Fiber Analysis and Microscopy

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Sarah Walcott

Recently, our Care and Conservation class was afforded the opportunity to study and practice fiber analysis and microscopy.  Fiber microscopy in particular is an essential tool of the textile historian, as the ability to definitively identify the fiber or fibers used in a given quilt or other textile offer not only historical and cultural information, but can also be indicators of the best way to preserve the textile.

Fiber analysis may involve both non-technical and technical tests.  Non-technical methods of analysis include the way the textile looks and feels.  Technical tests may include burn tests on individual fibers, chemical tests, and microscopy.  Not every textile is a good candidate for technical tests.  In order to complete a technical test, the textile must have an area of damage, such as loose threads, split seams, fraying, abrasions, or holes, from which a tiny sample (ideally only a few fibers) may be extracted without further damage.  In order to practice fiber microscopy, our class was able to work with textiles which already had large areas of fraying and other damage, such as this crazy quilt from the education collection.  This textile was also ideal for study in that it included a wide variety of fibers.

The photograph above shows an area of damage from which a few fibers were able to be extracted using tweezers and small angled scissors.  Once the fibers were extracted, they were carefully placed on a microscope slide which had been prepped with a few drops of distilled water.

Once the slide was ready, the fibers were examined under the microscope, where it was determined that the brown striped fabric was made of wool.  This was easy to see thanks to the distinctive scales present on wool fibers, clearly visible under magnification.  Other class members analyzed cotton and linen fibers from different areas of the same quilt.  As our study concluded, it was clear that in the arsenal of tools available to the textile historian, fiber microscopy is incredibly valuable.

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Lighting 'Blue Echoes'

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Christi Coufal-Tuya


Sometimes museums have a tendency to feel like libraries- people speak in hushed tones and there is little action or movement. Though there are quiet days at the museum, anyone who has been to a Quilt ID Day or one of the First Friday events knows that Quilt House is not like that, but even those events are comparison to what goes on behind the scenes. Last week it was tools, and ladders, cherry pickers, lighting instruments, and more. Those of us in Care and Conservation class are lucky to be a part of it.

Our main topic of discussion in class last week was exhibition lighting. Lighting is crucial to an exhibition for a number of reasons including object care, visibility, and exhibition design. There is no point in putting on an exhibition if visitors can’t see the objects, and effective lighting helps to tie exhibits together and make objects stand out. The problem is that textiles are highly susceptible to damage caused by light exposure in terms of fading and embrittlement. UNL Historic Costume Collection #2010.003.058 (below) is a 1910’s dress that is in beautiful condition except for the extreme fading due to excess light exposure.

David Saunders, current vice president of the International Institute of Conservation and former conservation scientist at the National Gallery in London once said that “any light must be seen as a concession.” Curators and museum goers have a different perspective and want objects to be seen as clearly as possible. Museum standards for lighting textiles and paper objects recommend maximum light levels of 50 lux (or 5 footcandles) for short periods of time. The IQSCM uses light meters to check light levels, UV filters on the doors to block UV rays, and controls gallery lights with timed motion sensors. In addition, permanent collection objects can remain on display under optimum conditions for just 1 year in a 10-year period.

After our discussion we spread throughout the museum working on a variety of projects. We worked on vacuuming objects and accessioning new pieces.
   

We also worked on installing and lighting the second rotation of Art Quilts of the Midwest in the Pumphrey Family Gallery downstairs. While it appears simple, this can be a tricky space to light due to the low ceilings and the closeness of the tracks to the gallery walls.

We also got to look in on the recently opened Blue Echoes: Quilts by Shizuko Kuroha to replace a couple of wonky light fixtures. This is a gorgeous show curated by Marin Hanson is the first solo exhibition by a Japanese artist ever at the IQSCM and features art quilts with intricate patterning and antique Japanese indigo dyed textiles. It is only on exhibition through May 25, so make sure to stop in and see it! If you can’t make it in, you can read about it and view the online images (which are much better than my own) under the exhibitions tab on the main website.

This one, A Gift from the Sky (2013), is my personal favorite, and it is huge!

The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.

Lighting "Art Quilts of the Midwest'

Blogger's Note: This semester students taking Care and Conservation of Textiles—a course offered through the University of Nebraska-Lincoln's Department of Textiles, Merchandising & Fashion Design—will share some of their experiences working with the International Quilt Study Center & Museum collection.

By Jami Swartz


Museum exhibition lighting helps showcase displayed objects in their full glory. When installed properly exhibition lighting will go mostly unnoticed by the average museum guest. However, as our Care and Conservation class learned last week, the task of illuminating quilts for exhibition at IQSCM is a considered process that balances visual enjoyment with preservation and care. Improper lighting can lead to irreversible damage of textiles and quilts, which is counter to IQSCM’s mission of long term preservation and care. Because of this, many factors including the type of bulb used, the intensity of illumination, as well as the position and angle of light sources are carefully considered and measured when illuminating exhibitions at IQSCM.

The author holding a light meter up to a quilt included in
the Art Quilts of the Midwest exhibit at IQSCM.

IQSCM employs Light Emitting Diode (LED) bulbs for gallery illumination. In addition to their long lifespan, LED lights emit very little damaging ultraviolet (UV) and virtually no infrared (IR) radiation.  Both UV and IR rays cause permanent damage to textiles regarding both fiber structure and color. Despite the fact that LED bulbs emit less UV and IR rays than halogen, incandescent, or fluorescent options, careful attention is paid to the light intensity for the purpose of preservation.

Fellow Care and Conservation classmate Sarah holds a
light meter up to a quilt in the Art Quilts of the Midwest exhibit at IQSCM. 

A light meter is held close to the surface of each quilt in order to measure the intensity of illumination. The person measuring the light intensity moves the meter across the entire surface of the quilt to make sure that no part is receiving light over the set threshold of 50 lux, or 5 foot candles. If the light meter reads over 50 lux (or 5 foot candles) the light source must be adjusted.

David Crews adjusts a light fixture while fellow
Care and Conservation classmate Christi holds a light
meter up to a quilt in the Art Quilts of the Midwest exhibit.

David Crews helps Sarah add a filter to a light fixture. 

Adjusting light sources is generally left up to IQSCM’s lighting guru David Crews, who has illuminated all but one exhibit at IQSCM. Crews informed our class that the light intensity is altered by either adding a filter or gel, or adjusting the fixture to change the angle and/or position of the light. There are some fixtures at IQSCM that do not need filters and whose intensity can be adjusted by turning a knob—the wonders of technology. Making sure that objects do not suffer the ill effects of light is only one part of gallery illumination.

David Crews and Sarah make some final lighting decision.

IQSCM offers visitors the chance to view exceptional and often rare quilts in beautiful spaces, and lighting plays a key role in this. David Crews’ lighting lessons also involved paying attention to the visual aesthetics of exhibited objects. One must make sure the object’s true colors are displayed correctly and respect any artistic intent (if present). In addition to making sure the object is presented in a pleasing and accurate manner, Crews also makes sure that none of the lighting fixtures shine on or at museum guest while they are in the gallery space—untoward glare from a light fixture is not a pleasant experience.

The halogen bulb graveyard: IQSCM recently switched from
halogen to LED bulbs. The halogens bulbs will be recycled. 

As you have seen, lighting museum exhibitions is a multifaceted task with issues concerning preservation as well as aesthetics. Careful planning and artful employment of lights helps museum guests enjoy IQSCM’s collections while keeping the irreversible damages of light to a minimum.


The International Quilt Study Center & Museum makes its academic home in the Department of Textiles, Merchandising & Fashion Design in the College of Education and Human Sciences.