If I was retired and wealthy, I'd work out some way where I could just show up to museum conservation labs and spend the day watching quietly. I can't get enough of this stuff.
The British Museum and the National Galleries both have 'Technical Bulletins', which explain lots of conservation projects, which they post online for free ... Not quite the same as seeing the labs in action but they're pretty decent ;)
@Sunamer Z You have enlightened me, anonymous RUclipsr. What a fool I was. I would like to subscribe to your self-published newsletter and learn more about how the world really works.
Was literally going to comment the same. Glass rod chopsticks in the middle of those soothing voices was a lot more hilarious than it should have been.
Keep 'em coming! I find all this very fascinating! It makes me wish that one time art major me would have opted for my interest in conservation--but chickening out over concerns on how well I could do the chemistry (which, ironies, I'm more comfortable with now).
@5:57min To accurately measure volumina in these types of pipets the liquid has to naturally (by gravity) flow out of the pipet. The measured liquid in the video seams small enough that this type of error (forcing the last drop out) could make a difference in the measurements. I don't know how accurate these measuremts have to be but perhaps i can save the department some trouble in the future. Just a friendly advice :-)
Aren't pipettes designed so that the liquid kept in the pipette is accounted for in terms of where the mark is on the glassware? Not 100% but I think they do
I depends on the type of pipette. Normaly for accurate pipettes the most of the calibration parameters are written on the glass. Some sort of Volume, Material (e.g. Duran), accuracy class, temperature, tolerances and country of manufactoring. For these types the volume is calibrated at the give temperature and most often for the viscosity of water at that temperature (e.g. room temperature). Then the liquid has to flow out via gravity. This is why all the Eppendorf and rubber bulbs have a free flowing "button". After letting the liquid out there should be one last drop left. I couldnt see in the video if it was that type of pipette but the circumference and shape looked like one.
Those are Mohr pipettes (multi-volume -- essentially a burette without the tap). I couldn't see if those were "blow out" pipettes or not. The more common type of pipette is indeed calibrated to retain the last droplet in the tip -- let the fluid flow out by gravity, touch the tip to break the surface tension and take any "hanging drop" away, but leave the last bit in the tip. Blow-out pipettes are calibrated to have all of the fluid expelled. They're marked with a double frosted line at the top (not visible in the video). That said, If the operator is being consistent all the time (and the person who did the original recipe did the same), it matters less. (and while it may have been weighed out as "anhydrous sodium sulphate", once you make a water solution of it, it's certainly not anhydrous any more)
They could have used a similar colour for each different area, sort of making a patchwork matching the original silhouettes, just to avoid the effect of bright color behind the darker tones.
In this case I don't agree with the choice of a lighter coloured infill for the missing parts. An infill in about the same colour as the remaining parts would have given a better total view in my opinion. This wouldn't be a problem, as anyone looking carefully clearly could distinguish between the original parts and the infilled parts by the absence of details / uniform colour of the latter. The lighter colour of the infill puts too much emphasis on wat parts are missing, instead of highlighting the parts that are still present...
I think going lighter was a mistake. I think that dark blue colour or even a black would have given a much cleaner appearance and allowed the original piece to stand out. The lighter colour looks gaudy and overpowers the lighter colours of embroidery.
If I was retired and wealthy, I'd work out some way where I could just show up to museum conservation labs and spend the day watching quietly. I can't get enough of this stuff.
The British Museum and the National Galleries both have 'Technical Bulletins', which explain lots of conservation projects, which they post online for free ... Not quite the same as seeing the labs in action but they're pretty decent ;)
@Sunamer Z You have enlightened me, anonymous RUclipsr. What a fool I was. I would like to subscribe to your self-published newsletter and learn more about how the world really works.
This is a fascinating series; I love the glimpse behind the scenes!
I love the glass rod chopsticks!
Was literally going to comment the same. Glass rod chopsticks in the middle of those soothing voices was a lot more hilarious than it should have been.
fascinating very nice series.
the lab work is fascinating
Caution! Dyes!
I love all the science here.
I wish we had a side by side before and after of the cleaning
Keep 'em coming! I find all this very fascinating!
It makes me wish that one time art major me would have opted for my interest in conservation--but chickening out over concerns on how well I could do the chemistry (which, ironies, I'm more comfortable with now).
@5:57min To accurately measure volumina in these types of pipets the liquid has to naturally (by gravity) flow out of the pipet. The measured liquid in the video seams small enough that this type of error (forcing the last drop out) could make a difference in the measurements. I don't know how accurate these measuremts have to be but perhaps i can save the department some trouble in the future. Just a friendly advice :-)
Aren't pipettes designed so that the liquid kept in the pipette is accounted for in terms of where the mark is on the glassware? Not 100% but I think they do
I depends on the type of pipette. Normaly for accurate pipettes the most of the calibration parameters are written on the glass. Some sort of Volume, Material (e.g. Duran), accuracy class, temperature, tolerances and country of manufactoring. For these types the volume is calibrated at the give temperature and most often for the viscosity of water at that temperature (e.g. room temperature). Then the liquid has to flow out via gravity. This is why all the Eppendorf and rubber bulbs have a free flowing "button". After letting the liquid out there should be one last drop left.
I couldnt see in the video if it was that type of pipette but the circumference and shape looked like one.
K just got out glassware-knowledged
Those are Mohr pipettes (multi-volume -- essentially a burette without the tap). I couldn't see if those were "blow out" pipettes or not. The more common type of pipette is indeed calibrated to retain the last droplet in the tip -- let the fluid flow out by gravity, touch the tip to break the surface tension and take any "hanging drop" away, but leave the last bit in the tip. Blow-out pipettes are calibrated to have all of the fluid expelled. They're marked with a double frosted line at the top (not visible in the video). That said, If the operator is being consistent all the time (and the person who did the original recipe did the same), it matters less.
(and while it may have been weighed out as "anhydrous sodium sulphate", once you make a water solution of it, it's certainly not anhydrous any more)
I realy wish to see this buda in a dark backgroud,
They could have used a similar colour for each different area, sort of making a patchwork matching the original silhouettes, just to avoid the effect of bright color behind the darker tones.
In this case I don't agree with the choice of a lighter coloured infill for the missing parts. An infill in about the same colour as the remaining parts would have given a better total view in my opinion. This wouldn't be a problem, as anyone looking carefully clearly could distinguish between the original parts and the infilled parts by the absence of details / uniform colour of the latter.
The lighter colour of the infill puts too much emphasis on wat parts are missing, instead of highlighting the parts that are still present...
I think going lighter was a mistake. I think that dark blue colour or even a black would have given a much cleaner appearance and allowed the original piece to stand out. The lighter colour looks gaudy and overpowers the lighter colours of embroidery.
*We should celebrate what remains, and show it off at it's best, rather than show what we've lost.* It's a bit of a negative approach don't you think?