Given most models are plastic, over time decay will become an issue.
This came up on a Tyco/Mantua forum this weekend when talking old Varney models’ plastic parts and white growth on them.
I found the following on plastics, which was helped by my already knowing this,
Lead has been a popular metal for fabricating fittings for exhibition ship models. It has been attractive because it is easy to obtain, soft and easy to fashion, and it melts at a relatively low temperature. However, lead fittings frequently corrode. (1) Corrosion may be so severe as to completely consume the piece, leaving behind a white or gray residue popularly, and aptly, called “lead disease”, “lead rot”, “lead cancer”, or “lead bloom”.
In the ship modeling community there has been considerable speculation about what causes lead to corrode severely, how to arrest the process in pieces already installed, and how to prevent corrosion in the future. This report compiles some of the technical literature on the subject and relates that literature, in practical terms, to ship modelers and to museum staff who are unable to obtain the advice and services of objects conservators.
- And now, on with the plastics;
- Chemical & Engineering News July 18, 2011
- Volume 89, Number 29 pp. 29 - 31
- Preserving Plastic Art
- Chemistry of polymer-based creations presents unique problems for conservators
- [Sarah Everts](http://pubs.acs.org/cen/staff/biose.html)
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Since the invention of plastics in the late 1800s, artists and designers have been using them to make everything from high-fashion hair combs and intricate sculptures to moon-mission spacesuits. But “the number of plastics used by artists increased dramatically in the 1960s,” Shashoua explains, during that era’s love affair with all things plastic and the corresponding increased availability of polymers. Yet it took until the 1990s before the museum world got over what conservators refer to as “plastics denial syndrome”—denying that plastics in a museum’s collection have short lifetimes and degrade—and woke up to the fact that many pieces of plastic-containing art were in grave danger of being lost, van Oosten says.
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Because any conservation or cleaning strategy is specific to a plastic type, museum staff need to know an object’s precise plastic makeup. But few plastic art objects come with a chemical ingredient list, and not all museums have laboratories with the tools—primarily infrared and other spectroscopic equipment—to help analyze them. Conservators sometimes have to rely on their sense of smell to guide their plastic diagnosis, Shashoua says. Leaching phthalate plasticizers give PVC the smell of a new car, she explains, while cellulose acetate smells like vinegar, and polyester has the odor of raspberry jam, cinnamon, and burning rubber.