Well, we are assuming it is being used with barrier coats of B72 etc.,
so that would make it reversible. However, if it is going to bead up or
fade away then it is useless in the long term, barrier coat or not.
Also, not to be too pessimistic about it, but you are assuming things
are in optimal storage and not exposed to light etc.. If your building
has a fire/flood etc. it would be good if your numbers stayed on the
objects in a legible form. That would be one less problem to deal with
in your post disaster cleanup.



-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On
Behalf Of Marc A Williams
Sent: Wednesday, July 09, 2008 11:00 AM
To: [log in to unmask]
Subject: Re: [MUSEUM-L] White ink for artifact numbering?

A quick comment about the search for a "bombproof" ink described below.
The very first criteria for marking objects is that it be reversible.
If it is resistant to water, solvents, abrasion and everything else
mentioned, it will not be reversible!  Many objects themselves won't
survive submersion in water for 3 weeks, so I'm not sure why the ink
should.  Why should you care about extreme light fastness of inks?  If
the light levels are that high, your object is being damaged!  Fading of
the accession number would be a good indication you have a problem.
It's a lot better than fading of the object.

Marc

American Conservation Consortium, Ltd.
     4 Rockville Road
     Broad Brook, CT 06016
     www.conservator.com <http://www.conservator.com/>
     860-386-6058

> -----Original Message-----
> From: Museum discussion list [mailto:[log in to unmask]]On
> Behalf Of Pickering, Felicia
> Sent: Wednesday, July 09, 2008 10:43 AM
> To: [log in to unmask]
> Subject: Re: [MUSEUM-L] White ink for artifact numbering?
>
>
> Sakura also makes the Gelly Roll pens, and they claim archival 
> quality, however I am not sure if anyone has tested that. Here is 
> Sakura's page on these pens: http://www.sakuraofamerica.com/Pen-Gel.
>
> Here are the Sakura pages on the Pen Touch pens, which are also listed

> as archival by Sakura on their web page (again, not sure how they 
> would test).
>
> http://www.sakuraofamerica.com/Marker-calligraphy
> http://www.sakuraofamerica.com/Marker-metallic-paint
>
>
> An article I have found very helpful, even though it is about 10 years

> old, talks about inks and commercial pens and numbering:
>
> Illinois Association of Museums
> Summer, 1997
> #16
> "How to... Mark Objects in
> Museum Collections
> PART I: Barrier Coats, Pens, Inks, Paints"
>
> Here is an excerpt from the article, talking about commercial pens and

> testing them. The testing process is not high tech and is probably a 
> good idea if using commercial pens for numbering. They are talking 
> mostly about black pens, but some of this would also apply to white:
>
>
> "Commercial pens: Conservators generally dislike commercial products 
> because the manufacturers often change the content without any notice,

> and it is difficult to determine what ink, solvents, etc. are used in 
> a manufactured pen. Often even a small change will affect the 
> lightfastness, durability, or acidity of the ink.
> Therefore, it is always best to test the pens before use if possible. 
> Like barrier coats, pens range in quality and performance.
>
>
> Suggested tests: Helen Alten suggests taking a piece of Tyvek envelope

> and marking it with the pens you want to test. Hang the envelope 
> outside for a summer and determine what inks survive. The legible 
> marks represent inks with good lightfastness. I have no clothesline, 
> so I mark Tyvek with a variety of pens and place it in a sunny window.

> I do the same with wood, glass, leather, and plastic using a variety 
> of base coats and pens. Another test includes writing with a variety 
> of pens on three types of paper: Tyvek, an acid free label, and a 
> piece of Resistall paper. Each piece of paper is placed in a container

> of water for several weeks. Unstable marking compounds will run or 
> smear almost immediately. Some inks will turn a purplebrown color and 
> will fade almost completely. Some pens will not write on all surfaces,

> particularly on plastics, including the barrier coats. In other tests,

> marks were placed on keys using Acryloid B72 and nail polish. The keys

> sat in a container of water for three weeks to simulate flood 
> conditions. Both lacquers peeled and the nail polish actually floated 
> off, leaving damaged metal. Terry Segal, assistant registrar at the 
> Detroit Institute of Arts, recommends the following tests: 1) Write 
> with the ink or pen you are testing on a variety of materials: glass, 
> paper, plastic, cloth tape, and metal. Bleeding or beading will be 
> immediately apparent. 2) Check for abrasion resistance by rubbing. 3) 
> Check for resistance to water and solvents (when dry) by immersing in,

> or wiping with a swab moistened with water, alcohol, or acetone.
> 4) Check for lightfastness by writing on paper or cloth tape and 
> placing in a sunny location. Draw a line with each ink or pen and 
> cover one section of the line to block light. Compare the exposed and 
> hidden areas after four to eight weeks. 5) Acidity can be tested by 
> writing on a paper that measures pH.
>
>
> -----Original Message-----
> From: Museum discussion list [mailto:[log in to unmask]] On 
> Behalf Of Dana C. Street
> Sent: Tuesday, July 08, 2008 4:22 PM
> To: [log in to unmask]
> Subject: Re: [MUSEUM-L] White ink for artifact numbering?
>
> Hi all,
> this is my first reply to Museum L !
> Here at the Martha's Vineyard Museum, we have been trying a pen made 
> by Sakura, Pen Touch and have had decent luck with it.  You just have 
> to get hang of how to control the ink flow.  It is not labeled as 
> "archival" and I'm wondering if the gelly pen from Gaylord, listed in 
> another reply, is?
>
> Dana Costanza Street
>
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