Conserving Animation Cels: Reattaching Loose Paint Without Adhesive

References

• Adelstein, P. Z., J. M. Reilly, D. W. Nishimura, and C. J. Erbland. 1992. “Stability of Cellulose Ester Base Photographic Film: Part I – Laboratory Testing Procedures.” SMPTE Journal 101 (5): 336–346. doi:10.5594/J02284.
   Google Scholar
• Animation Art Conservation. n.d. “Animation Art Conservation. The Ethical Approach to Repair.” Accessed April 5, 2021. http://www.animationartconservation.com/art-conservation.html.
   Google Scholar
• Bailey, G. 1956. Letter to Mr. R. Porger. February 6, 1956. Walt Disney Animation Research Library Archival Document.
   Google Scholar
• Barbagallo, R. M. 1995. “Mickey, Donald, Goofy & Pluto: What's Breaking Up That Old Gang of Mine? A Quantitative Look at the ‘Cel’ Art Created for Walt Disney's Animated Films and Its Deterioration Process.” Topics in Photographic Preservation 6: 98–105.
   Google Scholar
• Beltran, V., M. Lukomski, C. Carta, K. Hoeyng, A. Kaplan, M. Schilling, A. Stieg, S. Sharma, and K. McCormick. 2017. “Atomic Force Microscopy for Analyzing Adhesion of Paint and Plastic Surfaces.” In ICOM-CC 18th Triennial Conference Preprints, Copenhagen, 4–8 September 2017, edited by J. Bridgland, art. 1605. Paris: International Council of Museums.
   Google Scholar
• Carta, C. L. 2019. “The Driving Forces of Adhesion Failure between Paint and Cellulose Diacetate in Walt Disney Animation Cels.” Doctoral dissertation, University of California, Los Angeles.
   Google Scholar
• Combemale, L. 2014. “Restauration & Enhancement: Vintage Animation (pt.2).” Accessed March 22, 2014. https://artinsights.com/restoration-enhancement-of-vintage-animation-the-basics-pt-2/.
   Google Scholar
• Dreyfuss-Deseigne, R. 2017. “Nanocellulose Films: Properties, Development, and New Applications for Translucent and Transparent Artworks and Documents.” The Book & Paper Group Annual 36: 108–114. https://cool.culturalheritage.org/coolaic/sg/bpg/annual/v36/bpga36-20.pdf.
   Google Scholar
• ECCO (European Confederation of Conservator-Restorers’ Organisations). 2003. “ECCO Professional Guidelines (II). Code of Ethics.” Accessed March 7, 2003. http://www.ecco-eu.org/documents/.
   Google Scholar
• Gächter, R., and H. Müller. 1993. Plastics Additives Handbook: Stabilizers, Processing Aids, Plasticizers, Fillers, Reinforcements, Colorants for Thermoplastics. 4th updated ed. Munich: Carl Hanser Verlag.
   Google Scholar
• Getty Conservation Institute. 2021. “A Guide to Preventive Conservation of Animation Cels.” Manuscript Submitted for Publication.
   Google Scholar
• Getty Research Institute. n.d. “Art & Architecture Thesaurus® Online (AAT).” Accessed March 25, 2021. https://www.getty.edu/research/tools/vocabularies/aat/.
   Google Scholar
• Giachet, M. T., M. Schilling, J. Mazurek, E. Richardson, C. Pesme, H. Khanjian, T. Learner, and K. McCormick. 2014. “Characterization of Chemical and Physical Properties of Animation Cels from the Walt Disney Animation Research Library.” In ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014, edited by J. Bridgland, art. 1012, 11 pp. Paris: International Council of Museums.
   Google Scholar
• Hansen, E. 1994. Matte Paint: Its History and Technology, Analysis, Properties and Conservation Treatment. Marina Del Rey: Getty Conservation Institute.
   Google Scholar
• Hoeyng, K., S. Etyemez, J. Mazurek, C. Carta, K. McCormick, A. Phenix, and M. Schilling. 2016. “Observations from a Condition Survey of Walt Disney Animation Cels.” AIC Paintings Specialty Group Postprints 29: 155–168. https://www.culturalheritage.org/docs/default-source/publications/periodicals/painting-specialty-group/paintings-specialty-group-postprints-vol-29-2016.pdf?sfvrsn=6d990920_7.
   Google Scholar
• Horie, C. V. 2010. Materials for Conservation Organic Consolidants, Adhesives and Coatings. Oxford: Butterworth-Heinemann.
   Google Scholar
• Höyng, K. 2010. “Ein Dokumentationssystem zur Schadenserfassung an Zeichentrickfolien des Deutschen Instituts für Animationsfilm e.V.” Zeitschrift für Kunsttechnologie und Konservierung 24 (2): 301–336.
   Google Scholar
• Höyng, K., and E. Rapoport. 2011. “Animation Cels of the German Institute for Animated Film from 1968: Consolidation of Alkyd Resin and Polyvinyl Acetate Paint Layer on Cellulose Acetate.” In Future Talks 011: Technology and Conservation of Modern Materials in Design: October 26/28 2011, edited by T. Bechthold, 216–223, 273. Munich: International Design Museum Munich.
   Google Scholar
• ICOM (International Council of Museums). 2017. “ICOM Code of Ethics for Museums.” Accessed June 2017. https://icom.museum/en/resources/standards-guidelines/code-of-ethics/.
   Google Scholar
• Lemaire, B. 2020. “Les Maîtres du Temps, 1982, Pannonia Studio (Budapest): étude et traitements de conservation de 32 cellulos d'animation produits pour le dessin animé Les Maîtres du Temps de René Laloux (Paris, Cinémathèque française). Recherche d'un matériau adapté à la conservation des cellulos d'animation.” Masters thesis, Institut national du patrimoine, Paris.
   Google Scholar
• Lörzel, M. 2016. “DEFA-Szenografieentwürfe auf Kunststofffolie – Restaurierungs- und Konservierungs-konzept für den Alfred-Hirschmeier-Bestand des Film-museum Potsdam.” Masters thesis, Institut für Restaurierungs- und Konservierungswissenschaften, Fakultät für Kulturwissenschaften der Technischen Hochschule Köln.
   Google Scholar
• Magin, C. 2002. “‘Durchsichtige Verguldungen’ Blattmetalle Hinter Glas: Schadensbilder Und Möglichkeiten Der Restaurierung: Untersuchungen Von Konsolidierungsmitteln Auf Ihre Eignung.” Zeitschrift Für Kunsttechnologie Und Konservierung 16 (2): 307–335.
   Google Scholar
• Mazurek, J., A. Laganà, V. Dion, S. Etyemez, C. Carta, and M. R. Schilling. 2019. “Investigation of Cellulose Nitrate and Cellulose Acetate Plastics in Museum Collections Using Ion Chromatography and Size Exclusion Chromatography.” Journal of Cultural Heritage 35: 263–270. doi:10.1016/j.culher.2018.05.011
   Web of Science ®Google Scholar
• McCormick, K., M. Schilling, M. T. Giachet, J. Mazurek, H. Khanjian, and T. Learner. 2014. “Animation Cels: Conservation and Storage Issues.” Objects Specialty Group Postprints 21: 251–261.
   Google Scholar
• Mikulak, W. 1995. “Animation Art: The Fine Art of Selling Collectibles.” In On the Margins of Art Worlds, edited by L. P. Gross, 249–264. Boulder: Westview Press.
   Google Scholar
• Nishimura, D. 2015. “Strategies for the Storage of Cellulose Acetate Film.” AIC News 40 (6): 1–5.
   Google Scholar
• Odegaard, N. N., and M. A. Pool. 1999. “Paint Stabilization Without Consolidants: Three Treatment Studies on Mexican Dance Masks.” In ICOM-CC 12th Triennial Conference Preprints, Lyon, 29 August–3 September 1999, edited by Janet Bridgland, 590–595. London: Earthscan.
   Google Scholar
• S/R Laboratories. n.d. “Resources.” Accessed March 25, 2021. https://www.srlabs.com/category/resources/.
   Google Scholar
• Thomas, F., and O. Johnston. 1981. Disney Animation: The Illusion of Life. 1st ed. New York: Abbeville Press.
   Google Scholar
• WDARL (Walt Disney Animation Research Library). 1936. “Binder. Records & Experiments. Binder Compiled References.” Stenographers Note Book. 1936–38. Archival Document.
   Google Scholar
• Witkowski, L. A. 1984. “The Animation Cel: Structure and Conservation.” In Art Conservation Training Programs Conference, May 1–3, 1983, Department of Conservation of Historic and Artistic Works, State University of New York College at Buffalo, Cooperstown, New York, 73–80. Buffalo: State University of New York at Buffalo. Art Conservation Department.
   Google Scholar
• Witkowski, L. 1994. “Animation Art: Its Production, Preparation for Sale, and Conservation.” In Walt Disney's Snow White and the Seven Dwarfs: An Art in Its Making Featuring the Collection of Stephen H. Ison, edited by Martin F. Krause, 151–182. Indianapolis: Indianapolis Museum of Art; Hyperion.
   Google Scholar
• Worth, S., and L. Stude. 1989. “The Care and Restauration of Vintage Animation Cels. Vintage Ink & Paint.” Animato! 50–51.
   Google Scholar