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Stucco Finish Bonding Agents Use of stucco & cement bonding coats & admixtures
POST a QUESTION or COMMENT about installing stucco, diagnosing paint problems on exterior or interior stucco surfaces
Instructions for using bonding agents on stucco or concrete surfaces:
This article series describes common building exterior & interior painting
mistakes when painting on modern stucco building exteriors, describes how to diagnose paint failures on buildings, and outlines a procedure for diagnostic field inspection & lab testing of failed painted surfaces.
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Use of Bonding Agents in Stucco Applications
The use of bonding agents can improve the adhesion, life, and performance of stucco and concrete surfaces and their coatings. But choosing the wrong bonding agent or failing to follow the manufacturer's instructions when applying a bonding agent can lead to ugly stucco and concrete coated surface failures or to paint failures.
[Click to enlarge any image]
Question: is it ok to apply stucco, bonding agent & top coat all in the same day?
2017/09/27 Mike Bell said:
I have a question. I recently hired a stucco contractor to patch a couple of fairly large areas on the exterior of our home where windows were removed and "walled in".
They applied a single layer of traditional stucco, about 3/4" thick, followed a short time later the same day by a blue-colored bonding agent and then, after about an hour, a finish layer of acrylic stucco.
Is this approach ok? Will the traditional stucco cure properly behind the acrylic layer and, if so, how long should I wait before priming and painting with an elastomeric paint? Thank you.
Thanks for a good question. The use of a bonding agent in the stucco system being used to repair your home might be perfectly correct - or not - depending on the specific stucco product being used.
It is also important to select the right bonding agent for the application: outdoor agents for outdoor use, for example.
The manufacturer will almost certainly have an opinion about whether or not they want a bonding agent to be used. Bonding agents used with portland-cement based stucco and that are painted onto a surface or onto an intermediate coat are specified by ASTM C932.
Some of the stucco instructions I reviewed to address your question recommend use of a bonding agent but specify that a minimum cure time of 24 hours is needed between coats.
Here is an excerpt from an industry expert:
On two-coat work, only the base coat is bonded to the substrate. It should be at least three-eighths of an inch thick and permitted to dry a
minimum of 24 hours.
This is extremely important. If the second coat is applied too soon, the moisture may penetrate the scratch coat and
flood the still wet bonding agent and cause a delamination. - (Larsen 1995)
Bull-Bond™ for example warns that the base concrete layer needs to be "cured to industry standards" (perhaps 24 hours) before applying the bonding agent; the top coat is then applied over the bonding agent as soon as the bonding agent itself has "cured" - typically meaning when it feels dry to the touch.
If you can find out the product name that was used on your home we can perhaps find an answer that fits your specific case.
A different type of product, integral bonding agents that are mixed in with the stucco itself should not be used unless the manufacturer of the stucco system agrees with that application.
Past the question of proper application of the stucco repair patch, bonding agent, and top coat layer on your home, before you paint the new stucco area, wait at least 10 days to permit the stucco to cure, and also review our curing, sun and wind warnings, and other painting advice and caveats in the article above.
Research on Use of Bonding Agents for Cement / Stucco Applications
Boland, John, "BONDING AGENTS for Plaster: Stick to the Rules for Best Results" [PDF], AWCI, Construction Dimensions, October 1993, Association of the Wall and Ceiling Industry, Tel: (703) 538-1600, Website: www.awci.org, retrieved 2017/09/26, , retrieved 2017/09/26, original source: http://www.awci.org/cd/pdfs/9310_a.pdf
Excerpt:
There are three principal types of plaster bonding agents available today: a resinous emulsion, a mixture containing mostly latex, and anacrylic
liquid.
Since these materials differ in formulations, they perform their bonding work in different ways.
It is quite important for industry personnel to understand just how these products perform their services, and with that understanding to follow the manufactureis instructions.
All of these different bonding agents have some similar requirements.
They should never be used over water-soluble paints, casein, glue size, calcimine or wallpaper.
When applied to a painted surface, be certain that the paint is well bonded to the base. Paint must be applied to a clean, solid substrate.
...
How do you test for well-bonded paint? With a sharp knife, make several crosscuts in the paint about a quarter of an inch apart. Then place a piece of masking tape over the scored area and press it tightly into place. Peel off the tape. If any of the paint comes with it, the paint is not sufficiently bonded to the substrate.
Bull-Bond Bonding Agent™ Technical Data Sheet [PDF], Conspro Corporation,
Road 175 Km. 0.2 Rio Cañas, Industrial Park Lot #35, Caguas, PR 00725 Tel: 787-653-4900 Email: info@conspro.com
Website: www.bullbond.com
Excerpt:
BULL-BOND® BONDING AGENT is a liquid ahesive based on latex polymers with re-emulsifiable properties. This water based latex emulsion is a bonding adhesive used for plastering applications. It provides a permanent bond for fresh cement mortars and plastering mixes to structurally sound concrete surfaces.
Once applied and cured it reemulsifies when in contact with fresh cementitious mixes providing wet tack and developing strong adhesive properties to the fresh cement mortars.
Bull-Bond® BONDING AGENT eliminates the need for mechanical devices to join the plaster coat. Plaster placement speed waster is increased significantly along with significant reductions in mortar droppings and this results in greater worker productivity, project delivery improvements while upgrading the plaster and stucco job finish quality.
DryVit STUCCO PLUS® DUK437 Installation Guide [PDF], Dryvit UK Ltd. Unit 4 Wren Park Hitchin Road Shefford, Bedfordshire SG17 5JD UK, Tel: 01462 819555 Website: www.dryvit.co.uk, retrieved 2017/09/26, original source: http://www.dryvit.com/fileshare/doc/uk/description/duk437.pdf
Excerpt:
Stucco Plus is primarily used to level uneven substrates. Generally used as an optional component with the Dryvit ACR anti-crack render systems where brick/block or concrete substrates have to be levelled prior to the application of the selected Dryvit acrylic finish. Stucco Plus can be applied between 3-12mm in one application.
LaHabra® Poly-Bond Technical Data Sheet [PDF], Parex USA, Inc., 4125 E. La Palma Ave., Suite 250, Anaheim, CA 92807 USA Tel: (866) 516-0061 Tech Support: (800) 226-2424
Excerpt:
Stucco Plus is a two component, polymer modified re-profiling mortar. Available in 22.5 kg (55 lb) bags mixed with Stucco Plus Admixture comprising of Dryvit AC100 and water.
LaHabra® Poly-Bond is for use as a basecoat and adhesive for expanded polystrene foam shapes. These shapes are typically used as exterior decorative trim such as pop-outs, plant-ons, cornices and quoins.
Larsen, Jeff, THE USE of BONDING AGENTS for PORTLAND CEMENT PLASTERING [[PDF] Construction Dimensions, Feb. 1995, AWCI, Association of the Wall and Ceiling Industry, op. cit., retrieved 2017/09/26, original source: www.awci.org/cd/pdfs/9502_b.pdf published by AWCI, the Association of Wall and Ceiling Industry.
Excerpts:
Before we had liquid chemical bonding agents, we had to provide some form of mechanical key to ensure the bond of portland cement plaster. [Examples include wood lath and expanded metal-lath - Ed.]
In the early1950s, water-based polymers became available to treat surfaces to be plastered. By the late 1950s we had acryliucs that modified the plaster itself. Thus we have two basic categories of bonding agents: surface applied and integral.
Almost all surface-applied bonding agents are compounded from polyvinyl acetate emulsions. These water-based adhesives are very safe to use because they are non-toxic, non-hazardous, and non-flammable. They meet even the most stringent VOC requirements.
Nordmeyer, Herbert, "STUCCO HANDBOOK for BUILDERS" [PDF], Magna Wall®, 10653 South River Front Parkway, Suite 300, South Jordan JT 84095 USA, Tel: 801-984-9400retrieved 2017/09/26, original source: https://www.magnawall.com/downloads/stucco_handbook.pdf
Excerpts includes a nice concise history of stucco:
Stucco has been around for centuries. Initially it started out as mud plaster over unburned brick (adobe). When the rains came, the plaster washed off the wall rather than the brick being washed out of the wall. After the rains the structure was replastered. Plastering took a leap forward when the Egyptians learned to burn gypsum and hydrate it. It took another leap forward when the Greeks learned to burn lime. For nearly two millennia, the high-quality exterior plaster (stucco) on buildings was hydrated lime plaster. Making the plaster was simple. A lime-burning kiln was either built from brick or dug into an embankment and then loaded with limestone. The kiln was burned until the limestone turned red hot and collapsed. This was called quick lime. It was allowed to cool and then removed from the kiln. Quick lime and water were mixed to form a slurry (masses of steam were given off and rocks exploded) and then buried in a pit for a number of months. When it was dug up, it was a homogeneous lime putty. The lime putty was mixed with sand, and additional water was added. The lime plaster was applied not unlike plaster is applied today. As the plaster was exposed to the air, it absorbed carbon dioxide from the air, and the hydrated lime gradually turned back into calcium carbonate. The process was slow and labor intensive. As mentioned above, plaster was applied to protect un-burned/under-burned brick. As time passed, innovative people came up with shortcuts. Lath was born and brick were no longer needed for a plastered building. Initially, lath was wooden strips. Then, as now, the admixture market was active. Rather than fiberglass or polypropylene fibers, horse hair and other natural fibers were added to the plaster. To obtain a harder stucco, ox blood was added to the mix. In Mexico and the southwestern US, juice from crushed prickly pear cactus leaves was used. When natural cements and later portland cements came on the market, small amounts of cement were added to the lime plaster to speed the set. Building owners and plasterers noted that stucco cracked. Since straight cracks look better than map cracking, plasterers starting scoring the first and second coats of plaster to make a weak place in the plaster so cracks would occur in a predetermined place. These were referred to as expansion joints or control joints. As the percentage of portland in plaster increased, changes occurred in the application and the lath. Interior walls were built consisting of a layer of burlap that was stuccoed on each side. Metal lath started replacing the wood lath. Then the metal lath got lighter. Metal expansion joints were added to the lath supplies, replacing hand-cut expansion joints.
"Parex STUCCO APPLICATION MANUAL" [PDF], (2015) ParexUSA, Inc., 4125 E. La Palma Ave. Suite 250, Anaheim CA 92807 USA, Tel: 800-226-2424, Website: www.parex.com retrieved 2017/09/26, original source: http://www.parex.com/literature/PAWAPP.pdf
Excerpt:
This guide focuses on the installation of the Parex USA Stucco Assemblies. We recommend reading all appropriate industry standards and this entire guide before beginning the project.
Always use the current brand appropriate details and specifications, see the product data sheets for additional information.
DESCRIPTION:
100% Acrylic emulsion additive for portland cement based products
Admixture in portland cement based mixes
High-performance acrylic polymer bonding agent
Non re-emulsifying bonding agent
USES:
As an admix for stucco base coats: n Improves workability and handling of stucco bases
Promotes better hydration and curing of stucco bases
Improves bond between stucco bases and strong, dense masonry surfaces
As an admix for stucco cement finishes:
Increases strength of stucco finishes
Improves bond between stucco finish and base coat surface
As a bonding agent:
Increases shear bond adhesion
Portland cement–based products may be applied while Parex USA Adacryl Admix & Bonder Admix and Bonding Agent is tacky within 3 days of drying.
Suitable for application with a brush, roller, or sprayer
Primer Concrete Bonding Agent can be used over concrete block, concrete slabs, stone, brick, stucco, cinder block, cementious backer board and other similar masonry substrates. As an additive to factory prepared dry set non modified mortars to increase the bond and impact strength as well as freeze-thaw resistance. Use undiluted for maximum strength.
Southcrete 45 Concrete Bonding Agent is a poly-vinyl acetate emulsion that can be used as a primer for binding over various substrates such as concrete, stucco, brick and stone.
Bonding agent may also be used as a direct additive in lieu of water in Portland cement / sand mixes to control hydration and prevent moisture loss.
... Surfaces must be free of moisture, oil, wax, dust, tar, paint curing agents or surface hardeners. All materials and areas should remain above 40F twentyfour (24) hours prior and seventy-two (72) hours after installation.
... Apply bonding agent to surface with either brush, roller or appropriate spray equipment leaving a thin, even coat
over the surface. Apply mortar over bonding agent when film becomes tacky or within several hours.
The Plaster/Stucco industry seems to have a problem understanding the uses and rules for bonding agents.
There are several issues; the most common being the use of the wrong (interior vs. exterior) agent and the use of non-compliant (ASTM C932) exterior agents.
Some of the cause for this, however, is in the labeling form [sic] the manufacturers. They are often misleading, often misguided and sometimes just downright wrong.
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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
[5] 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]
[6] Steve Bliss's Building Advisor at buildingadvisor.com helps homeowners & contractors plan & complete successful building & remodeling projects: buying land, site work, building design, cost estimating, materials & components, & project management through complete construction. Email: info@buildingadvisor.com
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
[7] WHY HOUSE PAINT FAILS, [PDF] Mark Knaebe, US FPL, web search August 2010, original source: http://www.fpl.fs.fed.us/documnts/finlines/knaeb95a.pdf
[9] 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
[10] "Common Paint Problems," parkerpaint.com/Common%20Paint%20Problems.htmlparkerpaint.com/Common%20Paint%20Problems.html illustrates common paint failures - though their images and text appear to have been stolen from PPG -whose own original page www.ppg.com/getpaint/etraining/solver/exterior.html was DOA as of 2019/12/13 which catalogs paint failures and causes
[17] 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/
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]
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
Best Practices Guide to Residential Construction, by Steven Bliss. John Wiley & Sons, 2006. ISBN-10: 0471648361, ISBN-13: 978-0471648369, Hardcover: 320 pages, available from Amazon.com and also Wiley.com. See our book review of this publication.
Building Pathology, Deterioration, Diagnostics, and Intervention, Samuel Y. Harris, P.E., AIA, Esq., ISBN 0-471-33172-4, John Wiley & Sons, 2001 [General building science-DF - ** Particularly useful text **
Dampness in buildings, Diagnosis, Treatment, Instruments, T.A. Oxley & E.G. Gobert, ISBN 0-408-01463-6, Butterworths, 1983-1987 [General building science-DF]
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]
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.
"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]
In addition to citations & references found in this article, see the research citations given at the end of the related articles found at our suggested
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.
Microscopy of Animal Textile Fibres, Alex Blakey Wildm, 1954 Hard to obtain, useful for forensic microscopy - DF
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
Of Microbes and Art: The Role of Microbial Communities in the Degradation and Protection of Cultural Heritage, Kindle Edition,
Springer; 1 edition (June 30, 2000), ASIN: B000VHV4FC
Dampness in buildings, Diagnosis, Treatment, Instruments, T.A. Oxley & E.G. Gobert, ISBN 0-408-01463-6, Butterworths, 1983-1987 [General building science-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]
In addition to citations & references found in this article, see the research citations given at the end of the related articles found at our suggested
Carson, Dunlop & Associates Ltd., 120 Carlton Street Suite 407, Toronto ON M5A 4K2. Tel: (416) 964-9415 1-800-268-7070 Email: info@carsondunlop.com. Alan Carson is a past president of ASHI, the American Society of Home Inspectors.
Carson Dunlop Associates provides extensive home inspection education and report writing material. In gratitude we provide links to tsome Carson Dunlop Associates products and services.