Washing Of Paper (Innovative Washing Techniques through Published Case Studies)
Introduction
Preservation of artifacts and paper paintings has received significant support from most people because the arts and other artistry instruments are meant to be passed from generation to generation. Washing paper increases the durability and stability of a paper artifact hence, improving the chances of conserving the artifacts (Isca et al. 2015, p. 3048). Various methods have been introduced, while others have been in action since traditional era used to protect and preserve paper artifacts as well as other ancient instruments such as textiles (Daniels 1996, p. 180). Some of the methods and techniques used in cleaning and washing paper art are light bleaching, chemical bleaching, localized bleaching, gellan hydrogel application, and a combination of light and chemical bleaching (AIC Wiki n.d. np). However, the methods used to preserve or to clean the paper art could have some negative effects to the duration or the life of the paper art. Most methods use acid or chemicals to cleanse the papers, which could accelerate the reaction of corrosion; the use of acid towards the papers could lead to the destruction of the valuable paper art (Zervos and Alexopoulou 2015, p. 2861). Similarly, the art history has shown the need for the incorporation of ethics needed to protect the nature of the artifacts. Washing of paper artifacts is one of the methods used in artifact preservation as well as conservation dated from the ancient era (Isca et al. 2015, p. 3049). Therefore, this report articulates the relevant issues concerning the science and technical issues of washing paper artifacts and associated issues in conservation theory and ethics.
The Importance of Washing Paper Artifacts
Paper and artifact conservatives consider conducting the procedure of washing the paper and art in an effort of increasing the durability of the picture in question. Similarly, a picture would be washed with chemicals such as alkali to reduce the amount of acid present in the picture. Washing increases the durability and stability of a paper artifact hence, improving the chances of conserving the artifacts (Isca et al. 2015, p. 3051). Washing reduces the acidity of picture hence, protecting the artifacts from deterioration. Additionally, washing could be considered if the picture or artifact is seen to be weak and could be damaged easily (Daniels 1996, p. 182). Washing could increase the durability and flexibility of paper as it reactivates the binders and the formation of fibers originally present in the paper used. Therefore, the conservation experts should consider indicating the importance of washing the paper and other artifacts before analyzing the best method to apply in the washing. The purpose of washing varies depending on the need of the conservatives.
Factors to Consider Before Choosing a Washing Technique
Many people fail to understand the importance of washing artifacts and the need for considering various aspects that would have negative impacts towards the process. For instance, an acid used in washing or other chemicals have different consequences towards the portrait (Teygeler 2004, p. 86). Some cause a portrait to be stable while others make the artifact vulnerable or lose its purpose. Therefore, a conservative would consider various aspects available before starting the process of bleaching or washing the artifacts preferably, paper pictures, which have an irreversible washing procedure. First, a conservative would ascertain the potential problems associated with the handling of the washed paper (Teygeler 2004, p. 86). Washing of papers tend to make them fragile, and it could be hard to maintain their actual state in handling. Similarly, the conservator should as well consider the mode of drying the paper before starting the process (Teygeler 2004, p. 88).
Another caution to be considered is the physical sensitivity of the paper media. For instance, some paper portraits have different reactions when exposed to different kinds of chemicals (Schaeffer, Blyth and Druzik 1997, p. 3). Some paper media are said to be soluble in water and applying water to the pictures would cause the damaging of the portrait thus losing their meaning and purpose. Another attribute to consider is the method of washing to be applied. There are plenty of washing methods that could be used, but those methods could have a different reaction towards the paper being washed (Schaeffer, Blyth and Druzik 1997, p. 5). Therefore, the conservators should use spot testing where a certain small spot is applied the washing process to test whether the method is helpful or harmful to the entire portrait.
Washing Methods
Light Bleaching
The technique involves the exposure of the element towards the rays of light. Light bleaching involves the process of wetting the object (photo), then placing it towards the sunlight or another source of substantial light (AIC Wiki n.d., np). For instance, the method uses metal halide lamps. The lamps are found in an indoor agro-sun system that helps in providing rays of sunlight enough to dry and the proposed object. The lamp system provides ultraviolet energy as well as the electromagnetic power that help in absorbing the wetness from the picture (Isca et al. 2015, p. 3054). The system would hold the operation for a significant time depending on the size of the object. Similarly, the system is directly providing ultraviolet rays towards the object as it is immersed in distilled water (Isca et al. 2015, p. 3054). The process has a way of cleaning the photo from any suspected dirt as it helps in increasing their durability. Therefore, the process of light bleaching is one of the preservation methods as it provides a cleansed object that would be perfectly stored for future purposes.
Chemical Cleansing/Treatment
Chemical substances may be used to clean and wash the photo artifacts. The preservationists utilize the presence of chemical reactors that would help in whitening the pictures as well as other textile artifacts (Isca et al. 2015, p. 3056). For instance, some of the used chemical procedures include alkalization, deionization, the use of chelating agents, and the use of wetting agents such as alcohols and surfactants. However, the process of chemical cleansing would welcome defects towards the durability of the artifacts. The use of chemicals in conservations not only has positive outcomes but have negativities as well (Isca et al. 2015, p. 3057). For example, a high level of pH would cause degradation of the useful artifact.
The use of Deionization (DI) procedure would have diverse impacts towards the used photo. For instance, research was conducted to test the impacts of ion in the stabilization of ancient photo artifacts. The Deionization water washing would help in the stabilization of the picture and also it could lead to the degradation of the same picture (Zervos and Alexopoulou 2015, p. 2865). Similar processes could have different outcomes depending on the stability of the artifact. Additionally, the DI process would be followed by the incorporation of magnesium sulfate that improves the stability of the photos. Washing of the photos with ion elements was helped by the rising concentration of pH which increased the stability of most photos (Zervos and Alexopoulou 2015, p. 2866).
A paper artifact could be preserved and conserved from pesticides as a way of preventing the physical status of the artifact. For instance, the Chinese people are known to introduce the method where they applied the procedure to protect the pictures and paper arts from rodents and other pests (Zhong 2013, p. 19). The paper is treated through immersion and coating. The paper is submerged in a chemical solution by either using philodendron or pepper solution. The solution would help in attaining the durability of the paper, which is later coated with a pesticide chemical (Zhong 2013, p. 20). The pesticide chemical is applied to protect the portrait from rodents and other pests that could spoil the artifact.
Chemistry in Washing Paper
The process of washing paper with chemicals involves various techniques that would help in the conservation of the artifacts as well as the portraits. The chemicals applied in the water or solution used might include ions such as alkaline or calcium peroxide. The two components help in making a deionized solution perfect solution for implementing the chemical washing of artifacts or papers (Zervos and Alexopoulou 2015, p. 2882). The process of washing must be ascertained on its effects of the cellulose chromatography before employing solutions that would degrade the composition of the paper. Similarly, some chemicals remove the color of the artifact increasing the permeability level. Therefore, the chemicals applied such as alcohol before washing the paper determines the wettability level in the process of paper washing (Zervos and Alexopoulou 2015, p. 2883). The wet paper would be washed by treated water that would remove all the unwanted particles of dirt. The treated water acts as a stabilizer in the washing process because it stabilizes the acidity level of the chemicals used to avoid corrosion or paper degradation. Furthermore, the pH level of the paper is conditioned by the application of aqueous solutions such as Calcium peroxide in an effort of reducing the cations as well as preventing the degradation of the artifact.
Types of Washing Techniques
Full Water Immersion
The process involves a full washing of the paper art. The conservators assert the solubility of the paper first before commencing to the process of water immersion. The technique is only viable when the portrait is physically damaged and could not be washed by any other technique (Sequeira, Cabrita and Macedo 2014, p. 182). Similarly, the conservation process would involve indicating that the paper artifact is acidic and needs to be submerged inside treated water that would reduce the acidity level. The technique is also helpful towards discolored portraits. Using the procedure would means that the discolored portrait would regain its color hence maintain their original colors (Sequeira, Cabrita and Macedo 2014, p. 184).
Additionally, the procedure is helpful to remove attachments present on the surface of the portrait as well as increasing the chances of softening the artifact (Ellis 2015, no pagination). Immersion technique starts by selecting the type of water to be used and ascertaining the level of pH in the water. The water is filled with the equipment that would be used to wash the portrait and should be larger than the portrait to avoid folding during the process (Ellis 2015, no pagination). The process would change if the paper resisted wetting due to unavoidable circumstances. If so, a little amount of alcohol should be added to the immersed paper in the water to facilitate the process of wetting. It is vital to ascertain the changes occurred after the process by checking if the appearance of the media in the paper has had any form of physical changes. For instance, the problems that would occur during the process are the degradation and discoloring of the portrait. After some minutes, the picture should be removed from the solution and placed on a flat surface for drying (Ellis 2015, no pagination).
Float Washing
The process involves a floater that helps in the balancing of a portrait on top of the used water. The technique is only viable whenever the proposed portrait could not handle the acidity of the water thus said to damage the media in the picture (Tang and Jones 1979, p. 62). Therefore, the process would help in cleaning the picture when the media could not be fully immersed in a washing solution. The technique is helped by placing a screen on top of the water to be used so that the portrait could not sink beneath the water. Float washing should welcome the use of deionized water that helps in moisturizing the portrait (Tang and Jones 1979, p. 65). Subsequently, the conservator should allow the portrait to stay at the top of the washing tray to allow full cleaning and stain removal. The screen below the paper artifact would help in removing the portrait from the mixture. The other step to follow would be placing the artifact on a suction table ready to the final process of drying and ascertaining whether the media was affected or acidified (Tang and Jones 1979, p. 67).
Ion Chromatography
The process of Ion Chromatography (IC) is used to ascertain the effects of treatment of paper artifacts on an aqueous conservation style (Perkiomaki and Knuutinenn.d, no pagination). Similarly, the technique is used to separate organic cations and inorganic cations. The set up involves a column used to mix ions with cations in an effort of separating the components (Perkiomaki and Knuutinenn.d. no pagination). Organic and inorganic cations are said to be harmful towards paper artifacts destroying their durability as well as affecting their stability (Zervos and Alexopoulou 2015, p. 2889). Therefore, the conservators use a column that has a high pressure in mixing the ions towards the cations. The pressurized column pushes the cations from any solution straight from the portrait to obtain an organic-free object. The ion chromatography procedure ensures that the available inorganic cations are chased away from the picture in question for a better storage and a longer durability (Zervos and Alexopoulou 2015, p. 2890).
Gellan Hydrogel Application
Gellan Hydrogel is an anionic component used in the cleaning of paints as well as other paper artifacts (Iannuccelli and Sotgiun.d, no pagination). It is widely considered due to their slower solubility is unseen in other soluble agents. For instance, water is said to penetrate inside the fibers and causes the paint to swell hence posing a risk of paint destruction. However, the use of gellan hydrogel should be taken into cautious since it requires the user to wipe or remove the component after use (Micheli et al. 2012, p. 1486). For instance, the gellan gum can pose threats towards the portrait because of its viscosity, which favors the growth of other harmful microbial substances when care is not taken (Iannuccelli and Sotgiun.d, no pagination).
The gellan gel application requires a stable level of pH suitable for the stabilization of the reactants and the cleaning of the portrait. The process starts with the selection of a suitable pH level of the water in use (Ion et al. 2013, p. 29). The gellan gel is then applied to help slow penetration of the soluble inside the surface of the portrait. The conservators should apply the gel gently on top of the portrait to reduce the reaction of acids and water. Cleaning should commence immediately the portrait is placed on top of the water system (Ion et al. 2013, p. 30).
Subsequently, the procedure should take some moments before the picture is fully cleansed as well as the gel has already penetrated inside the picture. The gel helps in removing unwanted dirt present inside the portrait (De Filpo et al. 2016, p. 3267). Similarly, the removal of the gellan gel should follow ensuring that no amount of the gel is left on the surface of the paper artifact to avoid accumulation unwanted wastes (De Filpo et al. 2016, p. 3269). Therefore, gellan hydrogel procedure should be followed by cleaning of the gellan gel away from the portrait by either using a smooth brush or a piece of cotton wool.
Local Treatment Methods
The process of local treatment involves the washing of the desired artifact or a portrait at a significant area. The portrait is not treated as a whole but a portion due to other aspects. A portrait or a paper artifact may not require full washing because it may contain a valuable, sensitive spot such as logos or any other water-sensitive components (Peterbridge 2013, no pagination). Therefore, the conservators are forced to wash just the areas with less sensitivity to water or any solvent. The process may include the obvious procedures such as blotter washing named as local blotter washing. The method may include using a brush, local blotter or any other scrubbing material used to wash the area needed to be cleaned (Peterbridge 2013, no pagination).
Similarly, the conservators would use poulticing and surfactants materials used in other washing methods, but the most important aspect is that the portrait is not washed wholly (Tse 2002, p. 36). Only a section of the paper portrait is in need of washing. Therefore, the method is only applied to the most sensitive portraits that could not withstand soluble components such as water or those portraits with valuable and sensitive sections such as seal and logo (Tse 2002, p. 38).
Damp Blotter Technique
The system is considered appropriate when float method is unable to accommodate the washing of paper artifacts. The process is used mostly towards torn pictures or damaged portraits. For instance, the other methods would not be considered because they might damage the entire picture (Dupont 2002, p. 115). Therefore, the photo is sandwiched between two pieces of blotters and floated inside the water solution used for washing. The technique would incorporate the blotters absorbing the water enzymes and transferring the washing enzymes to the surface of the portrait (Dupont 2002, p. 118). Thus, the process would take longer time than any other since the blotters are used to clean the dirt from the portrait slowly.
Felt Washing Technique
The process of felt goes by the name felt since the procedure utilizes the reaction from the touching and feeling of a paper artifact. The conservators ascertain whether the artifact contains capillary that would cause the removal of stains and deterioration of the entire portrait (Johnson 2013, p. 253). There are several methods used in the felt washing technique including the use of plain water or else the use of alkaline solution (Johnson 2013, p. 255). Both methods are viable as long as the conservator first analyzes the presence of capillaries. The process involves the washing of dirt before utilizing the entire technique. The product would be dried by tilting the used object to drip away from the water absorbed by the paper artifact (Johnson 2013, p. 260).
Brush Wetting
Brushing is introduced to the paper artifact after the cellulose fibers have been fully saturated. Saturation is incorporated when water is poured across the artifact slowly in the process of cleaning the portrait (Ion et al. 2013, p. 31). Therefore, the saturation is ascertained by passing a smooth brush on top of the paper artifact removing the available dirt as well as the unwanted particles (Ion et al. 2013, p. 31). Washing with a brush is a simple method but should follow a process of saturation by utilizing soluble components that could help in increasing the stability and durability of the portrait. The conservators have used this model over a long time but are cautious not to destroy the portraits by using a rough brush (Ion et al. 2013, p. 32).
Effects of Paper Washing to the Portraits
The different methods applied in the cleaning and treatment of the paper artifacts has diverse effects towards the components of the paper. For instance, a very old cotton textile was tested with immersion procedure (Bruckle and Dambrogio 2013, p. 297). Tap water was obtained and added a small amount of Deionized water as well as another amount of calcium. The end product proved that deionization resulted in the degradation of the cotton textile which had survived for a long time (Bruckle and Dambrogio 2013, p. 301). Therefore, the experiment ascertained that paper washing and the presence of washing chemicals disrupts the components and durability of the artifacts.
Similarly, another effect of chemical washing to the paper artifacts is the stabilization of their status. The use of ions in the washing had different outcomes depending on the type of paper artifact used (Glover 1992, p. 304). Some had lost their stability while other proved an improvement of their stability. Additionally, alkaline had a good result when applied to the washing of paper artifacts (Glover 1992, p. 310). For instance, a small amount added to the solution increased the stability of the portraits the more alkaline was used, the more stability reduced. Therefore, a small amount of alkaline could be useful to the stability of an artifact.
The use of calcium and magnesium in paper washing accelerates the rate of absorption in the papers (Tse 2002, p. 37). The process of alkalization benefited the stability and durability of a paper portrait because the alkaline reduces the amount of acid present in an artifact before washing. Therefore, the benefits of paper washing outweigh the disadvantages since the most analyzed benefit is the increasing durability and stability, which is presented by the conservators in the ethics of preserving the ancient artifacts of the society (Tse, 2002, p. 38).
Ethical Support on Paper Washing
Conservation of artifacts and other valuable artifacts dated from the historical era where people used to maintain their art from one generation to another. The preservation of artifacts comes with a responsibility from any individual as long as they have the mentality of being responsible (Soule et al. 2005, p. 172). Similarly, the ethics and morals presented in the theme of protecting the artifacts are seen as a communal attribute where almost every individual plays a part in the prevention, preservation, and protection of the available artifacts ranging from ancient buildings, pictures, and sacred places. The ethical nature considered in the conservation of artifacts is seen as a responsibility lay down towards every citizen in a given region (Saetersdal 2013, p. 166). Therefore, the human race has the mandate to address and protect the heritage of artistry as a way of presenting the history and heritage of their community from one generation to another. Artifacts date long ago from the history of humankind and should be protected by every individual.
Conclusion
The role of conservators is to protect the durability as well as preventing the wearing off valuable artifacts. Conservation and storage of ancient artifacts are essential since the art should be passed from generation to generation. Therefore, the process of conserving the paper artifacts varies depending on the nature of the artifacts and the presence of the chemical reactors. For instance, some paper artifacts are conserved using acidic chemicals that facilitate durability and stability while other objects are decolorized or deteriorated when applied towards similar chemicals. Therefore, the conservative experts have the mandate to select the viable method of protecting the artifacts as well as introduce new measures that would see the enhancement of artifacts stability. Some of the discussed methods of increasing the stability and enhancing the conservation of the available artifacts include the use of chemical reactors in paper washing, local methods, the use of the brush to wash out the dirt, felt washing, Gore-Tex washing, blotter usage, and other. However, there is now law protecting the artifacts in the country, but the ethical requirements increases the chances of conservative measures where the population believes that art is a method of communication that should be protected at any cost.
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