Camille, this is Susan from Learning Times, and we are going to get started with doll conservation. And I am going to, first of all, encourage everyone to say hello in the chat window over on the left. Let us know that you're here. And then I'm going to ask Elsa Huxley from Heritage Preservation to do the introductions. All right, thanks, Susan. Hello, everyone. I'm Elsa Huxley.  I recognize a couple of names there. We're so glad you're joining us again today. Heritage Preservation is moderating the Connecting to Collections online community in cooperation with the American Association for State and Local History and with funding from the Institute of Museum and Library Services. The site is designed and produced by Learning Times. The goal of the online community is to help smaller museums, libraries, archives, and historical societies quickly locate reliable preservation resources and network with their colleagues. In developing the community, we have drawn on many resources that were developed for the Connecting to Collections Initiative, including the Community Collections Bookshelf and the Raising the Bar workshops and webinars. And we have links to all of these resources they're filed under the Topics menu on connecting to collections.org. We'll also be filing a recording of today's webinar there, and we encourage you to share that recording with your colleagues who you might find it useful. About once or twice a month, the Connecting to Collections online community features a particularly helpful preservation resource and hosts a webinar related to it. The resources we posted for today's webinar can be accessed by clicking this photo on our web page. Again, that's connecting to collections.org. So it is my pleasure to welcome our speakers today. Tom Brown is the Objects Conservator at the Minnesota Historical Society, and Tammy Schmitz is a doll restoration artist in private practice at Solynda's Doll Shop. And she is a former volunteer in the Objects Conservation Lab at the Society. So would you like to say a little bit about yourself? Tammy, would you like to go first? Sure. Thanks for the opportunity. I guess in the mid-1980s, I began an apprenticeship working on dolls with Elder Bertagor, who owned Solynda's Doll Shop before I did. I purchased that business from her in 1989, and I've been restoring dolls ever since, with a short break to go back to college. I was really privileged to work with Tom and also with Paul Storch, another conservator at Minnesota History Society. And I guess preserving dolls for our history, and as far as trying to help my clients preserve their memories, has been really a privilege. And I'm so excited to be here to help other people do the same thing. Great. Thank you. Tom? Yeah, I'm the Objects Conservator at the Minnesota Historical Society. I did a research into a training at the Winter Tour Museum at the University of Delaware. I've been at the Society for a little over 10 years. And I don't consider myself a doll conservation expert, but I've learned a lot from Tammy, and I hope she's learned something from me. And we have a fairly substantial doll collection at the Historical Society. And thanks to Tammy and others, we've been able to document it much better and preserve it as well as we can. But how many dolls do you have? I didn't ask you that before. Wow. Sorry, I should have asked before. I believe we have less than 1,000, but we do have quite a few. Wow. I think there was a three-ring binder full of, well, three-inch thick full of doll records. Yeah. All right, well, I'm bringing over some polls now. I'm hoping that our participants will start filling them in to give Tom and Tammy an idea of who we have on the event today and what would be useful for you to learn about. OK, it looks like a slim majority of our participants have more than $50 in their collection. And most from the early 20th century, although we have a substantial amount actually from 1850 to 1900, and a combination of mediums. And that's probably not surprising to you, is it? Right. OK, thank you. One of the things that's hardest with dolls is just there, anytime you have any artifact that's composite different material, it's more difficult to preserve. And with dolls, you can get five, six, seven different materials in there that all have different storage needs and different rates of deterioration. And it makes things really complicated with dolls. All right, I'm going to close these polls up and then bring over a PowerPoint presentation that we have that Tammy has made and is going to take us through. I just want to take this opportunity to encourage participants to type in your questions at any time as they occur to you. And we may not answer them right away. And in fact, you may not see them right away because the chat is moderated. But we will make sure that we get to every question. And sometimes it's good to sort of stop and reflect on whatever it is you're wondering about right at that time because it's too weighting. So here we go, Tammy. All right, well, thanks for the chance to show this. I'm going to head us back to the beginning here. Looks like we try to think about doll preservation from a lot of different angles.  In a museum setting in particular, or when people are trying to do restoration that's really going to preserve the stability of the doll for the future, it's more important to go with a conservation approach. So the slides you'll see really take that angle for the most part. But in case you're wondering about the difference between them, preservation is always the goal and repairs, we do everything we can to make them reversible. So any product that we would use on the doll or any part of the doll, we would hopefully be able to undo should in the future we know a better conservation technique or if something changes in the way we need to store a doll or perhaps what we tried to do now that, just isn't holding as well as we had hoped. So thinking about how to alter those things for aesthetics is not the first idea that we have, whenever that's possible we can, but we're really trying to just stabilize things so they are preserved for the future. We aren't going to necessarily try to make a repair become invisible. You would be able to see most of these repairs if you got within about six feet from them, some not until about three feet. But we don't typically use airbrushing or things that would apply product over any area of a doll that isn't already damaged. So first thing to do would be to think about whether or not this is a job that you're comfortable doing yourself. And I'm also thinking about the number of dolls I found in the collection in those polls, thinking that it might be smart to do what the History Center had done, which was to do a survey of all the dolls and decide which kinds of problems people on staff could handle, other problems maybe conservators would need to be consulted in order to make sure that more advanced treatments could be done for those dolls. And it would give you a lot better idea of a timeline when things could be done or what kind of budget you might need. So if you were trying to decide if you needed a professional to help you, some tip-offs would be is if the doll has any warped parts. A lot of times, something will crack, like a hard plastic doll, a porcelain doll. Those don't tend to warp as much, but composition and plastic do warp quite a bit if they're left unrepaired for quite some time. If there's broken bisquer composition where there's a lot of loss, so it chips or pulls in it, you probably should seek a professional. If it has very delicate textiles or that they need wet cleaning, so they're beyond just dusting that sort of thing, probably should take a professional. And today we're not going to dress a lot about textiles just because it is very much a large area of study that is gonna be on the scope of the time that we have today. But typically any textile conservator could help you with doll clothing, just like any other clothing. What you see in the slide right now is a little composition doll, which would have been made in the late 1930s depending on the model. They made those for about 10 years, and every company was doing knock-offs for each other for them. And nice thing about this, if there's nothing else wrong with a doll, this type of doll really only needs to be re-strong. And realizing Susan right now maybe that restringing photo would be helpful, we can show you some tools that you could use to bring in elastic hoarding that would be strung through some hooks that you'll see in a doll when you get up close to them. I know we use these at the lab at the History Center and I use them at home quite a bit in my studio. Just trying to reach in the hard-to-reach areas, like down through a torso of a doll or up inside of a funny head, you can use any kind of hook that you can grab elastic with and pull it down and basically use just a long length of corded elastic that's available from some of the supply companies. You'll see in the resource list. And you tie square knots after you've moved the elastic through different hooks that you'll see in the arms and legs. So if anybody ever has a question about that, you could sure feel free to contact me or there's several resource books that are available on that list as well. That will show very nice diagrams. But these are the tools that I typically would use. The two hooks on the bottom are simply just to grab elastic. The tool on the top is actually called Hognose Pliers. And for dolls that are very large and have heavy cording that you're using elastic, you actually can get little iron rings that this tool would help clamp around rather than trying to create a square knot that could come undone. Thank you, Susan. I think we can go back to the PowerPoint now. All right. So the thing to think about in the survey is that every doll is very unique. It's helpful if you have any research done on the dolls. I know at the History Center, often we were able to gather information about the original owner, where the doll came from, another volunteer we had there for a while, Kale Fenwell was great at going through and determining what mediums each doll was made of and the level of damage each portion might have. What might be helpful is to make sure that you're seeking professional advice right away on the tough ones. And to just double-check that your conservation is planned out. So for each doll that you decide you're going to work on, it would be helpful to make a drawing, take photographs, sometimes both. I've even had a few dolls come in that require an x-ray to determine where something has dislodged inside of the doll. We had an old soldier doll that I fell out of in a porcelain head that was difficult to access. And I took it to the local veterinarian who took a picture of it. It was really helpful. You need to determine if the garments can be removed from the doll. That will make a big difference as to what sorts of restoration can be done. And then the last thing before you start working on anything would be to determine what mediums are being, is each doll made out of? Is it porcelain and leather, like the little doll you see on the slide right now? Is it composition all the way? Does it have some hard plastic, some cloth? Cloth gets used in many, many venues, as does leather in many of the older dolls. Tammy, I'm sorry, it's also time rubbed for a second. Just before we start talking about the specific dolls, we had one question that I thought might be a good one to address now from Janine. And that's when you do the survey and you discover that some, I'll just read her question, how best to deal with repairs that have changed the appearance, et cetera, of the doll as it was originally created? And if I'm understanding the question right, it's once you've done that survey and you realize something happened that was a repair done after the doll had been started to have been taken care of, what should you do? Should you just not touch it or? I'm gonna lean on Tom for that a little bit, Tom. I think it's gonna depend on the sort of medium and what was done to it, but Tom, can you address the more technical? Yeah, normally I would refer to that as a curatorial call. It really depends on how you want the doll to be interpreted and either leaving the later repairs in place or removing them could be appropriate. It just depends on how you're interpreting the doll. Generally speaking, you would assume that the earlier condition would be the one that you're trying to preserve the original condition, but a lot of it just depends on the history of the piece and who owned it and how it was used. We often talk about our collections at the Historical Society as telling a story and if that story involves a doll that was used for many years or many generations and was loved by lots of people and sustained damage as a result of that, well, that's all part of the story and if someone had it restored at one point, that's also part of the story. So it really just depends on, in the case of a museum or a historic site, how you want to interpret this and that's generally a decision that the curator would make. If it's in private hands, well, then it gets a little more complicated. We had a really good example of that type of doll in the lab. It was a doll that was an excellent, beautiful model of a porcelain doll from the late 1800s, but a lady had redone the doll to look like a local priest who was quite popular and unfortunately in doing so, she damaged the doll by creating darker eyebrows and doing some other things to the porcelain and it needed to preserve a story like Tom was saying and we also ascertained that if we would have tried to remove what she had done, we would have really damaged the doll. So sometimes that story is more important. So does that fully answer? I'm not sure, Jeanine, if you have a follow-up question, go ahead and feel free to type it in there. I think we can keep going. All right. Thank you. Sure. Well, if we start thinking about the different types of mediums of dolls, I thought I would just bring up some highlights of things to consider or to help you identify those mediums. Generally in dolls, we talk about bisque-headed dolls or porcelain when we have a glass type head or at least that kind of feeling to it. I know what Tom has a more technical word for that, I'm sure. The bisque for the novice would be that it's more matte. There isn't just shiny surface. So the doll you see in this photograph is what we consider bisque. She has what we call a shoulder plate that's going underneath her chin down onto the cloth body.  Typically these, you don't have to worry about the paint rubbing off. It has almost always been fired on. There's an occasional time when you'll see a doll that's actually got paint on top of bisque. And unfortunately, those do flake quite easily. So if you see any paint flaking on a doll you think is this, be really cautious. And you may want to seek an advice of a professional on that one. They aren't very common though, so I wouldn't worry too much about those. China, as you can see, has a shiny surface. And the same mold could be made as a bisque doll or a china-headed doll. We see that very frequently throughout history. Composition dolls, I was looking at the time period people were plugging into the pole. Looks like many of you probably have these dolls in your collection. Most of them were made in some form, anytime from the mid-1800s until about 1940, but the bulk of them, where their cute little baby-type dolls were made in the 20s to the 40s, a little bit of hangover into the 50s. They generally have a smooth surface unless they start cracking or chipping. And the way that you can tell if you have a composition doll, if you can either look inside of a limb against a torso, gently lift the head or if a chip is off, anywhere where you can see underneath the main paint, it will look a little like graham cracker crust or pressed wood. And whenever you have that type of doll, it does require different kinds of conservation methods because they're water soluble. So we would have to be super careful about how much they're exposed to. Plastics and vinyls, the ones that we would consider most could start as far back as celluloid dolls, which is an early plastic. How far back do you think both will go, Tom? Not sure. It could go back to the 1800s, 1870s even. I think we did see some dolls in our collection that were late 1800s, maybe up to 1920, that had heads made of celluloid and their limbs may have been celluloid as well. They are extremely fragile and we'll talk a little more about those in a moment. But the dolls we typically remember from our life periods would be the plastics and vinyls like Barbies or dolls that started being produced in the late 50s, early 60s. And those dolls can start to degrade where they get a little sticky. And what's actually happening with them is the plasticizer, which is a softening agent put in the mold can start to leach out and every company's formula varied. And so some things are just fine and other things, when you pick them up, they're kind of sticky and shiny. And that does require a certain kind of treatment and some prevention from touching other objects. Tammy, I'm sorry. Loretta had asked kind of about this, but she referred to as sweating. Is that probably what you're talking about? Quite likely that would be. Is it that era of dolls that we're discussing? She said in the 60s, but vinyl type. Yes, very much so. And there has been a little bit of literature that I've seen where it suggests that we want to clean that up gently and then not be handling those dolls a lot. And you probably should use gloves when you're using those. That isn't necessarily very good for human contact on a prolonged period. How would you clean them? We'll move into a slide with that a little later. There are a few products out there, and Tom, feel free to jump in. I'm not sure we have a cure-all that's a one-time thing. I think this is a process where repeatedly you're going in and caring for the doll. With plastics, it gets very complicated. But basically, celluloid would be one of the earliest forms of plastic. And it's basically cellulose that's been treated with nitric acid. And if that began to sweat, it actually will release acidic vapors and potentially liquid acid. That can be very caustic, obviously. With other plastics, especially polyvinyl chloride, usually when they start to weep, you're looking at some sort of plasticizer. And usually the plasticizers are hydrocarbons of one type or another. And often, they can be removed with an odorless mineral spirit or something like that. But it generally will get more into the plastics and some specific products that are formulated specifically by plastics engineers that can work very well, as long as you know what you're dealing with. If you applied one of those solutions to a plastic and it was a different one than you thought it was, it could make things worse, which is another reason to use a conservator if you have any question at all about what you're working with. Yeah, it's very difficult for somebody who's not a conservator to determine what type of vinyl or plastic has been made. Even as much as I've handled on my still, I'm extremely cautious, because I'm sometimes guessing if I can't get hold of a conservator. And I only do that on my own pieces. I wouldn't do that on a client's piece or a museum piece. OK. Someone is looking for a conservator, too. I'd just like to interject here that the AIC website is a great place. There's a tool there to find a conservator near you. It's www.conservation-us.org. And I'll post that link later, so people can have it. Great. OK, that would be a big help. Well, aside from thinking about what sorts of mediums each doll is made of, like the heads and the main bodies, sometimes bodies are made out of different things as well, as Tom indicated at the beginning of our discussion. So there are varieties, like leather. There could be bisque and china parts. And in any of these, we want to think about, I'm going to go back one slide here. I think I jumped a little quick. But you may want to consider the original construction, especially if you have a cloth or leather body that you might need to make a new part for.  And I was able to lay that out and create a pattern and create a new leather arm. It looks great, and it's working fine for the doll. Kind of watch before you do too much and make some drawings. If we're talking about preserving bisque or china, like the doll in the last slide, which you can think about are the areas of loss, or the holes that exist, cracks that exist. And generally, we want to apply some sort of adhesive first if the crack is big enough to get an adhesive in there. And then filling those loss areas with a filler that is appropriate for the medium type. We often use perma filler at the history center, and I use that in my private practice as well. It's much like a back lean powder when you're repairing a plaster wall. It feels like that, it looks like that, kind of acts like that, although it's a little bit lighter in weight. And then just sanding gently with some hand sanders. I generally just use my hand. I don't use any other tools because I can do a finer sanding motion. And trying different grits to make sure that it's getting to the point. It looks nice and smooth. When something is sanded and it's been adhesed, then we can paint the broken part to try to match surrounding areas. And the museum in Tom taught me that's called in painting. So we only paint the area that's broken. We try not to feather over the edges to create an invisible repair. Once the paint is dried, and generally we're using acrylic paint for that, we would put some kind of filler over it. And often that could be a varnish, could be Renaissance wax if you could use that to polish anything for the museum. Those work really great. Anything you wanna add on that Tom, before I move on? Yeah, often we could use a water-based acrylic of varnish or paint medium. That's becoming more common. And those work well over acrylic paint, which is what we're usually, we're often using for in painting. Great, thank you. If we're talking about leather, there's a lot of different conditions that can happen to leather. And I'm gonna turn these next couple of slides here over to Tom. You just let me know when you want me to switch, Tom. Yeah, leather is one of those really complicated materials in that its long-term preservation is largely determined by how it was manufactured. And after the skin, this is sort of gross, but after the skin comes off the animal, it goes through a series of baths in the leather tanning process or the leather tawing process in order to remove fats and fluids and hair from the animal. And that these baths are generally highly alkaline and highly acidic. And if it's not, if those chemicals aren't sufficiently removed from the leather before the final tanning process, it can have long-term detrimental effects to the leather. One of the most common ones is called red rot. And most people are familiar with that. In like a rare book library or a book that has an old leather binding and you'll see this red or brown powder that has kind of a acrid smell and it'll come off on your hands or your clothes. And once a leather has started down that road, there's really not a whole lot you can do about it. There are some binders you can brush on that'll kind of hold it together, but often it'll change the color or it'll cause shrinkage and hardening. And so anyway, generally with leather, you wanna take a less is more approach. One of the few things we do with leather on occasion, you'll see that it's been over lubricated. All leathers have an oil or a fat liquor added to them during the manufacturing process and that's just to facilitate the flexibility of the leather. It allows the protein fibers in the skin to move past each other smoothly. And if a leather is under lubricated, it gets brittle and it can crack. If it's over lubricated, it can do something called spewing where this fat actually comes out of the leather. And that's something we typically would remove with like a mineral spirits or alcohol. And as soon as you remove enough of it, it'll stop coming out. But a lot of those questions are really best left to a conservator because with leather, you can do a lot of permanent damage if you don't know what you're doing. Yeah, I would echo that too. And while the resource list we gave you is very excellent, you will notice occasionally in books that are written by people trying to restore dolls that you should go out and get some kind of leather wax or do different kinds of leather cleaning. I would not advise that based on what Thomas shared with me. If we've worked on dolls, I think his approach has been great. When we've worked on dolls, they turn out much better. Do you wanna add anything? Yeah, I always like to talk about feeding. A lot of people have heard that leather or wood, for example, needs to be fed. And it's almost this idea that it consumes oil or polish or something. And that's just not the case. And usually when something's treated in that manner, you get an excess of lubrication in there. And then it leads to this spewing that I was referring to before. And again, with leather, it's just generally a less is more approach. A good plan is often to support the leather because similar to textiles, leather is often not self-supporting. And what I worry about with leather is that over time it generally becomes more stiff. And if you can support the leather in its proper shape, that way if it does become stiff, at least it's in the proper orientation. If leather isn't properly supported, it can get contorted. And then if it gets fixed in that position, it's harder to get it back to how it should look. The slide right now shows what Tom's talking about. The doll that we were working on, that was starting to happen. And you can see the arm is twisted all funny. And it was getting quite stiff when you touched it. So we actually did go through. There were some holes existing in the doll and we were able to carefully insert some polyfill to try to boost it gently. And we just did that quite slowly until it was back to more natural shape. So it wouldn't cave in on itself. Yeah, and these are, this is a cleaner that we did use. They're not a cleaner, excuse me. This was a consultant to help one particular doll that Tom and Paul determined could be stabilized by painting it on. It did soak into the fibers and help support it. It was very helpful. We have a question from Linda. If the leather is cracked and dry, should it be moisturized or just left alone? Just, it should be left alone. A particular problem with leather is shrinkage. And that usually occurs after it's been aged quite a bit. And if it gets exposed to efficient moisture and it can even be in the form of vapor, not liquid, it will shrink and that shrinkage is permanent. So if you're seeing leather that's cracked, basically the damage has been done. You're generally not gonna be able to apply anything that's gonna like heal that leather. It's not living and the cracks are just evidence that it's deteriorated. And what you need to do at that point is just make sure it's properly supported so it's not continuing to flex, which is gonna lead to further cracking. And if you needed further work done, I would talk to a conservator to see what might be able to do with that leather to better preserve it. But again, less is more at that point. Some very simple repairs you can do to leather if it hasn't been damaged in the ways Tom's been describing. If you see a seam that has come undone, sometimes the stitching just gets old and breaks, but the doll's fine. You can use some archivally safe PVC free glue to glue those seams together gently. You can also use the fiberfill technique, especially if the leather starts leaking sawdust, which many of these dolls are typically stuffed with sawdust. So that would be a simple repair you might be able to do without a conservator. But beyond that, I think you're wise to consult one if you wanna work on a leather body. And it's PVA glue, not PVV. Thank you, thank you Tom. He's got the chemistry for a reason. Is it okay to move on here Tom? Yeah. Okay, great, thank you. Eyes are another interesting product in dolls that you have to think about each one individually or the type of eye.  And what's really neat with these is if they're not damaged, you can just gently wipe them off with a q-tip just slightly moistened. If they are severely damaged or they're cracked, they're not moving, something like that, you're going to need a conservator for that sort of work. We did have this particular doll that you see in the slide. It had its eyes in the head, but when we went to look at it more closely, the eyeballs had actually cracked quite severely. So we were able to use some little bit of fiberfill and different adhesive to work the eyeball back into shape and then put it back onto a wire mechanism so it would sleep. But it was quite a process and it is something that you probably don't want to tackle before you would try other kinds of repairs. A really important feature with any doll that has moving eyes in particular is that you want to store them face down. And it doesn't matter what kind of medium that doll is, whether it's bisque or china, composition, plastic, there's often a weight inside of a doll's head that's pulling the eyes up and down based on whether the doll's lighting down or sitting up. That weight can damage the head if it were to lay it face up. And over time it could drop down and break a porcelain head or it could also begin to just put gravity on the face and the mechanism could be damaged or something else could happen to the structure of the doll. So a really important store those dolls face down, protect them with packing around the heads very carefully. And that is the best thing we can tell you about doll eyes. This is just the inside of a doll head. Every doll head has different things going on inside, but that particular doll head extra structures for support inside the head that we had to move before we could work on the eyes. Okay, we've talked briefly about eyes, but wigs are something that people often feel that they would like to work on. It's very important to determine what fiber is used first of all in the wig. You can see a variety of anything from human hair to mohair from a goat to synthetic plastic type wigs that started being manufactured in the 20th century. Once you know what type of fiber, you can determine what you could do to a wig or not. You can always dust a wig. And I really recommend you get micro tools that attach to your regular vacuum cleaner or if you have the privilege of some more elaborate vacuum equipment that museums often have, that's even better. Tom, what did we call the vacuum that we used at the History Center? A nilfisk, which is just a specific brand. They tend to be very expensive. They can go for over $1,000. But fortunately today there's a lot of household vacuums that are HEPA, high efficiency particle something. I forget what the last letter means. But if you get a certified HEPA vacuum, you can buy commercial versions of that for just a few hundred dollars. And we like to use those if there's any concern about what sort of particulates are on the doll.  It's possible that a doll could have arsenic on it, for example, in a museum context. Because in the 20s, a lot of museums treated their dolls with that or their collections with that to preserve them. An ordinary vacuum will pull up that arsenic and then it won't be captured by the filter. It'll actually be blowing it around the room where you could inhale it. But a HEPA vac will capture that. That's why we often use those. OK. Well, once you know the type of fiber, if it's human hair, you can treat it much like you would treat a human hair on us. If it's mole hair, you need to take a much more gentle approach. And before you would begin, you would want to check the wig to determine if any pests have gotten into them. The same moths that like to eat wool will often go in at the base of the roots of doll's hair and start chewing away, because it is a wall. And so if you just very gently pull the fibers apart, see if it looks like things have been chopped off at the base. Or if you see little dead bugs in there, we call them frass, you want to be careful not to brush or comb that wig, because it's going to quite likely to fall apart in your hands. If you don't see anything like that though, you can use a very gentle approach. There are good resources in the books to tell you how you might clean those wigs beyond dusting. They can be curled on little comb curlers very gently with just a mild amount of water. Sometimes you can even take them off and wash them. But I would reference you back to those books for a more detailed process on that. Synthetic wigs are really difficult to determine. There is a book in our resource list by Nick Hill. And although not every chemical process he offers in that book is something Tom and I would adhere to, he has a good section at describing how you determine synthetic fibers in wigs. And that will help you decide if a simple curl that would not hurt a doll, like a little fallen rubber curler would be all right, or if it would require heat, that maybe would be damaging to a doll and you should avoid. You could kind of determine more if that was something you could do. One other thing that happens with antique dolls is that often the crown of the porcelain head, or sometimes the composition head even, will be cut out so that eyes could be inserted. And to cover that hole up, the manufacturer would place a dome-shaped object on top of the hole, which you'll see in the slide to the bottom left. That's called a pate, P-A-T-E. And in some dolls it's plaster, like in this particular doll, which requires much more care in trying to remove it, or perhaps not even removing it. If the doll's fine, the eyes are OK, I would not recommend removing it. However, if you have to get inside to work on the doll for any kind of restoration, it does have to come off. Many pates are simply a cardboard version or sort of a fiberboard that are put over them. And replacement pates are available. They do make that doll have a nice round head and hold a wig better. In this particular doll, the wig was intact. It was the original wig from the 1800s. I think we determined this doll was roughly 1860. And the only thing wrong with the wig was the cloth holding all the hairs was beginning to deteriorate. So we supported that with some bridal veiling type material and just hand stitched periodically to hold it in place. And then we replaced the pate with just a few drops of white PVA free glue on the doll's head and put the wig on without gluing it. We just laid it on there for storage and for appearance in the display. That's the inside of the wig cap after restored it. It's hard to see the stitches, but basically we tried to follow the pattern around that existed. Moving on to composition dolls, you can see the similar slide that we had earlier to a little doll that has five part body. Sometimes composition will be used for bodies on antique disc heads and the bodies will have many more parts to them. They will have an upper arm, a lower arm separated by a ball, literally a wooden ball, with a wrist and a hand at the bottom. The legs are often the same way. But restringing diagrams are available in the resource books and as I showed you earlier, those tools can be quite helpful to know which pattern to use. Often what you're looking for is to try to get the head back on tight enough that a doll could hold a pose but not too tight so that you don't split the seams where the doll's head is molded or the torso is molded. And once you have a doll like this in your hands up close, it would be quite obvious where those areas were. I'm seeing a question in the chat about whether it mattered if dolls are stored face up or down if their eyes don't move. I think it would still be advisable to store them face down because many dolls who have eyes that don't move, those eyes are being held in place by lumps of plaster that have been molded across the top. And especially in Minnesota or other areas where climate changes frequently, we have seen where plaster dries out or the glue that might be a part of that whole process has dried out as well and those eyes can fall back in and break the head. So I'd say face down for pretty much any doll. Yeah, I can remember. Yeah, go ahead. Oh no, go ahead Tom. I had noticed another question about support for doll storage. And Tammy can probably touch on that more than I can but I've seen quite a few mounts that hold a doll up so they appear to be standing or sitting in a chair. Generally speaking, I think lying the doll down is going to bring it to its, so to speak, lowest energy state and that's something that's gonna allow the doll to be preserved the best. You just wanna make sure it's fully supported so none of the parts are under any particular amount of stress. Yep, I think that's great advice. Just wondering if I should stop for a moment and answer some of those chat questions or should I keep moving forward with the presentation? Maybe we could address the one about the eyes just before we go forward because I think we're going back to storage in a couple minutes, aren't we? I think we're progressing to a five-minute storage. So, Jasson, I hope I'm saying that right, I had a question about what you should use on the Q-tip when you're cleaning those eyes. Sure, weirdly enough, I have had conservators tell me that a little bit of saliva is very beneficial because of the enzymes in it. If you're using that on a glass eye, I don't think it's gonna hurt anything. Sometimes I make myself feel better knowing I'm not leaving germs on, I may re-wipe again with a distilled water or something just to feel like I took some of my germs off of there but it doesn't work quite well and the trick is though to make sure it's extremely just barely damp. We don't want it to be soaking wet or dripping because that could get inside the doll and either rust a mechanism, damage composition if it's in a composition doll or any other medium. It's just, we don't wanna get water inside the doll's head. Yeah. I thought the, yeah, go ahead, Tammy. No, that's okay, Tom, go ahead. About the only concern I would have with glass eyes in rare instances, I've seen this more commonly in beadwork and certain type of glass vessels. You can get something called glass disease which again is an artifact of improper manufacturing technique and it's usually where there's an excess of soda or sodium that's used in the manufacture of the glass and what you get is that sodium actually dissolving out of the glass and it'll, when you see that, most conservatives have only seen it rarely but when you see it, it looks like this powdery, this white powder on the surface of the glass and when it gets wet, it looks great because it's saturated but once it dries again, it'll go back to looking exactly the way it looked and actually every time you apply water to that, you're actually removing more sodium, you're removing more of the original material and again, that's something that you'd want a conservator to look at because it's a very difficult problem to address but that would be the only concern I would have with water or saliva. Very frequently, conservators use saliva or if you're squeamish with saliva, you could call it a mild enzymatic solution and it's one of those things that's about as close to a universal solvent as you're gonna get. It has water, it has enzymes in there and it'll break down an amazingly wide range of dirt and soil that you can find on things but like Tammy said, don't use too much and it wouldn't be a bad idea to clear it with some tap water or some distilled water.  The eyes do sometimes crystallize based on whatever medium they made them out of for these composition dolls and some celluloid dolls, I've noticed it too. I believe the eyes may incorrect me from around time. Some of them might actually be a celluloid base that causes the cracking. Yeah, what happens with celluloid is that as it goes through its stages of deterioration and a lot of that is driven by exposure to light or exposure to heat and it'll go through this induction phase where it literally shatters and you'll see these cracks form like a broken automotive glass and as that deterioration continues, it'll actually crumble into little grains similar to sugar and there's really nothing you can do about that. Once that induction phase has started, it's just a slippery slope down. Yeah, it's a very difficult problem. There are some ways you can make a doll look more aesthetic with that but the things that are often in books they'll talk about dropping a drop of fine machine oil into the iron that kind of helps clear it up. I've seen that discolorize, I would not recommend that. A late treatment I've recently seen for dolls that don't have a lot of monetary value and the owners request something be done. I will use a surface treatment to try to shine up an eye but there is a risk to it and I've seen it happen where if you have to change anything, going back to that first principle, we said do only what can be undone. Sometimes that cannot be undone so I pretty much saved that for dolls where it's all right if we make that decision but I wouldn't do that on a museum doll.  This is a good place for us to kind of reiterate what we were saying earlier about the steps of conservation which really apply to whether it's porcelain, disc, plastic, composition, plastic being a little tougher to do things to but in composition we would adhere the edges of the chip that you see. We would fill it with a perma-fill, we would sand it, we would intain it with an acrylic paint and then seal it like Tom described earlier and that will help often not to stabilize a doll where you could restring it again and give it quite a bit of a better appearance. Many dolls, it doesn't take a lot with these compels to make them look nice again and so the owners can feel good about them if it's for a private person or that a museum might be able to display them. Kai, Wendy had asked when storing face down do you need to use a pad to take pressure off the facial features like the nose, that's a photograph maybe about that question. What's your recommendation about that? I'm going to pass that one on to Tom. My feeling would be that porcelain that's not too big of a problem but other kinds of dolls perhaps. I don't think it would be a bad idea. If it had eyelashes or something that would be a concern or other things that could catch on it but basically the better you can support that doll the more you can take stress off of anything that's prominent the nose or the chin or whatever the better you can support that the longer it will last. And if you have a larger collection it might be a while before you can do conservation on all of them. It might not be a bad idea to think about the things Tom just described while most dolls are waiting for work. I'm going to move on to talking about plastic unless you have another question there before I do that. Could we just address quickly two other questions that came up from before? The first one is about leather doll clothing. And Janine asked this question does this also apply to leather doll clothing which should be flexible? And I'm pretty sure she's talking about the slide that had the two arms the one that had already become sort of dry and the other one that you had infused. I'm sorry, I don't remember what it was. Okay. Tom, I'm not sure which should be done with leather clothing that was becoming harder. Is there anything to do there? The same applies to the doll itself being made of leather. And the problem is that as leather gets older it tends not to flex as well. And it has to do with it drying out and getting more brittle and then if it is flexed it cracks. With doll clothing obviously it's a particular problem because it has to go through quite a bit of stress to put on the doll or to remove from the doll. So I guess the approach I would take is to make a more or less final curatorial call about the clothing and determine is this doll just gonna wear this forever or should we have it off of the doll and keep the two together but just separate it. I don't know if that answers your question but it gets very complicated with clothing if you can't remove it or replace it onto the doll. And it seems like you're saying it depends on the doll itself and the collection and how it's... How you would interpret it, how you think you're gonna interpret it. And by interpretation I mean how you're gonna display it and talk to your visitors or whoever's gonna be looking at this doll. Tammy, can I just... One other question that Adrienne had was what was the liner fabric you used to support the wig? Sure, I just used a simple like Vital Vail where it's very porous and very flexible netting. You could also use a cotton netting if you never intend to wash that doll's wig because it could shrink if you did try to wash it but if you're just supporting it, never intend to do that. That would be acceptable as well. Just some very loose weaved fabric you could put in and it stitched through easily. You don't want to have to stitch through so hard that you start cracking the cap that's actually holding the hair. That's part of the reason for keeping something light and flexible in there. Okay, thank you. You bet. Well, moving on to plastic dolls. Plastic dolls have all sorts of interesting things about them and what you see in the photograph right now with the little cowgirl is a hard plastic doll from the late 40s called the Tony doll. She's very typical of dolls from that era in that they're smooth, they're much like composition and people will often confuse them with composition. The difference being is they generally, unless it's a bad formulation at the factory, they don't crack like a composition doll would. They're through and through plastic. They don't have paint on top of a substrate like composition does. The problem with these dolls tends to be that they can over time as their plastic changes get really spinky and they have a very unpleasant order to them so sometimes people will try to apply a product called Distinker. This is from the gentleman I mentioned earlier called Nick Hill. I don't know how Tom feels about that so feel free to weigh in on that, Tom. But I usually tell people you're just gonna have to accept that they're going to smell funny. I separate them from other dolls because I believe that odor could contaminate other dolls. I try to watch what sorts of clothing I'm putting on them because I don't know if something might leach onto the clothing in the future. Do you wanna add anything with that, Tom, before I move on? Well, I guess I would just say that in my graduate training in conservation I was told that we should rely on a variety of sources and some of those are gonna be experts and some of them are gonna be novices but people that often do have a lot of interesting input. Nick Hill is one person. I believe he's a plastic chemist by profession and in his retirement he became very interested in doll preservation and he was in a particularly good position to formulate these cleaning solutions and many of them have very targeted uses. And like I was saying before, if they were used in a manner that he didn't intend them to be used they could be very damaging. But if they're used the way he had intended them to be used, his chemicals, his solutions are something that you really can't get anywhere else. And I think as long as they're used appropriately some of these formulas which you see on the slide on the screen right now, they can be very useful. I see that, Jess has a question about what does this smell like? Just truthfully I have not been close to one for a while but I think I remember it being fairly ammonia smelling.  It is a very distinct odor and often if you get a collection of them in all at once you just open the box and then you kinda wanna step back. I just said that happened recently from a client and then she had taken them home. That's why I can't whip one for you right now. Yeah, a lot of it, it depends on what type of plastic you're looking at and the smell, I believe, is most commonly from the early celluloid or cellulose-based plastics. At some point they realized that the nitric acid they used to manufacture that plastic was destabilizing in the long run and so they substituted nitric acid with acidic acid. That's what gives you that vinegar smell. Oh, thanks Tom, that's a good description. And there was also in later years they used butyric acid which is similar to acidic acid but butyric acid has the particularly unfortunate property that it's the smell of rancid butter or vomit and those can be incredibly unpleasant smelling. And it has to do with the deterioration of the plastic. Right, there's another product that Nick has put out that has been really useful if you have a softer vinyl doll like a Barbie where it's very pliable. What's very interesting about that is sometimes people have either when they were young put coloring on their dolls or there might have been a manufacturing problem where a color got on the doll. I've had some dolls for tech sales gravitate red onto the body from the cloth that they're made out of and in particular Barbie dolls and some of their dolls from the early vinyl era they had earrings that oxidize and created green oxidation into the plastic. So in order to get those things out the product that you see in the slide card removes it can sometimes be used with great caution. There are great directions that come with it but it isn't a quick fix. It's something that you need to plan on doing a little bit possibly every day for weeks and you may not see something change or you may have some really good results. I just had a little vinyl doll that had the gravitation of red textile onto it and it took about three weeks of pretty steady treatment but it did come out of that doll. It can change the texture of the plastic slightly so we're always using caution about when and where to use that. You don't want to repaint a hard plastic doll because that could damage it. I'm gonna leave that as the last thing here on plastic dolls. After hearing all this what I think Tom and I probably feel good about saying is whatever you can do to prevent dolls from being damaged just like other objects is really important. So minimizing its exposure to light, dust, dirt, trying to store it properly like we discussed with the face down and padding, watching the humidity doesn't get too dry or too extreme and that it's in some way where there's good air movement is very important to dolls. When you do these things dolls generally are pretty sturdy unless they start having breakdowns of plastics or that sort of deterioration. Pest can be prevented in a few different ways without hurting dolls. We don't recommend using moss balls. Sometimes in old storage situations people will recommend that but there are things you can do like using the sticky traps. I like feeder to be in the area of the dolls and not touching the dolls because it does have an oil and that will often repel the kinds of moss that would bother more hair waves on dolls or wool clothing. Do you want to add to this at all, Tom? No, I think you covered it pretty well. Okay. And then as far as storage items there are some great sources listed on our resource list that you can get archivally safe boxes and depending on the textiles on the doll or the medium the dolls meet them you'll want to consider what sorts of acid for tissue to use with them. Want to make sure you're storing them flat especially if you have garments who want to do kind of what Tom was describing with the leather arms. We want to try to avoid creasing in those garments and you can use some of the acid for tissue to gently push in and it doesn't have to be fully puffed out but we just want to make sure it's not creased while it's being stored. Yeah, and you can see, oops, go back to that previous slide. Sorry, you betcha. There you go. You can see where there are some materials particularly protein such as silk or wool or leather that actually are better preserved at a neutral pH or maybe even slightly acidic so generally you don't want to use buffered storage materials for those for cotton and linen things that are made of cellulose neutral or buffered it would be better and with mixed medium you just, you go with whatever's the most susceptible to deterioration so generally it's safer to use buffered for that. Okay, thank you. So I've listed on this last slide a few of the places that we use as resources. The resource list that I believe Elsa has for you or Susan has will have a much more extensive list of books that Tom had at the History Center he's advising on titles. I've got some things from my library as well as a list of online resource sites that you could gain most preservation supplies or conservation materials and types of boxes and tissue and that sort of thing. That's a list that I'll be posting on the webpage when we post the recording which will be tomorrow. Everybody can be able to download and copy it and get all these great resources you've been talking about. Great, I think that's the end of our PowerPoint and I'd be happy to answer any other questions or whatever you guys mean. There are a couple questions here about acid-free tissue without cushioning and we only have a couple minutes left if anybody else has any questions, please type them in now. Tom, would you like to? Let's see, with using crumpled acid-free tissue. Yeah, that's commonly a good support. What might be better would be polyfill you're familiar with the polyester batting that they sell for filling pillows or stuffed animals. You could make a pad out of some just plain cotton fabric you might wanna wash it to remove any sizing that are in it but if you had that clean and you made a support and filled it with the polyfill that would be probably one of the best. Sometimes acid-free tissue crumpled it can be somewhat abrasive depending on what the doll is made of and it also does tend to collapse with time whereas the polyfill will retain its springiness and its cushioning over a much longer period of time. See, there's a few more questions in the chat room. Would you like us to address those or would you prefer to do that offline? Yeah, I know we have one or two minutes left and I also just wanna draw everybody's attention. I pulled up an evaluation survey and it's not very long, it's just a couple questions but we read these really carefully and we use people's comments when we're planning other ones so we really are grateful when people take a couple minutes to fill those out. What let's see here, the seal-gut question? Yeah, Tom, I don't think I will know that one. Yeah, I'm not real familiar with seal-gut. I don't know if it's rigid or flexible but generally seal-gut, it's gonna be made of keratin just like skin so it would be very comfortable Okay. How about wooden dolls that have come up? Yeah, the Shonhad dolls are awesome wooden dolls. They're just beautifully sculpted and very sturdy. They were made in the United States in the early part of the 1900s. As far as, I'm wondering if the person's wondering about preserving them or destroying them or cleaning them. You would pretty much treat them like painted wood as far as objects, conservation goals. Very, very gentle work with them. You don't wanna use any harsh chemicals. I had one doll that I brought in for myself that was a Shonhad that was all moldy and I was able to gently just clean that off of the slightly damp cloth. I may have used a little bit of something I would wash a wooden cabinet with but it was a real gentle product and being it was my doll, I was willing to do that. Tom, would you recommend anything different on something like that? No, I think what you said was very good. Okay. They do have metal joints though so you definitely wanna keep a doll like that out of humanity because you could freeze up some joints. It ended up being like a tinman in the reservoir. Janine was asking what herbs you were speaking about when you were talking about string with cedar chips and herbs. There used to be some thought that bay leaf would be helpful in keeping nearby. I haven't personally tried that. I usually stick with the cedar and I have found that that's been really effective. I've had my collection though for over 30 years and I have not yet had a problem. I just replenish it occasionally and just keep it somewhere in my case and that's about all I do. You can just get the little balls or something from the closet part of the store when you're shopping in a department store. Yeah, a lot of those things have almost like a moth ball type property but a lot of them have a limited duration of effectiveness. I think we can try to answer these last two questions and I just wanna encourage everyone if you have questions that haven't been addressed here if you go to the discussion boards on the Connecting to Collections online community, I'll definitely see anything that you post there and I will work on getting answers and I'll post them publicly there where we put the webinar so that everybody can see them. Adrienne asked if the clothing stays on the doll for storage and the structure of your staple wouldn't it be better to upright any flat storage will compress the clothing and then are you balancing the needs of the clothing versus the needs of the eyes or? Do you wanna address that first time? Yeah, it probably depends on what type of clothing you're talking about. If it's a hoop dress or something like that, yes I would agree, you might wanna store it upright but I think that's something where you'd have to balance the stability of the doll versus the fragility of the clothing and try to make a judgment as to which one is more susceptible and then determine your storage according to that. And Ruth, I'm gonna type my, this is also, I'm gonna type my email address in here and ask you if you would email me a little bit more detail about your questions about the, I think you're asking about how what the fees might be for a conservator. I'll take your question and then I'll post it in a response from someone here on the discussion board on the websites that everybody can see that. And I think it is time for us to stop but this has been a really great and lively chat. I wanna thank especially Tammy and Tom for giving us your time and your expertise. I think the people have found it really helpful and I wanna thank everybody for participating and for writing in all these great questions that helped to guide the conversation here today. Our pleasure. There's my email address so feel free to reach out to me if anybody has any more questions through my email address or even preferably on the discussion board of the ConnectingToCollections.org webpage so that everybody can benefit from the conversation. And please take a minute to fill out the evaluation if you can. Tom and Tammy, thank you so much and I hope everybody has a great afternoon. Thank you.


The St. Lucia Development Bank has to date approved blended finance of up to $1.5 million to households and the business community, as part of interventions under the Economic Recovery and Resilience Plan, ERRP. Under its pillar to stimulate the economy, the government of St. Lucia has partnered with the SLDB to offer $8.4 million in loan and grant support to medium, small and micro enterprises with a focus on food security and adaptation of digital technologies and a five million working capital injection program. Managing Director Vincent Bolland indicates that the programs have joined tremendous response by the public. We totaled about a hundred and nineteen inquiries. We have generated applications of about $2.5 million. We have approvals of up to $1.5 million. And we are dispersing that, you know, as needed, as persons get all the information that we need, we're able to disperse. It's a broad spectrum. We've seen people come from the preschools. We've seen farmers. We've seen hairdressers. We've seen, you know, small restaurants, medium-sized restaurants. People who were able to collate their information and then come to us and say, listen, this is what I need. And they've received the grant as well as the small loan. And you're seeing that they're looking at working capital to be able to reposition their business, to pay some of their staff. Despite the immense reception by the public, the majority of the combined allocation of the two programs, $13.4 million, has yet to be taken up by households and the business community in the wake of the pandemic. Bolland explains a critical factor in pitting the application process. Persons don't have records readily available. OK. So we ask for, hey, the World Bank, certain conditions were put in.  Yeah. Wow. You know, now most most businesses will tell you, yes. They feel a pinch. We had a drastic decline and we're saying, OK, well, let's see that. Let's see your management accounts. Now, it's for the smaller business. It's not that readily available. They have to either go and take their bank statements and then come up with, you know, the information to show, listen, this is what I earned before. And this is what has happened to me now. So we're still grappling with that and working through. And we have actually adopted an approach internally to try and see how best we can assist them in generating the information. SLDB's managing director, Vincent Bolland. The bank continues to welcome applications for the two programs.


Hey survivors and frivers In this video, I'm going to be discussing what exactly the narcissist is trying to achieve By abusing a minute manipulating you every day and distorting your reality Please like comment share and subscribe If you would like to donate my PayPal links in the video description If you are interested in one-on-one coaching session with me narks fiverr You can email me at narks fiverr coaching at gmail.com Check out the narks fiverr merchandise store Where you can get your own narks fiverr t-shirt or mug The link to our t-spring page is in the video description What are narcissists trying to achieve? Why do they abuse and manipulate you every day? Why are they constantly devaluing and degrading you?  What is the purpose of all of this? When you first met them You were lured into the relationship You attempted to do something or go somewhere They likely offered you some form of reward Or they implicated that this was going to be a reciprocal interaction or relationship This was most likely to have been conveyed to you indirectly Rather than in a clear or detailed manner leave a no room for confusion or doubt Some narcissists due to their magical thinking and exaggerated qualities or abilities Will tell you directly about all of these plans for the future, but it will never be followed up with action These types of narcissists are going to be more controlling They will be aggressive or physically abusive to you if you ever try to leave They will completely isolate you and restrict any finances so that you cannot leave Other narcissists have to be more covert They have to convey it to you indirectly because they are afraid that you might leave them They create these illusions to lure you in They give a deceptive appearances or impressions They make you believe that they are high-energy people Loyal honest or trustworthy And that they are going to be cooperative with you. You may possess these qualities yourself You may not realize that this person was feeding off your own energy and then reflecting it back to you They were mirroring you and appealing to your own ideals They weren't really about any of that But they knew that you were So they played their part to lure you into the relationship No one all along that they didn't possess They didn't even possess the energy the qualities talents or positive traits that you were looking for The illusion was just to make you believe that they were something you might be interested in They are masters of deception and manipulation They've had years of practice at doing this They had to It was essential for their survival Essential for them to trick unsuspecting victims Who otherwise wouldn't have looked twice at them If they didn't create these illusions through mirroring them and appealing to their own ideals Once you start to believe in these people Once you start to trust that they are really about something They've got you And as long as you believe in them They don't need to follow it up with any action Because they know that you're still going to be there waiting for them Since you have bought the lie that they are about something reciprocal or cooperative But they're not They never were It was all about them right from the start They are self-absorbed and lack empathy They don't care about you They never even considered you It was all about them and what they could get out of you to benefit them in some way The best you will ever get from them is an illusion That's really all they are capable of The illusion is like a drug It leaves you in a state of controlled temporary loss of sensation or awareness You become paralyzed or numb deprived of the power of physical sensation Deprived of feeling or responsiveness Unable to see truth or reality You become deprived of your real emotions And now you are left with these emotions which the narcissist has created within you Through their art of deception or manipulation Their lies and illusions Everything you say or do from that point on is being recorded They are taking note of how you react to their illusions Is it a positive or negative reaction? They want to know what you like or interest you or turns you on And it's not because they are interested in getting to know you Or they are interested in giving it to you or sharing something with you They are studying you so they can use whatever it is that you like Whatever interests you or turns you on against you They will turn it into a weapon and use it to control or manipulate you From this point on they will play with it and see what works Or what doesn't If a certain tactic doesn't work They will try something else until something hooks And they get a reaction out of you They will then keep poking you with this And just get as much fuel out of it as they can to keep them going They want to know everything you like Everything that interests you or turns you on And they will openly communicate this with you You might think that it's getting intimate And this person wants to share something with you But they are actually studying these things So that they can then use them to control or manipulate you At some point in their lives they really wanted something and they never got it Or they didn't get it in the way that they would have liked Narcissists have a sense of arrogance and entitlement So naturally this would have caused a narcissist's injury It would have created some level of trauma or emotional pain They don't self reflect to resolve their issues or deal with their emotions So this is a puzzle which they never completed And that's why you will see that they have developed this event Which caused them a trauma or emotional pain Into a tactic where they will now attack your likes or interests Use certain things against you or withhold them from you This is their way of regulating the emotions they still feel And especially feel when they have to witness your potential satisfaction From some like or interest which they once missed out on They are pathologically envious and jealous So when they have to witness you engaging in a certain like or interest It will bring up past events where they did not get what they want Or they didn't get it the way that they would have liked They adapted their traumatic experiences to become tactics Which they can now use to control or manipulate other people To regulate the painful emotions that they are experiencing From these unresolved traumas The experiments they do in you To find out what will work to control or manipulate you Is often based off of their own unresolved traumas or emotional pain But if a certain experiment does not work Usually they will not repeat it again Of course there are lower spectrum narcissists who will repeat the same thing again and again with no end Expecting a different result But this is usually because that's the only thing they know how to do Or that's the only thing they can do Or they may actually believe that it is causing you some kind of pain or emotional distress So they will continue doing it If you want them to continue wasting their time Repeating the same tactic which is having no effect on you Simply do not react Don't smile or laugh As that will make it obvious that the tactic is having no effect on you Simply carry on as normal and leave the narcissist idiots to waste their time and energy They do not want a person that they have used as a narcissist supply To leave them and be good for anyone else They are not going to let that happen What they are trying to achieve Is to extract as much as they can out of you and then destroy you They do not want you to be good enough for anyone else after they are gone Once they have used up everything that you have to offer And they get tired of you You no longer have the same energy or gifts which they initially liked They have depleted you of everything which was once good about you From this point on Their goal will be to deconstruct your natural way of thinking and feeling Your natural way of being Reducing their constituent parts of your character and personality So that they can rewire it in a way which is more beneficial or adaptable to them Everything good about you Your character and personality Your self-worth and self-esteem Your qualities, talents and positive traits Once they have deconstructed your natural way of living You are then able to adjust to new conditions You are able to be modified for this new use or purpose Where they can use up whatever is left of you And then destroy you or turn you into something completely different They have to destroy everything that was once good about you first Through control and manipulation So that you can then adapt to a new way of being One which is more beneficial for them Or makes them feel more comfortable Where they are finally done with you They want you to be useless to anyone else Because of their pathological envy and jealousy Their victim mentality of how they didn't get what they wanted At a certain point in their lives They have this obsessive mentality to control and manipulate you Limit and restrict you For this reason They cannot just let you move on and achieve or obtain somewhere where they didn't Experience something that they didn't Or be something that they wanted to be How you feel reflects on how they feel If you are feeling good, they are miserable They can only feel good if you are not happy So they cannot just let you move on feeling happy or confident They are pathologically envious and jealous They can't feel that way They don't have the same level of confidence or self-belief So why should you? That's how they see it So now they want to be the cause of your destruction You may be wondering How could someone be so evil? Well it's basically frustration, bitterness and resentment Which is built up over a long period of time And never been attended to or resolved They had to witness what they believed to be your superior way of being Your qualities, talents and positive traits Your self-worth, self-esteem, self-assurance, self-belief and self-respect Your motivation to succeed or be something Money, locks or material items They wanted to be like you They wanted to have those qualities, talents or positive traits The money, locks or material items But they didn't have it And that's where all of this frustration, bitterness and resentment has come from That's why they become so competitive in relationships And it's like whatever you do They are always competing against you Rather than trying to work with you This all comes from a place of inferiority and insecurity They also feel deeply ashamed of this And their way of dodging the shame Or trying to not reflect on it Is to project it onto you or make you feel the very emotions that they feel As well as your qualities, talents or positive traits They are also pathologically envious and jealous of your capabilities And what you could potentially accomplish once you have moved on from them They know that you are capable of building the life that you want And it makes them so mad When they think about how you are capable of achieving or obtaining what they couldn't It makes them just want to kill you It all comes from their pathological envy and jealousy Which then led to their frustration, bitterness and resentment towards you So because of these emotions which they feel They can't just let you move on Not until they have put you in an extreme state of disturbance Confusion Uncertainty or lack of order They want to torture you to a point Where you can no longer assess what is going on Or you are close to death They want you to be in a state of continuous confusion and self-doubt Where you cannot think of anyone or anything else Other than them and all the sick twisted things they did to you They want you to be constantly thinking about them So that it creates an obstacle when you do try to move on And meet someone else It was a planned process They knew exactly what they were doing They targeted your self-worth and self-esteem So that you would doubt your own intuition This process can affect your sense of judgment And your ability to understand what was going on They wanted to distort and reorder your perception of the conscious reality So that you could never move on Never trust anyone Never be good enough for anyone They basically just wanted to leave you completely destroyed and isolated For the rest of your life That's what they are trying to achieve They are trying to create a person That can no longer properly assess what is going on In a world where everything is rewritten Everything is reinterpreted or redefined To the point where you don't even realise what an amazing person you are You just believe that you are the worthless, insignificant person That they want you to think you are So you never believe in yourself You never try to accomplish anything Check out my playlist of videos on the narcissist alternate realities and fake worlds That's what these worlds are designed to do They are designed to control and manipulate you Limit and restrict you Prevent you from achieving or obtaining Somewhere where the narcissist couldn't It makes them feel more comfortable And prevents any potential narcissist injuries So what are narcissists trying to achieve By abusing and manipulating you every day Distorting your reality They are trying to completely destroy you Destroy your natural way of thinking, feeling and being Your natural way of living And they want to leave you completely broken down and isolated That is the purpose of all of their hard work Sick, I know But that's what happens when you have a person who has years of build-up frustration, bitterness and resentment Without ever attending to resolve those emotions A guess to a point Where they see someone doing what they couldn't do And then they basically just want to kill them Thank you for watching I hope this video resonated with you Please like, comment, share and subscribe And I will talk to you soon


Welcome to capsule number 5, in this capsule we are going to look at some terms related to wings. So now we move from aerofoils to wings and today we still look at aerofoils but talk about critical mark number wave drag and swept wings. In the next lecture we are going to look at finite wings and I think drag effects. So let us have a quick overview of what we have in store today. So there are a series of concepts to be covered mostly to do with the critical mark number and the drag divergence mark number and then we look at some types of wings which are available to try and give us a better control over wave drag. So what is M critical? So M critical there must be something critical because of the name itself. So to see what is M critical we will watch a short video. What actually happens to the air and the aircraft when approaching the speed of soft? The air flows speeds up as it passes over the wing and reaches the maximum speed at a certain point on the wing. So the mark number of the air at this point is greater than that of the aircraft as a whole. As the aircraft speed increases so does the local mark number at this point on the wing. Eventually just at this point on the wing the air reaches the speed of sound although the aircraft as a whole is still flying slower than sound. The aircraft's mark number when this happens is called its critical mark number usually written M crit. So this is very clear because of the angle of attack or curvature or camber there is going to be acceleration of the fluid flow both above and below the airfoil. So the local mark number is going to increase from the free stream mark number. There will be some free stream mark number at which sonic conditions are first reached anywhere on the airfoil remember it could be upper surface, it could be lower surface, it could be front, it could be behind. The lowest free stream mark number at which sonic conditions are first reached anywhere on the airfoil is called as the critical mark number but the question is why is it critical? It is critical because it tells you that from now onwards there is going to be some portion of the airfoil which will have sonic flow mark number more than one locally. Sonic flow is no problem except the fact that it results in a shock wave and across shock wave there are serious problems. So that mark number is the critical mark number and the pressure coefficient value so the pressure coefficient where you reach the sonic conditions first is called as the critical pressure coefficient or CP critical the local V is 1 mark number 1 and V infinity is critical mark number and the place where it hits or where the place where the sonic conditions start and the shock wave is presented that particular place is where we have the most negative the pressure coefficient. So this free stream mark number 0.8 is the critical mark number and this mark number we would like it to be as high as possible so that we can fly faster and faster without encountering the problems of sonic flow. So if there are two airfoils airfoil A, airfoil B and airfoil A has a higher critical mark number it is a better one because it allows you to travel faster without encountering. Now when you have m equal to 1 you get a weak shock wave. So the actual value of m critical it varies from wing to wing depending on the wing profile wing geometry. The main the two main parameters that affect the critical mark number of the airfoil are its camber and thickness basically camber and thickness are the ones that create acceleration at a given angle of attack if you have a thicker airfoil there will be larger acceleration if you have more camber there will be higher acceleration. So the thick airfoil because it deflects more it is going to have a lower critical mark number that means at a lower value of m you will have sonic conditions first reached. So with this we come to the concept of something called as a sound barrier. So sound barrier is a barrier but it can be easily broken. Now this was one of the very interesting misconceptions in early days of aviation. So what used to happen is as aircraft began flying faster and faster earlier the maximum speed was limited by the power available of the power plant they were using mostly turboprops piston props. So they were not able to fly faster than say mark number 0.6, 0.5 etc. But when we started getting more powerful power plants and eventually the jet engine the thrust available became much larger. So aircraft could fly faster so they were able to fly mark 0.8, 0.9, 0.92 and then the pilots reported that as soon as you cross a particular value of mark number below 1 the whole plane starts shaking there are lots of vibrations and you just cannot fly faster than mark number 1. So many people thought that there is some kind of a physical barrier speed of sound there is a barrier which cannot be surmounted but then some people said hey we have bullets which fly faster than speed of sound and bullets are also flying objects. So if bullets can fly that means given sufficient force you should be able to fly. So we knew that we can fly from anecdotal evidence of bullets but we were just not able to fly. So for many many years there was this so called sound barrier and then it was finally broken in 1947 when Chuck Yeager flew an aircraft called Bell X-1 for the first time at mark number more than 1. So yes it can be broken and let us see what it is and why we call it as a barrier. So let us revisit the pressure coefficient to get an understanding. So at very low speeds and when I say low speeds I talk about mark numbers up to approximately 0.3. At these low speeds you can assume Cp to be constant ok. So Cp will be equal to some Cp called Cp naught does not change with mark number. Now when you go beyond mark 0.3 or so and up to around 0.7 remember I am not using absolute values I am saying approximately. During these conditions the Cp starts changing it starts actually reducing and the formula which is called as the Prandtl-Glauert rule is a very simple formula that correlates the Cp at any mark number with Cp at very low mark numbers and this is because of the compressibility effects. This change in Cp occurs because of compressibility effects and actually if you plot the value of Cp versus mark number you will see that it is almost constant Cp 0 and then it starts increasing and there is one mark number called M critical at which Cp is Cp critical and it keeps on increasing further. But actually the rate of change or the rate of increase in Cp will not be like this it will actually be little bit more non-linear after little bit after Cp critical. Remember you cannot apply this formula in supersonic flow where M infinity is going to be more than 1. In fact interestingly you just reverse and call it as root of M square minus 1. So let us see the critical pressure coefficient. So if it is a thin aerofoil you can fly longer higher mark numbers in the free stream to achieve critical mark number if it is medium it is lesser if it is thick then it will start increasing. So therefore that is a line which will give you the locus of the location of the critical mark number and this line is a universal curve it does not depend upon it does not change with whether it is a thick aerofoil or a thin aerofoil in the sense that there is a curve which can be applied to almost any geometry. So this line is available if you have the geometrical data okay you can get the value the value of Cp will change depending on thin medium and thick and it will increase as per the frontal cloud rule and it will reach the critical value at some particular point. So you can apply this uniformly okay. So let us see this we will just do little bit of maths to get the value of Cp critical. So we know that the pressure coefficient is defined as the difference of pressure between the local pressure and the free stream pressure non dimensionalized by the free stream dynamic pressure q naught q infinity okay this is just revisiting last time one. So now what I do is I do some mathematical jugglery so that I can get p infinity by q infinity outside so it is a ratio of p by p infinity minus 1. This is our first equation Cp is equal to p infinity by q infinity times ratio of the pressure local by free stream minus 1 okay we also know that dynamic pressure is defined as half rho v square therefore q infinity will be half rho infinity and v infinity square. Now since Mach number m is defined as v infinity by a infinity local Mach number therefore you can reproduce or replace and say that q infinity is equal to half rho infinity m infinity square a infinity square. Now you just plug it in that equation so if you define gamma is the ratio of specific heats so the sonic speed is defined as root of gamma rho by q. So from these three equations at one place you have a infinity square replace it with a gamma rho naught rho infinity by q infinity so you can get q infinity as half m infinity square gamma p infinity okay. So we substitute that in the previous expression now you will explain you will explain this better to yourself when you derive it yourself. I am going to upload the slide so you will be able to derive it and then you will be able to get a feel much better it is just simpler replacement but now p by p infinity or p0 by p infinity is equal to 1 plus gamma minus 1 by 2 m square power gamma by gamma minus 1 for isentropic flow relation. So now we have to assume if the flow is isentropic then replace inside now so p by p infinity will be what it will be p by p infinity will be just replace m by m infinity okay. So therefore you put it inside the expression take the ratio of p and p infinity and put it inside finally if you define cp equal to cp critical by m infinity equal to 1 okay so you can get cp critical as 2 by gamma m infinity square ratio correct where the two conditions m is at the point where you reach critical mark number and that point m is equal to 1 by definition so therefore you can get an expression. So this is a neat expression it only contains gamma which is the gas constant unless the gas dissociates and gamma changes from 1.3 to some other number it is valid and that is true in isentropic flow so all you need is m infinity so now where is the aerofoil in this where is the thickness where is the camber nothing it is just a function of m infinity so you can call it as a universal expression for cp critical okay just put the value of m infinity and you will get cp critical remember it is only cp critical not m critical just the value of cp so the value of pressure coefficient at critical mark number correct or at the place where sonic conditions are first reach is always the same it is just a function of m infinity so if your critical mark number is higher m infinity is higher so cp critical is going to be got by this expression. So as m infinity becomes n critical as m equal to 1 so it is a straight forward expression now problem is how do you get m critical how do you know at what free stream mark number the flow will accelerate so that sonic conditions are first reach because at a velocity higher than n critical there will be larger areas of low exposed to sonic flow so what is the point at which it happens for the first time for that we need a method so there are two methods which are available we will discuss both the methods one is a simple graphical method the other is using the equation which we just now derived so graphical method is actually very elegant and simple on the y axis you plot cp critical on the x axis you plot mark number okay so obtain a plot of cp critical versus mark number how do you get this plot yes exactly where are you guys sleeping from the equation that we just derived what is the equation I will show you again from this equation I just now told you that cp critical is a function purely of m infinity for any aerofoil so we have this expression just put the value so using this expression you can get the plot a simple plot okay it is a quadratic plot because there is m infinity square okay no questions now the next is obtain the value of cp not that means cp at lower mark numbers are usually this is given usually it is available from the aerofoil data but suppose you do not know okay suppose you do not know then you will have to do a guess then you plot cp versus m infinity from the Pantel Glouder rule so what you do you get the cp not which means you get the value at which you cut the y axis because the cp not is going to be a function it will not be the same for all aerofoils so cp not has to be got from either experimental data or from some online calculator or some way you have to get cp not but how does cp vary with m infinity from cp not is by the Pantel Glouder rule so you will get one more line like this now at the intersection of this you can get the value of cp critical because the red line is a locus of cp critical for all wings or aerofoils which fly at a particular mark number and the blue line is the locus or the value of variation of cp with mark number for a particular aerofoil starting from a value which is the intersection on the y axis wherever they intersect that is the critical mark number this is one way of doing it there is also a method to do the whole thing mathematically which means just solve these two equations simultaneously okay so what you can do you can say okay this is a Pantel Glouder rule and you can notice here that cp not is going to increase as m infinity increases or as cp not increases the m infinity will increase or vice versa so at sonic conditions so you just equate them at m equal to 1 and by equating them you can actually solve and get the expression it is the same thing either you do it graphically or you do it by simultaneous equation. Now some people have this misconception that it is very easy to get a critical mark number location just look at the place where the thickness of the aerofoil is maximum that will be the place where you will have the maximum acceleration so that is the place where the mark number will be equal to 1 so as the free stream mark number increases sonic conditions will first be reached at the maximum thickness point correct so many people say it is very simple that is not true I will show you an example for example look at this aerofoil okay this is a simple NACA 0012 symmetric aerofoil 12% thick so you notice that the cp is maximum at x by c equal to 0.11 that means at 11% location of the card from the leading edge the cp is maximum but thickness is not maximum at 11% the thickness is maximum at 30% so even though the maximum thickness occurs at 30% of the card the highest cp has already been achieved at an upstream location so do not have this misconception that the location of the maximum thickness is the location where the sonic conditions are first reached or where the location where the cp is maximum so it depends on local acceleration you have already drawn these plots last time in the tutorial okay so you have to be careful so now if you want to know more about why this happens I would encourage you to go to the main source Anderson which is the basic textbook we are following and it is nicely explained why this happens so that is a self study for you I do not want to talk about it more here so they are not corresponding and this is a very interesting observation so to get the value to get the location where the velocity is maximum you actually have to look at the complete geometry of the aerofoil and not just the maximum thickness location okay so critical Mach number is a Mach number at which sonic conditions are first reached why do we care that is not what we really care the designers or the pilots are mostly interested in this particular Mach number which is called as the MDD the drag divergence Mach number and the name itself tells the whole story it is a Mach number at which there is a shooting up of drag and that is the reason why people thought there is a sonic barrier now my question to you is do you think that the drag of an aerofoil will start shooting up at a Mach number where at a critical Mach number or will it be before it or will it be after it what do you think at what free stream Mach number will you have excessively higher drag buildup before M critical at M critical after M critical or none of the above we have a fourth choice also what do you think after why after why not at M critical why not at M critical because at M critical you have M equal to 1 with results in a weak wave a weak shock wave and weak shock wave will not give you the maximum drag as the Mach number goes slightly beyond this M critical you start getting higher drag ok. So, the Mach number at which drag shoots up and shoots up means what rapidly it may become 10 times the drag at M critical that Mach number is the critical Mach number but that is not the definition ok the definition is the point at which the graph suddenly undergoes a change in the slope and this particular sharp increase occurs not only because of shock waves but also because of the flow separation that is induced by the shock wave. So, typically this drag divergence Mach number will be M 0.02 beyond M critical typically. So, if the critical Mach number is 0.83 it will be approximately 0.85 approximately it can change slightly also depending on the geometry of the aerofoil but generally it is 0.02 Mach number so slightly beyond. So, sonic conditions appear and then very soon you start getting a fantastic increase in the drag so that is the problem as I said shock wave is one reason but that is not the only reason shock wave is only a generator of problems it is not the problem in itself because of shock wave very soon you will experience flow separation and that comes because of the adverse pressure gradient ok but there could be a weak shock wave which may not lead to flow separation. So, therefore it will create additional drag but not make it so bad that the flow separates. So, across the shock wave we know that the pressure is going to increase and the velocity is going to decrease.