Weather-Related Causes of Paint Failures on Stucco Exterior Walls
InspectAPedia® -
Stucco wall paint failures caused by weather conditions
Too hot, too cold, too dry, too wet, too windy, too sunny: conditions affecting the success of a stucco exterior wall application
Stucco exterior cracks, white deposits, stains, efflorescence causes
The role of weather conditions in the success or failure of exterior stucco jobs
This article reviews common weather-related causes of exterior stucco problems and failures when installing modern stucco or EIFS building exteriors. We include photographs of weather-related stucco failures on buildings useful to assist in diagnosing the probable cause of stucco wall coating failures such as stains, efflorescence, blotching, cracks, and leaks.
InspectAPedia tolerates no conflicts of interest. We have no relationship with advertisers nor with topics or services discussed at this website.
The diagnosis and cure of paint failure on
buildings, particularly on wood siding and trim, is quite possible if there
is a careful and thorough inspection of the building, its history, its surfaces, and the actual points of paint
failure. It is diagnostic to compare the same coating on the same type of surface at different
locations on a building and in areas of failed and not-failed paint.
Water or wet stucco combined with high pH is the problem. It is the combination of painting over a still-wet stucco surface or still damp surface, or a surface that is subsequently exposed to abnormal wetting, along with high alkalinity that causes saponification of an acrylic paint on stucco. When painting a sufficiently dry stucco surface, alkalinity alone will not cause this problem. - paraphrased from KTA Tator, a Pittsburgh consulting firm.
As our photos just below demonstrate, the appearance of any painted surface, particularly new stucco, can be significantly different when it is wet.
While there is nothing abnormal or "wrong" with a painted surface that looks a bit different when wet, say darker in color, streaks or the appearance of mottled efflorescence or white blooms on a wall after wetting may be telltales of a paint problem, and certainly these inconsistencies mean that a paint failure investigator needs to inspect when the surface is dry. Inspecting in the rain or just after raining or other sources of wet on a building exterior may lead to incorrect conclusions.
White Run-Down Stains on Exterior Stucco after New Paint Job
Below we show several photographs of ugly white stains that appeared quickly after a reader's home's stucco exterior was spray painted in 2010. The reader indicated that the painters applied a Dunn-Edwards exterior flat acrylic paint very quickly, perhaps too quickly, after the home had been power-washed. The stains are most likely not due to a defect in the paint itself (unless it was amended or over-thinned by the painter) and more likely due to improper surface preparation combined with painting before the surface was dry after power washing.
The Importance of Weather to Stucco Work and Stucco Paint Coatings
Moisture, humidity, rain, or wet conditions during thin-coat or EIFS stucco work can lead to a subsequent series of failures of the entire installation. The home shown in our photo (left) was the subject of litigation. We observed that the final stucco had been applied over wet surfaces and in some cases over surfaces that also had been troubled by soil that had splashed-up on the building during rainy weather.
Stucco wall paint failures are also traced to moisture, efflorescence, and failure to adequately clean the exterior and then allow it to dry before painting. See PAINT on STUCCO, FAILURES and also PAINTING in SUN or WIND.
Temperature during stucco work will speed up or slow down the
hydration process that cures the cement in stucco. It is best
to avoid application in extremely hot or cold temperatures.
In hot, dry, and windy weather, frequent misting will be
required on the scratch coat or the installer may need to
tape polyethylene sheeting in place for proper curing.
Direct sun tends to dry out the fresh stucco too fast, so
installers should try to follow the shade around the building.
Also, retardants are available that can be sprayed on
the scratch or brown coat in hot weather to slow down the
curing.
Sun, heat, and rapid drying conditions can present special stucco application troubles or subsequent stucco paint coating troubles in hot dry climates such as the American Southwest. (Photo at left).
Cold weather also presents problems. Stucco should
not be applied under 40°F, and it should not be allowed to
freeze within 24 hours of application. Accelerators can
be added to the stucco mix in cold weather, but these
can weaken the material, and calcium-based accelerators
can lead to efflorescence.
Heating the materials and, if necessary,
tenting the structure can permit work to proceed in
cold, even freezing, weather.
Cool, moist weather is ideal for traditional stucco wall installations. In humid weather, with
relative humidity over 70% or heavy fog, misting is not
usually required.
See details about the cause, diagnosis, cure, or prevention of paint failures on stucco exterior walls, found at STUCCO PAINT FAILURES.
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Dunn-Edwards Corporation, producer of Dunn-Edwards paints, 4885 E. 52nd Place, Los Angeles CA 90040 (888) DEPAINT dunnedwards.com, provides information sheets for each of their paint products, such as this guide for using Dunn-Edwards Acri-Hues Exterior Acrylic Flat Paint W720 - Quoting from the company's advice on surface preparation to avoid staining problems when painting stucco
All surfaces must be cured, clean, dry, and free from dirt, dust, rust, stains,
grease, oil, mildew, wax, efflorescence and other contaminants. Remove all
loose, peeling, or chalky paint by sanding, scraping, high-pressure washing
or other appropriate methods. Repair all cracks, holes, and other surface
imperfections with a suitable patching material. Repaired surfaces should
match the surrounding surface texture. If efflorescence exists, remove all
noticeable deposits and prime the entire surface with Super-Loc® (W 718),
Eff-Stop® (W 709) or Acri-Loc® (W 6232).
KTA-Tator, Inc.,
Corporate Headquarters,
115 Technology Drive,
Pittsburgh, PA 15275,
: 412.788.1300
Fax: 412.788.1306
E-mail: info@kta.com KTA is a Consulting/Engineering firm founded in 1949 in Pittsburgh, Pennsylvania. Their main specialty is consulting and inspection in the protective coatings and construction industries.
Painting Contractor Newsletter on Alkalinity and Efflorescence in New Stucco, The Paint Quality Institute, in which the authors point out that high pH and efflorescence correlate. This article suggests that the painter should use a water-based primer/sealer, (Scott Paint recommends an acrylic stucco primer) then use an alkaline resistant 100% acrylic latex top coat, avoid bright colors, and apply two top coats to be sure that cracks and pinholes are sealed. The Paint Quality Institute is at PO Box 904, Spring House PA 19477. www.paintquality.com
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]
Steven Bliss served as editorial director and co-publisher of The Journal of Light Construction for 16 years and previously as building technology editor for Progressive Builder and Solar Age magazines. He worked in the building trades as a carpenter and design/build contractor for more than ten years and holds a masters degree from the Harvard Graduate School of Education.
Excerpts from his recent book, Best Practices Guide to Residential Construction, Wiley (November 18, 2005) ISBN-10: 0471648361, ISBN-13: 978-0471648369, appear throughout this website, with permission and courtesy of Wiley & Sons. Best Practices Guide is available from the publisher, J. Wiley & Sons, and also at Amazon.com.
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
"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.
Thanks to reader Christa for discussing white staining on an exterior stucco wall and for providing paint stain failuire photographs. May 2010
Wall Systems, 217 Kinley Ave., NW, Albuquerque, NM 87102 Tel: (505) 242-WALL (9255) and Wall Systems, Inc., 5000 E. Nebraska, Tucson, AZ 87706, Tel: (505) 574-2379 - a Stucco & Sto-Wall contractor has provided contact information for readers needing services in the Southwest: Tel: 505-242-WALL. Website: http://www.albuquerquestucco.com/
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 [Copy on file as /exterior/Preservation_Brief_10_ Exterior_Paint_Problems_on_Historic_Woodwork.pdf ] - , 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.
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