Common Building Painting Mistakes to Avoid - Inadequate Surface Preparation InspectAPedia® -
26 examples of inadequate surface preparation that lead to building paint failures
What are the most common painting mistakes that we should avoid when painting a building?
How to diagnose the cause of failing paint on a building exterior or interior
Paint failure diagnosis checklists for the building exterior & interior
Questions & answers about building exterior or interior paint job mistakes and paint failiures - how to avoid paint problems on buildings
This article desribes and illustrates common building exterior & interior painting
mistakes, describes how to diagnose paint failures on buildings, and outlines a procedure for diagnostic field inspection & lab testing of failed painted surfaces.
InspectAPedia offers impartial, unbiased advice without conflicts of interest.
We will block advertisements which we discover or readers inform us are associated with bad business practices,
false-advertising, or junk science. Our contact info is at
InspectAPedia.com/Contact.htm.
We include photographs of paint failures on buildings and more photos of forensic paint laboratory examination of samples of failed
paint useful to assist in diagnosing the probable cause of each type of paint failure.
Experts representing paint manufacturers see many
field failures of painted surfaces, often arising from a common cause. But
getting a clear answer from these professionals can be tricky: the painting contractor is their customer, not the
building owner. Therefore, while most paint failures are due to poor surface preparation or painting in improper
conditions of temperature or moisture, the "expert" may be reluctant to say so.
Importantly, other paint failures are due to
construction errors, building ventilation or vapor barrier errors, building leaks, or improper maintenance. It is important
to understand why a paint failure occurred before re-painting a building. Otherwise the expense of a new paint job may be wasted.
"Improper or inadequate surface preparation is by far the most common cause of house paint failures such as
blistering, peeling and staining. If the new paint is separating from the old coat of paint, it is most likely due to
chalking or some contaminant on the old paint that prevents the new paint from penetrating and binding to the old
painted surface.
If the peeling failure is down to the bare wood, it is most likely that the problem is a result of
too much moisture within the wall, forcing itself out, taking the entire paint film with it."
"Over 65% of all paint
failures can be attributed to poor or improper surface preparation. Two of the major causes of paint failure on
exterior wood surfaces are either moisture passing through the substrate from the interior, or exterior sources of
moisture getting behind the paint film. Temperature and humidity have major effects upon drying and ultimately upon
the characteristics of the paint film. These effects will always determine the actual appearance and performance of
the paint itself.
Paint should be applied at temperatures of 70o F, (21o C), ideally, plus or minus 20o F (12o C) -
unless product specifications state otherwise. A surface should not be painted if its temperature is within 5o F of
the dew point or the relative humidity is above 85%." -- PPG Exterior Failures.
The follow sections of this document form a checklist of building and site conditions leading to paint failures (such as peeling paint,
blistering paint, chalking paint, cracking or alligatoring paint, or bleeding and stains through paint--terms defined below). The focus is
on failures of painted wood surfaces on building exteriors but the paint failure diagnostic procedure can be
generalized to other surfaces inside and out.
The three key steps to successful painting are
1. Prepare the surface,
2. Prepare the surface,
3. Prepare the surface.
- DF (moderator) and a panel of experienced house painters at ASHI ca1988 Paint Failures Seminar. Also see PAINT SURFACE PREPARATION.
But other
than inadequate surface preparation, here are some other very common house painting mistakes:
BAD PAINTING SURFACE PREPARATION - 26 Painting Mistakes That Mean a Bad Paint Job with a Short Life - causes of early paint job failure
Removing only the obviously-loose paint, leaving poorly-secured paint, leaving thick edges of old paint where blisters or old peeled paint were inadequately removed.
Using paint to try to fill gaps where caulk should have been applied.
Using a spackling compound or filler intended for holes or cracks to "smooth" large building surface areas (skim coating) such as skim coating in order to apply paint over alligatored or poorly-adhered old paint. More thickness of fillers, paints, primers,or magic gluey coatings on the surface of un-sound paint are unlikely to work. A case study of this foul-up is at Paint Failure Case Photographs-SITE.
Painting over thinly-cracked, or peeling painted surfaces
Painting over old, existing thick, alligatored paint
Painting over mold (which many sources incorrectly call "mildew"). Painting over moldy surfaces without adequate cleaning and surface preparation such as power washing, disinfection, and light sanding, likely to lead to rapid mold re-growth in the paint and possibly to a paint adhesion failure, even if a paint "mildewcide" or fungicidal additive was used. Also see Mildewed Exteriors?. Parmetol, a wood preservativerecommended by the manufacturer was used as a fungicidal additive to paint on the Blue Poplar wood sculpture in Amsterdam, by artist Mari Shields [ - art conservation consult DF-artist MS 2010]
As we discuss at PAINT FALURE, DIAGNOSIS, CURE, PREVENTION, our photo (left) shows a new paint job that failed before the job was even finished, on a historic property: the Justin Smith Morrill Homestead in Vermont.
While most of the paint failures on this building were due to use of improper paint or defective product, here we saw peeling and loss of adhesion over moldy wood. A combination of failure to properly clean the wood surface before painting, painting under too hot or too wet conditions, and failure to use an effective primer and properly formulated top coat can conspire together to give a messy paint job failure on some projects.
Painting over oily or other-contaminated surfaces
Painting over high pH surfaces on stucco, such as new stucco that has not adequately cured or stucco that needed additional wash and surface neutralization can cause white blooms of efflorescence and early paint failures; see PAINT on STUCCO, FAILURES for details.
Painting over glossy hard paint surfaces without adequate preparation such as light sanding or use of a chemical de-glosser, likely to lead to an adhesion failure.
It looks as if the painter used a rather soft wood filler to try to repair the rotted window sill, and if you look closely (click the image to enlarge it) you'll see that the paint is already coming off - months after this costly renovation.
Where sill rot is limited, rather than replacing the entire sill or frame, we find it easier to cut out and replace a rotted window sill by piecing in a custom-cut repair segment, perhaps using treated wood (let it dry before painting) glued in place. We have also made occasional use of wood restoration epoxy products such as those made by Abatron, Inc. to restore and save valuable trim that would be costly to replace. But slopping on some putty and paint, as was done here is not a durable job.
Painting over silicone caulk (which in many cases is not paintable)
Painting in hot sun or dry wind: painting in sun or wind can be a particular problem when painting new stucco surfaces. See PAINTING in SUN or WIND and see PAINT on STUCCO, FAILURES for details of the problems this causes on stucco.
Painting the second coat before the first paint coating has adequately dried
Painting without reading the manufacturer's instructions for mixing, thinning, surface prep, temperature conditions, etc.
Soaking building cavities: surface preparation for painting by improper use of a power washer: spraying "up" on a clapboard building forcing water into the
building wall cavities, (risking hidden mold contamination or a moisture problem leading to paint failure), or spraying too-close to the building surface, causing gouging and undesirable loss of surface material
Surface washing using chemicals or bleach without adequate wash-off of the chemical or cleaner itself
Painting on wet surfaces - failure to measure moisture levels or measuring only the "dry" areas but painting over other wet areas of a building. Also see Moisture Impact on Paint.
Painting over incompatible old paint - leading to poor adhesion, wrinkling, cracking, paint fall-off. See INCOMPATIBLE PAINTS.
Painting with the wrong type of paint for the surface or environment, such as using an interior paint outside. See INCOMPATIBLE PAINTS.
Sanding with a grinder carelessly, leaving sanding marks and gouges that ruin the surface and telegraph through the new paint job - may not reduce paint adhesion but may result in a cosmetic issue with the work.
As we discuss at PAINT FALURE, DIAGNOSIS, CURE, PREVENTION, our photo (left) shows the condition of a nearly brand-new paint job on an older home in Poughkeepsie, NY. We noticed that old paint was left on the surface with no feathering of the edges of the few spots where paint had been removed or had fallen off before the paint job.
We noticed also that the painter tried to "seal" the loose paint by globbing on plenty of new paint - see that drip running down the trim board?
Finally, we noticed that this new paint job was already failing - the split in the paint visible in the lower portion of the photograph.
This paint job will have a shorter life than if the surface had been stripped, but then the painter (and owner who was selling his home) avoided a much
higher cost of stripping lead-containing paint from an older building.
Painting too thick: slopping on paint that runs down walls (see above and below)
As we discuss at PAINT FALURE, DIAGNOSIS, CURE, PREVENTION, our photo (left) shows the result of many coats of paint on a home built in Dutchess County NY in the 1700's. This was some of the thickest paint we have found on a building exterior.
No tests for the presence of lead paint are necessary in a case like this - you know that lead paint is present. You also can see that this paint job is cracking and that paint has been falling off of the building between paint jobs that involved little or no surface preparation.
Painting too thin: over-thinning paint to extend its coverage dilutes the binders so that even if the new paint job looks great it may wear or fail prematurely
Critique, contributions wanted: Contact Us to suggest corrections or additions to articles at this website, and if you wish, to receive online listing and credit as a contributor. Particular thanks are due to the many experts and also consumers who read and critique technical articles at InspectAPedia.com.
Additional technical contributors & reference sources for this article are listed below.
Use links just below or at the left of each page to navigate this document or to view other topics at this website. Green links show where you are in our document or website.
Abatron EpoxyWood Repair/Restoration 5501 - 95th Avenue, Kenosha, WI 53144 USA Tel: (262) 653-2000
Fax: (262) 653-2019, For orders: (800) 445-1754 Abatron provides a wide range of wood & building restoration epoxy products including a low-viscosity system that penetrates and solidifies rotted wood and a thicker wood repair putty type epoxy.
Paint and Surface Coatings, Theory and Practice [purchase at Amazon.com], R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1 [This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods - DF]
"Moisture Control in buildings: Putting Building Science in Green Building," Alex Wilson, Environmental Building News, Vol. 12. No. 5. [Good tutorial, "Moisture 101" outlining the physics of moisture movement in buildings and a good but incomplete list of general suggestions for moisture control - inadequate attention given to exterior conditions such as roof and surface drainage defects which are among the most-common sources of building moisture and water entry.--DJF]
Why House Paint Fails [on file as /exterior/Why_House_Paint_Fails_FPL1.pdf ] - , Mark Knaebe, US FPL, web search August 2010, original source: http://www.fpl.fs.fed.us/documnts/finlines/knaeb95a.pdf
Why Paint Jobs Fail [on file as /exterior/Why_Paint_Fails_Bennett.pdf ] - , web search, August 2010, original source: http://www.bennette.com/pdf/whyfail.pdf, four pages describing alligatoring, bleeding, blistering, etc. Bennette Corporation, P.O. Box 9088, Hampton, VA 23670, Phone: 757-838-7777, Toll Free: 800-869-2929
Fax: 757-827-0529, Email: info@bennette.com, Website: www.bennette.com quoting: Bennette Paint Manufacturing Company, Inc. is a Virginia corporation which was founded in Newport News, Virginia in 1966 by James P. Bennette, Sr. In 1984, Mr Bennette sold the company to his employees through an Employee Stock Ownership Plan (ESOP). Today the company has a modern manufacturing plant, research laboratory, central warehouse and general offices located at 401 Industry Drive, Hampton, Virginia. From these facilities the company is able to supply quality paints and coatings through its company owned distribution and service centers and authorized dealers located in Virginia, North Carolina and South Carolina. Bennette Paint Manufacturing Company, Inc. also owns and operates Bennette Equipment Company which specializes in the sale, service, and rental of paint spraying and pressure cleaning equipment.
Supplemental Guidelines for Removing Paint From Interior and Exterior Wood Surfaces [on file as "/exterior/Paint_Removal_USGSA.pdf ] - , US General Services Administration, Historical Preservation Technical Procedures, 06400-02, web search August 2010, original source: //w3.gsa.gov/web/p/Hptp.nsf/0/40aff5a115b6a9e5852565c50054b4f4?OpenDocument
Books & Articles on Building & Environmental Inspection, Testing, Diagnosis, & Repair
Our recommended books about building & mechanical systems design, inspection, problem diagnosis, and repair, and about indoor environment and IAQ testing, diagnosis, and cleanup are at the InspectAPedia Bookstore. Also see our Book Reviews - InspectAPedia.
Analysis of Modern Paints, Thomas J.S. Learner, Research in Conservation, 2004 ISBN 0-89236-779-2 [Chemistry of modern paints, overview of analytical methods, pyrolysis-gas chromatography signatures of basic modern paints and their constituents, Fourier transform infrared spectroscopy for paint analysis, direct temperature-resolved mass spectrometry, and analysis in practice - technical reference useful for forensic paint science, focused on art works -DF]
Paint and Surface Coatings, Theory and Practice [purchase at Amazon.com], R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1 [This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods - DF]
Paint Handbook: testing, selection, application, troubleshooting, surface preparation, etc., Guy E. Weismantel, Ed., McGraw Hill Book Company, 1981, ISBN-10: 0070690618, ISBN-13: 978-0070690615, [Excellent but a bit obsolete paint theory and practice, also a bit light on field investigation methods, out of print, available used-DF] How to select and apply the right paint or coating for any surface. The first major reference to help you choose the correct paint or other finish to do the job best on a particular surface exposed to a particular environment. Experts in the field give full advice on testing surface preparation, application, corrosion prevention, and troubleshooting. The handbook covers wood, metal, composites, and masonry, as well as marine applications and roof coatings. A ``must'' working tool for contractors, architects, engineers, specification writers, and paint dealers.
Paint and Surface Coatings, Theory and Practice, R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1 [This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods - DF] Provides a comprehensive reference source for all those in the paint industry, paint manufacturers and raw materials suppliers, undergraduate and postgraduate students, and industrial paint users. R. Lambourne was in the Research Department at ICI Paints Division and the Industrial Colloid Advisory Group, Birstol University, UK.
Seeing Through Paintings, Physical Examination in Art Historical Studies, Andrea Kirsh, Rustin S. Levenson, Materials in Fine Arts, 2000 ISBN 99-051835 [ forensic science, technical reference, focused on art works - DF]
Sealants, Durability of Building Sealants (RILEM Proceedings), J.C. Beech, A.T. Wolf, Spon Press; illustrated edition (1995), ISBN-10: 0419210709, ISBN-13: 978-0419210702 This book presents the papers given at the RILEM Seminar held at the Building Research Establishment, Garston, UK in October 1994. The book provides an opportunity for researchers to review up-to-date progress towards the achievement of the objectives of the standardisation of laboratory techniques of sealants in the variety of service conditions to which they are exposed.
Soiling and Cleaning of Building Facades (RILEM Report), L.G.W. Verhoef (Editor), Routledge; 1 edition (November 3, 1988), ISBN-10: 0412306700, USBN-13: 978-0412306709 The report of a comprehensive investigation by RILEM which examines all aspects of the cleaning of facades, subject to soiling by both biological and non-biological agencies. The contributors are international authorities working in this field giving essential advice to all those who need to know how to approach the problems connected with the soiling and cleaning of building facades.
Staining, Prevention of Premature Staining in New buildings, Phil Parnham, Taylor & Francis; 1996, ISBN-10: 0419171304, ISBN-13: 978-0419171300 The appearance of ugly staining early in a buildings life, ruins an otherwise pleasing appearance, tarnishes the image of the owners and gives rise to costly refurbishment works. In this book Phil Parnham raises a number of questions that should be considered whenever a new building is being designed or built. These are: * why has staining become so prominent; * what causes premature staining; which parts of new buildings are likely to be affected; * how can it be avoided? By using a number of highly illustrated case studies, the author answers these questions and ends by suggesting measures that should be taken by all design and construction professionals to prevent premature staining.
Understanding Ventilation, John Bower, The Healthy House Institute, ISBN 0-9637156-5-8, 1995 [General building science-DF - ** Particularly useful text. Mr. Bower has retired from the field but his book continues to be important]
"Moisture Control in buildings: Putting Building Science in Green Building," Alex Wilson, Environmental Building News, Vol. 12. No. 5. [Good tutorial, "Moisture 101" outlining the physics of moisture movement in buildings and a good but incomplete list of general suggestions for moisture control - inadequate attention given to exterior conditions such as roof and surface drainage defects which are among the most-common sources of building moisture and water entry.--DJF]
Analysis of Modern Paints, Thomas J.S. Learner, Research in Conservation, 2004 ISBN 0-89236-779-2
[Chemistry of modern paints, overview of analytical methods, pyrolysis-gas chromatography signatures of basic modern paints and their constituents, Fourier transform infrared spectroscopy for paint analysis, direct temperature-resolved mass spectrometry, and analysis in practice - technical reference useful for forensic paint science, focused on art works. One of our most useful texts in forensic investigation of paint failures and paint problem diagnosis - for building investigators as well as art conservators. -DF]
Although oil remains an important binding medium in artists' paints, today's synthetic resins are being used with increasing frequency. This was true during much of the twentieth century, when artists such as David Alfaro Siqueiros, Jackson Pollock, and Pablo Picasso used commercial or industrial paints based on synthetic resins. The growing popularity of synthetic resin materials carries important implications for the conservation, preservation, and treatment of modern art.
This volume outlines the techniques that are currently employed to analyze the synthetic resins used in modern painting materials, such as pyrolysis-gas chromatography-mass spectrometry, Fourier Transform infrared spectroscopy, and direct temperature-resolved mass spectrometry. For each technique, results are given for standard samples of the principal classes of synthetic binding media, various pigments and extenders, tube paint formulations, and microscopic paint fragments taken from actual works of art.
Primarily intended for conservation scientists, conservators, researchers, and students of conservation, this book will also be of interest to other museum professionals.
Art, Biology, and Conservation: Biodeterioration in Works of Art, Robert J. Koestler et als. Eds., Metropolitan Museum of Art, 2003, ISBN 1-58839-107-8 Series of excellent research and advice articles on art work conservation of special use to conservators and also to building, artifact, and art forensic investigators. MOMA. - DF
Despite the perception that artworks are timeless and unchanging, they are actually subject to biological attack from a variety of sources—from bacteria to fungi to insects. This groundbreaking volume, which publishes the proceedings of a conference held at The Metropolitan Museum of Art in 2002, explores how the development of these organisms can be arrested while preserving both the work of art and the health of the conservator.
The richly illustrated text, containing the writings of over 40 scientists and conservators, is divided into sections on stone and mural paintings, paper, textiles, wood and archaeological materials, treatment and prevention, and special topics. The artworks and cultural properties discussed include, among many others, Paleolithic cave paintings, Tiffany drawings, huts built by early Antarctic explorers, and a collection of toothbrushes taken from Auschwitz victims. --
Robert J. Koestler is a research scientist at The Metropolitan Museum of Art; Victoria H. Koestler is a freelance writer and editor; A. Elena Charola is a freelance conservation scientist; and Fernando E. Nieto-Fernandez is a biologist at Old Westbury College, New York.
Cultural Heritage and Aerobiology, Methods and Measurement Techniques for Biodeterioration Monitoring, Paolo Mandrioli, Guilia Caneva, and Cristina Sabbioni, Eds., Kluwer Academic Publishers, 2003 ISBN 1-4020-1622-0 This is a translated and revised edition of the original Italian version. This book is the first to give a general overview of the application of aerobiology (the science that studies the biological components of the atmosphere) to the conservation of our cultural heritage. Aerobiological monitoring makes it possible to estimate the risks of degradation of artefacts of historical or artistic importance by airborne microorganisms (airborne spores and vegetative structures) according to the types of materials forming the artefacts, to the conditions of the microclimate and to the type of environmental pollution, thus enabling the planning of preventive or reparative intervention. Among the book's main features are: + Aspects of the biodeterioration of different materials (paper, wood, fabrics, parchment, leather, stone, glass, metals, plastic, etc.). + Methods for measuring environmental parameters, both physical (microclimatic) and chemical (pollutants). + Methods and techniques of aerobiological monitoring. + Specific problems concerning the different types of environments. Audience: The subject is thoroughly explored, thus supplying a useful tool to those who are in charge of the conservation of our cultural heritage (libraries, archives, museums, churches, hypogea, monuments, archaeological sites, etc.). See our book review of this reference.
Exterior Paint Problems on Historic Woodwork, Kay D. Weeks and David W. Look, AIA, U.S. Department of the Interior, National Parks Service Preservation Brief No. 10. Web search 02/01/2011, original source: http://www.nps.gov/hps/tps/briefs/brief10.htm
Microscopy of Textile Fibres (Microscopy Handbooks, 32), P H Greaves, Garland Science; 1 edition (January 1, 1995), ISBN-10: 1872748244, ISBN-13: 978-1872748245 [We ordered our copy from the British publisher - now it's on Amazon.
These 3 fiber books have been essential forensic lab references supplementing our McCrone Research courses on forensic microscopy; also of use to textile conservators. - DF
An up-to-date practical guide to the properties and characteristics of textile fibres, with clear advice on sampling, specimen preparation and examination procedures.
Modern Paints Uncovered (Getty Conservation Institute Symposium Proceedings), Thomas Learner, Getty Publications (March 1, 2008),ISBN-10: 089236906X, ISBN-13: 978-0892369065 Over the past seventy years, a staggering array of new pigments and binders has been developed and used in the production of paint, and twentieth-century artists readily applied these materials to their canvases. Paints intended for houses, boats, cars, and other industrial applications frequently turn up in modern art collections, posing new challenges for paintings conservators.
This volume presents the papers and posters from "Modern Paints Uncovered," a symposium organized by the Getty Conservation Institute, Tate, and the National Gallery of Art and held at Tate Modern, London, in May 2006. Professionals from around the world shared the results of research on paints that have been available to artists since 1930--the date that synthetic materials began to significantly impact the paint industry.
Modern Paints Uncovered showcases the varied strands of cutting-edge research into the conservation of contemporary painted surfaces. These include paint properties and surface characteristics, analysis and identification
Paint Handbook: testing, selection, application, troubleshooting, surface preparation, etc., Guy E. Weismantel, Ed., McGraw Hill Book Company, 1981
[Excellent but a bit obsolete paint theory and practice, also a bit light on field investigation methods, out of print, available used. Very useful reference for paint testing, selection, and paint failure diagnosis - focus on non-artistic use of paints such as on buildings, roofs, marine coatings. -DF]
How to select and apply the right paint or coating for any surface. The first major reference to help you choose the correct paint or other finish to do the job best on a particular surface exposed to a particular environment. Experts in the field give full advice on testing surface preparation, application, corrosion prevention, and troubleshooting. The handbook covers wood, metal, composites, and masonry, as well as marine applications and roof coatings. A ``must'' working tool for contractors, architects, engineers, specification writers, and paint dealers
Paint Magic, Jocasta Innes, Frances Lincoln; 4th edition (August 17, 2006), ISBN-10: 071122272X, ISBN-13: 978-0711222724 - Paint advice for home decoration, including painting techniques such as antiquing, bambooing, bleaching, color washing, combing, decorative painting, dragging, dyeing, gliding, graining, japanning, lacquering, lining, marbling, porphyry, rag-rolling, sponging, staining, stencilling, stippling, tortoiseshelling, trompe l'oeil, and vinegar painting - DF
Paint and Surface Coatings, Theory and Practice - [purchase at Amazon.com], R. Lambourne & T.A. Strivens, Ed., Woodhead Publishing Ltd., William Andrew Publishing, 1999 ISBN 1-85573-348 X & 1-884207-73-1
[
This is perhaps the leading reference on modern paints and coatings, but is a difficult text to obtain, and is a bit short on field investigation methods. Encyclopedic reference on the composition, production, properties, use, and testing of paints and coatings - DF]
Provides a comprehensive reference source for all those in the paint industry, paint manufacturers and raw materials suppliers, undergraduate and postgraduate students, and industrial paint users.
Quality Assessment of Textiles, Karl Marshall, Kindle Edition, Springer; 2nd edition (October 31, 1993, ASIN: B00193F3BI The damage which can occur in certain fibrous raw materials or during the production and storage of textiles is expertly described in this book by Karl Mahall. He particularly shows how to find concealed textile defects by using microscopic analysis. The examples represent typical cases that the author encountered during forty years of experience in the industry. Well-illustrated with impressive photographs, they invite you to follow each step and learn to apply the same methodology in practice. This book is especially useful as a manual for both chemical and textile engineers and quality engineers. It is also a useful reference for others in the textile industry in general.
Seeing Through Paintings, Physical Examination in Art Historical Studies, Andrea Kirsh, Rustin S. Levenson, Materials in Fine Arts, 2000 ISBN 99-051835 [ forensic science, technical reference, focused on art works - DF]
One of the best texts available for forensic investigation of the history, authenticity, and condition of paintings - DF
Understanding Ventilation, John Bower, The Healthy House Institute, ISBN 0-9637156-5-8, 1995 [General building science-DF - ** Particularly useful text. Mr. Bower has retired from the field but his book continues to be important]
"Moisture Control in buildings: Putting Building Science in Green Building," Alex Wilson, Environmental Building News, Vol. 12. No. 5. [Good tutorial, "Moisture 101" outlining the physics of moisture movement in buildings and a good but incomplete list of general suggestions for moisture control - inadequate attention given to exterior conditions such as roof and surface drainage defects which are among the most-common sources of building moisture and water entry.--DJF]
Why House Paint Fails [on file as /exterior/Why_House_Paint_Fails_FPL1.pdf ] - , Mark Knaebe, US FPL, web search August 2010, original source: http://www.fpl.fs.fed.us/documnts/finlines/knaeb95a.pdf
Why Paint Jobs Fail [on file as /exterior/Why_Paint_Fails_Bennett.pdf ] - , web search, August 2010, original source: http://www.bennette.com/pdf/whyfail.pdf, four pages describing alligatoring, bleeding, blistering, etc. Bennette Corporation, P.O. Box 9088, Hampton, VA 23670, Phone: 757-838-7777, Toll Free: 800-869-2929
Fax: 757-827-0529, Email: info@bennette.com, Website: www.bennette.com quoting: Bennette Paint Manufacturing Company, Inc. is a Virginia corporation which was founded in Newport News, Virginia in 1966 by James P. Bennette, Sr. In 1984, Mr Bennette sold the company to his employees through an Employee Stock Ownership Plan (ESOP). Today the company has a modern manufacturing plant, research laboratory, central warehouse and general offices located at 401 Industry Drive, Hampton, Virginia. From these facilities the company is able to supply quality paints and coatings through its company owned distribution and service centers and authorized dealers located in Virginia, North Carolina and South Carolina. Bennette Paint Manufacturing Company, Inc. also owns and operates Bennette Equipment Company which specializes in the sale, service, and rental of paint spraying and pressure cleaning equipment.
Supplemental Guidelines for Removing Paint From Interior and Exterior Wood Surfaces [on file as "/exterior/Paint_Removal_USGSA.pdf ] - , US General Services Administration, Historical Preservation Technical Procedures, 06400-02, web search August 2010, original source: //w3.gsa.gov/web/p/Hptp.nsf/0/40aff5a115b6a9e5852565c50054b4f4?OpenDocument
"Peeling Back Paint Layers For a Glimpse Into the Past," James Barron, The New York Times, 25 Feb 2010, p. A26
"Staining and Microbiological Infestation of Acrylic Paintings on Hardboard", Ulrik Runeberg, Conservator (Dipl. Rest./M.A.), Museo de Arte Contemporáneo de Puerto Rico, San Juan Presented,April 2007 conference in Richmond Virginia, sponsored by the AIC (American Institute for Conservation), this paper discussed the staining and microbial infestation of acrylic paintings on hardboard. - private correspondence, ER <->DF 12 September 2006. The following quotation is from the paper's abstract: "Hardboard served as a common and popular support for many modern paintings that were carried out from the mid - 1920’s, and still is used occasionally in contemporary art. Many artists rejected hardboard as an inferior industrial construction material of low aesthetical value, whereas others considered the processed and compressed wood fiber boards to be a stable, light and economic alternative to solid wood panels and other rigid supports. "From the conservator’s critical point of view, the many disadvantages of this type of support include: high acidity, hygroscope characteristics, tendency of ‘off-gassing’, (>tendency of) warping, occasional flaking of painting material in the case of tempered hardboard. The deterioration of paintings on hardboard depends on a number of factors including: the quality of the hardboard, prevailing storage conditions, and the preparation of the support by the artist. While there are many paintings on hardboard that are in very good condition, this paper will focus on those paintings that are heavily deteriorated and damaged. "A very characteristic damage found on porous painting layers such as acrylic colour on hardboard, is the formation of stains. Generally, those stains are described without any differentiation as ‘fox-spots’. The examination of various paintings concerned led to the conclusion, that there exist different kinds of stains that need to be discriminated against each other, to ensure an appropriate conservation and restoration treatment. "This paper aims to characterize and differentiate the stains, and will provide preventive and practical treatment proposals for the conservation and restoration of affected paintings. Questions such as ‘What are the stains composed of?’ and ‘Which may be the causes?’ will be addressed. Stains may consist of a variety of contents, such as: Ligneous residues, fungal infestation, bacterial activity, a combination of microbial and support induced discolouration [SID], a ‘symbiotic relation’ of ‘SID’ and fungal infestation, or the blooming of ingredients from the original painting materials. A range of microscopic analysis of the actual microbiological infestation of selected samples will be provided. The paintings that were examined, sampled and treated, are part of the Puerto Rican heritage, and were all kept in excessive humid tropical conditions, before they entered the Conservation Department of the Museum of Contemporary Art in Puerto Rico. "Conservation treatment options of stained paintings on hardboard will be discussed. A high level of acidity (caused from SID and/or micro-organisms) may require measures of reduction, disinfection and neutralization. Treatment methods that reduce the ligneous stains and residues of micro-organisms, and neutralize affected areas in painting layers include stain removal through the application of soaking compresses (poultices), and de-acidification through alkaline material. "Other aspects of deterioration, that do not have to do directly with the formation of stains, but also are typical for hardboard as painting support, will be mentioned briefly." - U.R.
Mobile View
InspectAPedia ® Home & Site Map
