Care of Pastel Paintings: 

• Hang paintings away from direct sunlight. Any sunlight hitting the glass will create a build-up of moisture creating mildew, discolour the matt surrounding the painting and will also fade the colours of the painting.

 • When transporting the painting always travel with it laying on its back (the picture wire side). 

• Never lay the painting face down. 

Mechanical Damage 

Might be caused by events such as broken glass, accidental punctures, mishandling paper brittleness or scoring; 

• Scoring: Put the paper on a soft surface and run a finger nail along the back of the score this may assist in reducing the score line 

• Tear: Seek professional help. For Art Spectrum Colourfix (a much stronger paper) use paper hinging tape on the back of the torn edges and primer + fine sanding + primer on the front; 

• Crumple: Run a finger over the back to reduce. 

Moisture or Water Damage 

Might be caused by spills, rain, over-sprays, condensation: 

• Get the piece out of its frame and let it dry; 

• Replace any paper components in the frame; 

• Buckle: Dry iron does not work on Canson paper. Gluing down is best avoided as it can just crease the paper. If the painting is on a surface that can take wet media then try applying a fine mist of water to the back of the painting and lay flat on a table on a sheet of glassine and weight down with a backing board and some heavy books – leave overnight

Mould 

Is likely to be a problem where there is warmth (more than 21o C), humidity (more than 50%) and  poor ventilation. 

Climate Control: 

• Store at less than 21o C and 50% humidity; 

Proper Handling and Framing: 

• Set up an air space between the pastel and the glass; • Use moisture resistant backing board; 

• Seal the back of the frame with tape; 

• Use self-adhesive bumper pads to hold the frame 1cm/1/2in out from the wall; 

• Never hang in a damp, poorly ventilated space e.g. consider not hanging works in a restaurant near the kitchen. 

Fungicides – Chemicals that inhibit mould growth: 

• Many nature pigments are fungicidal e.g. those with lead, copper but are not used now – that’s why 18th century paintings are still OK; 

• Today many pastel sticks have a fungicidal inherent in the preservative component of the pastel recipe; 

• Incorporate fungicides in the supports – make the paper resistant (not suitable for thin paper); 

• Include inhibitor-impregnated paper in the framing; 

• Include sachets of inhibitor crystals within the framing. 

Storage areas for pastels and papers: 

• Use satchets of inhibitor crystals – replace whenever the odour dissipates; 

• Use camphor mothballs in the storage room; 

• Use moisture absorbers that can be reactivated in the microwave. 

Removal and treatment of mould on artworks: 

Small amounts:  

• Scrape away (blade, cotton bud); 

• Put in sunlight for 1-1.5 hours – no longer as fading may occur; 

Severe infection:  

• Thoroughly clean the frame and components, including the rebate area, with methylated spirits; 

• Use a thymol heat box for the artwork, to disinfect it. Summarized from Alan Flattman’s research 

Mould 

Whilst working in the Communities in the tropical Top End of the Northern Territory, the aboriginal  bark paintings were all treated and protected from mould with the application of ordinary Glen 20  fungicidal spray.  

Social Media 

Before sharing your paintings on your website or social media ensure your name and other  important information such as title, dimensions, media etc. are visible when the image is enlarged. 

Substance Contamination 

Might be caused by oils, wax, food spills, excess fixative, glue, paint/inks etc: 

• For substances lying on the surface, use a flat blade (e.g. gem razor) and take it along the surface, away from you. Do not pick at the substance as you will damage the surface; 

• For masking tape gum, use a gum eraser to remove the residue, then work pastel over the scraped surface; 

• Oil is there forever! Try to minimise it by sprinkling with powder and spraying with fixative, but the oil will still win; 

• For honey (from small fingers) use a tissue to lift as much as possible, then use 3-4 layers of fixative to set up a barrier. It will still cause long-term problems because of acids in the honey affecting the paper; 

• Fixatives are fine dilute varnishes. If the work has so much fixative that it is effectively varnished with a now impervious surface, you can try applying Art Spectrum clear primer to allow you to rework the surface. This will not work on Canson paper.