Hi Schyler, The only reason my Little Torch goes out is lack of fuel. If your acetylene supply is good but your oxygen is out, it seems that you'd get a flame but it won't be a good one. If you're out of acetylene but have oxygen, you probably won't get a flame at all. Are you able to re-light your torch only to have it go out again, or will it not light at all? Another thought: even though it may seem obvious, be sure your tanks are open, supplying the regulators with gas. My tank valves have reverse threads, so what intuitively seems like it should be the open position is really closed. (In my case they're marked, so I can tell which way to turn.) Good luck, and please let us know how you're getting on. Scott

The two words are homophones, their spelling is different. "braising, the cooking of meat or vegetables by heating them slowly with oil and moisture in a tightly sealed vessel. Braising differs from stewing, in which the food is immersed in liquid, and from covered roasting, in which no liquid is added. Braising is a combination of covered roasting and steaming."

"Expertise in braising, welding, woodworking ..." Not to be a jerk, but braising is a cooking technique. Brazing is a welding technique.

Hi Eric, welcome to the Forum. This sounds like an interesting project. I've never seen a mounting interface such as you describe as a ready-made, but I can imagine how to create one. It's a neat idea, what was the application that you saw it used in before? Anyway, I expect you're looking at a custom build. Good luck! Scott

Hi James, I have a feeling you and I would agree about many aspects of our modern world. That said, let me tell you my feelings regarding your query. I spent many years (decades) as a retail picture framer. Often I would work on projects for clients whose ideologies I did not agree with, or that I even considered damaging to society. After lengthy consideration, I went ahead with the projects by telling myself that it was better for me to get the money for the project than for someone who agreed with the person I disagreed with. Although it never came up in my experience, I would make an exception for a project that involved something heinous or illegal. But as far as philosophical differences, I'm happy to take money from those I disagree with, and use some of it to make the world a better place. As a side note, I have much more trouble with purchasing materials from companies that I disagree with, and there are many of them. I try to avoid them, but sometimes I have to bite the bullet and use them anyway, in order to benefit myself and my customers. Scott

Hi David, thanks for the pro tip. That is good advice. -Scott

I agree with PJ's recommendation of Vivak. It is very easy to bend, and if you want to make something like a shoulder form for suspending a costume from the ceiling, that's your go-to product. The Vivak I've used is a little gray in tone, rather than crystal clear the way acrylic is, but that's not always a bad thing. And I too would defer to acrylic for strength when needed. Side note: Vivak is what a lot of the POP displays that you see in retail stores are made of. It also comes in several thicknesses.

https://www.amazon.com/gp/product/B00NDK4P9Q/ref=ppx_yo_dt_b_search_asin_image?ie=UTF8&psc=1 This is the strip bender I bought, and I love it. It's very robust and well made. Previously I used a homemade bender which was good, but this is soooooo much better. The metal construction is very smooth and doesn't leave marks on the acrylic, and the heating element works quickly and consistently. If it could be improved, there would be a ledge where one could clamp the acrylic while waiting for it to heat up, but there are other methods of securing that are just as effective. Highly recommended.

I used Apoxie Sculpt to repair the fog light on my Fiat 500 after I took an animal hit. The plastic tab that the mounting screw goes through broke off, so I made a new one. It's shown no sign of giving up, even with the road vibration loads it's under.

Thanks for this great information, and the references. It really helps to know what to look for. I have some PVC sheet on hand that I use for labels and other non-contact purposes. Of course at this point, I have no idea what I might have bought, and checking with the distributor seems unreliable at this point, with your caveat that they substitute products. But I'll be sure to get the SDS next time!

Hi Pam, I find it interesting that your conservators are anti-Sintra. I would expect that, considering it's a PVC product, but once when I was installing a show that the Victoria and Albert museum was involved with, they insisted on Sintra. It's also true that the standards in the UK for picture framing are quite different from those in the US. I've often wondered why chemistry is different there...

This is a big ask. What kind of museum do you work for? How many exhibitions? What kind? How much space do you have? Is anything at all in place? What's your budget range? How many people will work in the shop? What are their skills? There's no one-size-fits-all shop, in my experience. Right now I'm working out of a small preparator area at the art gallery, shuffling work from the anthropology museum to the same shop, doing some work in a science department machine shop, and using my home wood shop as well. Each space is different and has strengths and weaknesses, depending on the project.

Hi Dan, I wish I had answers for you, but here at Colgate, we're still trying to determine whether we will have actual exhibits, let alone how to guide people through them. This subject is getting a lot of attention, will surely continue to do so. I'm looking forward to seeing what others might weigh in with. Best, Scott Lewis Preparator University Museums Colgate University Hamilton, NY ps: Say "hi" to Anja for me!

Hi June, As a professional picture framer for the past 35 years, as well as head framer at a large regional art center for 9 years, I'd like to weigh in. A backing board can be placed as the final element of a framed painting, but many times a canvas isn’t framed. A backing board on a painting is important for several reasons. It lessens the air chamber behind the painting and keeps the canvas from billowing excessively during transport or changes in atmospheric pressure, say when doors of buildings are opened. Reducing this movement reduces strain on the paint applied to a flexible surface. Backing boards also provide cheap insurance against puncture, because even though we are all professionals, we can’t be in all places at all times. Also, backing boards help stabilize the stretcher frame, which should be a fluid assembly to allow for adjustments. (If the corners are glued and fastened, you’re looking at a strainer, which is a different thing but is often used as a stretcher. In any case, the first two benefits still apply.) Installing a backing board should be a standard step in the construction of a stretched canvas. If the original framer or preparator hasn’t done so, or if the original backer has been lost to history, you should consider adding it as part of your job, whether you do it yourself or contract it to a qualified framer. Coroplast is the backing board of choice these days, due to favorable chemical composition (polypropylene), rigidity, resistance to puncture, and availability. We used to love blue board for similar reasons, but several years ago availability (especially in large sizes) became difficult. Attaching the backing board is a compromise. In order to be effective, the backing board has to be secure. Most backing boards are screwed to the back of the stretcher frame. Use screws that won't go through the front of the painting (!) and use finish washers to keep the backing board from pulling away over the screw heads. Depending on the size of the stretcher frame, it doesn't take that many screws to secure the board. Many adhesives will leave permanent damage that can and should be avoided. Another caveat: try to position the screws so that they only pierce the stretcher frame itself, not the canvas of the painting. Sometimes this isn't possible, but typically the area where you'd put screws is past the point where the artist (or framer) stapled the canvas to the stretchers anyway. A relatively small screw hole is not dissimilar from a staple or tack hole, and the benefits of having the structural support, movement baffling, and puncture protection of a backing board far outweigh the costs. I hope this helps. Scott Lewis