Movie Art

Poster Linen-backing and Restoration

We asked an experienced restorer, Diane Jeffrey, of Studio C in Vista, California to give a brief overview of the linen-backing process for a one sheet poster.   Linen-backing does not actually involve real linen of any kind, although at one time conservators did use it.  Today most restorers working with film posters use an acid free cotton duck for mounting.  If you’re not familiar with linen-backing, here’s a rundown on how talented conservators restore old, sometimes beat-up posters to beautiful displayable posters.  Here are Diane’s notes on the linen-backing process.

Linen-backing is the process of stabilizing and reinforcing a poster by adhering it to acid free paper lined with light canvas. Linen-backing is a long term archival conservation method. Linen-backed posters can be rolled, are ready for framing and are easier to handle over-all. It is a reversible process, although once posters are mounted, they are usually left mounted as a conservation and preservation method.

Washing Process

In this phase the poster is actually washed with water and cleaning agents. Over the years, dirt, smoke, and mold can be trapped in the fiber which makes up the paper and must be removed to prevent further damage. This process is very important and is critical to the restoration process.

The poster is laid flat on a special table that has been designed to allow a constant flow of water through the poster, as opposed to a “bath” situation. A cleaning solution of sodium lauryl sulfate is applied to both the front and back of the poster. In the wetting process, the poster is “brushed flat” to further insure that creases and fold lines are removed. After washing and rinsing, the moisture is rolled out of the poster. Washing, rinsing and rolling is done several times to insure that all the dirt is removed, which is evident in the water being removed from the poster. The final rinse reveals clean water.

Bleaching Process

The paper in posters can be severely stained due to dirt, water, foxing, tape and oil. In the case of older posters severe “browning” of the poster can occur due the acid in the paper. In some cases a bleaching agent is required to remove the discoloration. In the above example a bleaching agent is required due to the acid in the paper turning it brown and the round stains in the poster.

Prior to bleaching, several tests are made on the poster to determine the correct strength of the bleaching agent and the correct method to apply the bleach. In some cases, specific areas are treated to prevent the bleaching action to occur.

The bleaching agent is applied and rinsed. The following example shows the poster after the bleaching process

Deacidification Treatment

All paper products can be tested to determine the pH (acidity) of the paper. It is very important to maintain acceptable levels going forward. All posters should be tested and treated to insure proper pH levels.

In this process, a proper solution of magnesium carbonate/acetate is applied to the poster.

Mold and bug infestation

In severe cases of mold and bug infestation, a treatment a thymol solution is used as a treatment to insure no damage going forward will occur in the poster.

Linen-backing

In this process, the poster is adhered to a frame of linen/canvas lined with a layer of acid free paper. The final step in this process is the application of a solution of ethulose which is a flexible film adhesive that will hold the paper fibers in place.

The poster is allowed to dry in a controlled environment to insure no damage to the poster from uneven drying and paper shrinkage.

Poster Repair

Through the years, posters become afflicted with tears, holes, missing paper, fold separations, pin holes, surface scrapes and tape damage. After linen backing all the damage can be repaired and therefore minimized.

In the repair process, missing paper is replaced with paper of the same era, if possible. The paper is cut to the design of the missing paper, the edge of the poster and the edge of replacement paper is mitered. The replacement paper is glued to the poster and on top of the acid free paper. The seam is then filled with a paper fill, allowed to dry and sanded smooth to a flawless repair. Small holes are filled to the correct height of the paper. Tears are mended, any surface paper that has lifted is properly adhered back down and fold lines are treated to prevent lifting. In this process the end results in the poster being repaired and completely smooth and ready for touchup.

Touch-up

Touch-up can be performed on the areas of repair and to the loss of color in fold lines. Proper and expert touch-up will greatly enhance the poster.
During the process of touch-up, a variety of paints and pencils are used. No acrylic or permanent mediums are ever used on posters. Touch-up is only applied to the repaired areas and areas of color loss. Careful and skilled attention is paid to the color matching of the touch-up to the poster. Color is replaced in the fold lines and any repairs are touched up to blend with the rest of the poster.

This work was done by Diane Jeffrey at Studio C in Vista, California.  Diane may be reached at 760 721 5528.

Here are before and after photos.

HIS PRIVATE LIFE one sheet poster

THE HARLEM GLOBETROTTERS one sheet poster

BARBARELLA one sheet poster

We thank Diane Jeffrey for taking us through the basics of linen-backing a one sheet poster.  Studio C works their magic on one sheets and all types and sizes of film posters at their Studio in Vista, California.  Studio C, 2330 La Mirada Drive, Suite 400, Vista, California 92081.  Telephone is 800-583-8379.

Tags: linen-backing, poster bleaching, poster deacidification, poster repair, Poster restoration, poster washing, restoration, retouching, Studio C, Studio C Poster Conservation, touch-up, vintage film posters, vintage movie posters

2 Comments to Poster Linen-backing and Restoration

1. 

   A fabulous, straight-forward and in plain English summary of the exhaustive work that goes into the restoration process. In my opinion, despite the mixed views by some in our hobby about restoration in general — some paper is so badly damaged that without professional intervention — one faces the risk of losing the historical importance of these examples to the ravages of time. This is why many museum curators around the world embrace the fact that works considered “less fragile” than old paper, e.g., the Michelangelo’s Sistine Chapel, Da Vinci’s “The Last Supper” fresco and some of the most treasured paintings by Vermeer — are routinely inspected, cleaned and restored — with a preference for minimally invasive techniques that preserve an artist’s original vision. A+ feature! Thank you, Diane — and thank you, Kirby, for posting this on your site.
David Kusumoto on April 2nd, 2010
2. 

   Since I can do expert touch-up and some repair on other types of paper collectibles, every once in a while I am tempted to try and save a few bucks and linen-back some of my posters myself. Luckily, before I actually get around to it, I do some research and come across an article like this on the process and come to my senses.

   This is one of the best overviews I have seen on the subject — it names the products and chemicals used and makes clear what each step is and why it is necessary. After reading this, it’s obvious that the reasonable rates charged by the experienced professionals do this sort of work are more than worth it.
JR on April 2nd, 2010

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