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COMMUNICATING THROUGH ACRYLIC EMULSION PAINTS: PRESERVING THE
UNION OF COMMUNICATION WORKERS’ BANNER C.1990
Leanne C. Tonkin

Abstract - An increasing number of modern painted banners produced during the 20th and 21st
centuries make up a large proportion of the banner collection at the People’s History Museum
(PHM), Manchester, UK. How these paints behave on flexing textiles after being exposed to all
manner of conditions and phenomena remains unknown. This poster introduces the challenges of
conserving acrylic emulsion painted banners at the PHM, using The Union of Communication
Workers’ (UCW) banner to illustrate some of the challenges.

Modern banners, like the UCW banner, are often made with synthetic, tightly woven textile
grounds. Many modern banner makers have a tendency not to use size, primer or grounding
layers before the painting process. Consequently, the acrylic paint sits on the surface with little
penetration into the synthetic textile ground, creating issues for treatment. Although acrylic
emulsion paints demonstrate a high level of stability, dirt can easily adhere to them and their
delicate surfaces can be altered when using aqueous solutions. Another dilemma is the unknown
long-term effects of cleaning and consolidation treatments. Potentially useful new cleaning
systems developed by Tate, London, the Getty Conservation Institute, Los Angeles and the
University of Delaware are currently being investigated by the author.

Título - Comunicación a través de las pinturas acrílicas en emulsión: La preservación del

estandarte del Sindicato de Trabajadores de la Comunicación, c.1990
Resumen - Gran parte de la colección de estandartes en el People’s History Museum (PHM,
Museo de Historia de la Gente), en Manchester, Reino Unido, está compuesta por un número
creciente de estandartes pintados modernos producidos durante los siglos XX y XXI. Aún se
desconoce el comportamiento de estas pinturas sobre textiles flexibles después de ser expuestas a
toda clase de condiciones y fenómenos. Este cartel presenta los retos de la conservación de
estandartes pintados con emulsión acrílica, recurriendo al caso del estandarte del Sindicato de
Trabajadores de la Comunicación (UCW: Union of Communication Workers) para ilustrar
algunos de dichos desafíos.

Los estandartes modernos, como el del UCW, son hechos frecuentemente sobre soportes de fibra
sintética, de tejido cerrado. Muchos productores de estandartes modernos tienden a no usar
sellador, primer o capa de preparación previa al proceso de pintura. En consecuencia, las
pinturas acrílicas se asientan en la superficie con poca penetración en el soporte textil sintético,
lo que genera problemas para su tratamiento. Aunque las pinturas de emulsión acrílica
demuestran tener un alto nivel de estabilidad, la suciedad puede adherirse fácilmente a ellas y
sus delicadas superficies pueden ser alteradas cuando se usan soluciones acuosas. Otro dilema es
que se desconocen los efectos a largo plazo de los tratamientos de limpieza y consolidación.
Actualmente, la autora investiga sistemas de limpieza potenciales y útiles desarrollados por la
Tate, Londres, El Instituto Getty de Conservación, Los Ángeles, y la Universidad de Delaware.

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Titre - LA COMMUNICATION PAR LES PEINTURES ACRYLIQUES EN ÉMULSION: LA

PRÉSERVATION DES BANNIÈRES DE L’UNION OF COMMUNICATION WORKERS
C.1990
Résumé - Un nombre croissant de bannières modernes peintes, produites pendant les 20e et 21e
siècles, représentent une grande proportion de la collection de bannières au People’s History
Museum (PHM) à Manchester, R-U. Comment ces peintures réagissent sur des textiles en
flexion après avoir été exposées à toutes sortes de conditions et de phénomènes demeure
inconnu. Cette affiche introduit les défis reliés à la conservation des bannières peintes avec des
émulsions acryliques au PHM, en utilisant la bannière de l’Union of Communication Workers’
(UCW) pour illustrer certains de ces défis.

Les bannières modernes, comme la bannière UCW, sont souvent faites à partir de textiles
synthétiques qui sont tissés serrés. Plusieurs fabricants de bannières modernes n’ont pas tendance
à appliquer d’apprêt, ou autre préparatif de surface, avant le processus de peinture.
Conséquemment, la peinture acrylique repose sur la surface du textile synthétique avec très peu
de pénétration, créant ainsi des complications au niveau du traitement. Malgré la grande stabilité
démontrée par les émulsions acryliques, la saleté s’y adhère facilement et leurs surfaces délicates
peuvent être altérées en utilisant des solutions aqueuses. Un autre dilemme est l’effet à long
terme inconnu des traitements de nettoyage et de consolidation. De nouveaux systèmes
nettoyants potentiellement utiles, développés par Tate (Londres), le Getty Conservation Institute
(Los Angeles), et l’University of Delaware, sont présentement en cours d’investigation par
l’auteur.

1. INTRODUCTION: DILEMMAS OF MODERN PAINTED TEXTILES

The People’s History Museum (PHM), Manchester, UK, holds a contemporary banner and flag
collection documenting the history of democracy in Britain. A growing number of the collection
has been painted using modern paints developed from the early 20th century. The properties of
modern paints are vastly different from traditional oil paints and how they age on flexing textiles
which have been exposed to all manner of conditions and phenomena remains unknown.

20th century household, industrial, and acrylic-based paint media have been an appropriate
choice for banners used as visual reinforcements for demonstrations and public gatherings
(Tonkin 2012, 7). Using the Union of Communication Workers’ (UCW) banner c.1990 (fig. 1),
the author briefly introduces some of the challenges of preserving acrylic emulsion painted
banners and potential new cleaning systems developed by Tate, the Getty Conservation Institute
(GCI) and Winterthur/University of Delaware.

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Fig 1. Union of Communication Workers’ (UCW) banner c.1990, a double-layered acrylic painted banner. Courtesy
of People’s History Museum, Manchester, UK.

2. SOME CHARACTERISTICS OF ACRYLIC EMULSION PAINT AND THEIR

APPLICATION TO BANNERS

Contemporary banners are often made with synthetic or semi-synthetic, tightly woven textile
grounds, for instance polyester, rayon, or nylon. As acrylic emulsion paints can be applied
directly to the substrate without any preparation layers, there is often no size, primer, or
grounding layer before the painting process..The relatively soft, thermoplastic properties of this
type of paint media results in great adhesion and flexibility (Smithen 2007, 167). Other
beneficial properties include rapid drying, versatility, and durability; the paint does not separate
and can be thinned by water (Jablonski et al, 2004). The acrylic emulsions have a low glass
transition temperature of around 10oC (Ormsby et al 2007, 249) so respond to changes in
temperature and RH, making the paint film vulnerable to dirt and airborne pollutants and
inappropriate packing and handling. Another phenomenon is the migration of surfactants to the
surface of the paint film; a result of the migration of poly-ethoxylate (PEO) based surfactants.
The exudation process is ongoing as surfactant can be detected several years after cleaning
(Ormsby and Learner 2009; 34). Although this symptom is not evident with the case study
presented here, migrating surfactants have been noted on acrylic emulsion painted banners
(Tonkin 2012). A further dilemma is they are water sensitive and can swell dramatically due to
water-extractable surfactant remaining in the bulk film. Polar solvents, such as acetone and
ethanol, are also known to cause severe swelling (Ormsby et al 2006, 11).

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2.1 THE UNION OF COMMUNICATION WORKERS’ BANNER C.1990

The UCW banner c.1990 illustrates international trade unionism within the communication and
print industries. The banner is painted on both sides using acrylic emulsion paints and is double
layered. The bright and pure colored images represent symbols of international communication.
The textile ground is rep woven polyester (1). The tightly woven and smooth characteristic of the
polyester textile ground and the relatively soft, thermoplastic properties of the acrylic paint do
not combine well despite the good adhesion properties of acrylic paint. The acrylic paint sits on
the surface with little penetration into the synthetic textile ground; this scenario causes concerns
around future loss of paint film (fig. 2). Combined with the unknown long-term effects of
aqueous cleaning and consolidation treatments of these types of paints, treatment strategies are
challenging.

Fig. 2. Detail of the acrylic paint film on the surface of the synthetic textile ground. Shown in raking light to
emphasis the little penetration the acrylic paint film has combined with the synthetic textile ground. Courtesy of
People’s History Museum, Manchester, UK.

2.2 STABILISATION FOR SAFE DISPLAY: ADOPTING A MINIMAL APPROACH

The UCW banner has undergone physical damage due to use and storage; hence the acrylic paint
has lifted away from the textile ground (fig. 3). Retaining these elements of use, ownership and
survival of a textile is important as they document the life of the banner. Ongoing studies within
contemporary art research concerning the nature of acrylic paint is enabling a better
understanding of solvent-dirt-paint interactions, helping conservators achieve a better
understanding of cleaning treatments (Whitehouse 2011). Cleaning undertaken on the UCW
banner was minimal because of time limitations and the unknown consequences of potential

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swelling, surfactant removal, and pigment loss (Ormsby and Smithen 2010). Localized areas
where soiling was visually distracting and easily removable were cleaned using de-ionized water
and gentle swabbing of no more than 30 seconds. Limited swabbing time was adopted to reduce
any risks posed to the acrylic paint film. Areas around the paint edge, where the painted surface
and the unpainted textile meet, were avoided where possible to prevent moisture seeping
between the paint layer and the textile ground.

Fig. 3. Detail of the acrylic paint lifting away from the tightly woven synthetic textile ground. Courtesy of People’s
History Museum, Manchester, UK.

Areas of loss, lifting paint, and loose flakes were treated using a 25% solution of liquid Beva®
371 diluted in white spirit. Using a fine brush, the Beva® 371 solution was fed in between the
textile ground and the paint layer along the edges of the cracks and left to dry for 24 hours.
Excess adhesive was cleared from the surrounding area using a swab dampened with white spirit
(2) as the Beva® 371 significantly dulled the paint surface. Delaminating paint film was treated
by applying the Beva® 371 solution to the underside of the paint fragment and drying under

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weights. Several areas had to be gently heat-activated at a low temperature because of the risk
this poses in deforming the paint and changing the density of the color (Smithen 2007, 171). The
two layers of the banner were separated using 125 micron “Melinex” sheets during the
consolidation. Maintaining the flexibility of the paint film was important because of the flexing
textile substrate. Therefore, minimal intervention or doing nothing to the acrylic painted surface
was preferred. However, cleaning and consolidation options must be explored in the future
otherwise conservators run the risk of losing these types of modern painted textiles.

3. NEW APPROACHES TO CLEANING ACRYLIC EMULSION PAINTS

The author is currently exploring new cleaning systems which have been developed between
Tate and the Dow Chemical Company (DOW), USA, the Getty Conservation Institute, and
Winterthur/University of Delaware. Adjusting conductivity and pH levels of a cleaning solution
can help reduce the risk aqueous cleaning poses to acrylic painted surfaces. pH levels between
5.0 and 6.5 and conductivity levels of around 6,000µm/cm are recommended measures to help
reduce swelling but this remains ongoing work (3)..Water-in-oil (W/O) micro-emulsions using
silicone based solvents, alcohol and mineral based solution types are potentially effective at
minimizing risk to the paint film but increasing cleaning efficiency.

4. CONCLUSIONS

Acrylic emulsion paints are difficult to conserve because of their complex ingredients. The
additional dilemma of preserving the use and survival of acrylic emulsion painted banners such
as the UCW banner presents further concerns, such as levels of cleaning and appropriate
consolidation options. New cleaning systems being developed need further exploration bearing
in mind the porous nature of textiles and the common absence of preparation layers.

ACKNOWLEDGMENTS

Thanks to Dr. Bronwyn Ormsby, Senior Conservation Scientist, Tate, London and Annette King,
Modern and Contemporary Paintings Conservator, Tate, London for their useful comments
regarding this project.

NOTES
1. A rep weave is plain woven with a ribbed effect.
2. White spirit has no adverse effect on acrylic paints because it its low polarity, however it is
inefficient as a cleaning agent.
3. Part of current and on going research that was presented during a workshop conducted at Tate
in collaboration with The Getty Conservation Institute entitled the Cleaning of Acrylic Painted
Surfaces (CAPS). July 3-6, 2012.

REFERENCES

Jablonski, E, Learner, T, Hayes, J and Golden, M. 2004. Conservation Concerns for Acrylic
Emulsion Paints: a Literature Review.
http://www.tate.org.uk/research/tateresearch/tatepapers/04autumn/jablonski.htm
(accessed 03/28/11).

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Ormsby, B, Learner, T, Schilling, M, Druzik, J, Khanjian, H, Carson, D, Foster, G and Sloan, M.

2006. The Effects of Surface Cleaning on Acrylic Emulsion Paintings – A Preliminary
Investigation. http://www.tate.org.uk/research/tateresearch/tatepapers/06autumn/ormsby.htm
(accessed 03/28/11).

Ormsby, B., G. Foster, T. Learner, S Ritchie, and M Schilling. 2007. Improved controlled
temperature and relative humidity dynamic mechanical analysis of artists’ acrylic emulsion paint
films: part 1. Journal of Thermal Analysis and Calorimetry 90: 249-253.

Ormsby, B. and T. Learner. 2009. The effects of surface cleaning on acrylic emulsion artists’
paints – a review of recent scientific research. Reviews in Conservation 10: 29-41.

Ormsby, B. and P. Smithen. 2010. Surface cleaning acrylic emulsion paintings: case studies at
Tate. The Picture Restorer 37 (Autumn): 7-10.

Smithen, P. 2007. A history of the treatment of acrylic painting. In: Modern Paints Uncovered,
ed. T. J. S. Learner et al. Los Angeles: Getty Conservation Institute. 165-174.

Tonkin, L. 2012. Taking the modern with the traditional: introducing the challenges of acrylic
emulsion painted banners. Proceedings of the Icon Textile Group Forum, V&A, London, 6-16.

Whitehouse, R. 2011. Cleaning acrylic paints: lectures and practical workshop at Tate Britain.
The Picture Restorer 38 (Spring): 43-45.

SOURCE OF MATERIALS

“Melinex”
P. S. G. Group Ltd
49-53 Glengall Road
London
SE15 6NF
U. K.
Telephone: +44 (0) 207 7409740
Fax: +44 (0) 207 2775654
uk.office@psggroup.co.uk

Beva® 371
Conservation Resources (UK) Ltd.
Unit 2 Ashville Way
Off Watlington Road
Cowley
Oxford OX4 6TU
Tel. +44 (0) 1865 747755
Fax. +44 (0) 1865 747735
conservarts@aol.com

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LEANNE C. TONKIN earned a BA in Fashion from the University of Leeds, UK (1996). She
worked for 10 years as a commercial fashion designer responsible for the product development
of many collections, specializing in performance and outdoor wear. She has an MA in the
History of Textiles and Dress (2007) and an MA in Textile Conservation (2009) from the Textile
Conservation Centre (formerly of the University of Southampton). She has held her present role
as textile conservator at the People’s History Museum, Manchester, UK since 2009, specializing
in painted textiles, involving both traditional oil painted media and modern paints.

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