"Cultural heritage conservation science and sustainable development: experience, research, innovation", International conference in the frame of the 50th anniversary of the Centre de Recherche sur la Conservation des Collections - CRCC50, held at Paris, 23-25 October 2013
Oral communications on leather and parchment:
- Claire Chahine
"Le cuir: enjeux pour la conservation et l'environnement"
Video presentation (URL)
- Elena Badea
"Identification of environmentally sensitive archival parchment for lower energy storage"
Video presentation (URL)
Showing posts with label Videos. Show all posts
Showing posts with label Videos. Show all posts
26/09/2014
Piel sobre tabla. Encuadernaciones mudéjares en la BNE (2013)
Exposición organizada por la Biblioteca Nacional de España en 2013 (12/03/2013 al 19/05/2013).
El arte mudéjar se desarrolla en los reinos cristianos de la
Península Ibérica, iniciado por artesanos musulmanes y judíos en un
momento muy especial en la historia del libro – a caballo entre el
manuscrito y el impreso - y de la Historia de España – el paso de una
sociedad islamizada a una cristiana. Este estilo, que tendrá enormes
repercusiones en la arquitectura y las artes decorativas, tiene un
excelente campo de creación en el mundo del libro y, muy especialmente,
en el arte de la encuadernación.
14/06/2014
"The secrets in skin: species identification of treated skins through proteomic analysis" by van Doorn & Fiddyment (2014)
Nienke van Doorn & Sarah Fiddyment, "The secrets in skin: species identification of treated skins through proteomic analysis", 117th SLTC Conference 2014, 26th April 2014, University of Northampton, Northampton.
URL (Video and PowerPoint presentation)
16/11/2013
Material Traditions - Sewing Salmon, Smithsonian Institution's Arctic Studies Center at the Anchorage Museum (2012)
In December 2012, a five-day Material Traditions: Sewing Salmon Residency was held at the Smithsonian Arctic Studies Center at the Anchorage Museum in Alaska. During the residency Alaska Native fish skin artists Coral Chernoff (Alutiiq/Sugpiaq), Marlene Nielsen (Yup’ik), and Audrey Armstrong (Koyukon Athabascan) gave demonstrations and documented the processes involved in creating objects made of fish skin.
Along the way from fish to completed work, they shared
their knowledge with students and visitors, and with curators and
conservators who care for museum collections.
For information on the Sewing Salmon Residency please watch the Smithsonian Arctic Studies Center video post.
For information on the Sewing Salmon Residency please watch the Smithsonian Arctic Studies Center video post.
25/05/2012
"Investigation of acid-deterioration in leather leading towards finding a suitable product for treatment” by Lama (2011)
Anne Lama, “Investigation of acid-deterioration in
leather leading towards finding a suitable product for treatment”, 114th SLTC Conference 2011, University
of Northampton, Northampton, 7 May 2011
26/09/2008
The Making of a Medieval Book by The J. Paul Getty Museum (2003)
The Making of a Medieval Book, exhibition held in 2003 at The J. Paul Getty Museum (Los Angeles), is part of the Getty's "Making of" series, which explores the historical techniques behind various art forms. The exhibition complemented Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, a major international exhibition also held in 2003.
The Making of a Medieval Book video, available from the museum website, explores the materials and techniques used to create the lavishly illuminated manuscripts produced in the Middle Ages and the Renaissance. The images in these handwritten texts are called illuminations because of the radiant glow created by the gold, silver, and other colors. The video examines the four stages involved in the making of a medieval book: parchment making, writing, illumination, and binding.
Parchment making
Most medieval manuscripts were written on specially treated animal skins, called parchment or vellum (paper did not become common in Europe until around 1450). The pelts were first soaked in a lime solution to loosen the fur, which was then removed. While wet on a stretcher, the skin was scraped using a knife with a curved blade. As the skin dried, the parchment maker adjusted the tension so that the skin remained taut. This cycle of scraping and stretching was repeated over several days until the desired thinness had been achieved. Here, the skin of a stillborn goat, prized for its smoothness, is stretched on a modern frame to illustrate the parchment making process.
Writing
After the surface had been prepared, the parchment was ruled, usually with leadpoint or colored ink. In this prayer book, you can see the ruling in red ink. Ruling lines helped the scribe to write evenly and were part of the design of the page. The scribe wrote with a quill pen made from the feather of a goose or swan. The end of the feather was cut to form the writing nib. A slit cut into the middle of the nib allowed the ink to flow smoothly to the tip of the pen. The appearance of the script—whether rounded or angular, dense or open—was partly dependent upon the shape and the angle of the nib.
Illumination
Illumination, from the Latin illuminare, "to light up or illuminate," describes the glow created by the colors, especially gold and silver, used to embellish manuscripts. In making an illumination, the artist first made an outline drawing with leadpoint or quill and ink. Next, he or she painted the areas to receive gold leaf with a sticky substance such as bole (a refined red clay) or gum ammoniac (sap). The gold leaf was then laid down and burnished, or rubbed, to create a shiny surface, which sparkles as the pages are turned. Finally, the illuminator applied paints that were made from a wide variety of coloring agents: ground minerals, organic dyes extracted from plants, and chemically produced colorants. These pigments were usually mixed with egg white to form a kind of paint called tempera. The deep blue of this illumination was probably made from crushed stone, while the background is a solid mass of shining gold leaf.
Binding
Once the writing and illuminating had been completed, the parchment sheets were folded and nested into groups called gatherings. The gatherings were ordered in their proper sequence and sewn together onto cords or leather thongs that served as supports. Once the sewing was finished, the ends of the supports were laced through channels carved into the wooden boards that formed the front and back covers of the book. The binding was usually then covered in leather or a decorative fabric. This binding's most stunning ornamentations are the metal corner pieces and raised medallions that would protect the binding as it rested on a surface. The dyed parchment pieces inset into the central medallion were once brightly colored yellow, green, and blue, creating a stained-glass-window effect on the covers of the manuscript.
(Source http://www.getty.edu/art/exhibitions/making/)
The Making of a Medieval Book video, available from the museum website, explores the materials and techniques used to create the lavishly illuminated manuscripts produced in the Middle Ages and the Renaissance. The images in these handwritten texts are called illuminations because of the radiant glow created by the gold, silver, and other colors. The video examines the four stages involved in the making of a medieval book: parchment making, writing, illumination, and binding.
Parchment making
Most medieval manuscripts were written on specially treated animal skins, called parchment or vellum (paper did not become common in Europe until around 1450). The pelts were first soaked in a lime solution to loosen the fur, which was then removed. While wet on a stretcher, the skin was scraped using a knife with a curved blade. As the skin dried, the parchment maker adjusted the tension so that the skin remained taut. This cycle of scraping and stretching was repeated over several days until the desired thinness had been achieved. Here, the skin of a stillborn goat, prized for its smoothness, is stretched on a modern frame to illustrate the parchment making process.
Writing
After the surface had been prepared, the parchment was ruled, usually with leadpoint or colored ink. In this prayer book, you can see the ruling in red ink. Ruling lines helped the scribe to write evenly and were part of the design of the page. The scribe wrote with a quill pen made from the feather of a goose or swan. The end of the feather was cut to form the writing nib. A slit cut into the middle of the nib allowed the ink to flow smoothly to the tip of the pen. The appearance of the script—whether rounded or angular, dense or open—was partly dependent upon the shape and the angle of the nib.
Illumination
Illumination, from the Latin illuminare, "to light up or illuminate," describes the glow created by the colors, especially gold and silver, used to embellish manuscripts. In making an illumination, the artist first made an outline drawing with leadpoint or quill and ink. Next, he or she painted the areas to receive gold leaf with a sticky substance such as bole (a refined red clay) or gum ammoniac (sap). The gold leaf was then laid down and burnished, or rubbed, to create a shiny surface, which sparkles as the pages are turned. Finally, the illuminator applied paints that were made from a wide variety of coloring agents: ground minerals, organic dyes extracted from plants, and chemically produced colorants. These pigments were usually mixed with egg white to form a kind of paint called tempera. The deep blue of this illumination was probably made from crushed stone, while the background is a solid mass of shining gold leaf.
Binding
Once the writing and illuminating had been completed, the parchment sheets were folded and nested into groups called gatherings. The gatherings were ordered in their proper sequence and sewn together onto cords or leather thongs that served as supports. Once the sewing was finished, the ends of the supports were laced through channels carved into the wooden boards that formed the front and back covers of the book. The binding was usually then covered in leather or a decorative fabric. This binding's most stunning ornamentations are the metal corner pieces and raised medallions that would protect the binding as it rested on a surface. The dyed parchment pieces inset into the central medallion were once brightly colored yellow, green, and blue, creating a stained-glass-window effect on the covers of the manuscript.
(Source http://www.getty.edu/art/exhibitions/making/)
22/06/2008
16/06/2008
Traditional membranophones: Portuguese adufe or pandeiro
Os membranofones são instrumentos musicais de percussão que produzem som através da vibração de membranas distendidas. Os mais comuns são os tambores. Tradicionalmente, as membranas são em pele animal; não são curtidas, assemelham-se a pergaminho.
Nos instrumentos musicais tradicionais portugueses encontram-se diferentes membranofones do tipo tambor, como por exemplo os adufes ou pandeiros, os bombos ou as caixas.
O adufe é um instrumento de percussão, geralmente, quadrangular de membrana dupla (bimembranofone). Duas peles de cabra cosidas à volta de um aro em madeira formam o instrumento. Para enriquecer a sonoridade são colocadas sementes no seu interior. É geralmente tocado por mulheres. Na região de Trás-os-Montes, o adufe é designado de pandeiro.
O adufe é um instrumento de percussão, geralmente, quadrangular de membrana dupla (bimembranofone). Duas peles de cabra cosidas à volta de um aro em madeira formam o instrumento. Para enriquecer a sonoridade são colocadas sementes no seu interior. É geralmente tocado por mulheres. Na região de Trás-os-Montes, o adufe é designado de pandeiro.
A membranophone is any percussion musical instrument which produces sound primarily by way of a vibrating stretched membrane.
Examples of Portuguese traditional membranophones are adufes or pandeiros, bombos and caixas.
Examples of Portuguese traditional membranophones are adufes or pandeiros, bombos and caixas.
The adufe is a square frame drum. It is usually played by women called adufeiras in religious festivals or sometimes at social events to accompany singing. The drum has two drumheads of goat skin that are sewn on to a wooden frame. Inside there are beads that rattle. The instrument comes in many sizes and is decorated with ribbons. In the Portuguese region of Trás-os-Montes this drum is called pandeiro.
Construção de um adufe por José Rego Relvas, de Idanha-a-Nova, Portugal (Janeiro de 2007)
Making an adufe by José Rego Relvas, from Idanha-a-Nova, Portugal (January 2007)
Sobre o pandeiro mirandês (Trás-os-Montes) ver blogue de Paulo Meirinhos.
http://pandeiromirandes.blogspot.com/
http://pandeiromirandes.blogspot.com/
15/02/2008
Tanning in Fes, Morocco by National Geographic (2006)
No processo antigo e tradicional de curtume de peles, as operações de pré-curtimenta caracterizavam-se por serem trabalhos muito pouco agradáveis aos sentidos mas, no entanto, fundamentais para a obtenção de um bom cabedal. Em Marrocos, na cidade de Fez, é ainda possível testemunhar as técnicas manuais da lavagem das peles, do caleiro, descarna, desencalagem e purga, esta última com dejectos de animais. A purga (ou lixo), actualmente efectuada com enzimas, é uma operação essencial para abrir a estrutura de fibras de colagénio da pele e é utilizada na preparação de cabedais macios.
Este curto vídeo de 2006 produzido para a National Geographic mostra-nos, poupando-nos o olfacto de uma experiência desagradável, como se preparava no passado uma pele para receber a curtimenta.
This video is a travel back to the Middle Ages of the tanning process. If you play it, you will watch the manual preparation of skins before tanning still in use in Fes. In particular, you will watch puering operation, a noisome operation which uses pigeon dung, employed mainly for sheep and lamb skins.
Este curto vídeo de 2006 produzido para a National Geographic mostra-nos, poupando-nos o olfacto de uma experiência desagradável, como se preparava no passado uma pele para receber a curtimenta.
This video is a travel back to the Middle Ages of the tanning process. If you play it, you will watch the manual preparation of skins before tanning still in use in Fes. In particular, you will watch puering operation, a noisome operation which uses pigeon dung, employed mainly for sheep and lamb skins.
20/12/2007
The Archimedes Palimpsest Project
The Archimedes Palimpsest
The manuscript was discovered in 1906 by J.L. Heiberg and it was in private hands throughout much of the twentieth century. The manuscript was bought at auction by an anonymous American collector who deposited the book at The Walters Art Museum, Baltimore (USA), for conservation, imaging, and scholarly study, in January 1999. A very interesting website was designed to give information on the Palimpsest and on the progress of the project in general.
"The Archimedes Palimpsest Project" Video (2006, 1h 4m long):
23/11/2007
Making Shadow Puppets in Bali (1937)
To commemorate the 100th anniversary of Margaret Mead's birth, the Library of Congress presents on the web a selection of materials from its extensive Mead collection, which came to the Library after her death. Margaret Mead and Bateson's 1936-1939 field trip to study the Balinese was a landmark in the history of visual anthropology. Bateson took several photographs and made a 16mm film of the artist, I Wara of Negara, making a wayang or shadow puppet on November 4, 1937.
URL
05/05/2007
Sombras chinesas: uma arte de trabalhar a pele
As figuras do teatro de sombras chinesas são cortadas a partir de pele crua, uma pele que não sofreu qualquer processo de curtimenta. A pele de burro era a mais utilizada em Pequim e na província de Hebei, enquanto que a pele de bovino foi a mais utilizada na província de Shaanxi e a de búfalo nas províncias de Hunan e Sichuan. As peles de cavalo, ovelha e porco foram também, ocasionalmente, utilizadas.
Making Chinese shadow figures
Chinese shadow figures are cut and carved from raw hide. Donkey hide was preferred in Peking and Hebei province, while cattle hide was used in Shaanxi province, buffalo hide in Hunan and Sichuan provinces. But on several occasions horse hide, sheep and pig skins were also used.
Making Chinese shadow figures
Chinese shadow figures are cut and carved from raw hide. Donkey hide was preferred in Peking and Hebei province, while cattle hide was used in Shaanxi province, buffalo hide in Hunan and Sichuan provinces. But on several occasions horse hide, sheep and pig skins were also used.
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