2022 Edition

HANDBOOK
WRITTEN BY

KATE SEYMOUR

&

JOANNA STROMBEK

2022

Mist-Lining Handbook
Stichting Restauratie Atelier Limburg

 Mist-Lining Handbook:
DE-MYSTIFYING MIST-LINING

Written by Kate Seymour and Joanna Strombek

Published by SRAL 2022 with support from the Getty Foundation as part of its Conserving
Canvas initiative.
Maastricht, The Netherlands
© SRAL

Mist-Lining Handbook: De-Mystifying Mist-Lining by Kate Seymour and Joanna Strombek

published by SRAL (2022) is licensed under CC BY-NC-SA 4.0.

To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/4.0

ISBN: 978-90-832672-0-3

Front Cover Photograph: A linen lining canvas sprayed with a mixture of Dispersion K360 and
Plextol D512 (70:30) in raking light. Photo credit: SRAL
Photo Right: Materials and Tools used in Mist-Lining. Photo credit: SRAL
Photo Contents Page: Snapshot of the Mist-Lining Workshop sample book. Photo credit: SRAL
All images included in this publication are credited to SRAL unless otherwise stated.

This publication is supported by the Getty Foundation through its Conserving Canvas initiative.

 Contents
Page
01 Introduction
02 Disclaimer
03 Why do we still line?
04 The History of Mist-Lining
08 Integrated Treatment Approach
18 Lining Canvas Selection
26 Spraying
30 The Mist-Lining Adhesive
36 Applying the Adhesive
42 The Low-Pressure Envelope
51 Adhesive Re-Activation
56 Mist-Lining
65 After Mist-Lining
69 Delining a Mist-Lining
71 Health & Safety
73 Case Studies
74 Madonna and Monk Unknown Artist
87 Seated Old Man Unknown Artist
104 Authors
01 Introduction

De-Mystifying Mist-Lining
The Mist-Lining system, developed in the 1990s at SRAL
Click to watch the De-Mystifying Mist-Lining Video
by Jos van Och, has evolved into a system that today
resolves structural issues presented by canvas paintings,
but at the same time maintaining their integrity and
authentic appearance. By determining the individual
needs of each painting, a holistic approach to treating the
structural needs of a painting can be integrated into a pre
and post conservation campaign.

This Handbook aims to give conservation professionals

insight into the methodology, practice, materials and
processes associated with Mist-Lining.

We will guide you through the preparation of the

original canvas painting for lining, the selection and
preparation of the lining canvas, setting up the low-
pressure envelope for executing the lining, and the
steps required when undertaking a Mist-Lining.

This Handbook is full of tips and tricks for the

experienced practitioner, and should be used as an
aide memoire for those who have some knowledge of
the Mist-Lining system.

SRAL regularly holds workshops to teach and

disseminate the technique. We have also produced a
video highlighting the Mist-Lining practice available on
our YouTube channel (click on the link to the right).

Please also consult the Mist-Lining Materials Book for

information on the materials, tools and equipment we
used at SRAL to carry out successful Mist-Linings.

 02 Disclaimer
This handbook is written, published and distributed by the Stichting
Restauratie Atelier Limburg (SRAL), Maastricht, The Netherlands and is
supported by the Getty Foundation through its Conserving Canvas
initiative.

Since 1997, SRAL has carried out due diligence investigating all
aspects of the Mist-Lining process adapting the system to new
discoveries, researches and materials that become available to the
conservation sector. The information in this Handbook is provided
without any warranty, express or implied, regarding its correctness.

The conditions or methods of Mist-Lining application carried out by

those not employed at SRAL are beyond our control and may be
beyond our knowledge. For this and other reasons, we do not assume
responsibility and expressly disclaim liability for loss, damage, or
expense arising out of or in any way connected with the the application
of Mist-Lining.

This Handbook was prepared and is to be used only as an aide

memoire to Mist-Lining process. If the system is used as a component
in another technique, this Handbook information may not be
applicable. Reference to methods, materials, products, or companies
herein does not imply endorsement by SRAL.

We hope that this handbook provides guidance to the Mist-Lining

process. This handbook is not intended as a stand-alone document. It
cannot substitute the training required to enable conservators with
su cient education and knowledge to enact viable decisions for
treatment. It should be used as a supplement to training rather than a
substitution of such.

This guide should be used responsibly by professional conservators.

Please use your own judgement and understanding of the speci c
problems presented by a canvas painting before and during carrying
out any of the steps presented here. We also recommend carrying out
experiments and tests to become comfortable and conversant with the
system before implementation.

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03 Why do we still line?

We line because …… often the structural integrity of the painting is failing; paint layers may exhibit extreme cupping or be
compromised by mechanical damage; canvas supports may no longer present continual tension as tears or holes interrupt the natural
weave structure and strength of the canvas; previous linings may be failing and require removal and relining ……….

There are still a multitude of reasons why lining still needs to be practiced. Of course, there are disadvantages to lining and alternative
structural treatments can be selected and implemented when possible! However, the practicing paintings conservator should have
solutions for more severe structural issues in their ‘Tool Box’ of treatments.

We at SRAL believe that Mist-Lining is a viable solution for the ethical treatment of a multitude of structural issues.
04 The History of Mist-Lining
The Mist-Lining system was invented and developed at
the Stichting Restauratie Atelier Limburg (SRAL) by Jos
van Och (Head of Conservation, SRAL until 2019) in the
1990s. It stems from the preceding work, initially presented
in the 1970s, by amongst others Gustav Berger and
Vishwa R. Mehra. It is safe to say that over the past 30
years, hundreds of paintings have been treated by the
SRAL team belonging to local, national and international
collections.

The Mist-Lining system enables the reinforcement of a

canvas painting without a ecting the original structure.
This system can be easily adapted to accommodate
structural problems presented by both ‘old master’
paintings and modern and contemporary artworks.

The Mist-Lining system is deceptively simple! It is a

complex system that easily combines and incorporates
other methods for the structural treatments of canvas
paintings.

A holistic approach is key to implementing a successful

Mist-Lining where speci c problems are broken down into
individual components and adaptive solutions are found.

We emphasis a critical thinking attitude encouraging a

think-it through mentality with the ability to re ect on
successes and failures alike.

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05 The Evolution of Mist-Lining
First Experimentations
Jos van Och consulted on the Panorama Mesdag project © Visser & van Rijckevorsel Filmproducties

(1985-1995). The 2000 m2 circular canvas, painted by

Henrik William Mesdag and companions in 1881,
stretches some 14.70 m in height and has a
circumference of 114.70 m. The entire canvas was lined
without removing it from the original hanging system
during this project.

TU Delft worked closely with the conservation team

designing the lining canvas and tested the lining adhesive.
This project is considered one of the greatest challenges
within the Dutch conservation eld.

The devised lining process involved spraying and ocking

BEVA 371TM to the lining canvas in order to create an open
adhesive lm rather than a continuous coating.

Lining was carried out section by section using heat and low
pressure. A low pressure ring, connected to a centrifugal
pump, designed by Jos van Och, extracted air from an
enclosed space created by covering both sides of the
lining section with plastic sheeting. The extraction of air
created a pressure di erential causing the two plastic
sheets to be drawn together. The result was the creation
of a low pressure system.

While the lining canvas was held in close contact with the
original, the bond was set by placing a heated silicone
mat to the reverse of the lining canvas, e ectively raising
the temperature to the activation point of the BEVA 371TM.
Pressure was applied continuously until the adhesive
cold-set. The low-pressure ring and heated mat were then
advanced to the next section.

The mode of application of the adhesive and method of

using low pressure became the essence behind the low-
pressure envelope used in the Mist-Lining process.

https://panorama-mesdag.nl/en/
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06 The Genesis of Mist-Lining

Initially, Jos searched for a manner in which to It became clear that the thinner and more even Jos settled on a method which used a fine spray
apply a non-continuous coating to a large lining the adhesive coating, the easier the adhesive mist to deliver the adhesive to the canvas. A
canvas. He developed a dispensing system was to regenerate with solvents. Spray spray application produced the desired open
which delivered the acrylic dispersion adhesive applications methods were developed and are network that facilitated solvent (re)-activation of
evenly as ribs. However, tests indicated that the used today. Tests were carried out on mock-ups the adhesive. The lining canvas, when the
stiffer areas, corresponding to the ribs, to establish the load that the adhesive could adhesive was dry, could be placed directly on
telegraphed and imprinted into paint layers resist and the effective removal using peel force. the reverse of the original and the adhesive
under high pressure. regenerated in-situ using solvents and low
pressure.
07 The Philosophy of Mist-Lining Flexible
Open Adhesive S uct e
The new approach aimed to:
Acrylic Dispersion
• reduce the amount of adhesive
used;
Pre-Treatments
• inhibit penetration of the lining
adhesive into original materials;
Mist-Lining
• eliminate heat and moisture from
the lining process;

Low-Pressure
• use minimal pressure during lining;
No Impregnation
• reduce the exposure of the
conservator to harmful solvents;
Solvent Regeneration
Minimal Treatment
• and facilitate the removal of the
lining canvas in the future.
No Moisture
No Heat
Non Toxic
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08 Integrated Treatment Approach
Each problem (structural or aesthetic)
presented by the painting must be broken
down into individual components and
solved separately.

Following this advice is the key to

implementing a successful Mist-Lining. The
Mist-Lining process is not a stand-alone
treatment and must be considered in
relation to other treatments that will be
carried out prior to lining.

Our philosophy is ‘to leave options open' as

much as possible. While each step of the
treatment of a painting is thought through, it
is vital that the consequences for
subsequent treatments and the future
behaviour of materials are fully considered.
We must remain re ective and review results
after each treatment step and formulate
solutions tailored to each case as they are
presented. 
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 09 Problem Solving & Critical Thinking

Treatments to be considered at planning

stage:

• Consolidation: paint layers and primary

support 

• Flattening: mitigating planar distortions 

• Tear-mending & tear support

• Cleaning: dirt and varnish removal 

• Filling & Retouching 

• (Re)Varnishing

Separate solutions are therefore found for

speci c problems. This system has moved
away, like other modern approaches, from
trying to solve all issues in one action.
Deformations in the support are rst
attened by pre-stretching and the
application of gentle (lateral) tension, often
applied over time and repeated. Stretching is
frequently combined with raising and
lowering relative humidity conditions or
using local moisture treatments.  Planar
distortions can be attened gradually
without the use of excessive moisture, heat
or pressure. This allows the lining process to
solely involve the application of an additional
canvas used to support and strengthen the
original. And at times the decision not to line
can be made! 
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 10 Consolidation of the Paint Layers

Sturgeon Glue is prepared from the swim bladders of the Sturgeon

sh. The bladders are soaked in cold water overnight and then gently
warmed (<60ºC) to release the collagen. Any residues are ltered. The
glue is then cast to a dry sheet and subsequently formulations
between 2-5% in water are used for consolidation.

Tip: Cold store the prepared sturgeon glue in a syringe between uses
to prevent mould growth and prolong life.

Consolidation of the paint layers:

Pre-treatments include any necessary consolidation of the paint
layers. This may happen before, during or after any of the
tensioning treatments described (see Page 12). Cupped or
raised paint may be di cult to atten if there is insu cient
space caused by shrinkage (over time) of the support. Using
tension applied gradually, perhaps in combination with
moisture, may allow su cient extension of the original canvas
to mitigate this situation.

Local or endemic weakening or detachment of the adhesion

between paint and ground or ground and support may require
the introduction of an adhesive. Typically, at SRAL we use
consolidants based on aqueous solutions of natural or semi-
natural adhesives. We consider consolidates sympathetic to the
materials and condition of the original size layer. Thus, we
frequently use dilute solutions of gelatine or sturgeon glue in
water. For more modern acrylic paintings, we will use synthetic
adhesives, such as acrylic dispersions or Lascaux Medium for
Consolidation. The selection will depend on the thickness and
sti ness of the original paint layers.

Heat (c. 30-40 °C) is often used to help the adhesive ow below
the raised or aking paint. In some cases, if the paint is
powdery, a nebuliser is used to deliver the adhesive. Small
weights are used to apply pressure while the adhesive sets to a
lm.
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11 Consolidation of the Primary Support 

Consolidation of the primary support:

In some cases, the condition of the primary textile support
merits consolidation. Consolidation of the primary support is
usually carried out after dust and debris has been removed
from the reverse of the canvas.

Consolidation is needed if the condition of the original fabric is

compromised and presents as powdery. We use a simple tape
test to determine whether consolidation of the canvas support
is needed - shown above.

A small section of pressure-sensitive tape is applied to the

reverse and removed. If considerable brous material is
detached from the yarn, we consider the primary support to be
powdery and we will consolidate the textile.  

Consolidation is done as ‘gently’ as possible using dilute

solutions of gelatine, or sturgeon glue, or even methyl-
cellulose. During this process the painting is kept under
constant tension to mitigate shrinkage as moisture is used.

Tension can be applied using a variety of methods, some of

which are illustrated in the next pages.

The consolidant is applied in a viscous solution using a

dampened cloth or sponge. The same test is repeated after the
consolidant is dried, and the results are compared. This action
can be repeated if needed.  

The intension is to consolidate the yarn rather than impregnate

and penetrate through to the ground layer on the front side of
the painting. However, in severe cases this treatment also
functions to consolidate paint layers that are in need of an
overall treatment.

Tip: Consolidation of the primary support is seldom required. We

make a ‘tampon’ using cotton-wool wrapped in cotton or linen.
Consolidation of the primary support should be done under tension.
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 12 Mitigating Planar Distortions with Tension
Tip: Repeat the chosen Planar distortions can be local, such as corner draws, or more
tensioning system overall, such as cockling, denting or bulging. Typically, at SRAL
multiple times to utilise we use tension, sometimes combined with local applications of
incremental tension moisture and/or heat, to deal with out-of-plane
rather than using excess deformations. We use a number of systems to provide di erent
force to improve surface degrees of tensioning:

deformations.
1. Tensioning with pressure-sensitive paper tape:

This tensioning system is relatively simple and low-cost. The

painting is placed, either face up or down, on top of a sheet of
thin HDPE plastic, cut to the same size as the painting. This
prevents friction building up between the smooth table surface
and the painting as tension is applied. Tension is applied simply
by using masking tape to x the painting to the table
surface. Tabs are created using a 2 cm wide painters tape. Tabs
are placed evenly around the perimeter of the
painting. These tension tabs can be individually released and
gently pulled and attached in a new position to increase
tension as desired. 

2. Tensioning with strings and clamps system: 

This is a  exible tensioning system where tension can be

increased or relaxed (locally). It is derived from traditional
seventeenth-century tensioning systems for preparing canvas
for painting. The painting is loomed to a larger strainer/working
loom using a combination of strings attached to clamps. The
string is rmly attached to the (reinforced) tacking margin
(or just inside the front face of the painting) using a clamp and a
pressure spacer (to ensure grip and prevent damage). The other
end of each string section is attached to the working loom with
a bulldog clamp. We frequently substitute the edge of a table
instead of using a working loom.  When needed tension can be
increased by releasing and repositioning the string. The ability
to modify the tension, increasing/decreasing it where needed,
helps us to tailor the process to each speci c case. 

We often use moisture combined with these tensioning

systems, sometimes sequentially. Slightly damp tissues can be
used to increase the moisture content of the primary support.
Gortex or Polartex textiles can be used to deliver moisture.
Tension is increased when moisture levels are elevated and
maintained until the moisture levels have lowered. This process
can be cycled to extend the original support and e ectively
atten planar distortions.
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 13 Mitigating Planar Distortions with a Paper Facing
Yet another tensioning system that we use frequently at SRAL,
derives from paper conservation. The technique combines the
use of the expansion-contraction properties of wet-dry paper,
with xed, continual tension points/ring around the perimeter of
the painting. Gampi paper has a high wet strength and will
expand when wet, as the paper bres swell. Expansion is
slightly greater in the bre direction.

The painting is placed face up on a at smooth surface. HDPE

plastic sheeting is placed directly underneath and cut to size
(the edge of the tacking margin). This allows the painting to
shift slightly over the surface matching the expansion /
contraction of the paper as it shifts from wet to dry.

The Gampi paper is pre-loaded with a cellulose ether solution –

either Methyl Cellulose or Klucel G – typically around 2-4% in
water. This adhesive acts not only as an adhesive attaching the
wet paper to the paint surface, but also a source of moisture for
relaxing all strata of the painting, from the canvas to the paint
layers.

Full sheets of Gampi paper, measuring 50 x 60 cm, are used as

this makes e ective use of the wet-dry expansion. The outer
sheets extend beyond the painting’s taking margins (at least by
30 cm) and are attached to the surface on which the painting
lies. This creates a continual tension point or ring and is crucial
to the success of the process. This ring should dry rst before
the centrally applied Gampi facing. The paper is kept moist (by
covering with plastic sheeting until the entire surface is
covered. The edges can be dried rst before the central section
of the painting using hair dryers or heat blowers. 

The wet paper releases moisture gently through the painting’s

Tip: This facing system can be repeated a laminate structure, raising moisture content by di usion, and at
number of times to treat paintings with more the same time relaxing and swelling the canvas. As the paper
severe planar distortions.
dries, it shrinks back to its original dimensions consequently
applying tension to the materials below because the paper at
The key to success is to have a good, xed the periphery of the canvas is adhered to the table surface. The
border between the table and the painting.
counter tension provided by the xed perimeter
eliminates excessive shrinkage. 

Gampi ber comes from the inner bark of

branches of the gampi bush. Gampi which has This technique is often su cient to reducing long, overall
a beautiful sheen and a natural sized quality ripples or cockles presented in canvas paintings resulting from
which prevents absorption - you can either lack of tension in the primary support over time. The high
apply the ‘shiny’ side up or down to control viscosity of the adhesive and its light bond strength
moisture release. mean that the adhesive has minimal penetration and thus it is
easily removable through re-wetting the paper. 
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 14 Tear-Mending & Tear Support

Thread-by-Thread tear mending is used to repair tears or losses in the structural support.
The technique, introduced by Winfred Heiber in the mid 1980s, is followed at SRAL. Just as
Heiber instructed, we use mixtures of starch and sturgeon glue. But, just as Petra Demuth
and Hannah Flock, who currently teach this technique, advice, other synthetic adhesives can
be substituted.

Holes or missing sections in the primary support are completed with interwoven inserts.
Inserts are cut to shape out of prepared linen canvas and tted in place prior to lining. As for
tear mending, similar adhesives are selected.

Repaired tears or holes can be reinforced with additional, locally applied, fabric
interleafs or patches. We use a variety of fabrics, such as non-woven polyester
or glass- bre textiles, combined with di erent thermoplastic, hot-melt adhesives
that can also be solvent activated. These ‘patches’ are so thin that over time
they will not ‘telegraph’ or ‘imprint’ and become visible in raking light. The edges
are cut to an amorphous shape to prevent straight lines from becoming
evident.  

The interleaf patch is placed in position on the reverse of the original canvas and
xed into position before lining. The adhesive used must be compatible with the
Mist-Lining system. It’s the intension that these reinforcements remain in place if
de-lining occurs in the future, but can be removed independently after de-lining
if deemed necessary. 

Tip: Instead of preparing inserts or interleaf material on a case-by-case situation,

we often prepare larger surfaces and select the adhesive/textile combination as
desired.
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 15 Cleaning: Dirt & Varnish Removal

The removal of unwanted surface layers such as dirt, varnish layers and undesired overpaints, should be
carried out prior to lining. Removal of degraded (and thus sti er) varnish layers improves the exibility of
the laminate structure. Old lls that do not perform well can also be removed at this stage. 

The Mist-Lining system uses solvents to activate the lining adhesive (in-situ), which means that solvents
used after lining could in uence the bond achieved. Similarly, solvents used for activation would
in uence any varnish layers, therefore we prefer to clean prior to lining.

Typically dirt layers are removed independently from varnish and overpaint material. Appropriate
cleaning systems are tested and used with discretion following norms published elsewhere.

SRAL has developed a particular way for removing thick multi-layer systems of varnish using a solvent
gel impregnated into a gauze and absorbent tissues to wick away dissolved varnish without using much
mechanical action. The technique is called the Gel Compress Tissue Technique and has been published.

However, if varnish layers should be retained, the Mist-Lining system will allow for this. The selection of
solvent for the reactivation of the lining adhesive can be modi ed so that the varnish layer is una ected.

Tip: The Modular Cleaning Program can be used to guide conservators in selecting the appropriate system for
dirt removal. SRAL has developed the Solvent Star to assist conservators in selecting the appropriate solvent
for varnish removal. This aid is published on our website.
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 16 Filling & Retouching

Filling and retouching of losses and reintegration can be implemented prior to or post Mist-Lining.

The choice of lling material will depend on the surface structure and gloss of the original paint layers AND the choice of varnish that will be used to saturate the surface to
assist in colour reintegration and as a nal coating.

Typically at SRAL, we select from a variety of llers, either aqueous or synthetic-wax-resin in composition. Although we do use commercially available llers, we prefer to
make studio formulations which can be modi ed to accommodate working practice.

Generally, synthetic retouching mediums are used at SRAL together with dry, loose pigments. Commercial retouching systems, such as the Gamblin Conservation Colours
or Golden Acrylic paints are used. The selection is dependent on the varnishing system used. While the retouching medium can be the same as that resin used as a
saturating varnish, we prefer to use a retouching medium that permits the use of a nal brush coating. Sprayed nal varnishes are used as well.

Typically, while lling is often carried out before Mist-Lining, retouching and varnishing occur after the completion of the structural treatment. However, these phases can
occur prior to lining. In these cases, the solvent selected for the reactivation of the acrylic dispersion should NOT adversely a ect the retouching medium or varnish resin.

An example of an aqueous An example of a synthetic wax- Retouching Media:

ller:
resin ller:
Paraloid B72

Evacon R & Methocel A40

Microcrystaline wax
Laropal A81

Kaolin &/or Aluminium Hydroxide

Kaolin &/or Aluminium Hydroxide
PVA retouching colours

Pigments Pigments QOR/Aquazol

Tip: Ingredient proportions and consistencies are deliberately not given in the recipes above. We advocate adjustments in the proportions of lling mixtures to accommodate the
individual requirements of each painting. Varying the amount of adhesive to bulking agent can create a more uid or sti er ller. Pigments can be added to modify colour.
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 17 Varnishing

Varnishing, or rather re-varnishing, usually happens after a Mist-Lining is completed. However, care must be taken not to regenerate the acrylic lining adhesive when
applying a varnish. The solvents used to dissolve varnishes, especially fully aromatised hydrocarbon solvents, such as Shellsol A100, will swell acrylic resins and extended
use of or exposure to these solvents during varnish application may a ect the lining bond. We recommend applying the minimal amount of varnish required to achieve the
desired surface gloss.

That being said, at SRAL we tend to apply varnish layers using a brush application, though on occasion spray applications are more appropriate.

Synthetic polymers and resins are typically used at SRAL for varnishing, though on occasion natural resin varnishes are utilised. The saturating varnish, applied prior to
pictorial reintegration, is typically a di erent resin than the nal coating. If the same resin is used for the second application, a spray varnish method may be e ective.
Typical, polymers or resins used for varnishing canvas paintings are: Paraloid B72, Laropal A81, Regalrez 1094, and as required Dammar. Solvents are selected according to
the solubility parameters of the resin.

Studio formulations are used exclusively at SRAL. These formulations can be adjusted to the desired viscosity and matt/glossiness by altering the concentration of the
polymer or resin and the selection of the solvent. On occasion, additives are used - such as microcrystalline wax, for instance Cosmoloid H80, or a rheology modi er, for
instance Kraton G 1650.

An example of a Paraloid B72 An example of a Laropal A81 An example of a Laropal A81

varnish:
varnish:
varnish:

Paraloid B72
Laropal A81
Regalrez 1094

Shellsol A100 60 % Shellsol D40
 Shellsol D40

40% Shellsol A100

Kraton G 1650 (up to 10% weight of resin)

Cosmoloid H80 (2-3% weight of resin)

Tip: Ingredient proportions and consistencies are deliberately not given in the recipes above. We advocate adjustments in the proportions of varnish formulations to accommodate
the individual gloss requirements of each painting. Varying the amount of resin to solvent will in uence the gloss. Paraloid B72 varnishes are typically lower concentrations than
other resins. A Regalrez 1094 varnish can be applied by brush on top of a Laropal A81 varnish. A Laropal A81 can be applied by brush on top of a Paraloid B72 varnish.
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 18 Lining Canvas Selection
The selection and preparation of the lining
canvas is key to a successful Mist-Lining.

The following pages will introduce you to a

selection of textiles used at SRAL for Mist-
Lining.

We do recommend that you explore options

available to you in your own local
environment and build a knowledge of
di erent appropriate textiles for selection.

Two key points should be considered when

selecting a textile for Mist-Lining:

- Canvases must be a spun yarn rather than

a mono lament.

- Open woven fabrics are preferred over

densely woven materials.

Our preferred canvas selections are given

on the following pages.
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 19 Choice of Lining Canvases

1 cm 1 cm 1 cm

Libeco: P165 Libeco: 5653 Theatex: Trevira CS

Ecru: Loom-state Ecru: Loom-state Heavy duty, white
100% Linen 100% Linen 100% Polyester ( ame
retardant)
Warp 12 x Weft 13 Warp 25 x Weft 25
Warp 24 x Weft 24
Typically linen or spun-polyester textiles are chosen as the lining canvas. Spun yarns are a necessity as the nap-fibre can be
enhanced during the preparation of the lining canvas by gently sanding the stretched textile. The adhesive, applied as a spray-
mist, deposits on the upstanding nap and therefore does not saturate the weave of lining canvas. This creates a thin open ‘fluffy’
coating on the surface of the lining textile.

Linen:
Open woven linen fabrics, as seen above, are preferred as these textiles have less crimp than more densely woven textiles. This
reduces the dimensional response to fluctuations in relative humidity by the tensioned lining fabric.

Polyester (Trevira CS):

A heavy duty fire resistant woven textile is preferred as this provides structural strength and stability. This textile is available in
wide widths (c.350 cm) and is therefore suitable for large paintings avoiding the need of a seam.

See Mist-Lining Workshop: Materials Sampler (2019) - available on request: [email protected]

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 20 Choice of Interleaf Textiles

1 cm 1 cm 1 cm

Para l RT 20 Polyservice: Glass- bre Twill Polyservice: Plain Weave

Fine Woven glass- bre Woven glass- bre
100% Polyester 80 g/m2 25 g/m2
Non Woven

Interleafs are used to increase strength of the lining laminate or can be cut to shape and applied locally to reinforce tears or
holes. We use non-woven spun yarn polyesters, which the nap can be enhanced and sprayed with acrylic dispersions OR woven
glass-fibre textiles. Glass-fibre textiles cannot be roughened using sandpaper to increase the nap. The lining adhesive cannot be
sprayed in a mist form onto glass-fibre textiles. Alternate means to apply the adhesive must be used such as brush or roll
coating, the latter being more common. Rolled film coatings of the acrylic dispersion mixture can be reactivated using the solvent
delivery cloth in the same manner as sprayed adhesive coatings, but longer regeneration times may be necessary.

Interleaf fabrics can also be used locally to reinforce tears or holes in the original support. A wide variety of thermoplastic, heat-
set adhesives can be used to adhere local reinforcements to the reverse of the original support. Typically rolled coats of acrylic
dispersion or BEVA 371TM film are used. The interleaf reinforcement should be heat-set in position prior to lining. The activation of
the lining adhesive with solvents may also effect the adhesive used for local reinforcement.

Interleafs may also assist in the removal of the lining fabric at a future date.

See Mist-Lining Workshop: Materials Sampler (2019) - available on request: [email protected]

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 21 Preparing the Lining Canvas: Stretching

I II III IV
Mount the working loom Cut the canvas sightly Fix corner 1. Tension Tension corner 3 opposite
larger than the working corner 2 keeping weave corner 1
loom straight
3

1 2 1 2

V VI VII
Tension corner 4 Tension middle on all sides Complete tensioning
3 4 3 4 3 4

1 2 1 2 1 2

Tip: Working with a partner will greatly facilitate tensioning the lining canvas. Don’t over tension the canvas as it will 'shrink' when released from the working loom after lining is
completed. Knowing what the 'right' tension is comes with experience. We routinely leave space for two ngers between the working loom and canvas when tensioning the corners
(steps III, IV and V). If the tension is even, then Steps VI and VII require very little ‘pulling' to achieve the desired tension.

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 22 Preparing the Lining Canvas: Stretching

Tips for Tensioning:

• The lining canvas should be tensioned to a
working loom, strainer or stretcher that is at
least 40 cm larger than the painting in both
directions.

• The tension should not be too high. The canvas

should not shrink back once released from the
working loom after lining.

• The canvas weave should be kept straight.

Guides can be used to ensure even tensioning.

• Use staples for tension xtures. Place these in

the at face of the working loom.

• Follow the scheme for tensioning on Page 21.

Once all four corners are tensioned, additional
stretching should not be required.

• There is no need to de-crimp, open-weave linen

textiles. If a dense weave (linen) textile is
selected, de-crimping is advised.
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 23 Preparing the Lining Canvas: Masking Out

I II III
Place painting on lining canvas Mark outside edge of original Mask out area with tape
leaving excess and plastic sheeting

Tips for Masking:

• Exposed adhesive will pick up dirt. It is best to mask out the area to which the
adhesive will be sprayed.

• Plastic sheeting and tape are used to create the mask.

• Make sure to mask out the correct side of the lining canvas! Decide if the painting
will be lined face up or down prior to preparation of the lining canvas.

• The contours of the painting are outlined (in pencil) leaving an excess of c. 0.5 cm.
Uneven edges can be straightened.

24 Preparing the Lining Canvas: Creating the Nap

Before & After Sanding

Silicon-carbide water-resistant sandpaper The sandpaper is gently rubbed over the Open woven linen canvases will produce
is used to ‘roughen-up’ the lining canvas lining canvas in both weave directions until significant fluff that is easy to observe. The
creating a raised nap to which the sprayed a visible nap results. Care should be taken produced raised nap on synthetic
adhesive will bond. The nap is the raised not to break the threads! Raking light can polyester canvas is very difficult to
(fuzzy) surface on certain kinds of textile. be used to assess progress. determine! Experience brings best results.
This is an essential aspect of Mist-Lining.
25 Preparing the lining canvas: Creating the nap

The excess ‘ u ’ should be removed by gentle brushing or using tweezers to pick away lumps. Compressed air applied from the
reverse can be used to dislodge stubborn u . Slubs and distortions can be thinned, before or after gentle sanding.

Avoid placing anything on the prepared surface after the nap is raised. Do not atten the u at this stage. It is essential that the ‘nap’
remains upstanding during the spray application of the lining adhesive.
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 26 Spraying

Spray Tent v Spray Booth

A spray booth is not required, and lters will
become clogged with the adhesive if used
rendering these defunct. We advise covering
all lters if a spray booth is used.

Instead, we recommend creating a spray

tent. This can be free standing or you can
convert your spray booth. The walls of the
tent are constructed by hanging HDPE
plastic sheeting from a structure suspended
from the ceiling. Don’t forget to cover the
oor of the tent with a thicker plastic sheet.

The tent walls can be rolled up and reused.

However, these will need replacing
(especially the ‘back wall’) when they
become too ‘sticky’.

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27 Setting up the Spray Tent

Spraying the adhesive to the lining canvas is

messy and overspray cannot be avoided.

The spray mist is heavier than air and will fall

downwards depositing on adjacent surfaces
and the floor.

Residues deposited on surfaces are difficult

to remove.

Masking surfaces and the floor ensures less

mess and makes clean-up easier.

A Spray Tent can be easily set up and is an

effective ‘container’ for spraying the lining
adhesive.

The easel, for holding the stretched lining

canvas, and other equipment should also be
masked.

Body protective suits and dust masks should

be worn when spraying acrylic adhesives.

These materials, used without modification,

are of low toxicity but should not be inhaled.

Tip: We construct a large wooden frame which is suspended from the

ceiling on which the ‘walls’ of our tent are attached. We use plastic
sheeting bought at the local hardware store, commonly used by
painter-and-decorators for covering furniture when painting interiors.
These plastic sheets come in di erent thicknesses and dimensions
(oversized measurements are usually easy to nd). These are the same
plastic sheets that are used to create the Low-Pressure Envelope.

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 28 Setting up the Spray Tent

I II
Construct a rectangular wooden frame. Let the sides of the tent fall down. Cover
Mount a sheet of plastic to each side. the oor area with plastic sheeting.
Use cardboard strips to reduce tearing.

II
Hang the wooden frame from the

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29 Setting up the Spray Tent

Tips for Setting

up the Spray Tent:
• Masking plastic sheeting can be
used to create the tent walls. This
comes on rolls of up to 4 m width,
perfect for oor to ceiling tent
walls.

• A continuous piece of plastic

sheeting can be used, creating
continuous corners. Double up one
wall to create a ‘door’ into the tent.

• Use sandbags or weights along the

perimeter to keep the walls steady
and from blowing in or out when
spraying.

• Remember to cover all equipment

that is placed within the tent.

• The tent walls can be rolled up and

reused a number of times.

• The tent walls do get ‘sticky’ as

there is a lot of overspray and
require frequent replacement.

• Try to source recycled plastic for

this construction.
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 30 The Mist-Lining Adhesive

Mist-Lining uses a combination of two

aqueous acrylic dispersion polymers.

These synthetic polymers are suspended in

water as part of the manufacture process.

To eliminate water in the Mist-Lining system,

the adhesive is left to dry (overnight) after
spray application.

The dried lm will swell (and eventually

dissolve) in solvents.

Solvent vapours are used to regenerate the

adhesive making it tacky.

Once the adhesive is re-activated, pressure

can be used to bring the two canvases
together.

Pressure is maintained until the adhesive is

set.

Currently, at SRAL we are using a binary

system of two acrylic dispersions of
di erent molecular weights:

Dispersion K360 and Plextol B512.

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31 Aqueous Acrylic Dispersions

Tips for Selecting the Lining Adhesive:

The adhesives used in the Mist-Lining system have
changed according to availability since the genesis of the
process in the mid 1990s.

The system was conceived as a binary combination of

two acrylic dispersions of divergent molecular weight.

An overview of the different formulations:

Ist Generation (<2004):

Plextol D360 : 70%

Plextol D541 : 30%
Rohagit SD10 (thickener) : 2-10%

2nd Generation (2004-2006):

Plextol D360 : 70%

Plextol D540 : 30% • Other acrylic dispersions such as Plextol B500 or Plextol D498 have been
Rohagit SD10 (thickener) : 2% tested as either independent formulations or in combination with other
acrylic dispersions.

3rd Generation (2006-2019):

• Molecular weight should be taken into consideration. The adhesive
Dispersion D360 : 70% should have a Glass Transition Temperature (Tg) above standard room
Plextol D540 : 30%
temperature. Higher molecular weight formulations can be designed for
Rohagit SD10 (thickener) : 2-10% (optional)
application in countries with warmer climates.

4th Generation (2019>): • Note: many paint manufacturers make acrylic dispersions. Not all of these
have been tested for Mist-Lining.

Dispersion D360 : 50%

Plextol D512 : 50% • The slight yellow colour of the Dispersion K360 and D498 indicate the
presence of surfactants, an additive in the manufacturing process.
Plextol D360, Plextol D541 and Plextol D540 have been
discontinued by the manufacturer.

32 Properties of the Lining Adhesive

Properties of Dispersion K360: Current Formulation: Properties of Plextol D512:

Dispersion K360 : 50%
Aqueous emulsion of a thermoplastic acrylic polymer Aqueous emulsion of a thermoplastic acrylic polymer
consisting of poly 2-ethylhexyl acrylate (EHA) / methyl Plextol D512 : 50% consisting of methyl methacrylate (MMA) / n-butyl
acrylate (MA) / methyl methacrylate (MMA) / n-butyl acrylate (nBA) copolymer.
Mixture is frothed to thicken
acrylate (nBA). Higher molecular weight
Lower molecular weight. pH : unknown
pH : 2-3.5 Solid content : 50%
Solid content : 59 - 61% Glass Transition temperature (Tg) : 26 ºC
Glass Transition temperature (Tg) : -31 ºC Density : 1.04 g/cm2
Density : 1.02 1.04 g/cm2 Tensile Strength : 10 N/mm2
Viscosity : < 1000 mPa-s Viscosity : 2500 nPa-s
Particle Size : 0.4 µm Particle Size : 0.1 µm
Minimum Film Forming Temperature : unknown Minimum Film Forming Temperature : 17 ºC
Solubility: Swells in ethanol, isopropanol, Shellsol A, Solubility: Swells in ethanol, isopropanol, Shellsol A,
xylene xylene
Manufacturer: Rohm GmbH (since 1998 Evonik Rohm
GmbH, Darmstadt, Germany) Manufacturer: Synthomer

Source: http://coatings.specialchem.com :
Source: https://www.kremer-pigmente.com : Synthomer Plextol B512
Kremer Pigmente Dispersion K360
Note: Plextol B512 was suggested as a replacement to Plextol
D540 by the manufacturers, Synthomer, in 2019 (personal
Note: While reported as a replacement for the earlier correspondence). Ongoing tests to establish working properties
Plextol D360, Dispersion K360 bears no similarity for Mist-Lining are promising.
chemically to its predecessor. It also has different physical
properties.

Until 2021, the pH of Dispersion K360 was adjusted using

ammonium hydroxide prior to mixing with the binary
component. Recent research has shown that mixing
without adjusting the pH has no adverse effects.

33 Analysis of the (un-aged) Lining Adhesive

Source: Steinunn Harðardóttir ‘Mist-Lining Adhesives: Investigation into a Possible Alternative to Plextol D540’ University of Amsterdam. Master Article. 2021.

Py-GCMS and FTIR-ATR analysis of the fresh

Py-GC/MS chromatograms
adhesives was carried out by Steinunn of Plextol D512, D540 and
Harðardóttir as part of her 2020-2021 research K360. Py@650°C. D512
project for University of Amsterdam. FTIR spectra (above) – D540 (middle) –
were compared to standards.
K360 (below). X-axis: time
(min), y-axis: relative
The research con rmed the chemical similarity intensity. SLB5 ms Supelco
column.
between the higher molecular weight acrylic
dispersions, Plextol D540 and Plextol D512.
RCE, Amsterdam, analysed
by Saskia Smulders-de Jong.
Future research will be carried out to establish the 11 October 2020.
long term chemical stability of Plextol B512.

FTIR spectra of Dispersion K360 (above) compared with a FTIR spectra of Plextol D540 (above) compared with a reference FTIR spectra of Plextol D512 (above) compared with a reference
reference spectrum of polyethyl acrylate (below). spectrum of polymethyl methacrylate (below). spectrum of polymethyl methacrylate (below).
x-axis: wavenumbers (cm-1), y-axis: % Transmittance. x-axis: wavenumbers (cm-1), y-axis: % Transmittance. x-axis: wavenumbers (cm-1), y-axis: % Transmittance.

RCE, Amsterdam, analysed by Suzan de Groot. 27 October 2020. RCE, Amsterdam, analysed by Suzan de Groot. 27 October 2020. RCE, Amsterdam, analysed by Suzan de Groot. 27 October 2020.
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 34 Application of the Lining Adhesive: Spray Gun

High Volume Low Pressure (HVLP) spray gun

These gravity fed sprayers are typically used to apply
decorative nishes using a low pressure of air to displace
a high volume of material. This maximises atomisation and
control while minimising overspray and waste.

Tips for Spraying Adhesive:

• Ensure that the internal lter is tted to the canister to
lter larger agglomerations of the adhesive.

• Keep the nozzle free of clogged adhesive using a damp

cloth and cold water.

• Depress the pistol fully to get maximum pressure.

• Adjust the pressure at source (compressor) and make

ne adjustments at gun.

• Compressed air exits at the nozzle. The ring direction

can be altered to create a vertical or horizontal fan
spray.
ø 1.8 mm ø 1.2 mm
• Practice spraying with water. Use absorbent cardboard
to track progress.

• Dismantle and wash thoroughly in cold water to clean

after use.

• While the same gun can be used for varnish spraying,

we recommend buying independent units.
Interchangeable needles and additional canisters can
also be used.

• Ensure that the larger diameter needle is used. Narrow

gauges can be used for spraying varnish.
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 35 Application of the Lining Adhesive: Compressor

Matebo Power compressor: 280-20 W OF

This equipment is used to generate compressed air for professional

tools powered by compressed air.

Compressed air is generated when the motor is turned on. The

motor automatically shuts o when the maximum tank pressure is
reached and turns on again when the pressure in the tank is
reduced. The tank pressure is indicated on the dial on the left.
The working pressure is set to the desired level. This is indicated METABO Power 280-20 W OF (601545000)
on the dial on the right. Suction rate 280l/min/ 74 gal/h
Filling capacity 150 l/min 5.3 cfm
Effective delivery volume (at 80% max. pressure) 140 l/min 5cfm
Tips for Using the Compressor: Maximum pressure 10 bar / 145 psi
Rated input power 1.7 kW/ 2.5 HP
• Placing the compressor in an adjacent room will lessen noise Maximum speed 2850 rpm
disturbance.
Tank capacity 20l / 5.3 gal
• Use a long (c. 10-20 m) extension hose to connect to the spray Sound pressure level (LpA) 83 dB(A)
gun.
Sound power level (LwA) 97 dB(A)
Dimensions 580 x 600 x 500 mm / 1.9 x 2 x 1.7 ft
• Wash down the extension hose after use with cold water.

Weight 40 kg / 88.2 Ibs

• Pressure for spraying: at SRAL we typically use 3-4 bar Cable length 4m / 13 ft
working pressure when spraying.

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 36 Applying Lining Adhesive

Mist-Lining uses a sprayed application of

the acrylic lining adhesive. This produces an
open network instead of a closed lm of the
adhesive.

The sprayed adhesive attaches to the nap of

the lining canvas and does not impregnate
the textile. The textile retains its elasticity,
sti ness, drape and response to relative
humidity.

The open network facilitates point-to-point

bonding between the two canvases. It also
expedites the time that solvent vapours
need to activate the dry adhesive to a tacky
state.

The reduced amount of adhesive used

means that the increased weight of the
lining is minimised.

The adhesive is sprayed onto the prepared

lining canvas at least 24 hours prior to lining.
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37 Applying the Spray Adhesive

Spraying is carried out within an enclosed The spray angle should be slightly oblique The direction of the compressed air
space (spray tent) to reduce mess. A rather than 90 degrees to avoid flattening exiting at the nozzle dictates the shape of
distance of around c. 50 cm is kept the raised nap. the spray fan.
between the spray gun and canvas
surface.
38 How much Adhesive?
Tips for How Much Adhesive:
• The amount of adhesive sprayed onto the nap of the lining canvas should be kept as minimal
as possible.

• The lining adhesive should be an open network rather than a continuous layer. This allows
solvent vapours during reactivation to easily access and swell the dry adhesive lm.

Photo credit: Nicolas Rocton

• Once regenerated with solvent vapours, the adhesive network becomes tacky and exible.
37 g/m2 Minimal, even pressure, e ected in the low-pressure envelope, brings the two canvases in
close contact. The adhesive network should be su cient to bridge between the two canvases
and tacky enough to bond to the original.

• The strength of the lining adhesive does not increase with layer thickness, but does with
surface area! A denser sprayed application of adhesive will increase the surface area but may
create a closed lm. The surface area will be increased and bond will therefore be stronger.

• The condition of the original canvas will dictate the amount of adhesive required. Previously
Photo credit: Nicolas Rocton
wax-resined lined original canvases require more adhesive than canvases never before lined.
74 g/m2 Highly acidi ed and brittle original linen canvases may need consolidation prior to lining.

• The choice of solvent for reactivation will also e ect the bond strength. Alcohols and fully
aromatic solvents both swell acrylic dispersions. The speed and degree of solvent interaction
can be tested on pre-sprayed swatches applied to the reverse of the original.

• Tests can evaluate the individual requirements of each painting. Swatches of lining canvases
sprayed with varying amounts of adhesive can be placed on the reverse of the original and
reactivated with solvent vapours. These can be peeled o and the results compared and
Photo credit: Nicolas Rocton
evaluated.

• The adhesive is clearly visible when sprayed to o -white canvases, such as linen. It can be
5 mm dyed when sprayed to white synthetic textiles, such as polyester Trevira CS.

• Lining canvases can be weighed to establish how much adhesive is present. Don’t forget to
consider the volume of water (c. %) present in the dispersion. However, again the
experienced sprayer becomes accustomed to realising how much adhesive is required.

• The adhesive should be allowed to dry fully before lining. All moisture content should be
allowed to evaporate. This may take at least 24 hours.
Dyed Acrylic Dispersion applied to Polyester Treviera CS
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39 Sprayed Canvases
76 g/m2
Raw Napped Linen Sprayed

2 mm
Photo credit: Steinunn Harðardóttir Photo credit: Steinunn Harðardóttir 2 mm
 40 Adhesive Application to Interleafs
Para l RT 20 Glass-Fibre

Tips for Preparing Non-Woven Interleafs: Tips for Preparing Glass-Fibre Interleaf:
• Non-Woven polyester fabrics can be very lightly sanded to • Glass-Fibre textiles come in di erent weave densities.

enhance nap and sprayed.

• The weave cannot be napped. DO NOT sand as this will

• Sprayed coatings can be applied to both sides.
produce broken glass particles.

• Alternatively, a thickened, rolled coat of acrylic adhesive • Thickened adhesive is rolled on to the surface of the
can be applied.
textile.

• Rolled coatings will saturate the fabric and penetrate • The adhesive is normally made more viscous by adding
through to the reverse. Longer times will be needed to Rohagit SD15 and stirring rapidly.

reactivate rolled adhesive coatings.

• A at sponge roller delivers a better coat.

• Large ‘sheets’ can be pre-prepared and stored ready for

• Large strips can be prepared and used as full interleaf.
use.
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41 Applying Interleafs Patches to Reinforce Tears & Inserts
Para l RT 20 Glass-Fibre Glass-Fibre

Tips for Using Interleafs:

• Local interleafs can be cut and used to support tears or inserts.

• Sections can be cut to a larger, amorphous shape corresponding to the size of a tear or insert.

• Prepared interleaf textiles can be cut into small strips and used as bridges to (temporarily) hold tears in place.

• Both BEVA 371TM lm and acrylic dispersions can be heat set in position.

• Acrylic dispersions can be solvent activated directly with a brush for activation OR using a small Solvent Delivery Cloth placed on top
of the positioned interleaf.

• The reversal of BEVA 371TM, especially if impregnated into the original canvas, has been recently questioned.

• Full interleafs can be used to add sti ness to canvases that require a more rigid lining. This decision to use full interleafs will require a
modi cation of the Mist-Lining system. Typically as textiles with a full rolled coating of the acrylic adhesive are used these types of
lining are COLD linings rather than Mist-Linings. Guides to these types of lining are not provided in this Handbook.
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42 The Low-Pressure Envelope

The Low-Pressure Envelope applies an even

force on both ‘sides’ of the painting during
lining.

Air is extracted from an enclosed envelope

using perforated pipes connected to a
motor.

The membranes of the envelope consist of

High-Density PolyEthylene (HDPE) plastic
(of di ering thicknesses).

The plastic should be exible enough to

conform to the surface topography.

Force (symbol: N, Newton) =

mass (m) x acceleration (a)
This creates equal force over the surface.
Pressure (symbol: p or P,

Lower pressures can be used as force is not Pascal) = force (N) applied
perpendicular to the surface

required to bring the two canvases together.

of an object per unit (m2) over
which that force is
distributed.
At SRAL we use su cient pressure so that
Pressure can also be
the plastic sheet does not wrinkle if rubbed measured in mbar or psi.

when the air is extracted from the envelope. Pressure (P) = force (N)
divided by area (m2)
1 mbar = 100 N/m2
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 43 The Low-Pressure Envelope: Components
Di erent thicknesses of solvent resistant HDPE
plastic sheeting are used to create the upper and
lower membranes of the low-pressure envelope.
7

4
3

Hard PVC pipes are perforated to allow air- ow. 1

Corner connectors and a t-splitter junction are
used to create a ring which is connected to a
centrifugal motor or vacuum cleaner. 5 6

PVC PERFORATED PIPES

& T-SPLITTER JUNCTION

1. LOWER PLASTIC SHEET

2. AIR-FLOW CLOTH 2 3
3. PERFORATED PIPES
4. T-SPLITTER JUNCTION
5. SPRAYED LINING CANVAS
6. ORIGINAL
7. UPPER PLASTIC SHEET
8. VACUUM CLEANER
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44 The Low-Pressure Envelope: Construction

The pipes lengths are cut to size to create

an air-flow ring of the appropriate size.
Connectors can extend the pipe length if
The air-flow ring is constructed from PVC necessary.
pipes. These are perforated in one side to
extract air from the centre of the envelope. Cheesecloth

Air flow is facilitated within the envelope

using an open-woven textile or felt. This is
typically placed on top of the lower plastic
A mounted drill press is used to perforate The perforated pipes are encased in a membrane. A non-woven polyester fabric
the pipes. textile, typically cheesecloth, to prevent can be inserted between the air-flow cloth
the plastic closing the holes. and the paint surface, if lining faced down.
45 The Low-Pressure Envelope: Set-up

This series shows the step-by-step process of constructing a low-pressure

envelope. The sequence runs from top left onwards.

It is important to include felt or cloth below the envelope incase the lower
membrane becomes perforated or torn during lining.

Typically, the thicker plastic is stretched and forms the lower membrane of
the envelope.
46 Bond Creation in the Low-Pressure Envelope

The Low-Pressure Envelope applies an even force on both ‘sides’ of the painting during lining. Air is extracted from an enclosed
envelope using perforated pipes connected to a motor. At SRAL we use sufficient pressure so that the plastic sheet does not wrinkle if
rubbed when the air is extracted from the envelope.

The membranes of the envelope consist of High-Density PolyEthylene (HDPE) plastic (of differing thicknesses). The plastic should be
flexible enough to conform to the surface topography.

The plastic sheets follow the surface structure and thus exert equal force over the whole surface simultaneously. High points, such as
impasto or cupped paint, are therefore not squashed. Lower pressures can be used as force is not required to bring the two canvases
together. The plastic sheets will follow any surface deformations and will not mitigate these during lining. Such deformations need to
be flattened before lining takes place.
47 The Low-Pressure Envelope: Variables

The two plastic sheet membranes are pulled

together as the air is extracted from the
centre of the envelope.

As the two membranes are pulled together

Low-pressure envelopes can be made to accommodate paintings of all sizes: While pressure is exerted on the materials encased
smaller envelopes can be constructed on a table surface, larger envelopes can be in the envelope.
placed on the floor. Above you see an envelope measuring 3 x 4 meters.
 48 Low-Pressure Envelope: Variables

The thinner plastic membrane should be flexible enough to

Low-pressure envelopes can be constructed in a working loom. conform to any deformations presented by the surface housed
The thicker plastic is tensioned to the working loom. The air-flow within the envelope. This may be the paint surface but can also
ring is made to fit inside the bars. Space should be allowed be tensioning mechanisms or stretcher mountings.
between the air-flow ring and bars for a seal to be created.

Tips for Using Low-Pressure Envelopes:

• The seal of the envelope is created by overlapping the two plastic sheetings. Ensure there is su cient excess when cutting
the sheetings to size to create a good seal.

• Hard, sti , in exible plastic sheeting such as Melinex™ will NOT conform to the surface topography. Protruding surfaces,
such as impasto, will be subjected to more pressure than lower surfaces as the air is extracted. The motor will have to ‘work’
harder to extract air to achieve a uniform pressure over the whole surface OR pressure will not be applied uniformly.
Melinex™ is not recommended.

• At SRAL, our low-pressure envelopes are cost-e ective, re-usable and indispensable!
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 49 The Low-Pressure Envelope: Plastic Sheeting

This proprietary plastic sheeting is sold at a Kitchen clingfilm (Saran Wrap) can be used
This plastic sheeting is an own brand from a
reputable Dutch DIY store. It is stiffer and does not locally for highly impastoed surfaces. Make
reputable Dutch DIY store and is sold under the
conform to texture as effectively. We often use this sure not to use perforated microwave
name ‘extra strong’. The flexible plastic conforms
as the lower membrane placed next to the lining clingfilm. It this case, there is not a full
to texture. We frequently use this for the upper
canvas. contact between the clingfilm and paint
membrane placed next to the paint surface.
surface, but the pressure is sufficient to

Tips for Selecting Plastic Sheeting: bond the two canvases without deforming
the delicate impasto.

• Thick and thin HDPE Plastic Sheeting is available from a variety of sources.

• HDPE plastic sheeting should not contain plasticisers or silicon.

• HDPE plastic sheeting will be solvent resistant. Small samples can be placed for 5 hours in solvents
selected to regeneration the acrylic dispersion. This test will provide guidance as to appropriateness of
use of new plastic sheeting sources as membranes.

• Building merchants or hardware stores, such as DIY stores, often stock plastic sheeting in di erent sizes
(4 x 4 m or larger) and in di erent thicknesses or strengths. Thinner variants are most suitable for the
upper plastic sheeting membrane of the envelope.

• Industrial or professional purpose HDPE sheeting can also be sourced. Masking lms intended to protect
from overspray are particular useful as these have a static quality. These often come in wide widths of 3 or
4 m on a roll (+20 m) and are particularly useful for large format paintings.

• ‘Windows’ can be inserted into the upper sheet to access local issues in the paint surface. The window
can be replaced and taped to reintroduce the seal.

• Kitchen cling lm (Saran Wrap) can be used to replace ‘windows’ in the upper plastic sheeting for highly
impastoed surfaces.
Windows can be inserted into the
• Remember to leave plenty excess of both plastic sheetings on the outside of the air- ow ring to create a upper membrane for access for
good seal. This seal will come naturally if there is good contact between the two layers of plastic sheeting. local treatment.
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50 The Low-Pressure Envelope: Air-Extraction System

Vacuum Cleaner or Exhauster?

At SRAL we use a Nil sk motor (equivalent of Nil sk GM 80C), within its We also have a Willard Exhauster (Suction) unit that can facilitate the
original unit or removed or placed in a custom made housing. We make sure exchange of larger volumes of air. The unit is supplied with a speed
that we do not use this unit for vacuum cleaning as dust particles may be controller and illuminated digital suction gauge. The gauge gives
ignited as solvent vapours are passed through the motor during the lining mbar readings. This unit can be placed outside of the room when
process. Dimmer switches can be connected to control the motor speed. lining which reduces the noise levels during lining.

Tips for Air Extraction:

• Most professional vacuum cleaners can be used as a motor to extract air from the envelope. Choose a model with a high suction power and
low noise pollution. Use a dimmer connection when using the vacuum cleaner motor to control the suction speed. If you do not have a dimmer
connection, use the slider valve on the tubing to reduce air ow.

• Extraction Exhauster units show a digital gauge which indicates the amount of pressure measured at the unit.

• When force is exerted on an object, pressure is also exerted on the object, but force and pressure are not the same thing. The e ect of the
same amount of force exerted over a smaller area or larger area will have a di erent impact on the surface. The same force exerted over a
larger area will have less e ect than if the surface area were smaller.
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51 Adhesive Re-Activation

The acrylic dispersions used as lining

adhesive are re-activated using solvent
vapours. The acrylic dispersions will swell
and tackily in a range of solvents, including
alcohols and aromatic hydrocarbons. The
choice of solvent will depend on the
materials and condition of the original
painting. Determining factors will be the
presence (or absence) of a varnish layer, the
type and age of the binding medium, the
existence of previous lining adhesives, etc.

 52 Solvent Selection
Typically varnish layers are
removed before Mist-Lining.
However, varnish layers can
be maintained; in which case,
an apolar solvent can be
selected for solvent
reactivation of the lining
adhesive so as not to a ect
the natural resin varnish.

Previous lining canvases are

removed and glue residues are
reduced. Typically this is
carried out mechanically.

Tips for Solvent Selection: The solvent selection for

canvases previously lined with
• Alcohols and fully aromatic hydrocarbon solvents will swell acrylic glue-paste or wax-resin will
dispersions. This gives a range of appropriate solvents, including di er.

ethanol, iso-propanol, Shellsol A100, and xylene. At SRAL, we use The re-activated acrylic
PPE when working with solvents.
dispersion will bond better to
• As the adhesive reactivates it becomes tacky and low-pressure can glue-paste residues when
be used to push the two canvases together. Low pressure is swollen in alcohols.

maintained until the solvent vapours have diminished su ciently to

reduce the tackiness of the adhesive.
The selection is more complex
• But which solvent should be used? Firstly, the solubility of the when treating previously wax-
original paint layers needs to be considered. Secondly, the condition resin lined paintings. The
of the original canvas needs to be considered. Solvent selection will formulation of wax to resin will
depend on the previous treatments or presence of past lining dictate selection. Tests should
adhesive. be carried out to establish the
most e ective solvent.
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 53 Solvent Selection Tests

Tests can be carried out to establish the selection for

the optimal solvent for reactivation of the lining
adhesive.

Swatches of sprayed lining canvas can be used to

evaluate the bond created between the lining canvas
and the original.

The lining process is simulated. First, the adhesive on

each individual swatches is reactivated with a range of
di erent solvents. A pre-loaded small volume of
solvent is introduced into a piece of cheesecloth. This
will deliver solvent vapours through the lining canvas
swatch to the adhesive. The solvent delivery cloth is
placed on the reverse of the swatch and left for a
predetermined period of time under pressure. Solvent
vapours are allowed to evaporate fully and the
swatches can be peeled away. The resulting bond
strength may di er according to the solvent used.
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54 The Solvent Delivery Cloth: Preparation
Tips for Preparing the Solvent Delivery Cloth:
Cheesecloth

• Make your solvent selection according to the needs of the original painting and its condition.

• Cut a sheet of cheesecloth that is slightly larger than the sprayed area of adhesive (it may shrink
when absorbing the solvent).

• Measure the size of the cheesecloth accurately. The dimensions of the cheesecloth are needed
to calculate the volume of solvent.

• Measure out the volume of solvent required using the formula: 60 ml of solvent per square meter
of the cheesecloth.

• Fold and roll the cheesecloth into a tight bundle. Remember how you folded the cheesecloth to
make the unfolding during the lining process easier.

• Wrap the bundle in plastic cling lm (do not use microwave plastic).

• Inject the solvent into the encased bundle and quickly wrap the bundle in a second layer of
plastic. To encourage even dispersion, the bundle can be clamped between pieces of wood.

• Leave for a few hours (alcohols will distribute faster than hydrocarbon solvents).

• Unwrap the bundle immediately before lining and roll out in the envelope, precisely in position so
that the solvent delivery cloth will be placed behind the lining canvas.
Solvent volume:

• Close the lining envelope and leave in situ with air extracted from the envelope for a set period of
time (typically 10-20 mins). Check to see if the adhesive is tacky.
60 ml x 1 m2
• Remove the solvent delivery cloth from the envelope and replace with a dry sheet.
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55 The Solvent Delivery Cloth: Application

Tips for Unrolling the Solvent Delivery Cloth:

• The Solvent Delivery Cloth is ALWAYS placed on the reverse of
the lining canvas.

• If the painting is lined face-up (upper left) - the painting, placed in

position on the sprayed lining canvas, and the loomed lining
canvas will be lifted up and the solvent delivery cloth unrolled
below.

• If the painting is lined face-down (lower left) - the solvent delivery

cloth can be rolled out directly on the reverse of the lining canvas.

• Care must be taken to position the solvent delivery cloth in

correlation to the sprayed area of adhesive.

• Plastic sheeting or Melinex is placed on top of the textile to

facilitate air ow. This is not needed for paintings lined face-down.

• Markers are used to assist the placement of the solvent delivery

cloth and to replace the loomed lining canvas in the correct
position if lining face-up.

• Pull the upper envelope membrane closed quickly and extract air
from the envelope. This will ensure an even spread of solvent
vapours.

• Test to establish the e ectivity of the solvent vapours - typically

10-20 mins is su cient to tackify the acrylic adhesive.

• When the adhesive is tacky, remove the solvent delivery cloth and
replace with a dry sheet of cheesecloth. The lining can begin.

• Do NOT use an overlarge solvent delivery cloth as this will require

introducing more solvent to the envelope and increase the time for
bond setting.

• If the painting is large - the solvent delivery cloth can consist of

two sections. Each should be individually prepared. Do not make
a large overlap.
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56 Mist-Lining

Mist-Lining is deceptively simple:

The adhesive is sprayed to the prepared

lining canvas. The solvent vapours are
introduced into the envelope using a
‘solvent-delivery cloth’ to make the dry
adhesive tacky. A pre-calculated amount of
solvent is introduced into this cloth. The
cloth is placed inside the envelope in
contact with the reverse of the lining canvas
and left for a set amount of time before
removal. Pressure is exerted when the
adhesive is tacky to ensure a bond.

But what makes a successful Mist-Lining?

Careful planning and critical thinking are the

key factors to a successful Mist-Lining.
 57 Mist-Lining: Face-UP

The Low-Pressure Envelope is prepared. Textile is placed under the loomed lining The loomed lining canvas is lifted up and
The thicker plastic is stretched using the canvas to facilitate air ow within the low- the solvent delivery cloth is rolled out and
edges of the table over a soft felt. The PVC pressure envelope. The painting is placed according to markers corresponding
pipes are placed around the periphery and positioned on top of the sprayed area of to the area of adhesive.
covered with a textile. acrylic dispersion adhesive.

The envelope is closed and the solvent A dry cloth is substituted for the solvent Higher pressures are achieved by regulating
delivery cloth is left in contact with the delivery cloth. The low-pressure envelope is the speed of the motor. Pressure is reduced
reverse of the lining canvas for 10-20 mins. closed and the motor is turned on. The after c. 1 hour. Su cient pressure is needed
Air is extracted from the envelope to allow motor is left running until the solvent to keep the two canvases together until the
optimum distribution of the solvent vapours. vapours have dispersed, typically 2 hours. adhesive has cured.
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58 Mist-Lining: Face-DOWN

The low-pressure envelope is prepared. As the painting will be lined face down, a The painting is placed face down. The
The ticker plastic is stretched using the textile release layer is placed over the reverse is dusted to remove any
edges of the table over a soft felt. lower membrane of the envelope. unwanted materials that could remain
trapped.

The loomed lining canvas is carefully Once positioned, the loomed lining The solvent delivery cloth is prepared
placed on the reverse of the original. canvas is not moved. The low-pressure and inserted into the envelope. It is
Markers are used to position the lining envelope is completed with the upper removed at a set time and air is
canvas accurately. membrane. extracted from the envelope.
59 Mist-Lining: Face-DOWN

Tips for Mist-Lining:

• A dry cloth can be inserted into the
envelope after the solvent delivery cloth is
removed to help remove solvent vapours
from the envelope.

• Air is extracted from the envelope using a

(centrifugal) motor attached to the ring of
PVC pipes.

• Pressures within the envelope are

determined by the speed of the motor - ie
the rate of air exchange within the envelope.

• Higher pressures are needed while the

adhesive is tacky.

• Pressure within the envelope can be

dropped as the solvent vapours are
extracted and the adhesive shifts from tacky
to ‘dry’.

• The envelope membranes (upper and lower

plastic sheets) will conform to any
deformations in the original/lining canvas.
The plastic sheets are drawn together and
will follow the pro le of the structure held
within. Sti er plastic on one side of the
envelope will provide more resistance and
some attening.

Lining Pressure:

Set up showing the placement of the lining canvas Existing deformations in the
Varies between 100 to 160 mbar
over the original and the envelope before and after original canvas are maintained.
suction is turned on.
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 60 Seams

Tips for Accommodating Seams:

• Seams are bulky and can be pushed forward if thicker, sti er lining canvases are used.

• Threads corresponding to the seam placement in the lining canvas can be removed in one weave direction.

• The remaining threads, perpendicular to the seam, are more exible and can conform more readily to the bulky seam.

• These threads act as bridges over the seam providing support but will not exert su cient pressure to push the seam forward.
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 61 ‘Pie-Crust’ Lining

Flattening tacking margins can be risky for extremely oxidised, brittle canvases. The Mist-Lining system can be modi ed so that lining takes place without
attening the tacking margins. All pretreatments should be carried out as previously described. Any deformations and planar distortions in the primary
support should be mitigated prior to lining.

In this case, we used gentle tension over time combined with locally applied moisture to remove cockles and deformations caused by the canvas resting
against the stretcher bar - a common occurrence in canvas paintings. The tacking margins remained upstanding during tensioning. The tension clamps
were placed on the front-face edge of the canvas with spacers made of acid-free cardboard. The tension strings were periodically tightened after the
moisture levels were increased. The raised moisture content relaxed the canvas and glue size layer and increased the exibility of the canvas.

The lining canvas was prepared as previously described, but removed from the working loom for lining. Corner cuts were inserted so that the lining canvas
could be placed in position and the corners folded as for re-stretching. Four wooden bars were placed on the outside of the painting to provide counter
support for the raised taking margins during lining. The upper membrane of the low-pressure envelope was designed to conform to this construction. The
solvent delivery cloth covered the upright tacking margins during the re-activation of the lining adhesive.
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 62 Strip-Lining

Tips for Strip-Lining:

• The same acrylic dispersion mixture can be used to attach strip-lining edges.

• Sections of sprayed canvas can be prepared. The adhesive is sprayed only on the section that will be adhered to the reverse of the
original canvas.

• Alternatively, as shown, the adhesive can be applied to the canvas in uid form. In this case, it is best to apply in ribs rather than as a
continuous coating.

• In both cases, solvent vapours or heat can be used to activate the adhesive. Pressure should be exerted until the adhesive is set to
ensure a good bond.

• Strip-linings have an advantage over full linings in that the reverse of the original canvas is not covered. However, fragile canvases
can easily be torn by over tensioning a strip-lined painting.
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63 Surface Texture: Pictorial Surface

The surface topography will be maintained during the Mist-Lining process. Whether this is the ‘natural’ surface structure of the pictorial
image or the texture of the canvas on the reverse. The even pressure applied by the membranes of the low-pressure envelope on the
entire surface results in an optimal preservation of the surface texture. The six images on this page show di erent painted surfaces
after lining. These images are selected because the paint layers (oil, acrylic, gum, mixed media) are fresh and easily distorted if excess
pressure is applied. Note also that the surface gloss is also maintained. When dealing with older paintings that have developed a
surface topography over time, such as cupping or craquelure, the Mist-Lining system maintains the surface structure that is present
before lining. Any mitigation of such topography should occur before Mist-Lining.

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 64 Surface Texture: Lining Canvas Reverse

The topography of both the reverse is also maintained. Here on

these two images you can see the surface structure of the original
canvas telegraphing through the lining canvas. The lining canvas
is inherently more exible than the original. We do not use high
tension when stretching our lining canvases and this means that
during Mist-Lining the lining canvas is drawn to and will conform
to the topography that the original canvas has developed over
time. Of course, using higher tension or a sti er lining canvas will
reduce this e ect. But Mist-Lining aims to be ‘gentle’ and accept
the ‘natural’ drape and structure that the original has developed.
The system is NOT designed to atten canvases!
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65 After Mist-Lining

Certain treatments frequently occur after

Mist-Lining. These include:

• Re-stretching to a secondary support,

such as a strainer or stretcher.

• Reintegration of losses and damages to

the painted surface.

• Varnishing.

• Reframing.

• Applying a backboard or loose lining.

Care must be taken not to disturb the lining

adhesive after the lining is completed.

Be careful when using solvents or heat after

Mist-Lining.
 66 Re-Stretching the Lined Canvas
Tips for Re-Stretching:
1. Check the condition of the stretcher, ensuring that the corner joints function fully, and cleaning the surface
from any debris.
2. The size of the stretcher should match the size of the sight-size of the lined painting on the reverse. If the
stretcher was keyed out excessively prior to removing the painting, the size of the stretcher may need to be
adjusted before remounting. We can use wood llets or even strips of acid free cardboard cut to the same
depth as the stretcher bar. The front face should be sanded to round off the edges. Bead rims can be added to
the front face of a stretcher if missing. We will also re-use strainers if original to the painting.
3. Ensure that the fold-over position of the painting's tacking margins is in the correct position on all four sides.
If the taking margins were attened, the fold-over edge may need to be bent back into its correct position. To
encourage the fold, you can use heat applied with a hot spatula along the inside edge of the fold line on the
reverse of the lining canvas. You can warm the surface up to around 40ºC and gently bend the tacking margin
along the stretcher edge. Keep in the new position until the heat has dissipated. Repeat the action if necessary.
You may need to place baking paper or silicon release paper adjacent to the front of the tacking margin when
applying heat from the reverse.
4. Check that the lined tacking margins remain fully adhered.
• If the tacking margins show signs of de-peeling from the lining canvas as you are recreating the fold line,
you can re-attach using heat. Use a hot spatula to warm the surface to at least 40ºC. The heat should
retackify the adhesive. You will need to cold set, under pressure, the area to ensure that the two canvases
remain in close contact while the bond is cooling.
• Alternatively, you can use the same dispersion mixture applied in uid form with a small brush beneath the
lifting tacking margins. Apply pressure to the area while the adhesive is drying.
• If necessary, you can also use solvent vapours to re-tackify the adhesive and reset the lifting tacking
margins. Remember to keep pressure on the area until the solvent vapours have evaporated. This
alternative is useful if there is lifting along the full tacking margin.
5. We do not recommend using canvas pliers to tension Mist-Lined paintings as we do not want to over tension
the canvas. Over tensioning the canvas would produce unwanted sheer forces which would ‘stretch’ the lining
adhesive and potentially cause delimitation. We have successfully re-stretched large paintings using only hand
tension.
6. Start tensioning the lined canvas in the centre on all four sides. Once the four middle points are xed, you can
start working out from the centre towards the corners.
7. We do recommend tensioning face-up after the canvas is initially attached. You can periodically check the
tension you are achieving by lifting up the painting and observing the front. The excess lining fabric in the
corners can be cut away and the corners folded as they were originally. We often take photos of the corners
prior to de-mounting from the stretcher to ensure we refold in the same manner. We try to use the same
mounting points as previously. If the removed nails have caused larger holes in the stretcher these can be
lled prior to mounting using sate sticks glued into position and led ush. We do not recommend placing
mounting staples in the mortice or tennon sections of the stretcher.
8. The excess tacking margin of the lining canvas can be neatly folded and stapled to the reverse of the stretcher.
It is best to use a double fold to ensure that the frayed edges of the lining canvas are well covered. The fold
can cover any excess adhesive that extends beyond the original tacking margins on the lining canvas.
9. Once the canvas is successfully mounted, keys can be reinserted into the corners of the stretcher. If necessary
the tension can be adjusted using the keys. We do not recommend over-keying out the stretcher. Keys should
be secured using gum tape or other means.
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 67 Reframing

Tips for Reframing:

- The Canadian Conservation Institute (CCI) provides good guidelines for reframing canvas paintings. See CCI Notes 8.
- The frame rebate can be modi ed if required, either to make the sight-size of the frame narrower or to enlarge, to accommodate the size of the painting.
Remember that the lining canvas will add bulk and increase the width of the painting.
- Any additional height created by the lining canvas should also be accommodated by adding a build out on the reverse of the frame.
- The hanging mechanism should also be checked and should be able to resist the additional weight of the lined canvas.
- Velvet felt should be placed in the rebate of the frame to prevent friction between the frame and the painted surface.
- Keys in the stretcher should be secured and attached to the stretcher bars, either with tape or nylon thread.
- Missing keys can be made from similar type of wood and inserted.
- If needed the painting can be keyed out to ensure adequate tension.
- A backing board or protection can be mounted to the reverse of the stretcher or the frame.
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68 Backing Boards
Tips for Backing Boards:
- The Canadian Conservation Institute (CCI) provides good guidelines for reframing
canvas paintings. See CCI Notes 10.
- A backing board is recommended. Padded or cushioned backing boards may also be an
option. The backing board can be mounted on the reverse of the stretcher or frame as
desired.
- Double check the tacking margins before framing. Again if these are lifting you can
follow Step 8. If necessary, medium weight Japanese (Kozo) paper can be adhered over
the tacking margin to provide additional protection against lifting. It is best not to have too
much excess of the lining canvas tacking margin if this system is to be used. The paper
should be wide enough to cover at least half of the tacking margin and extend to the
wooden section of the stretcher bar. A methyl cellulose (or equivalent) can be used to
adhere this paper. It is best to pre-wet the paper with the adhesive before applying in small
sections to the tacking margins.
- Framing felt should be placed in the frame to ensure that the boarders of the painting are
not rubbed by the frame.
- Framing plates should be bent to t the pro le of the stretcher bars and frame and used to
secure the painting in the frame.
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 69 Delining a Mist-Lining

We hope that Mist-Linings will last decades.

This process of Mist-Lining was developed
at SRAL only 30 years ago. We have some
experience with the durability of this
technique. Many Mist-Lining that were
e ected in the early to mid 1990s are
checked regularly. At present, none have
require reversal. However, if the Mist-Lined
canvas does need to be removed, we
suggest using the following steps.
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 70 Delining a Mist-Lining

Tips for Removing Mist-Linings:

- Remove the painting from the frame (if present) and place face down on a soft surface.
- Remove the attachment points to the stretcher or strainer.
- If needed atten the tacking margins - you can use heat to increase exibility.
- Use weights such as sand-bags to ensure the painting does not slide over the table surface when de-lining takes place.
- Start peeling in one of the corners. Use a pull action that is perpendicular to the planar surface of the painting. DO NOT pull upwards.
- Keep pressure on the original at all times.
- The peel force should be suf cient to de-bond the lining canvas from the original.
- If peel strength is not suf cient some solvent action or heat may assist the de-lining process.
- If solvents are required, the entire painting can be placed in a low-pressure envelope and solvent vapours can be introduced using a solvent delivery cloth
placed on the reverse of the lining canvas. The solvents used can be an alcohol or aromatic hydrocarbon.
- Heat can be applied using a hot air blower or hair dryer. Care should be taken not to overheat the adhesive, as in this case may will ow into the original
canvas.
- Any residues can be removed again either by using solvents or heat. However, these may not need to be removed if a new Mist-Lining will be applied!
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71 Health & Safety

We take health & safety seriously.

When carrying out Mist-Lining, please do

consider the risks in applying this system to
the painting in question. Implementing Mist-
Lining is your decision.

We also advocate that you protect yourself

(the conservator) during the Mist-Lining
process. The following page will give you
some tips on how to do this.

We also consider sustainability of materials

when selecting these for Mist-Lining.
72 Health and Safety

Health and safety when spraying aqueous acrylic dispersions

• Aqueous acrylic adhesive are non toxic.

• Spraying adhesive is messy - make sure you protect yourself with a full body suit, including cap/hood.

• Wear a dust mask when spraying to ensure you do not inhale the spray mist.

• The spray mist may be an irritant or can cause an allergic reaction if in contact with skin for longer periods.

• Gloves are optional - your hands will become sticky but you can wash o excess adhesive with warm water.

• Dispose of excess acrylic lining adhesive responsibly.

• For a more sustainable path of disposal that avoids polluting the water, the adhesive can be poured out into a shallow tray
lined with the same plastic used during the Mist-Lining and left to dry completely. The lm and used plastic can then be
discarded.

Health and safety when regenerating aqueous acrylic dispersions with solvents
• Solvents used for reactivation / regeneration may be toxic. Consult safety data sheets for information.

• Take adequate and appropriate measures to protect yourself and those around you when handling solvents.

• Wear Personal Protection Equipment (PPE) required for handling the solvent used to regenerate the adhesive.

• Use ventilation systems to mitigate solvent vapour build-up while working with solvents. This could be an extraction system
or combining opening a window and using a fan to create a draft.

• Place the solvent vapour delivery cloth in a fume cupboard or in a well ventilated area until solvent vapours have fully
evaporated. The cloth can then be reused.

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73 Case Studies

We have selected two case studies to

illustrate the steps of Mist-Lining that have
been discussed earlier in this handbook.
74 Madonna and Monk Unknown Artist, date c. 17-18th century

Details

Canvas support: Linen

Dimensions: c. 160 x 220 cm
Date: c. 1800
Subject: Madonna and Monk
Condition: unlined, tears, planar distortions, raised paint but stable
Collection: de-accessioned

Orientation: Face Down

Lining canvas: Linen
Adhesive: Dispersion D360 & Plextol D540 (7:3)
Solvent: Ethanol (60 ml x m2)

75 Madonna and Monk Unknown Artist, date c.17-18th century

Prior to treatment. Front. Raking Light. Prior to treatment. Reverse. Raking Light.
This painting was deaccessioned from the The canvas is unlined. Tacking margins are
Bishopric of Roermond Collection. Thick failing causing planar deformations.
degraded varnish and overpaints cover Patches cover some holes and tears.

original paint layers.

76 Madonna and Monk Unknown Artist, date c.17-18th century

During varnish removal. After varnish removal.

The varnish layers were soluble in low Some areas of varnish were left in-situ to
polarity alcohols and could be removed monitor effects of solvent exposure during
using the Gel Tissue Compress System Mist-Lining.

devised at SRAL.
77 Madonna and Monk Unknown Artist, date c.17-18th century

Tear mending. Interleaf patches.

The paint layers were locally faced for this Interleaf patches were applied to the
phase of treatment. Deformations in the reverse of tears and holes. A glass-fibre
support were treated locally with moisture textile coated with BEVA 371TM film were
and weights. Tabs were used to pull the heat-set in position. This will prevent the
tear into alignment. edges of the tear lifting over time.
78 Madonna and Monk Unknown Artist, date c.17-18th century

Facing: Reducing distortions with moisture and

tension.
As the paper dries, it shrinks applying a
gentle tension to a humidified and
relaxed (more) flexible support.
Consolidation is simultaneous.

Facing: Reducing distortions with moisture and

tension.
A ‘same-size’ thin plastic sheet is placed Removing Facing.
under the painting. Japanese paper is Upon drying, the deformations and
applied to the surface, extending on to the planar distortions are mitigated, though
table surface for about 10 cm, using a (intentionally) not flattened. The paper is
cellulose ether. removed using moisture.
79 Madonna and Monk Unknown Artist, date c.17-18th century

The paint surface after the surface treatments.

Tenting paint, cupping and support deformations were reduced. The surface achieved
retains an aged appearance and its individual topography.

Filling paint losses.

Losses in the paint surface were filled prior to lining. A pigmented microcrystalline wax-
BEVA 371TM resin fill was applied using heat and subsequently textured.
80 Madonna and Monk Unknown Artist, date c.17-18th century

Mist-Lining
The linen lining canvas was stretched to a working
loom. The surface area of the painting was masked
out. The nap of the lining canvas was enhanced by
light sanding (in weave both directions). The acrylic
lining adhesive was sprayed to the lining canvas and
the water content was allowed to evaporate. The two
canvases were brought together and placed in a low-
pressure envelope. The lining adhesive was
regenerated using ethanol vapours with an exposure
time of 15 mins. Pressure within the envelope was
created by extracting air using a centrifugal motor.
Pressure was maintained until the solvent had
evaporated and the adhesive cured.

Orientation: Face-Down
Lining canvas: Linen
Adhesive: Dispersion D360 & Plextol
D540 (7:3)
Solvent: Ethanol (60 ml x m2)

81 Madonna and Monk Unknown Artist, date c.17-18th century

Preparing the lining canvas.

The dimensions of the painting are masked out on the lining canvas. Additional adhesive
was sprayed on the area corresponding to the borders. The nap was fluffed up by gently
sanding the surface in the weave directions. The adhesive bonds only to the nap.

Fluffed and raised nap prior to spraying. Lining adhesive applied to the stretched
lining support.
82 Madonna and Monk Unknown Artist, date c.17-18th century

Solvent delivery cloth.

A solvent is elected to reactivate the adhesive. Sufficient solvent is introduced to
homogeneously dampen the solvent delivery cloth.

Low-pressure envelope.
Preparation of the low-pressure envelope. The thicker plastic sheet is stretched and
forms the lower side of the envelope. A thinner plastic sheet (not in picture) forms the
upper side and closes the envelope. Perforated PVC pipes form a ring and are
connected to a centrifugal motor to extract air from the envelope.

83 Madonna and Monk Unknown Artist, date c.17-18th century

Placing the lining canvas.

The prepared lining canvas is carefully
positioned on top of the original.

Lining.
The painting is placed face down in the
envelope on top of lightly tensioned
cheese-cloth sheet. This facilitates air-flow
within the envelope and separates the paint
surface from the plastic envelope.

Positing the lining canvas.

Care must be taken not to flatten the
fluffed sprayed adhesive. Positions are
pre-determined and marked.
84 Madonna and Monk Unknown Artist, date c.17-18th century

Reactivating the adhesive

The solvent delivery cloth is kept within
the envelope for a predetermined time
and then removed and substituted by a
dry cloth.

Reactivating the adhesive.

The solvent delivery cloth is quickly spread
out over the reverse of the lining canvas
and covered with the plastic sheet that
completes the envelope.

Lining.
Air is extracted from the envelope, thus
pulling the two canvases closely
together. The plastic conforms to the
surface topology of the paint surface and
lining canvas. Pressure is maintained
until the solvent vapours have diffused.
85 Madonna and Monk Unknown Artist, date c.17-18th century

Assessing the results.

Lining.
The surface topography is retained.
86 Madonna and Monk Unknown Artist, date c.17-18th century

Prior to treatment. Front. Raking Light. After Mist-Lining. Front. Raking Light.
 87 Seated Old Man Unknown Artist, date c.1955

Details
‘Seated Old Man’ is a painting coming from the SRAL educational collection
of paintings and mock-ups executed by students or deaccessioned by
previous owners. The painting has severe deformations in the horizontal
direction that possibly suggest that the painting was rolled in the past. In
2012, this painting was Mist-Lined at SRAL without performing any pre-
treatments as a test to demonstrate that the lining canvas will conform to
any surface deformation. The Workshop 2019 enabled us to take a closer
look at the problems of this artwork including de-lining, removing the
disturbing deformations and Mis-Lining it again. Tensioning the painting to
atten deformations will be one of the key steps. The aim will be to line the
painting while the tension is continuously retained, so the lining canvas and
the Plextol matrix bond will lock the treated painting in its at position.

Orientation: Face-Down
Lining canvas: Trevira CS
Adhesive: Dispersion D360 & Plextol D540 (7:3)
Solvent: Ethanol (60ml x m2)
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88 Seated Old Man Unknown Artist, date c.1955

Prior to treatment. Front. Raking Light. Prior to treatment. Reverse. Raking Light.
Painting comes from the SRAL educational The deformations fixed in the original
collection. The previous Mist-Lining was support were intentionally not flattened by
carried out during a workshop at SRAL in the 2010 Mist-Lining. There are no tacking
2010. There are prominent horizontal margins. On the left, a stripe of the lining
deformations. The varnish layer is uneven. canvas is still attached to the back.

89 Seated Old Man Unknown Artist, date c.1955

Previous lining removal.

Previous Mist-Lining linen canvas
was removed mechanically by
simply peeling off.

After de-lining.
The back of the paintings canvas after
previous Mist-Lining proves to be quite clean,
without noticeable residues of the Plextol
Surface dirt removal. mixture adhesive.

It is advisable to perform the

surface grime and varnish removal
priori to the lining. Use of alcohols
may affect the Mist-Lining bond.
90 Seated Old Man Unknown Artist, date c.1955

During structural pre-treatments. During structural pre-treatments.

To secure the tears along edges, glass- The glass-fibre and BEVA 371TM gel
fibre and BEVA 371TM gel patches were patches are very light and semi
applied on the back of the painting with transparent. They provide strong local
the use of heat. reinforcement to the support.
91 Seated Old Man Unknown Artist, date c.1955

Attaching the strip-lining. During structural pre-treatments.

Due to the lack of original margins, a strip The strips were made of medium open
lining was attached. It enabled a flattening weave, fine linen canvas. In order to
treatment to be preformed. The strips reinforce the outer edge of the strip, a
were made of linen canvas and heat set string was attached along the perimeter of
with BEVA film. On the edge of each strip the lining canvas. Using BEVA as the
the cord was made to prevent cusping.
bonding material enables one to keep the
strips in position while performing the
Mist-Lining.
92 Seated Old Man Unknown Artist, date c.1955

Tensioning on the working loom.

Small holes were punctured along the cord edge. Pieces of cord were inserted to
perform the actual flattening and adjust the tension locally. They were attached using
knots allowing for easier tensioning where needed.The linen strips were attached to the
loom by tightening the inherent string at the corners using the drawing clamps. Top and
bottom strings were attached in pairs at one spot on the stretcher while the strings along
the right and left side were attached and adjusted individually.
 93 Seated Old Man Unknown Artist, date c.1955

Flattening deformations with warmth. Flattening deformations: Reducing distortions

with moisture and tension.
Prominent deformations were removed in
The use of controlled moisture in the
stages. The heat applied along the raised chamber was tested. Another method of
cracks was used but resulted only in slight dealing with the local prominent
attening of the deformations. deformations is the local application of
moderate weight.
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94 Seated Old Man Unknown Artist, date c.1955

Lining Canvas.
The stretched painting is carefully
positioned on top of the prepared lining Retaining the tension.
canvas. Care must be taken not to flatten Prior to treatment, tension was applied
the fluffed sprayed adhesive. Thin wooden with the use of a working loom. The aim is
bars were placed along the edges of the to retain the tension applied on the
flocked area to create the distance painting during the Mist-Lining process.
between the matrix and the painting while
placing it in the right position.

Positioning the lining canvas.

When paintings get positioned, tensioning strings are moved from the working loom to
the lining canvas stretcher. The painting will be placed over the flocked lining canvas
stretched on the working stretcher.
95 Seated Old Man Unknown Artist, date c.1955

Mist-Lining
The Trevira CS lining canvas was stretched to a
working loom. The surface area of the painting was
masked out. The nap of the lining canvas was
enhanced by light sanding (in both weave directions).
The acrylic lining adhesive was sprayed to the lining
canvas and the water content was allowed to
evaporate. The two canvases were brought together
and placed in a low-pressure envelope with the
original canvas loomed in tension. The lining adhesive
was regenerated using ethanol vapours with an
exposure time of 15 mins. Pressure within the
envelope was created by extracting air using a
centrifugal motor. Pressure was maintained until the
solvent had evaporated and the adhesive cured.

Orientation: Face-Down
Lining canvas: Trevira CS
Adhesive: Dispersion D360 & Plextol
D540 (7:3)
Solvent: Ethanol (60 ml x m2)

96 Seated Old Man Unknown Artist, date c.1955

Solvent delivery cloth.

A solvent is elected to reactivate the adhesive. Sufficient solvent is introduced to
homogeneously dampen the solvent delivery cloth.

Low-pressure envelope
Preparation of the low-pressure envelope. The thicker plastic sheet is stretched and forms the
lower side of the envelope. A thinner plastic sheet (not in picture) forms the upper side and
closes the envelope. Perforated PVC pipes form a ring and are connected to a centrifugal
motor to extract air from the envelope. The painting is carefully positioned face-down on the
lining canvas. The solvent activated cheesecloth is placed on the rear of the lining canvas.

97 Seated Old Man Unknown Artist, date c.1955

Reactivating the adhesive

Here, additional weight was applied to
ensure even distribution over the
tensioned painting. The solvent delivery
cloth is then removed and substituted by
a dry cloth.

Reactivating the adhesive.

The solvent delivery cloth is quickly spread
out over the reverse of the lining canvas
and covered with the plastic sheet that
completes the envelope. The solvent
delivery cloth is kept within the envelope for
a predetermined time (approximately 10-20
minutes). Lining.
Air is extracted from the envelope pulling
the two canvases closely together. The
plastic conforms to the surface topology
of the paint surface and lining canvas.
Pressure is maintained until the solvent
vapours have diffused.
98 Seated Old Man Unknown Artist, date c.1955

Realising the tension.

When the lining was nalised tension was
released - strings were cut and the Mist-
Lined painting was taken o the stretcher.
Tension from the lining canvas was
released gradually. Eventually the Mist-
Lined painting was cut out with a wide
margin to enable tensioning over the
proper stretcher for the painting.
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99 Seated Old Man Unknown Artist, date c.1955

After lining.
After lining.
The character of the painting is
preserved. Neither the lining canvas nor The surface deformation of the
the original were saturated with the paintings were removed through the
adhesive. The lining canvas was secured pre-treatment and the Mist-Lining
nicely to the verso of the painting. Trevira brought the additional strength to the
CS as the lining canvas is a stable and painting.
strong textile but also flexible and fine.
100 Seated Old Man Unknown Artist, date c.1955

Evaluation / Post treatment image.

Painting was released from the tension and the
flat surface was retained proving the lining
successful.
Mist-Lining
Authors
 Authors

Kate Seymour Joanna Strombek

(HEAD OF EDUC ATION ,
( PA I N T I N G C O N S E RVAT O R ,
STIC HTING RESTAURATIE
STIC HTING RESTAURATIE
ATELIER LIMBURG)
ATELIER LIMBURG)

Kate Seymour, IIC Fellow, is an art historian with a Joanna Strombek is a paintings conservator at SRAL
passion for conservation. She moved to the (NL). She is participating in the Getty Foundation
Netherlands in 1999 to work as a painting Conserving Canvas initiative. Joanna holds an MA
conservator at SRAL (NL) where she is now Head of with honours in conservation and restoration of
Education. In addition, Kate Seymour is Chair of the painting and polychrome wooden sculpture from the
ICOM-CC Directory Board. She is a coordinator and Academy of Fine Arts, Warsaw amplifying her
lecturer for the Mist-Lining Workshops hosted at conservation training at the Nicolaus Copernicus
SRAL and currently coordinates the Indian University in Torun. She is an Assistant Coordinator
Conservation Fellowship Program (ICFP). for the ICOM-CC Paintings Working Group.

Acknowledgements and thanks

This publication could not be made possible without the collaboration and support of SRAL conservators past and present. We
wish to thank speci cally: Jos van Och, Bianca van Velzen, Gwendolyn R. Fife, Barbara Stabik, Stijn Leanarts, Rachel Childers,
Marjolein Hupkes, Ivana Jerdonková, Steinunn Harðardóttir, Nikita Shah, Luis Bertomeu Contreras, Julia Brandt, Anne oor
Schlotter, Ulricke Fischer, and all others who have contributed to the development of the Mist-Lining process.

WWW.SRAL.NL © SRAL

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 Mist-Lining Handbook:
DE-MYSTIFYING MIST-LINING

Written by Kate Seymour and Joanna Strombek

Published by SRAL 2022 with support from the Getty Foundation as part of its Conserving
Canvas initiative.
Maastricht, The Netherlands
© SRAL

Mist-Lining Handbook: De-Mystifying Mist-Lining by Kate Seymour and Joanna Strombek

published by SRAL (2022) is licensed under CC BY-NC-SA 4.0.

To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/4.0

ISBN: 978-90-832672-0-3

This publication is supported by the Getty Foundation through its Conserving Canvas initiative.