Workshop on inpainting

The American Institute for Conservation of Historic and Artistic
Works in partnership with the National Park Service, Harpers Ferry
Center Conservation presents a "Master Studies" Workshop:

    Mastering Inpainting
    A multi-disciplinary master class for advanced conservators of
    paper, objects, and paintings
    Shepherdstown, West Virginia
    May 8-12, 2006

Instructors:

    James Bernstein, Conservator of Paintings and Mixed Media
    Debra Evans, Conservator of Works on Paper

Location: U.S. Fish and Wildlife National Conservation Training
Center (NCTC), Shepherdstown, West Virginia
Monday, May 8 through Friday, May 12, 2006
Monday noon - 5pm
Tuesday-Thursday 9am - 5pm
Friday 9am - noon

Course Fee:
    $600 AIC members;
    $800 non-members (includes $75 materials fee)

Enrollment Limit: 14
Registration Deadline: January 30, 2006.

Participants will be selected from the pool of applicants and
notified by February 27. Selection of participants will be based on
the following criteria:  order of receipt of registration; extent of
professional experience and training; balance of institutional and
private practice conservators; number of registrants from a single
organization; balance of areas of specialization; preference will be
given to conservators in the Eastern United States. Early
registration is advised.

The four-and-a-half day intensive course is tailored for
conservators wishing to improve their mastery of inpainting skills.
A broad overview of this complicated topic will be provided, as well
as considerable attention to details critical for various points of
the compensation process. Keys to problem solving will be offered to
help conservators find appropriate and successful treatment
solutions for differing inpainting situations.

A combination of lecture, discussion and studio/laboratory sessions
will cover:

    *   Inpainting criteria

    *   Adaptation of environments for each compensation requirement

    *   Light, color and optics: theory and practical phenomena

    *   A survey of pigments and their properties

    *   Preparation for compensation: isolation and fills

    *   Wet and dry inpainting media and toning systems:  resins
        (natural and synthetic), watercolor, distemper, gums and
        cellulose ethers, cellulose fiber, pen, pencils, pastels,
        dry pigments, and other coloring agents

    *   Inpainting modifiers: bulking, matting, polishing, and
        glossing agents

    *   Application instruments, methods, and tips

    *   Medium/pigment/diluent variations for adjusting surface
        sheen:  high gloss, lean/matte, transparent, opaque,
        stained, and other structures

    *   Simulation of patina and age effects

    *   Philosophical dialogue: degrees of compensation;
        discernibility, longevity and reversibility of restorations

Mock-ups and a basic range of inpainting media will be provided for
studio sessions. Participants are encouraged to bring with them
small artifact examples or expendable items for experimentation,
personal favorite inpainting materials (media, palettes, tools,
inpainting brushes) and "studio tips" for demonstration.

A multi-disciplinary viewpoint will be emphasized. Conservators from
diverse specializations and backgrounds--paintings, objects, paper,
etc.; traditional and/or modern--are invited to interact, sharing
their knowledge and experiences, favorable and otherwise, with
colleagues.

The full workshop description and registration forms are available
at <URL:http://aic.stanford.edu>, or contact:

    Eric Pourchot, Ph.D.
    Professional Development Director
    American Institute for Conservation of Historic and Artistic
        Works
    1717 K Street, NW,  Suite 200
    Washington DC 20036
    202-452-9545, extension 12
    Fax: 202-452-9328
    epourchot<-a t->aic-faic< . >org


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                  Conservation DistList Instance 19:30
                Distributed: Thursday, December 15, 2005
                       Message Id: cdl-19-30-017
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