’m developing techniques to efflorescence that originates from the oil should not clean with water because try and measure those practical properties paint, usually in certain colors, and it you’re going to remove surfactant’, all of emulsion films… grows on top of the paint surface and the way through to ‘yes, you can clean quite quickly becomes extremely with water and yes, you will remove MG: I was going to ask this question a bit disfiguring to the image. Now, we don’t surfactant, but so what? This will later, but I think I might ask it now as fully understand the mechanism or change the paint so minimally’. So there was quite a bit of work done in cause of this yet, although there are that’s how I see it: that the profession understanding surfactants. I know this is certainly theories that it has to do with has to be realistic, but it does have to probably an unfair question to ask, but it moisture gradients, or maybe something involve every part of this profession, is about the ethics of conservation. How to do with extra additives being added not just the scientists. do you think the debate amongst the to the oil paint to help the wetting of conservation community is going to pigments. But, whatever’s causing it, we GS: And, I might add something resolve as to the removal of an ingredient know the crystals are fatty acids – you here as well. In terms of removing from a finished painting? can confirm that with analysis, and they this material, Tom was saying that the are part of the original oil paint that changes may be so small that they TL: I’d be happy to start off here – have detached themselves from the main don’t matter. That’s one of the things although I’m sure we’ve all got things to oil network and have migrated to the that needs to be looked into a little bit say on this one. This should be paint surface and are causing an optical further. Removing these materials approached as a debate that has to involve problem. And as I say, often it’s quite an may actually help the painting, for not just conservation scientists, but also extreme optical problem. And, although instance, in the amount of dirt pick

Issue 15 page 4 © 2006 Golden Artist Colors, Inc. up. That would make aqueous cleaning the unpigmented acrylic medium might concerns at the moment of how to get a kind of preventative treatment for be heavily altered by the presence of over this problem of conservators not acrylic paintings. Thinking about it in pigments in a paint formulation. But saying anything about what they do. those terms may affect that debate over even if you look at pigmented samples, There has been a real drift towards very whether it is wise to remove this our test panels are probably very preventive measures – which of course is “original” material or not. different to what is actually on a fantastic for preventing problems rather painting, where a paint than curing them. TL: Absolutely. And conservators will film could’ve been But there are times play a very important role here too. thinned, extended, “SO, IT IS VERY when preventive Acrylic paintings are being cleaned with mixed – anything IMPORTANT THAT WE measures are not aqueous treatments and they are being could’ve happened to MONITOR HOW THESE appropriate or just too cleaned with dry treatments. So there it… PAINTINGS ARE late, and if will be some cases where surfactant is conservators are being removed from the surface, even if So, it is very important BEHAVING AFTER putting off having to you can’t actually detect it with your that we monitor how TREATMENT, AND LEARN deal with these issues eye, and other cleaning situations where these paintings are EMPIRICALLY AS WELL AS more and more, it it probably isn’t being removed. So we behaving after SCIENTIFICALLY.” does get very difficult already have the situation where treatment, and learn to move the field different kinds of treatments are being empirically as well as Dr. Tom Learner on…But I was able to applied to the paintings, which is always scientifically. And convince a few a really – and this is the conservator that means the high importance speakers to describe treatments and speaking in me now – useful and of proper documentation by for me these were the highlights of important part of conservation research. conservators so that we know the exact the symposium… The point was raised right at the end of history of this acrylic painting compared the symposium that conservators to that one, for example that this one’s From the conservators point of view I shouldn’t wait and sit back and only do been cleaned with water twice over its hope that they now know a bit more things when they’re told that they’re 20-year life and this one hasn’t and about the level and the kind of research OK, that somehow science is going to therefore, might be able to relate the that’s going on and feel that they’re able give them complete assurance that a changes we’re seeing on the surface to its to play more of a role themselves. And particular treatment is 100% safe. Not known history of cleaning treatments. for the scientists, I hope they have heard only is that simply never going to conservators speaking about what they happen, even if it did we’d end up with MG: Tom…as the organizer of this feel are the problems now, the real every conservator doing the same thing incredible symposium, Modern Paints practical problems… on every painting and there would be Uncovered, what were you hoping to very little way of judging the success of accomplish with this event? MG: It was an exceptional event with a treatment years down the line. a lot of great moments and a lot of great TL: I can’t take full credit for this at all, papers. Jim, were there any particular You know, the scientific research can get because as part of our collaboration with events or studies that stood out for you? us so far, but it is always so full of the Getty Conservation Institute and problems and the National Gallery, JH: Well, at the risk of not saying all of uncertainties. For “YOU KNOW, THE there’s always been a the presentations were elegant and example, trying to SCIENTIFIC RESEARCH dialogue between the insightful as they clearly were, there mimic natural ageing three institutions were a few that stood out for me. As a processes with artificial CAN GET US SO FAR, about how best to get paint manufacturer, I thought one of the methods is very BUT IT IS ALWAYS SO this information great moments was when Christina difficult and very FULL OF PROBLEMS AND out… Young was discussing the interfacial imprecise. I mean, UNCERTAINTIES.” interaction of layers and showed studies how would you define My main aim for this that suggested that the acrylic gesso ‘natural ageing’? Is a Dr. Tom Learner was to have a really underneath an alkyd in fact reduced the painting hung in a decent spread of tendency of the alkyd to crack. We all tropical environment with almost no presentations, from scientific studies to know it’s not widely agreed upon in the humidity control or light/UV filtering those on practical conservation, to art world or the conservation world going to age in the same way as the enable the dialogue between those two whether the acrylic gesso under an alkyd same painting hung in a museum with groups, as well as others of course, such or an oil is an appropriate ground. very strict environmental control? Of as paint makers and educators, and to From our side as a manufacturer of an course not. In the same way, there is a really get people to open up. I had to acrylic gesso, we’ve always supported huge problem with trying to apply what put most pressure on conservators to that the use of our gesso as a ground for we’re doing on our test materials to present work on their practical oils and alkyds is a good practice, so it’s actual painted works of art. Greg treatments. We can spend a lot of time very nice to see Christina’s results mentioned that much of his work on talking about this, but it’s one of my big supporting such.

Issue 15 page 5 © 2006 Golden Artist Colors, Inc. Another very interesting paper, again, from looking to build a better paint system… TL: Oh God, I hope so. I mean, the manufacturers’ side, was the work Even though I was involved in that if that happens it would be reported by Stefan Zumbühl regarding the paper, it wasn’t until the presentation wonderful. And, you know, there are impact of water and solvent…on the paint that I saw some of the results of these two parts to this that we wanted to film. …I felt that the image showing studies and they were very interesting. accomplish at the symposium – the negligible change resulting from the water first of which was to show that treatment supports that water very well MG: Thanks, Greg. Alison, I’ll ask the conservators could stand up and talk may be a wonderful tool for the same question to you, were there any about their treatments, which conservator to clean paints… discussions or papers that were we did. And the second was to particularly insightful or meaningful? make sure that they weren’t shouted Another ‘Aha!’ moment was the air of down by colleagues, which we openness of conservators sharing what AM: I think what has been said already also achieved… they’re doing, what techniques, whether is really true. Sometimes the experimental or not, they’re working with. meaningful parts for me were in I think it helps put this into context if The fact that they are working with water informal settings at lunch, or in the we step back and assess what research and they’re willing and able to discuss this discussions after the talks! Bronwyn has gone into how best to clean oil in an open forum was refreshing. Ormsby did a wonderful job of bringing paintings. The basic understanding together all the research that she has that most conservators have was work MG: Greg (was)… there any specific done – it was a tremendous amount of done back in the 60s by Nathan paper or group of papers that were work to synthesize all the results in Stolow, looking primarily at very particularly insightful and… order to come up with some specific young lead white in stand oil paint advice for conservators. It was wonderful films, some of which may have been GS: Yes, as Tom said, hearing the to hear that water is a promising choice artificially aged. He was looking at conservators talk about what they actually of cleaning material when compared the swelling properties of one paint are doing with these modern artworks was with other cleaning materials. Our film in different solvents and from really interesting. As a scientist, there were group has done much work with water, that we can draw a Teas Chart, which also lots of things presented that I had been first because we needed to focus on just is something that every conservator wondering about or things that I had a few variables and also because other would be familiar with, and always supposed to be true but didn’t know groups were working on the cleaning graphically depicts the effects of for sure. I kept a list of key points for me media question. It is great that the different solvents on a material that were brought up in the lectures, and I work we’ve done will be of direct use. I depending on parameters such as their can just run through thought that it was polarity. It is a way of visualizing the those… interesting to hear effect of each solvent that you might “IT WAS WONDERFUL Paul Whitmore’s paper use to clean off a natural varnish from The whole talk about TO HEAR THAT WATER about water diffusion an old paint film. The Teas Chart is water mixable oils was after having read pretty much embedded in our brains, fascinating. I hear a lot IS A PROMISING CHOICE Stefan Michalski’s especially the area on it where oil about them as a new OF CLEANING MATERIAL related paper about oil paint swells the most – you try and medium, but had no idea WHEN COMPARED paints. It was also avoid that area at all costs! how they worked or WITH OTHER really good to hear all what the real chemistry the minute scientific But that’s basically what conservators of those products is. CLEANING MATERIALS.” detail and then to have in their minds when they’re Dr. Alison Murray hear the conservators looking at how to clean an oil paint Paul Whitmore’s paper talk about the film. If you really think about it, it is on how water rapidly practical, hands-on just a few scientific experiments done diffuses through thin acrylic films was very work that they were doing. on not real paints, not properly aged, insightful, and especially for those of us You feel that there is still so much a long time ago. I think with acrylics who have been doing immersion ground to cover. we’ve actually already gone way treatments. He reported that the films can beyond that with some sophistication. be totally permeated in five minutes time MG: ...Do you think that the But still it remains true that there are and that adds a lot more relevance to the conservation scientists will give at least clear limits to what science can do to results of those immersion treatments and some basic kind of treatment ideas to help devise, understand and monitor explains some of the rapid changes in treat some of these modern materials or what happens when you clean an properties that we see with even very short is it just simply too soon? Tom, you actual painting. immersion times. Finally, co-presenting spoke about practicing conservators So all of us here will only get so far the paper with Jim was eye opening for me discussing treatments, do you think that with our paint-outs. We may only get to finally hear about all the different from this event, maybe some new to look at four or five different paints, experiments, which he has performed. I people might be willing to stand up because there’s so many variations to always knew that GOLDEN had not been there and present? consider – so many ingredients that resting on its laurels, but was always are put into these paints. We can

Issue 15 page 6 © 2006 Golden Artist Colors, Inc. never look at every brand, every year, about the issues that we’ve identified consensus. But, regardless of what we every color of acrylic paint. So it does with acrylics and some of the research say, people are treating acrylic paintings need the dialogue and it does need more that’s trying to figure and it would be nice conservators to try things out on real out what’s the to hear more from situations, although within reason! I am best practice. conservators about not saying that I want them to be “WITH THIS what is successful. irresponsible! It just needs getting back My own personal PARTICULAR INSTANCE, What types of to the basic idea of how a conservator opinion is that when OF HOW TO CLEAN AN treatments are makes a decision about anything. So you have a problem successful at doing before they carry out a treatment, they’ll with an acrylic, ACRYLIC PAINTING, whatever they were be doing lots of tiny tests, they’ll make whether it’s optical I THINK THE RESEARCH intended to do, an assessment through trial and error clarity issues or HAS GONE A LONG WAY whether it’s removing and then make a decision based on all whether it’s an TO ALLAY THE MAIN dirt or treating some the things they’ve seen, all the things extremely dirty structural problem? they can see that happens to the surface, you have to FEARS OF painting and all the knowledge they do something. My CONSERVATORS, MG: Alison, your have in their head from scientific feeling is that a brief THAT THE WORST CASE group has been studies. But, it does need the contact with water is SCENARIO OF USING working on treatments conservator to make the call and not necessarily a bad with water for quite different people are going to make thing. It certainly can WATER, FOR EXAMPLE, some time. I would different calls. With this particular improve optical clarity TO CLEAN IS NOT imagine that you get instance, of how to clean an acrylic because the surfactants REALLY THAT BAD AT engaged in that painting, I think the research has gone a are water soluble ALL, AND CERTAINLY conversation with long way to allay the main fears of enough that they will conservators about conservators, that the worst case come off even with a NOWHERE NEAR AS using water and your scenario of using water, for example, to relatively brief contact BAD AS SOME OF THE concerns about what clean is not really that bad at all, and with water and swab PREVIOUS that might mean. certainly nowhere near as bad as some of rolling. We know that CONSERVATION the previous conservation mistakes made their migration to the AM: What has been with lining paintings or using an surface and removal MISTAKES MADE WITH really interesting for inappropriate varnish. can toughen up the LINING PAINTINGS OR me have been my surface of an acrylic USING AN discussions, for MG: I want to ask the same thing to film and raise the glass INAPPROPRIATE example, with the Alison and Greg. You’ve both worked transition temperature conservation of with talented painting conservators at slightly… Based on VARNISH.” paintings professor your universities and I’m sure they were the general trends that Dr. Tom Learner here at Queen's, pigeonholing you and asking you, ‘OK, we’ve observed, getting Barbara Klempan, so how do I treat these things, give me rid of that material where I've been able to some ideas on what I should do.’ And should improve the surface quality, talk about our results. For example, how do you respond to that? Greg? make the acrylic harder, perhaps where our research found that reducing its tendency to pick up dirt. ultramarine blue is more sensitive than, GS: OK. People do ask me for say, titanium white, it has been good to opinions, and I think one of the areas But, certainly if you’re going to remove be able to talk to her and find that this where conservators feel confused is dirt from the surface, you’re going to is indeed what she's found in her whether water is safe to use, how much have to do something to the surface, practical conservation work as well. can you use, and how long can the whether it be an aqueous treatment or a contact be? I think that because this is solvent treatment or even a dry For me, it's been more a give and take – still being hashed out in the science treatment, and that’s going to affect the to listen and to offer what you know. community, we left the conservators surface even if it doesn’t remove It's been gratifying to know that what who were hoping for some sort of surfactants. It’s at least going to move we found is also what conservators have definitive statement a little conflicted them around. If you consider only five found in their conservation practice. about who to believe. years ago very little was known at that The exciting thing about being here at point and I don’t think you could have the University is that when students I also sensed that some of the even had arguments about how you felt have questions about certain treatments, conservators in the audience weren’t the surfaces were affected. No one knew you can always make the investigation really sure what a surfactant was or why that information. Now at least we into a research project, which has it’s in the paint or what it means if it’s pushed that forward and we’ve got more happened many times. removed. We certainly covered that at understanding. I’m sure that in the next MPU, and hopefully this conference has five years there’ll be even more And it's important for students to see educated a larger number of people information gained and hopefully more that there are a lot of questions out

Issue 15 page 7 © 2006 Golden Artist Colors, Inc. there that we don't have answers to, even and you’re absolutely not wanting to see washed the surface of their paintings with the amount of research we've done. pigment come off on the swabs, you’re once they’re dried? And to me, if an We can make better educated guesses but just trying to get these finger marks out artist wants to do that, then it’s it's still not the absolute. There have been of the paint itself, and often you can do perfectly fine, although there would a number of great projects, for example that without any rub off of color. presumably always be a risk that they Geneviève Saulnier and Marie-Eve Although there are certainly times might come across pigment that was Thibeault’s work on dry cleaning methods, where color from a painted surface does susceptible to being pulled off. So, for and Tracey Klein’s census on what comes off on a swab but that’s basically example, if you have a situation where problems are found in acrylic paintings one of the main things that conservators there is a very deep red color which and how conservators have treated them. would be looking out for when they do was slightly susceptible to being So we've been able to turn it around a their initial testing with different removed as the surface is being wiped, little bit and realize that not all the cleaning systems. then wouldn’t you run the risk of answers are there and that we can’t expect getting smears of red color across that either. And, if a conservator sees color come off white areas or other light colors? That in one of these test areas, then they would be my only concern with that GS: And I had one other thing that I basically stop using that cleaning system kind of advice. And how do you deal noted at the conference: when we talked and try and find an alternative. I don’t with the irate artists who came back about the effect of cleaning treatments on think they really think in terms of being and said, ‘well you just told me to these films, it was never explicitly said that able to sacrifice a couple of microns of clean this stuff off and this deep red one of the things, that at least I’ve pigment even if it doesn’t affect the final color just smeared all over the white observed with the custom formulated look of the painting. Seeing color come and now I can’t get it off’? paints that I’ve worked with, is the off on a swab just gets the alarm bells tendency to pick up pigment from the ringing. Removing original pigment is MG: Jim, you want to respond to surface and really tackling that major one of the big no-no’s of conservation, that irate customer? What are your concern of conservators. It’s not and there’s something about removing recommendations for artists dealing necessarily a binder issue. It may well be a pigment that is obviously far more with either color rub off or protecting surfactant-pigment interaction issue where disturbing than removing something their surface or washing with water? the pigment is solubilized at the surface that’s invisible such as a surfactant, even simply because there’s such a load of if you know it is possibly being removed JH: Well unfortunately, it’s never a surfactant present there… I know there’s a too as well as - of course - being simple matter, as there are always so very high pigment load in these paints. original. This is never openly discussed, many factors involved: the thickness But, is there more to it than that? Is it but I suspect plenty of conservators may of the film, the type and amount of one of the components of the acrylic that well sacrifice a little bit of acrylic gesso the texture, the gloss of the surface, makes pigment loss more likely than for along the edge of a painting if there is a the degree of dilution, what other instance in some other formulation or visible finger mark that is distracting to mediums or additives may have been perhaps some other binder system? the overall image and they really can’t used, how well cured is the film, and find a way to remove it without that all the variables that come with the TL: Well that hasn’t really been looked at sacrifice, as long as there is plenty of ground and its preparation. Generally in any great detail, no, gesso beneath it so speaking, even if the artist had not but I think there are that you can’t see the altered the paint in any way, and the several reasons why “AND IT’S IMPORTANT difference after paints were well cured, there is always pigment particles could removing those upper a good chance you will see some be removed during FOR STUDENTS TO SEE particles. So it degree of color rub off. I think, as cleaning, including those THAT THERE ARE A LOT undoubtedly does Greg mentioned, it very well may be you just mentioned, and OF QUESTIONS OUT happen, but I think related to the surfactant that blooms in fact far more likely THERE THAT WE DON’T we are some way off in to the surface, thereby increasing the than the binder being getting conservators to water sensitivity of the surface. That, affected per se. You HAVE ANSWERS TO, talk openly about that coupled with the surfactant’s affinity certainly see differences EVEN WITH THE sort of thing, for pigment, makes the possibility of in sensitivity for AMOUNT OF RESEARCH especially in a removing small amounts of pigment different colors in the WE’VE DONE.” public setting. much more likely. same medium, so it is often definitely color / Dr. Alison Murray And actually, this does TL: And the high pigment load pigment dependent. I lead me into asking – as well, Jim? haven’t actually cleaned and this was raised I an acrylic painting at Tate for about five know at the end of Greg and Jim’s paper JH: Yes, absolutely, as we maximize years now, but I used to be involved with at the symposium – about whether the pigment load, this only increases that side of conservation there. One of GOLDEN and other manufacturers the possibility. In all the tests that the most common scenarios is trying to should be making a recommendation to we’ve conducted, the color rub off has remove finger marks from acrylic surfaces, artists that it might help us later if artists been minimal. From the paint

Issue 15 page 8 © 2006 Golden Artist Colors, Inc. manufacturing viewpoint, the amount conservators doing actual treatments, making that comment, the plural of of surfactant that would be removed using our research results. Also, in our anecdote is not data and nobody has from a typical paint film during a water department we have the conservation actually shown that these things are wash is inconsequential, and should not program, studio art, and art history. So statically charged or how statically be of concern. If in discussing this with ideally there should be good charged they are. ...that’s one aspect of a client, it appears that the color rub off opportunities to work more with the my future work, looking at what these is in fact extreme, there are most likely studio stream, both changes mean in other factors involved, and we would students and faculty. terms of how the engage in a troubleshooting session to We’ve started in these “WE UNDERSTAND THE paint films behave. come to an understanding of what were areas, but we hope to CONCERNS WITH The other avenue that the causes of such. do more in I’m looking at is more the future… PUTTING A REMOVABLE practical. I think I We understand the concerns with VARNISH ON TOP OF A showed one example putting a removable varnish on top of a MG: …Greg, in terms PAINT FILM THAT DOES of how water paint film that does not have great of new research, new NOT HAVE GREAT treatment can actually solvent resistance. We also understand opportunities, what’s remove the the benefits of having this removable being explored at SOLVENT RESISTANCE. components, which varnish on the surface, to allow for Buffalo State College? WE ALSO UNDERSTAND precipitate this easier removal of dust, dirt, etc. The THE BENEFITS OF yellowing of the system approach that we recommend to GS: Well, one of the HAVING THIS acrylic film. So I’ll be artists contemplating this issue is to first things that I’m looking at a series of apply an isolation coat to the painting focusing on now is to REMOVABLE VARNISH mock-ups with surface, which is a non-removable document these ON THE SURFACE...” isolation coats of acrylic that serves to form a barrier to changes in the glass Jim Hayes various binders and the impact of any solvents used for any transition temperature, monitor color change cleaning treatment that may be done and we have some with water treatment, either by the artist or the conservator. excellent equipment here for measuring without water treatment, with ageing, This isolation coat is basically the non- Tg, or really any sort of thermal and with various environmental pigmented acrylic polymers and properties through calorimetry. We’ve conditions. If residual components eliminates the possibility of rubbing any observed a five to seven degree change that cause yellowing can be removed color out when cleaning the surface. in the Tg with different types of ageing by swabbing or sponging early in the life The isolation coat also provides a and treatment. And so, then the of the painting, artists might like to chemically resistant barrier that allows question becomes, what does that mean know that. for removal of the sacrificial varnish, i.e. – a change in Tg of say 7 degrees? How GOLDEN Polymer Varnish, Archival does that affect the toughness of the MG: I am so grateful for the time Varnish or Mineral Spirit Acrylic surface or the hardness of the surface in that you’ve afforded us today. This Varnish, minimizing the solvent impact a practical sense? We’re going to be has been really wonderful. Can I ask on the painting surface. doing some micro-hardness testing to you for possibly a sum up, whether it be determine that and also monitor what it a summary of what was accomplished at MG: Alison, can you respond to what means realistically in the symposium or any you think might be some of the new… terms of how these “...SO I WOULD BE other topic you may research, either as an outcome of the films will pick up dirt? have to offer up in conference or your own interests? We’ll do simulations in AMAZED IF THE NEXT summary, Tom? a relatively harsh and THREE YEARS DOESN’T AM: Obviously, we want to continue dirty environment to RESULT IN SOME TL: I’m very working with other conservation see what the collection FURTHER BIG STEPS optimistic. I think scientists, such as Dr. Marion of airborne particles is we’re really on track. Mecklenburg from the Smithsonian, on the surface. We FORWARD.” Thinking in terms of who specializes in mechanical testing; also want to know Dr. Tom Learner which new manufacturers, such as Golden Artist what happens to the collaborations would Colors, Inc.; and conservators. We purported static charge be wonderful, of would like to do more research on that is said to actually attract dirt to the course it would be great if Rohm & actual paintings. The building that surface. That’s something that was Haas opened up and gave us all their houses our conservation program at mentioned probably a dozen times in information. Unlikely, I know! But I Queen’s is attached to the Agnes the conference – that these polymer think we’re coping without all that and I Etherington Art Centre, which has a paints are statically charged. Those just think there’s a huge amount of collection of modern art. We have comments come primarily from interest now in this area, with some already done condition reports for some anecdotal evidence, and I don’t know really bright people with all the paintings and in the future we’d like to that anybody has actually tested that. necessary expertise between them that actually work with them and with the Even if you have multiple people we need, from the pure practical side to

Issue 15 page 9 © 2006 Golden Artist Colors, Inc. the very scientific side – so I would be students who are training to be More about the amazed if the next three years doesn’t conservators are really excited to learn participants: result in some further big steps forward. what’s going on and what’s possible. I We’ve heard from Alison, Greg and a bit feel there’s a lot of movement in the Mark Golden from me about some of the specific field. Mark Golden, CEO, has 20+ concerns of acrylics that are currently years of industry experience and was being addressed, but there’s also an awful MG: Jim, any last points? most recently elected to the Board of lot of work going on with researching Directors for New York Foundation other aspects of modern paints, such as JH: The symposium was definitely an for the Arts (NYFA), one of the improving methods of analysis and our incredibly energetic place to be and a country's largest providers of funding understanding of their physical properties. great venue for collaborations, both new and services to individual artists. It isn’t all about acrylic paints and and existing. I look forward to Mark was also chosen to receive one surfactants – although obviously for your continuing our work with these folks on of New York Foundation for the Arts' readers, Mark, acrylics are probably the the acrylic paints, to better understand (NYFA) 2005 Inspiration Awards and most important thing. So, yes, I’m upbeat and educate us as formulators, as well as was recently honored by the and I think the research is in great shape. conservation scientists and conservators, Manufacturers Association of Central I think that the to try to really come New York (MACNY) with a 2005 symposium, certainly for together and determine Wall of Fame Award as well. Mark me personally, answered “THE SYMPOSIUM best practices of acrylic was the 1996 recipient of the Small everything I wanted it WAS DEFINITELY paint conservation. Business Person of the Year for New to answer, and barring We will continue AN INCREDIBLY York State award and recognized by any major disasters, I working with President Bill Clinton for his activities think the momentum ENERGETIC PLACE conservators to in creating a business that exemplifies will keep us going for TO BE AND A determine how to the spirit of Corporate Citizenship in many years to come. GREAT VENUE FOR effectively and safely providing a work environment that use water for cleaning COLLABORATIONS, values all employees. He has been a GS: Congratulations to purposes. We look guest lecturer at the Smithsonian Tom on putting BOTH NEW AND forward to continuing Institute in Washington, D.C., the together a fantastic EXISTING.” our refinement of the Getty Museum in Los Angeles, the symposium. And, one balance of softness and Jim Hayes Tate Gallery in London and the of the things that I flexibility, and to work College Arts Association convention. wanted to comment on, the mechanical He has guest lectured in colleges was how we tried to get together engineers into the group to help us throughout the U.S., Europe and throughout this large project one or two determine just how hard is too hard, Japan. Furthermore, Mark has co- times a year. I found that it was this and what level of flexibility is really authored several technical papers on coming together that was so very integral in the acrylic paint film. In issues dealing with conservation of important to moving the research forward. addition, the mechanical engineers can acrylic paint and paintings. Every time we did that, I felt like it was a assist us in defining the relative quantum leap in my understanding of the flexibility of the acrylic gessos that Jim Hayes materials as well as in my enthusiasm for might be used for oils, and other media. For almost 20 years, Jim Hayes the work. Meeting with Tom, Bronwyn We will also continue our efforts to has been the Technical Director for and Michael Shilling gave me the energy bring the manufacturers of the raw Golden Artist Colors, Inc., a global to go back and tackle challenges. And, I materials into this forum, encouraging leader in the manufacture of acrylic felt the exact same way with the them to embrace this community, to paints for professional artists. He symposium, I left with a notepad full of attend these events, and to participate at received his bachelor of science degree ideas for new experiments, to investigate whatever level they are able to. in Chemistry in 1984 from Ithaca certain phenomena, and to talk to specific College and went on to receive his people. The lectures were fantastic and MG: OK, well I… want to thank master of science degree in 1987 in they got me thinking… everyone… for participating, not just in Chemistry at Pennsylvania State this, but for years of collaborating with University. Hayes, a member of the AM: I couldn’t agree more with what us, being able to work together with us management team at GOLDEN everybody said. It was great to be able to and inviting us into the process. directs the company’s research and talk to the different research groups and We really have enjoyed the conversation development efforts. During his see everyone there together at the and enjoyed the work and look forward distinguished career at GOLDEN, symposium. I can tell you that all the to many more of these opportunities Hayes has been instrumental in students that I speak to are really looking together. creating most of the new product forward to hearing what has come out of developments and improvements that this symposium. The students I have So, thank you all. now have become essential to the working with me this summer and the

Issue 15 page 10 © 2006 Golden Artist Colors, Inc. entire artist materials industry. study into the materials and techniques This research group is very thankful Additionally, Hayes is responsible for of painters in the 1960s and reasons for research and equipment support from the technical leadership of the behind their choice; long-term ageing the Natural Sciences and Engineering GOLDEN Custom Lab, working with properties of modern paints; and Research Council of Canada (NSERC), individual artists to manufacture unique advising artists as to best practice. He the Canadian Foundation for Innovation, products to meet their individual needs. has published widely including 2 books: the Ontario Research and Development He also directs the company’s Technical The Impact of Modern Paints, co- Challenge Fund, Queen's University, and Department that responds to individual authored with Jo Crook and published Golden Artist Colors, Inc. customers’ questions and concerns. in 2000, and Analysis of Modern Paints, published in 2004. Tom was on the Hayes has had several works organizing and technical committees for Dr. Greg Smith published, including most recently, the recent Modern Paints Uncovered Dr. Smith received a B.S. degree “Artist Paints – An Overview and symposium that was held at Tate from Centre College in Preliminary Studies of Durability,” co- Modern on May 16-19 2006. anthropology/sociology and chemistry authored with Frank Jones, Wenjing before pursuing graduate work at Duke Mao, Paul Ziemer, Fei Xiao, and Mark University, ultimately earning his Golden published in Progress in Organic Dr.Alison Murray doctorate in Physical/Analytical Coatings in 2005; and “The Alison Murray is an Associate Chemistry. His postgraduate training Conservation Concerns for Acrylic Professor in the Art Conservation included investigations of pigment Emulsion Paints: A Literature Review,” Program at Queen's University, degradation processes and palette studies co-authored with Elizabeth Jablonski, Kingston, Ontario. She received her of illuminated manuscripts at the British Tom Learner and Mark Golden honours B.S. in Chemistry from McGill Library and the V & A Museum, published in Reviews in Conservation University and her M.S. and Ph.D. development of synchrotron infrared in 2003. degrees in Materials Science and microscopy facilities at the National Engineering with a specialization in Synchrotron Light Source, and Conservation Science, from a joint researching cleaning issues related to Dr.Tom Learner program between the Johns Hopkins artists' acrylic emulsion paints at the Tom Learner is a Senior University and the Smithsonian National Gallery of Art. In 2004, Dr. Conservation Scientist at Tate in Institution. She held a fellowship in Smith joined the faculty of the London, which houses the UK’s the Analytical Research Services conservation training program at Buffalo national collection of British and Division at the Canadian Conservation State College as the first Andrew W. international twentieth century art. He Institute and a fellowship from the Mellon Assistant Professor of received a Master’s degree in chemistry Samuel H. Kress Foundation to work in Conservation Science. from Oxford University in 1988 and a the Scientific Department at the Diploma in the conservation of easel National Gallery in London. paintings from the Courtauld Institute of Art, University of London in 1991. Alison Murray is a conservation He then spent a year as a Getty Intern scientist who is conducting a research in the painting conservation and program for optimizing cleaning scientific research departments at the treatments used in the conservation of National Gallery of Art (NGA), acrylic paints and grounds; this research Modern Paints Washington, D.C. He joined the integrates information including conservation department of the Tate mechanical testing data, chemical Gallery in 1992 in order to assess and analysis, and surface analysis. Alison Uncovered: establish analytical techniques for the Murray’s other areas of research and identification and characterization of publication include the identification of Conversations twentieth century painting materials. artists' materials and techniques and the investigation of degradation in art He received his PhD in chemistry objects using microscopy, non- IF YOU ARE INTERESTED (thesis titled 'The Characterization of destructive methods, imaging, and other Acrylic Painting Materials and analytical techniques. IN READING THE Implications for Their Use, COMPLETE TRANSCRIPT Conservation and Stability') from For these different projects, Alison Birkbeck College, University of London Murray has worked with students from YOU CAN FIND IT in 1997. His principal research interests a variety of disciplines including are currently: improving methods of conservation, conservation science, art ON OUR WEB SITE AT analysis; examining the physical history, chemistry, engineering physics, WWW.GOLDENPAINTS.COM. properties of modern paints; assessing mechanical engineering, and chemical the effectiveness of cleaning treatments; engineering.

Issue 15 page 11 © 2006 Golden Artist Colors, Inc. emulsifier (a bridge between the synthetic Improving Key binder and water). However, to make a paint that can withstand temperature Physical Properties fluctuations, meet market demands for As paint manufacturers, we are shelf life and safety, and fulfill the artists’ aware of how current formulation demands for versatility and performance options restrict our ability to deliver – both now and in the future – requires quality paints with few or no adverse numerous other ingredients. The paint material properties. Recognizing such, formulator has at their disposal a host of our research and development efforts additives to affect drying time, surface have been directed toward investigating finish, rheology, viscosity, texture, and new additives and materials from the pigment load. Within each class, there industrial coatings sector, which may address such shortcomings. In the Figure I: Components of are a multitude of commercial products Acrylic Paints available to perform each task. sections that follow, we will share Acrylic dispersions are commercially some of our attempts to address Acrylic Binder Wetting Agent available to cover a range of glass these negative consequences we Water Dispersing Agent transition temperatures (Tg, the have discussed. Hydrophobic Thickener/ temperature above which the polymer acts The first attempt at Golden Artist Acrylic Polymer Rheology Modifier as a rubbery and flexible solid, and below Colors, Inc. to reduce the blocking of Emulsifier/ Freeze/Thaw which the polymer behaves as a glassy our acrylics was to adjust the hardness Surfactant Stabilizer solid). For an artists’ quality paint, the of the resulting paint. In 1994, acrylic Adhesion Promoter Coalescent ideal flexibility arises from the choice of polymer manufacturers phased out the Initiator Biocide binder with a Tg slightly below room use of ethyl acrylate monomer, Buffer pH Buffer temperature, such that at room replacing it with a more durable butyl Pigment (possibly Defoamer temperature the polymer film is just in its acrylate monomer. We took advantage surface treated) rubbery and flexible phase. However, of this change to also increase the Tg’s with such a Tg, a warmer room will yield over the entire range of our acrylic line artists and conservators alike. Primary a soft and tacky surface to these by slightly adjusting the monomer among these are the tendency of acrylic thermoplastic polymer films. When compositions. This reformulation dispersion paints to imbibe surface dirt, acrylic dispersion paints become overly also resulted in less surface tack, their propensity to adhere to adjacent soft, dust and dirt can readily become and thus an improvement in surfaces, and the sensitivity of the imbibed, the paint surface can easily stick block resistance. medium to water and solvents typically to other paints or cover materials Over the years we have used in art conservation. (blocking), and fingerprints can become experimented with a range of different This paper will explore the relationship permanently embedded in the surface. acrylic polymers. Our most significant between the choices we make as One significant consequence that attempt at this was our joint project formulators and their relationship to the results from the need for an emulsifier, is with Dr. Frank Jones and colleagues at stability of the work over time for acrylic that these surfactants remain in the film Eastern Michigan University. The artwork. Modern synthetic artist colors after drying. The tendency of such project sponsored by the National have been developed by borrowing surfactant emulsifiers to migrate to Science Foundation allowed us to materials and methods from industrial, surfaces and crystallize has been well investigate a wide range of newly automotive and architectural coatings. documented (see Footnotes/References formulated acrylics. The premise was We have looked to these various industries 1 & 2). In doing such, the crystallized that instead of using an acrylic and the literally thousands of new binders surfactant reduces the clarity of the developed for other industries we and additives to see if they might help solve un-pigmented film, imparting cloudiness would start from scratch and develop some of the seemingly intractable problems (see Figure 2: the unwashed portion of for the acrylic paintings. This paper was an picture of water washed and unwashed attempt to look at the most promising of pours from Dr. Smith’s portion). As these these solutions for an even more finely surfactants are hydrophilic (water loving) tuned balance. Finally, as a Paintmaker and in nature, water is a very effective solvent not a conservator, I’d like to share some to remove the surfactant exudates direction for what we believe will reduce (see Figure 2: the washed portion of picture the conservation concerns in the future of water washed and unwashed pours from regarding cleaning the acrylic surface. Dr. Smith’s portion). I know for this part I’ll have to have The effect of washing away the Dr. Smith recused. surfactant exudates is not only evidenced by the improvement in dry film clarity, Background but also in the increased firmness of Acrylic dispersion paints are a acrylic paintings, as evidenced by the complicated cocktail of additives that in increase of the measured Tg. In Table 1 simplest terms attempt to place (see Table 1: showing increased Tg w/ hydrophobic, or oil loving polymers and water soak), as time of soaking in water is Figure 2: Surfactant Exudates - pours of acrylic often oil loving pigments, into water. increased, the measured Tg is also shown disperson polymer. Right: untreated pour; Left: (see Figure 1: Components of Acrylic Paints). to increase to approximately 11o C. pour washed/soaked with water. After 2 weeks of This necessitates at least a binder and an drying, this pour was soaked in water for 10 minutes, then dried.

Issue 15 page 12 © 2006 Golden Artist Colors, Inc. an acrylic specifically made for artist materials. We recognized that as a result of industrial requirements, ingredients may be chosen more for economy, or unique requirements, than for optimum durability. While our testing proved we could improve water resistance, it was at the loss of significant color acceptance and clarity, and thus was unsuccessful. Another approach was to evaluate alternative polymer chemistries. While 100% acrylics are widely recognized in the coatings industry as having excellent weathering and UV resistance, they are not necessarily the best regarding film toughness and water resistance. We have evaluated various polymers, including polyurethane dispersions and silicones, Table 1 known for their high degrees of film toughness and water resistance. well as potential yellowing that results We found only one surfactant on the Also, polymers capable of self cross from some of the most successful matte market that claims to be volatile and thus linking, are also commonly used in materials (especially noticeable in Gels leaves the paint film. Unfortunately this industry to reduce blocking and increase and Mediums). Matte lines of paint also one was not suitable, as it had poor water resistance. Unfortunately again, have a reduced level of color brilliance, pigment wetting properties, and it had an we saw either minimal improvements in and suffer from problems of marring incredibly strong odor, so, we abandoned the key properties, excessive loss of color and permeability. our investigations. acceptance, or that the polymer itself While there are many research papers resulted in a strong yellow quality. Reducing Surfactant Migration discussing the benefits of having a surfactant that reacts with the polymer The use of functional pigments and As mentioned previously, the to form a permanent bond, the reality is additives is yet another mechanism for surfactants in the system do not in fact that there are few in the market and improving block resistance and water stay homogenously dispersed throughout they are incredibly expensive. As a result, resistance in the coatings industry. the film after drying, and instead they polymer manufacturers are reluctant Waxes, including synthetic (polyethylene, develop areas of higher concentrations to use them, limiting our ability to polypropylene, polyamide, etc.) near each interface; the film/substrate even experiment. and naturally occurring (carnauba), interface, as well as the film/air interface. generally resulted in significant This surfactant migration to the film yellowness of the film. surface in fact, adds to the water Tools for the Artist Polytetrafluoroethylene solids are well sensitivity of the paint film by increasing Now that we understand there is a known for their low surface energy and the hydrophilic nature (water-loving) of relative softness to the acrylic films, and high level of slip; they are the stuff of the surface, as well as having the effect of that the surfactant in most non-matte Teflon® coatings. While these additives lowering the Tg and thus softening of the films only adds to this softness as well as generally increased the slip of the surface, paint surface, via hydroplasticization. the water sensitivity, why not simply they did not offer substantial There are several ways we’ve invest- wash it off once the painting is complete? improvements in the reduction of igated to mitigate surfactant release from Through our own research here at blocking and water sensitivity. the acrylic that will be discussed below. Golden Artist Colors, Inc., as well as the As acrylic paint surfaces seem to While reducing the level of surfactant work of the conservation community, it readily attract and imbibe dust and dirt, may seem like the most straightforward is apparent that the surfactant at the we investigated whether a truly static approach, remember the balance. One of surface is not beneficial, and is readily attraction was involved. We formulated the prime areas of concern is stability. removed in water. As a result, we feel paints with a conductive pigment, a mica Shelf life stability and freeze/thaw strongly that the impact of washing a based pigment with a surface layer of tin stability are related to the surfactant type, paint surface with a damp, lint-free white oxide doped with antimony to become a effectiveness and amount. A paint that cloth, will only improve the physical semi-conductor. The results indicated does not last well in the studio, or properties of the painting, and thus that the acrylic paints do not carry any congeals after a freeze/thaw cycle, would improve its ability to withstand the significant static charge, as there were no not be commercially acceptable. test of time. differences in dust build up with or In actuality, the majority of the The next question then focuses on the without the conductive pigment. surfactant that is present in a system is “how-tos”. Listed below are guidelines to Recognizing that a matte or rougher already in the neat polymer dispersion be thought of in determining the best surface should suffer less from blocking received from the polymer manufacturer. potential process for each artwork: and tack we experimented with matting Without these surfactants, the polymer solids to reduce the film softness. solids would not remain dispersed and What tools should I use? Here we saw a dramatic reduction in the homogenous. We have investigated A soft, low or no linting cloth is ideal. surface tack and improvement in the surfactant free polymers. However, the We have found that 50/50 white block resistance. The significant polymers tested did not show an increase cotton/polyester T-shirt material works problems with these materials were the in water resistance. quite well. Also, use distilled water loss of clarity when made into matte, as purchased from grocery or drug stores, as

Issue 15 page 13 © 2006 Golden Artist Colors, Inc. this will eliminate concerns from the quality of the water you have in your Will color rub off? studio. One key is to rinse the cloth Yes, most certainly, to some extent. regularly to eliminate the surfactant that Ideally, there would be no such color it has absorbed. extracted with the wet cloth, but the reality is that some colors bleed more When should I wash? than others, but all should be fairly A bit tougher question! Generally, the minimal. As you “wash” the surface with surfactant takes 2-4 weeks to build up at the damp rag, be cautious and use as the surface. It would be most ideal to wait little pressure as possible. Small for this 4 week period, to not only amounts of color soaked into the cloth maximize the amount of surfactant at the should not be a concern. If there are surface, but to be sure the paint films are concerns about one color streaking into well cured. another, such as with a hard edge Pictured left to right: Dr. Greg Smith and between colors, then try to keep your Jim Hayes collaborate on research that How do I know I have done a wiping motions within a color passage. was conducted for the recent Modern Paints sufficient job? While washing the surface in fact Uncovered Symposium at Tate Modern First, realize that simply by doing it, you improves the properties of the acrylic in London. are improving the properties of the surface. painting, there are additional protective well. Paintings made with these paints Note that surfactants are in fact soap-like steps that are recommended to insure are not falling apart, nor showing any materials, and generate foam when in maximum protection, as well as the best signs of significant deterioration. That contact with the water. Hence, you can chance of successful cleaning at some said, they do in fact present new continue gently washing the surface with later date. The application of one of challenges to conservators who are now clean water and cloth until there is no sign GOLDEN’s varnishes (Polymer Varnish, responsible for their care. The of sudsing. Also, once dry, the film should MSA Varnish or Archival Varnish) will chemical and water sensitivities are appear uniform, and non-blotchy. If blotchy create a surface that is harder than that of really the key factors, as the areas persist, continue washing to remove the the paints, thus less receptive to the conservator is not yet comfortable with remaining surfactants that are most likely the retention of dust and dirt. The varnish is what to use and how to clean an cause of the non-uniform appearance. also chemically reversible, and thus can acrylic painting. be readily removed with the appropriate For those artists who are truly Will the surfactant return? solvents (see footnote about varnishes with Unfortunately, as long as there is serious about the longevity of their web links), thus removing the dust or dirt work, there are tools and techniques surfactant in the film, it will continue to with it. To effectively and safely allow migrate to the interfaces. By either available to preserve better the work. for varnish removal without impacting The washing of the surface should cleaning too early in the process (especially the paint film, it is advised to first apply if cleaned within a few days of drying), or prove a significant step in reducing the an isolation coat. This isolation coat acts negative consequences of surfactant by cleaning without water, the bulk of the as a physical barrier between the paint surfactant will still be present and migration. The application of an surface and the varnish, thus eliminating isolation coat and removable varnish eventually move to the surface. If cleaned any potential for solvent attacking the well, meaning waiting the 4 weeks and are critical degrees of protection that painting during varnish removal. While insure the artwork has a greater chance repeating the process until no sudsing is the processes involved in such will not be evident, even then there will be more to withstand the test of time. discussed here, there is extensive We will continue to work on surfactant that can and will come to the information on our Web site surface, but it should be minimal. addressing these issues of softness and (www.goldenpaints.com) regarding such. water sensitivity of the acrylic films, Does a stain painting get treated just Summary working with you the artist, as well as the conservation community to define as a thick impasto piece? We just returned from the Modern better all the underlying factors that This is probably the toughest, or at least Paints Uncovered symposium, held in influence the key attributes of this most complicated question! Generally the London at Tate Modern, where we medium. We will continue to answer is NO. A true stain painting in presented this information. We were investigate new materials and new which the acrylic paints have been diluted delighted with the collaborations of paint formulations, but we all must substantially with water (typically a stain manufacturers, curators, conservators and remember: the “Question of Balance”: contains less than 10% paint) should NOT conservation scientists, all working – every change is inter-related, and one need to be washed, as the paint, along with together to understand these modern cannot make a change without the surfactants, has soaked into the canvas materials. Out of this should come a understanding first, the impact on the or absorbent ground material and is much better understanding of the entire system. therefore, not on the surface. If there is a conservation implications the materials true paint film on the substrate, then it is carry, as well as some much needed Footnotes/References: best to go through this water washing progress in defining acceptable 1. Digney-Peer, S. et al. process. Thinner paint films obviously conservation treatments. “The Migration of Surfactants in Acrylic require a more delicate and softhanded The real significance of all this work Emulsion Paint Films” approach. Highly textured areas require and collaboration to evaluate what is Modern Art, New Museums. IIC: Bilbao, not only a gentle hand to keep from happening with the acrylics as they are 2004, pp 202-207. altering the texture, but also a deft hand to ageing, is that now after 50 years of being 2. Niu, B. J.; Urban, M. W. attempt to get into each nook and cranny. in the field, they simply are doing very Journal of Applied Polymer Science 1998; 70, 1321-1348.

Issue 15 page 14 © 2006 Golden Artist Colors, Inc. corporations. Theresa is a mid career artist accepting applications from cultural Golden who is striving to have her work recognized by organizations who have received their 501 (c) 3 a larger audience. IRS designation and whose primary purpose is to promote and support visual artists working Foundation Joey Fauerso lives in Roswell, NM. She in paint. A full listing of grant awards, the received her BFA with honors from the application and examples of the award University of Iowa in 1998 and MFA in 2001 Honors Five recipient’s artwork is available on the Web site: from the University of Wisconsin where she www Artists Working was nominated for the prestigious Dedalus .goldenfoundation.org. Foundation Grant. After graduation she in Paint returned to San Antonio where she is the founder/director of The Bower - an artist run, The Sam and Adele Golden Foundation for non-profit exhibition space. Her work has the Arts, Inc. was founded by family members been included in several group shows including in 1997 for the charitable purpose of fostering a show of four artists at Parson’s University- innovative artistic expression and the creative Paris and Blue Star 18 at the Blue Star process. It is one of the few foundations in the Contemporary Art Center in San Antonio. She country to focus exclusively on individual had a solo exhibition at Finesilver Gallery in professional artists working in paint. In its 2004 and in 2005 received the ArtPace Travel continuing effort to become a significant Grant, The Dallas Museum of Art contributor to the artist’s support system, the Kimberough Grant and a Ucross Residency Foundation recently identified five artists to be Fellowship. As a painter, Joey is committed to recognized with an individual artist award. the continued exploration of the medium and Mark Golden, president of the Golden its creative capacities. Foundation stated, “There is a need, Juri Morioka is a Tokyo born painter, living in now more than ever to support the work New York City. She received her BFA in of professional artists and to provide GOLDEN Answers Painting from Parsons School of Design in the incentive for these artists to create 1990. Two recent Fellowship Residencies from new work.” Artists’ Requests the Vermont Studio Center and a chashama The award provides a one-year grant, artist-in-residence subsidized studio space grant up to $3,500 to assist artists in the for Traditional Palette in NYC have provided her time to create new advancement of their career. This year’s work. She has had four solo shows in Tokyo, recipients included James Barsness, Theresa Six New Historical including two at Banco Gallery in Ginza. Chong, Joey Fauerso, Juri Morioka, and Group shows in New York City include Fluid Acrylic Colors Danielle Tegeder. An independent selection Edward Thorp, Sideshow and The Andy committee chose these artists from hundreds Introduced Warhol Museum. In addition, her work is of career professionals who applied. The included in numerous private and corporate jurors were Mary Murray, curator of As a direct result of requests from the art collections such as SONY. Her paintings will Contemporary Art at Munson Williams community, we have added six new colors soon be on display at the Jan Jar in Dubai, and Proctor Arts Institute in Utica, NY; Andrea to our existing Fluid Acrylic product line in the United Arab Emirates. Inselmann, Curator of Modern and to include a selection of historical colors Contemporary Art, Herbert F. Johnson Danielle Tegeder currently resides in previously offered only in the Heavy Body Museum of Art, Cornell University, Ithaca, Brooklyn, NY. She has an MFA from The formula. Recognizing the need for these NY; and Contemporary Artist Frank Owen, School of Art Institute of Chicago and a BFA significant colors for artists working in the Art Department, University of Vermont. from SUNY Purchase. Several exhibitions highly versatile Fluid line, GOLDEN has include The New Museum of Contemporary also created greater opportunity for James Barsness resides in Athens, GA. He Art, Bronx Museum of Art, Brooklyn received his MFA from the San Francisco Art watercolor artists. Introducing these Museum, Triple Candie and Ace Gallery in Institute in 1988. His first large scale survey Historical Colors complements the color New York, Mixture Gallery in Houston and show entitled “Mythic Inventions” was at the spectrum previously existing in Fluids, as The Henry Gallery in Seattle, WA. Boise Museum of Art in Idaho and a second well as increases options for artists already Internationally she has shown at the Muller- large survey exhibit was held at The familiar with these colors in the Heavy Dechiara in Berlin, Germany and the Anne de Contemporary Art Center in Atlanta, GA in Body Acrylic formula. Because Fluids Villepoix Gallery in Paris. Recent reviews 2003. His work is included in a number of flow smoothly and evenly from the brush include the New York Times, ArtForum, Art in important group shows and in the collections and can be poured, puddled, drizzled or America, and NY Arts. She received grants of the Goldberg Foundation, NY, The dropped onto the canvas, artists can push and residencies from Yaddo, The Fullbright Whitney Museum of American Art and Yale the limits of their creativity and expand Foundation, ArtOmi, and The National Studio School of Art, CT. Program at PS 1/MOMA Studio Fellowship. the boundaries of acrylic painting. The Theresa Chong attended Boston University She is artist in residence at the Smack Mello Fluid Acrylic line extension will feature School of Fine Arts with a Dean’s Scholarship Studio in Brooklyn and teaches and mentors the following six colors and will be in painting where she received a BFA. In 1991 art students at SUNY Purchase. Her artwork available in all six Fluid Acrylic sizes: 1 oz., she received an MFA in painting at the School is mostly large brightly colored abstract 4 oz., 8 oz., 16 oz., 32 oz., and 128 oz. of Visual Arts in New York City. Her work has paintings inspired by underground been reviewed in The New Yorker, The New architectural plans. - Fluid Naples Yellow Hue York Times and Art in America. Her paintings - Fluid Manganese Blue Hue are included in the collections of The Museum In addition to supporting individual artists, - Fluid Indian Yellow Hue of Fine Arts, Houston, TX, The Whitney The Sam and Adele Golden Foundation for - Fluid Prussian Blue Hue Museum of American Art, The Fogg Art the Arts, Inc. awards grants to cultural - Fluid Alizarin Crimson Hue Museum at Harvard University and several organizations. This year the foundation is - Fluid Sap Green Hue

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Issue 15 September 2006

Articles: Jim Hayes, Mark Golden and special thanks to Dr.Tom Learner, Dr. Greg Smith, Dr.Alison Murray

Editors: Mark Golden, Jim Hayes, Ben Gavett, Jodi O’Dell

Publisher: Golden Artist Colors, Inc. 188 Bell Road, New Berlin, NY 13411-9527 607-847-6154 800-959-6543 Fax: 607-847-6767 Email: [email protected] Web: www.goldenpaints.com

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