Tools matter. Having the right tool can mean the difference between success and failure. In a niche industry like art conservation the tools are often not found in any supply catalog or storefront and this can present obstacles to finding the right tool. For years (my entire career, actually) I’ve been using steel weights (pic 1) that my father “borrowed” from my jeweler uncle @a.macsai when they shared a studio in the 1970s. They worked but were imperfect; I dropped them a lot- mostly on my toes but sometimes on my fingers. One of my YouTube viewers is a retired engineer who was responsible for not only designing parts but the tools to make them. He turned that mind to my weights and fabricated a beautiful handled weight (pic 2) to save my toes. When I received it I was elated, it’s become my favorite weight and indispensable. To my surprise another box arrived yesterday with a similar handled weight yet with a piece of red oak secured to the bottom to act as a clapper for when I reinforce or strip-line a canvas. The weight applies pressure and the oak absorbs moisture so that the canvas doesn’t distort as it cools and dries. I now have a new favorite piece of kit. 
A before and after of a very dirty painting that was covered in polyurethane. In addition the paint layer was so cracked that it was almost sculptural. Three series of treatments not only was the surface coating removed but the cracks were flattened and stabilized without requiring a lining. 
The application of varnish to oil paintings is as old as the art of painting. The varnish serves many purposes; primarily for the artist it helps enhance the appearance of the image and even out the sheen. As oil paint oxidizes and cross links (or dries, in layman’s terms) it can become chalky or develop an inconsistent or blotchy sheen. The varnish can unify the sheen and allow the colors to appear richer and denser. In addition as a physical barrier layer it can offer protection against the world. Historical natural resins like dammar, mastic, shellac, or copal can deteriorate over time with exposure to uv light, oxygen and life itself. Removal can range from easy to perilous depending on many factors but almost universally the employ of alcohols or aromatics is necessary and those solvent classes can pose risk of damage to the paint layer. Thanks to the advent of synthetic resins (shoutout to the chemists in the house!) we now have uv-stabilized, plasticized and easily removable varnishes that resist cracking, yellowing, and general deterioration. In addition they can be easily removed with solvents that generally pose no risk to the painting. Varnish can be brushed, sprayed, or even hand rubbed depending on the conditions and desired outcome. A thin layer is preferable to a thick one and even application is paramount. While varnish may seem overwhelming, one shouldn’t feel intimidated as with a bit of practice (ok, truth time- I’ve probably varnished 12,000 or more paintings) it’s pretty easy. This lovely fruit still life truly comes alive with varnish and is now better protected than ever. Phew! 
A bit of quick frame restoration. Casting the missing ornamentation and then Toni g and tinting it allows the repair to not only blend in texturally but visually as well. These little diversions from working on paintings are a lovely departure. 
And now for something completely different, or is it. Most of my videos show what would be considered classic art yet a sizable portion of the work I do is on modern, contemporary, and abstract art. So I figured it was time to showcase one of those paintings in a full conservation video. This allows me to share some of the different approaches to conserving a more modern artwork. I’m sure that my Patreon folks will have lots of questions about this video and I look forward to recording the epilogue video for them. 
The retouching process is always exciting. This portrait of John Bunyan dated 1671 suffered damage and then the ill fated attempts of a previous suite of repairs. Once all of the structural work, cleaning and various repairs have been made it’s time to finally address what’s arguably the most important part of the painting: the image. Faces are some of the most fun elements for me to retouch- not only because the high concentration of white in the colors makes it a bit easier but because looking into the eyes of a sitter as they become whole is just really rewarding. The paint used here contains no oil- only resin and pigment, making it reversible and the next conservator’s job that much easier. 
I was going to write some thing very long and heartfelt about my father given that this past weekend marked the 10 year anniversary of his passing but ultimately I thought that this might be a better remembrance of the man who taught me to hate staples, tape and strainers. 
As promised, there’s now a non-narrated version of by immersive binaural restoration up on YouTube. You’ll want to wear headphones, turn off the lights and press your face as close as you can to your screen to get the full effect. Wearing an apron is t necessary but when in Rome... 😜 
You’ve seen many videos of me working, the studio, and the work but you’ve never seen what it looks like or heard what it sounds like when I’m actually working. This Monday’s offering does just that; put you in the role of conservator. Filmed from my perspective with a goofy camera strapped to my head and recorded with binaural microphones this puts you in my shoes. Tomorrow the non-narrated binaural ASMR version will post