Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 16. (Székelyudvarhely, 2016)
Sor Zita: Digitális nyomatok a gyűjteményekben
The Trinity mosaic was made in atelier; the boundaries of sections can keep track. The bedding mortar is a lime-sand mixture. Where the larger coloured sections of the composition demanded, pigmented joint mortars were used. The gold background of the ornamental mosaic decoration in the main entrance of the church is a very good example of the pictorial effect often used. Five types of gold were applied here. In the lower sections lacks, efflorescences, and separated parts could be found. It was visible, that the degradation level was slowly moving upward. Following the movement of the building blocks the opened gaps gave way to the rain, and the cyclical frost damage left its mark as well. The constant moisture activates the water-soluble salts of certain building materials; the cyclic salt movement continuously exerts a destructive influence. It was necessary to remove certain parts of the mosaic, where the tesserae could not bind sufficiently to the damaged, full salted bedding mortar layer. The reconstructed details were made from Venetian glass tesserae in the atelier of the author. The work was performed by indirect technique. Mounting of the reconstructed mosaic details was performed at the end of November 2015. The forced finishing of the work was not justified professionally following the explored and documented knowledge of the real conditions of the supporting structure. The possibility of premature deterioration of the surface is not excluded. The author thanks for the cooperation of the following colleagues: Miklós Ernő Balázs, István Bóna, István Sajó, András Seres. Brigitta Mária Kürtösi Painting restorer MA, doctoral student Translated by: Brigitta Mária Kürtösi Zita Sor Digital prints in collections The technology of digital printing has developed at a rapid pace over the last 25 years, and today an ever increasing number of graphic documents are being generated digitally, including fine art prints, books, office documents, and product packaging. The lines between imaging media and document media are disappearing. An enormous volume of digital output media is now entering institutional collections. Digital printing is especially popular in the realm of photography. As these contemporary materials constitute a major part of our current and future social and cultural heritage, it will be important in the long term to gain an understanding of their structure, materials and stability, as well as devise strategies for dealing with them properly in archives and museums. There is variety of digital printing technologies as well as mixed traditional and digital systems. The sensitivity of digitally printed photographs is highly variable. The goal for cultural institutions is to prevent the materials in their collections from deterioration. Digitally printed materials have similar deterioration effects as traditional analogue prints have. Types of deteriorations can be: fading, yellowing, gloss change, abrasion, scratches, cracking, bleeding and delamination. These types of deterioration are dependent upon the printing technology and the materials were used to create the final print. That’s why it is important to know which technology was used to create the artwork. To be able to identify the different types of prints and printing technologies is essential. But of course, the environmental conditions which surround the digital print also play a critical role. Control of temperature, humidity and air quality can extend the usable lives of these materials. Zita Sor Paper and leather restorer MA, photo restorer Translated by: Zita Sor 142
