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H I L D E GA R D H O M B U R G E R B A R B A RA KO R B E L

Architectural Drawings on Transparent Paper


Modifications of Conservation Treatments

Drawings on transparent paper


are a common working medium
for architects. Damage arises
through use but it is also related
to the particular qualities of the
papers. Through the conservation
of twentieth-century German
architect Hugo Häring’s architec-
tural drawings, known paper
conservation methods have been
further developed. Methods we
will discuss include the use of
isinglass, the application of paper
pulp to tears, and flattening in
what will be called a “hard-soft”
sandwich.
Hugo Häring (1882-1958) was
a member of “Der Ring,” an
important architect group in
Berlin. Famous architects like Fig. 1. Gut Garkau, before treatment: pressure sensitive tape, tears and losses.
Mies van der Rohe, Walter
Gropius and Hans Poelzig were
also members. Häring developed
the idea of “organic architecture”
and built several important build-
ings of which the Gut Garkau, a
farm building near the city of
Lübeck, is the most famous. The
designs of Gut Garkau and the
hospital Gaffre Guinle in Rio de
Janeiro are part of the estate of
Hugo Häring which is kept in the
collection of the Akademie der
Künste, Berlin (figs.1-2). The
drawings on tracing paper from
this estate were chosen for conser-
vation treatment. They dated
mainly from the 1920s. The Fig. 2. Hospital Gaffre Guinle Rio de Janeiro, before treatment: creases, tears and losses.

The Book and Paper Group Annual 18 1999


26 The Book and Paper Group Annual Vol. 18 1999

designs are drawn in chalk, ink, and pencil on vegetable Reyden 1993). Today, only a few places manufacture it,
parchment paper and impregnated transparent paper. because of the high pollution it produces.
Prior to treatment, all the drawings were slightly dirty
and had the expected damage for such papers. The impreg- Paper from Overbeaten Fibers
nated paper was badly discolored, the vegetable parchment At the end of the nineteenth century cheaper alterna-
slightly stained. The paper was brittle and creased and had tives to vegetable parchment were already being sought. It
numerous tears with pressure-sensitive tape attached to the was discovered that transparency could also be achieved
recto and verso. Many of the drawings had losses of vary- through longer beating of the paper fibers. When cellulose
ing size. is ground in a larger amount of water, it becomes gela-
When working with these papers it was necessary to tinized. Overbeating increases the fibrillation, the surface
identify the different types of transparent paper and their and the contact points between the fibers. With the
special qualities. Therefore, the different production meth- increased fiber connections, the breaking of light is reduced
ods will be briefly introduced. and transparency is increased (Van der Reyden 1993).
When pressed and flattened the paper becomes thicker and
PRODUCTION METHODS more transparent because the light-reflecting interstices
between the fibers are reduced.
Paper consists of a network of fibers. The single cellu- Imitation parchment, natural tracing paper, and glassine
lose fibers, which themselves are transparent, are paper differ from each other in the production of the paper
surrounded by air. Falling light is scattered by this air and pulp because of the choice of material used, the degree to
that is why paper is opaque. In order for the paper to be which it is beaten,1 as well as the different pastes, ingredi-
transparent the air has to be displaced by a material which ents, and pressing method. The three different types of
has an refractive index similar to cellulose. The light is then papers produced by overbeating fibers are reviewed below.
transmitted rather than scattered. In the history of paper- Imitation parchment paper. Imitation parchment paper is
making, three well-known methods were developed in produced from overbeaten chemical wood pulp and then
order to achieve transparent paper: impregnating, acid calendered.2 It was unsuitable for drawing. To produce a
treating, and overbeating. Each method is briefly discussed drawing paper, imitation parchment paper had to undergo
here. a soaking in wax or oil. The resulting paper is called, in
German, Ölpauspapier (Kotte 1959; Steinkellner 1979).
Impregnated Paper/Prepared Tracing Paper/Vellum Natural tracing taper. The majority of modern transparent
Paper drawing paper is natural tracing paper. Chemical wood
For many centuries paper was impregnated with mate- pulp is often used as the fiber substance because the fibers
rials that had a similar index of refraction such as linseed are relatively flat, split open easily, and connect together
oil, poppy-seed oil, starch, varnish etc. (Mills 1986; Flieder well in the sheet formation. The paper pulp is overbeaten
et al. 1988). Today starch, mineral oils, and synthetic resins so that a very even transparent paper is formed. The paper
are used to raise the transparency of paper (Van der Reyden can be calendered and coated on the surface (Flieder 1988;
et al. 1993). Van der Reyden et al. 1993).
Glassine. The chemical wood pulp for glassine is beat-
Genuine Vegetable Parchment Paper en in a smaller proportion of water than natural tracing
From the middle of the nineteenth century, paper was paper. The paper is less, or not at all, sized and contains no
made transparent through treatment with acid, mainly sul- fillers. A high gloss paper is produced through super cal-
furic acid. Through the effect of the strong acid, a coating endered drying.
of colloidal cellulose is produced on the fibers which is The identification of different types of transparent
insoluble in water, fills out the pores in the paper, and papers is difficult because the production methods are
makes the paper translucent and similar to parchment. often combined.
An alkaline neutralization bath follows the acid treat-
ment. Then the paper is calendered so the remaining air in PREVIOUS METHODS
the paper continues to be reduced. As a result of the acid
treatment the paper reduces in size and becomes a high Because of frequent use and inadequate housing transpar-
quality, strong paper with especially tear-resistant qualities ent papers are often in such bad condition that lining seems
in wet situations and a matte surface. Until the nineteenth necessary. The problem is that these papers are extremely sen-
century, paper pulp was made mainly from cotton and/or sitive to moisture. Therefore, since the 1970s methods have
linen fibers; later chemical wood pulp was used. Vegetable been developed to line this paper without moisture.
parchment was used and produced until the middle of the A supporting material is prepared with synthetic adhe-
twentieth century (Flieder 1988; Hoffman 1992; Van der sive which can be activated by heat (tacking iron, hair dryer,
Homburger & Korbel Architectural Drawings on Transparent Paper 27

heat set press) or solvents. In use are PVA dispersions on quickly than wheat starch paste, which made it suitable
Renova paper (Wolff and Hoffenk de Graaff 1982), PVA for local applications. Deformation of the joined tears as a
on polyester web (Jirat-Wasiutynski 1980), BEVA 371 on result of moisture could also be reduced with isinglass.
chiffon-silk (Yates 1984), BEVA 371 on Japanese paper Mends with isinglass and linings using wheat starch paste
(Stone 1987, Cook, Dennin 1994), and Klucel G on were seen to be suitable because they were not toxic and
Japanese paper (Flieder et al 1988; Page 1997). application was uncomplicated. Also, the repairs and lin-
In the 1980s, Japanese lining methods were introduced ing could easily be removed with moisture without
into Western paper conservation.3 At first they were only endangering the object.
applied to Far Eastern objects. With time these Eastern
materials, tools and methods were also adapted for the W O R K I N G S TAG E S
conservation of Western paper because the methods had
been successful for a long period of time. Western and Far Dividing into Groups According to Condition
Eastern methods were united together and also used for According to the amount of damage, the transparent
the conservation of transparent paper. The transparent papers were divided into those which required only mend-
paper was lined with thin wheat starch paste and Japanese ing and those which need to be lined. In the group to be
paper and afterwards it was stretched or flattened under lined the tears would either be reinforced with Japanese
weight (Glaser 1980; Albright and McClintock 1982; paper after the lining or with paper pulp during the lining.
McClintock 1986; Huxtable and Webber 1987).
The suction table, ultrasonic humidifier, humidifying Dry Surface Cleaning and Removal of Pr e s s u r e -
chamber and Gore-Tex found their way into paper conser- Sensitive Tape
vation and made it possible to control the amount of The surface cleaning was carried out with grated eraser
moisture applied to sensitive objects (Keyes 1988). So trans- crumbs.
parent paper was, for instance, relaxed in a humidity The plastic carrier of the pressure sensitive tapes was
chamber or between Gore-Tex (Yates 1984; Cook and mechanically removed from many of the drawings; some
Dennin 1994), flattened on the suction table (Flamm et al. needed the application of warmth to ease this process. The
1990; Singer et al. 1991) or lined on the suction table. The remaining adhesive was either removed with a rubber-
effect of different conservation methods on the quality of the cement eraser or with alcohol, acetone, or ethyl acetate
paper was scientifically investigated (Van der Reyden et al. (Reissland 1995; O’Loughlin and Stiber 1992; Smith et al.
1992 and 1993; Hoffmann et al. 1992). 1984) (figs. 3-4).

THIS PROJECT’ S METHODS Mending and Fills


Local repairs using Japanese paper and isinglass. To make the
The goal of our treatment was to alter Hugo Häring’s Japanese paper mends as invisible as possible the paper was
drawings as little as possible visually and aesthetically. It torn in strips with fibrous, feathered edges. When the
was very important to us that the chosen methods suited mend was adhered to the drawing only the center of the
the qualities of the paper. Therefore, we used Japanese strip was stuck down. The technique works because the
paper and isinglass for the repairs, and wheat starch paste fibers at the edges of the mending strip stand up and are
and Japanese paper for the lining of the objects. The com- not visible.
plete wetting of the objects during lining increased the The tears were pasted approximately 1-2 mm along the
flexibility of the paper. Also the shiny surface of the paper edges with isinglass, then the Japanese paper was laid over
was not lost. The thin lining paper only slightly reduced the tears and pressed down under a layer of Reemay apply-
the transparency. The dimensional change due to the wet ing light pressure with the fingers. The pressure of a fin g e r
lining was not more than 0.1%. facilitates the absorption of the moisture and allows the
The degree to which the paper dimensions expand and treated part of the tear to expand and contract with more
contract depends on the type of paper and the drying and ease than when using a rigid weight. Sand-bags are also
flattening methods. For this reason, we did not use the useful but the hand is more sensitive and can judge the
suction table for drying the papers but flattened the amount of pressure better.
objects on a drying board or pressed them in a hard-soft Completion of missing areas/preparation of infill paper. The
sandwich. Wheat starch paste and isinglass,4 two natural expansion and contraction qualities of the infill paper has to
adhesives which are well known for their good aging be as similar as possible to the original paper. If it is not
qualities were considered. Unlike synthetic adhesives, similar the area can buckle at the joint of the two papers. In
these natural adhesives complement the movement of the order to find a corresponding paper we had to choose a
paper. Isinglass has been used successfully to line trans- modern transparent paper of the same weight because old
parent paper objects (Petukhova 1989). It binds more papers were not available. Different papers of the same
28 The Book and Paper Group Annual Vol. 18 1999

weight can have different expan-


sion and contraction charac-
teristics. We did tests to ascertain
the correct paper. The suitable
paper was either toned and dried
in an oven or colored with dyes
from Bayer. Both methods have
different advantages. Artificial
aging gives characteristics to the
i n fill paper that are similar to the
drawing paper. With the Bayer
dyes, however, a wider range of
tones can be produced.
Filling losses. The toned paper
was laid on Mylar and placed over
the missing area, the fills were cut
edge to edge with a scalpel and
then adhered to the object with
strips of Japanese paper and isin-
glass. The tension produced by
this technique of edge-to-edge fill
Fig. 3. Detail Gut Garkau, before removal of Fig. 4. Detail Gut Garkau, after removal of is lower than a fill that overlaps the
tape. tape. drawing paper and for that reason
causes less stress and cockling.

Lining
Preparation. A work surface of Plexiglas was prepared with
a layer of Reemay, which was brushed with water to leave
a film of water.5 The object was laid on top of this with the
drawing facing downwards and sprayed immediately with
water. Without further manipulation the paper was given
time to expand. At the same time the repair paper was also
expanded over a piece of Mylar. The water film makes the
positioning of tears and folds easier (fig. 5). The object was
covered with Reemay and brushed out flat with the
Nadebake.6 Transparent paper has a tendency to wrinkle up
despite being brushed out flat so the drawings were blotted

Fig. 5. Gut Garkau, laid over a film of water. Fig. 6. Gut Garkau, blotted down during the cutting out of infil l
on Mylar.
Homburger & Korbel Architectural Drawings on Transparent Paper 29

down on the surface. The blotting paper absorbed the second felt was laid over it. The object was left to dry
degradation products from the paper. The fills were pre- overnight. When transparent paper dries, it shrinks to its
pared and cut as stated before. A light table made the original size or slightly smaller.
application of the fills easier (fig. 6).
Reinforcement of tears. The edges of the tears of the lined F L AT T E N I N G I N A H A R D - S O F T S A N DW I C H
objects tended to lift up after drying when using a thin lin-
ing paper. Two techniques were used to deal with this There are certain paper objects that require special fla t-
problem. The first included laying a strip of Japanese paper tening. Examples are sensitive papers like tracing papers
over the tears with isinglass. This was done after the dry- and Japanese papers. Papers with severe distortions such as
ing of the lined object. The second technique was to apply folds, buckling mends and open tears are also problemat-
paper pulp to the tears before the expanded object was ic. Papers with uneven expansion qualities require special
lined. The tears and edges were brushed on the back of flattening techniques as do papers with plate marks, impas-
the object with wheat starch paste. To achieve the best to painting, or papers with rough surfaces.
transparency in the paper pulp application, an industrial Flattening these papers between blotting paper might
transparent paper pulp was used. This pulp produces a cause creases in the paper or might compress the paper
highly transparent, white paper. To make the pulp fills surface or thick paint layers. Stretching is sometimes the
visually match the paper, colored fib e r s7 were added to the alternative (Huxtable and Webber 1987), but it involves
pulp. The beaten mixture of fibers was applied to the tears the application of stretching margins to the object, which
with a drip bottle and the excess moisture was absorbed is often undesirable.
with a tea-towel (50% linen:50% cotton,8 fig.7). The paper The technique we call “hard-soft sandwich” is another
pulp should not be too thick. If it is, it will be visible from alternative that does not require margins or any other addi-
the front and produce too much tension. The suction table tion to the object. The procedure is a very gentle way to
is not suitable for this because the paper at the tears would flatten heavily creased or sensitive paper objects and it is
dry out too quickly and shrink. Frequent spraying might very easy to do.
work but is not practical and would change the character-
istics of the paper too much (Van der Reyden et al. 1993). Pr o c e d u r e
Lining. The thinly pasted out lining paper was centered The object is relaxed in a Gore-Tex sandwich or mois-
over the object on a Mylar carrier and brushed down with ture chamber9 and laid on a sheet of Reemay on top of a
a Nadebake. Then the Mylar was lifted up following the hard museum-quality mounting board. It is then covered
grain direction of the object and the Japanese paper was with a layer of soft polypropylene fleece10 and smoothed
brushed firmly down to remove any air bubbles. through the fleece with a Nadebake brush. Depending on
The lined object was blotted to draw out the moisture the distortion of the paper object, up to four layers of
and to ensure that the papers formed a good bond togeth- fleece are put on top of the first layer. This means a more
er. Afterwards the object was lifted up from the table using heavily distorted object requires more layers of polypropy-
the Reemay support and laid out on a felt. The Reemay lene fleece. A wooden board and weights are placed on top
was taken off because it holds too much moisture. The (figs. 8-9). More weight is required than with a standard
recto of the transparent paper was blotted carefully and a pressing between blotting paper. Despite the heavier

Fig. 7. Gut Garkau, pulp application. Fig. 8. Construction of the hard-soft sandwich.
30 The Book and Paper Group Annual Vol. 18 1999

Fig. 9. Diagram, cross section of the hard-soft sandwich.

weight, plate edges and thick color layers, etc., are not reduced. With very large objects several pieces of fleece can
changed during this pressing process. The paper object lies be laid next to each other. It is important that no spaces
flat and free of tension. remain between the fleece. It is safe to overlap the pieces of
Some papers might require repeating of the process. In fleece because when weighted down they press into each
subsequent flattenings the number of fleece layers might be other and produce an even pressure overall.
The hard-soft sandwich is also
suitable for local treatments. For
this however, the sandwich has to
be considerably larger than the
treated paper area. This way the
polypropylene fleece evens out
the tension between the damp-
ened and dry areas.
We used this method to flatten
lined tracing papers, unlined trac-
ing papers, repaired drawings and
completed objects. The papers
were placed in a Gore-Tex sand-
wich for 5-20 minutes according
to the paper type.
Some transparent papers had
to be partially flattened before
they could be dry cleaned and
repaired (figs. 10-11).

FINAL WORD

The methods described here


were improved and developed
Fig. 10. Detail Hospital Gaffre Guinle Rio de Fig. 11. Detail Hospital Gaffre Guinle Rio de during the working process. After
Janeiro, before flattening. Janeiro, after repairs and flattening. observing that the lined objects
Homburger & Korbel Architectural Drawings on Transparent Paper 31

reacted more to climate changes


than the unlined objects, we
decided only to line the extreme-
ly weakened sheets. The Hugo
Häring drawings were adequately
stabilized with the repairs of
Japanese paper and isinglass. They
were also treated like art objects
and stored in museum quality
mounts.
The results of the hard-soft
sandwich were so good that the
majority of the objects received
this treatment and were not
stretch-dried.
After the paper pulp technique
to reinforce repairs while lining
was developed, it was favored
because it took less time than
reinforcing tears with strips of
Japanese paper after lining. We Fig. 12. Gut Garkau, after treatment.
did tests to fill missing areas with
transparent paper pulp and the
tests showed many promising
results. However in the tests this
transparent paper pulp application
technique caused very strong ten-
sion in the paper. We believe that
after more investigation into mix-
ing different ratios of the paper
pulp and other contents, this
method could be a new alternative
to the techniques used up until
now.

AC K N O W L E D G E M E N T S
Fig. 13. Hospital Gaffre Guinle Rio de Janeiro, after treatment.
We would like to thank
Annette Kessler for her assistance 3. Hyogu: The Japanese Tradition in Picture Conservation, ed. Paul
with the development of the paper pulp application tech- Wills and Nicholas Pickwoad, The Paper Conservator 9 (1985).
niques during her internship. We would like to thank 4. In Russia the use of isinglass is not only common in paint-
Gemma Caney for her support with the translation. ing conservation but also in paper conservation. Isinglass is a hot
glue which is produced from the bladder of the sturgeon fish. It
NOTES has a pH value around 6 and very good aging characteristics. It is
one of the best quality protein glues with a very weak color, a
1. Expansion and contraction of the paper in changing rela- high elasticity and forms a transparent film. The quality of the
tive humidity rises proportionally to the grade of beating of the glue depends on the origin of the bladder and its production
pulp. method (Foskett 1994).
2. At the end of the nineteenth century this method was dis- A 2% solution was used; 0.4 grams isinglass were soaked for
covered by accident: machines stopped during paper production. several hours in 20 ml water and then dissolved in a double
The paper pulp stayed longer in the hollander and was overbeat- boiler.
en, the resulting paper was transparent. This paper was called 5. Reemay has a less smooth surface than Hollytex. It is very
Pergamyn. porous and therefore water permeable. Hollytex is not as suit-
32 The Book and Paper Group Annual Vol. 18 1999

able because the object does not glide over the surface as easily 8th Annual Meeting, San Francisco: AIC. 20-25.
when being brushed out. Hofmann, C., D. van der Reyden, and M. Baker. 1992.
6 . Japanese brushes were used: Nadebake, smoothing The effect of three humidification, flattening and drying
brush, and Noribake, paste brush. See: A. Thompson, Japanese techniques on the optical and mechanical properties of
brushes for conservation, The Paper Conservator 9 (1985): 42-53. new and aged transparent papers. Conference Papers:
7. A tracing paper factory kindly sent us a sample bottle of Manchester 1992, ed. Sheila Fairbrass. Leigh, U.K.:
their fiber pulp but they asked us not to publish their name. One Institute of Paper Conservation. 247-256.
liter of pulp lasts a very long time and is enough for many objects. Homburger, H. and B. Korbel. 1998. Architekturzeich-
Conifrazell, dried chemical wood pulp, from Claasen nungen auf Transparentpapier. Restauro 7:462-467.
Papertronics was dyed with colors from Bayer and added to the Huxtable, Merryl, and Pauline Webber. 1987. Some adap-
tracing paper pulp. tations of Oriental techniques and materials used in the
8. Dutch method from van Oort (see: Otto Wächter, Prints and Drawings Conservation Department of the
Restaurierung und Erhaltung von Büchern, Archivalien und Victoria and Albert Museum. The Paper Conservator
Graphiken, Wien 1977, 136). 11:46-57.
9. If the paper is sprayed it does not moisten as evenly as in a Jirat-Wasiutynski, Thea. 1979. Sprayed polyvinyl acetate
Gore-Tex sandwich. heat seal adhesive lining of pen and iron-gall ink draw-
10. Instead of polypropylene fleece other materials with sim- ings on tracing paper. Journal of the American Institute for
ilar properties could be used. Conservation 19(2):96-102.
Keyes, Keiko Mizushima. 1994. Some practical methods
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SUPPLIERS

Conifracell
Claasen Papertronic
Landsberger Str. 80
D-45219 Essen
Tel. 02054/130, Fax 131790
Germany
Gore-Tex
Deffner & Johann
Mühläcker 13
D-97520 Böthlein
Tel. 09723/2044, Fax 4889
Germany
Isinglass
Dr. Georg Kremer, Farbmühle
D-88317 Aichstetten
Tel. 07565/1011 or 91120, Fax 1606
E-mail: kremer.pigmente@t-online.de

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