 Great. Well, thank you again for joining us for today's webinar. This is, of course, the final in the eight-part series. Congratulations to you all for making it through all eight programs. I'm sorry, again, that we were not able to hold this program before we met last month. Thank you to our hosts at the Miami-Dade EOC as well as our generous hosts at the FIU campus and the library and the Frost Museum. It was great to take part with that scenario training together. And I'm, again, grateful to you all and especially to today's presenter, John Brandon, for being so flexible in rescheduling this program after Hurricane Irma this fall. These webinar programs and, of course, the overall response to training have been made possible through the generous grant funding support of the National Endowment for the Humanities. Today's program will focus on, once again, material-specific salvage tips. As was the case with our previous programs, the presenters on these material-specific salvage programs are conservators who also serve as team members for the National Heritage Responders. And as you've seen, many of them have a variety of personal experiences responding to disasters, so we're very fortunate to have their expert knowledge shared with us. Most of you are now fully caught up with your webinars, but if not, I'll be following up with you all via a final reminder later this week. Before we begin the presentation, just a quick refresher of technical notes. On your screen you'll see several boxes, including one labeled chat on the left-hand side. You can use the chat boxes, say hello, ask questions, share any information or links that you'd like. And if you post a question in the chat box, you'll receive a reply from me. Any questions will be noted, collected, and then I will verbally ask them of our presenter during a break. At the bottom of your screen you'll see a Files box, so simply click on the file to highlight it blue, and then click on the Download File button to save a copy. Our presenter, John, has generously put together a handout for today's program, so I hope you all will be sure to download it and review it. And with that, I'm very pleased to introduce you all to our presenter, John Brandon. John is the owner and principal conservator at East Point Furniture Conservation. East Point is nationally recognized for providing conservation services to individuals and institutions that place a high value on their furniture. John is certified by the Smithsonian Institution to work on objects ranging from national treasures to family heirlooms. With 35 years of experience, he has worked on major collections of American and European furniture for museums, the US government, and for private collectors. As an NHR member, John has responded to large and small disasters, including Superstorm Sandy and, most recently, Hurricane Harvey. So with that, I'd like to turn things over to John for his presentation on furniture salvage. OK, thank you, Jess. Welcome to everybody. It's my pleasure to speak with you today, and it's my hope that I can help prepare you for salvaging furniture. I'm hoping to make this as practical as possible, and I think you'll find it straightforward. I've included a PDF for you to download, and that includes everything we'll cover today, so don't feel like you have to go crazy taking notes today. As you heard in the introduction, I have a long career in furniture conservation and have been involved in several disaster responses. But this does not mean I know everything or even that I'm an expert. What it does mean is that I probably have more experience than you at this point. What I'd like to impress upon you is that when you're called to respond to a disaster to be ready for anything, and I'm going to show you some pictures of an historic village museum that experienced a flood, during a disaster response, you'll see things that are familiar to you and you'll know how to respond, and you'll see unfamiliar or unanticipated situations that will challenge you. Situations you may feel you're not fully prepared for. That's OK. It's impossible to be prepared for every unknown. What I'm getting at here is that sometimes you will need to make decisions on the fly using your best judgment in the moment. When you go into these things, you have to accept that you won't be fully prepared for every circumstance. Of course, you can consult with a colleague if you need advice or call somebody on the phone, and this is my colleague Dennis while we were working at a theater in Houston. Dennis is calling someone for advice because we'd come across some taxidermy that none of us were familiar with. But there may be conditions where you're really on your own in terms of decision-making. So in those times, think about what you're doing, consider the object, consider the circumstances, and make your best call. Just to be clear, salvage is the initial response to a disaster aimed at saving the object. We're not talking about conservation treatment. That will come later when the salvage operation is over and the disaster is behind you. You're probably familiar with this list and many more items could be included. In my experience, the most frequent kind is an event that involves water. Even if it's a fire event, there's usually a heavy water component because of the fire department blasting everything with their water hoses or the sprinkler system in the building has soaked everything. Most of the furniture you encounter, the primary material will be wood. But it often includes other materials. So you may have to call on your training for those types of materials even though you're dealing with furniture. Here's one example of a non-wood piece of furniture. While there is probably wood underneath the seat that holds the frame together, it is primarily leather and horn, plus the upholstery foundation. Upholstery foundation materials include everything but the show cover. In this case, the leather. The foundation gives its shape and provides strength for sitting. And we'll talk more about upholstery in a moment. Wood is a relatively durable material. It falls somewhere in the middle in the range of durability of objects. And we can prioritize furniture based on how it is constructed, such as having veneers or the materials that are attached to it, such as gold leaf or upholstery. Since wet events are the most common, let's cover that first. So wood is hygroscopic material and there are consequences for that. And we need to be aware of this when we encounter wet wood. What you're looking at here is a picture of three boards. You're looking at the end grain of these boards. So this is the width of the, oh, let me get my pointer going for you. This is the width of the board this way. And all three of these boards started out at the same width. It was about eight inches from this string all the way over to that string. The board on top has been oven dried to 0% moisture content. The board in the middle is at about 8% moisture content, which is typical for what you find in furniture. And the board on the bottom is fully saturated with water. And so you can see here when wood absorbs water, it gets bigger. And when it loses water, it gets smaller, in this case by about half an inch. So things to look for with wet wood. It's going to take on the weight of the water it absorbs. High humidity will activate mold growth. Vineers and joinery will delaminate because of water-soluble adhesives. And veneers can become deformed either when they get wet or as they dry out. As we just saw, wood will expand when it gets wet, and this can cause doors and drawers to get stuck shut. Blanching of coatings means that water has penetrated into the finish and caused a disruption of the finish, which impairs the transparency of the coating and turns it white. I'm going to show you some examples of these conditions. And then after that, we'll look at salvage procedures. Here's an example of a phone operator switchboard that is housed in a wooden cabinet. And this piece was almost completely submerged in water. In fact, you can see the high watermark right here on that left-hand side of the cabinet. This piece, well, what you see on the surface as a hazy white layer is a combination of blanched coating and active mold growth. This is an extreme case, but you'll run into varying degrees of this. Here's an example of active mold on legs of a table. And you may be more familiar with seeing mold that looks like this. This is an example of a veneered panel on a chair leg that's delaminating as a result of water exposure. So we're talking about this panel right here, and there's the delamination right there. Another example of veneered furniture, this one is to the extreme with every inch being covered in veneers. And this is that same desk showing one side of it in raking light, which demonstrates how extensive veneer delamination can be. These are parts of a table that are detached because of exposure to water. Some structural pieces and some veneers. When you encounter loose elements, they should be gathered up, labeled, and placed in some kind of container for safekeeping so they don't get lost. You might be tempted to place them in a plastic bag, which is standard museum practice for those of you in collections care. But if the items are wet, it's not good to enclose them in plastic because it won't allow them to dry and it promotes mold growth. You're just creating a little microclimate inside that plastic bag. So in this example, I'm showing the pieces stored in a drawer that's part of the table with an identifying label. A small cardboard box could work just as well. Here's an example of joinery that is separating. And right along here, we have a split. And this is a part of an upholstered chair. And even down here, this is an old repair that's coming apart. And again, this is usually due to water-soluble adhesives that get wet. And this is what blanching looks like. In this case, the whole table got wet, but it was quickly dried using towels, which saved most of the finish. Except the spot where a book was laying on the surface. Water seeped under the book and the book was never moved, so the water was trapped there for a long time. And this is a close-up of that blanched area. And I want you to notice the paper along this edge. This is all stuck to the tabletop and a little bit of it down here. This is a caution to be careful when you separate objects from each other that have been wet. Even if they have subsequently dried out, they could still be stuck together. And I don't really recommend that you attempt repairing the blanched area. That's a tricky maneuver that should be left to a conservator. So beyond drying the piece, there's no urgency in fixing the blanched finish. So let's talk about salvage actions. Here are the most important actions to be considered. If the furniture is in a wet room or is exposed to the elements, then hopefully you can locate a dry storage area where you can take the furniture for drying it out. If you don't have a dry location, then dehumidifiers can be used to dry out a room. And I can't emphasize enough that wet furniture needs to be handled carefully. It's going to be heavy, and you need to be careful about loose joinery and veneers. And of course, you want to try and circulate air as much as you can. And typically we're using fans to do this, and that circulating air promotes the drying. This is an example of a dry storage area where wet objects have been moved. You'll notice the stacks of chairs, which is not the best thing to do, but you won't always have the perfect dry storage area, so you make do with what you can in terms of space. As I mentioned earlier, you should have helpers to move large objects and make a plan for safe moving. By far, most damage occurs to furniture during moving and transportation. So make sure everybody knows and understands the plan. In this case, the bench was disassembled into two pieces before transporting. And this was a particularly large object that required many hands. So this is the upper section and the lower section. Perhaps you can't move objects to a dry location for whatever reason. Or maybe only the floor is wet at the site. In which case raising the object off the floor using blocks may be the most expedient solution. And then you could use a dehumidifier to dry out the wet floor. And then air circulation is important to dry the furniture and to discourage mold. Air circulation speeds up the drying process. Don't use hot air. You may have seen commercial salvage companies using hot air blowers to dry out a wet house. Those are not good for furniture. They dry the wood way too fast, which promotes distortion of wood, deteriorates finishes, and glues, and causes rapid shrinkage of veneer and gilding. The idea is to dry the wood slowly to prevent distortion, cracking, or splitting. So in this room we have, you can see, two fans running. But we had several fans spaced around this room to keep the air circulating. Upholstered furniture deserves special attention because you're dealing with a combination of wood and lots of textile materials. Besides drying the upholstery, maybe the most important thing here is to decide whether to save the upholstery or to remove it. This is usually a curatorial decision and they should be involved in the decision. Excuse me, I'm going to take a drink of water. Pardon me. Okay, a little frog in my throat there. So it might be obvious, but... Are you okay? Yeah, I think I'm okay. Okay, just let me know if you'd like to take a break. Yeah, that's okay. If it flares up again, we'll take a break. So it might be obvious, but I want to remind you that once you remove the upholstery, it's unlikely that it will ever be reinstalled on the object. It just isn't technically possible. So here are a couple of upholstered pieces, these little love seats. And they are part of an historic house museum and they experienced a broken water pipe in the ceiling. So the water rained down on everything that was in the room below, including these pieces of furniture. And these belonged to a Civil War general in the Union Army. And they retain their original upholstery, which is pretty rare. And the curator, who you see here in the orange jacket, had said that she would really like to save this upholstery if it's at all possible. And it is possible. It requires lots of air circulation. So we moved them upstairs into this dry room and turned on lots of fans. And we let those fans blow on these pieces of furniture for about three weeks. It takes a long time to dry out all of the upholstery. And this is one of the chairs from that same suite of furniture that got wet. You can see some of the damage to the upholstery on the show cover on the seat. And here's a close-up of that same chair. And you can see the dirt and the tide lines. And at this point we were still thinking there could be a way to save this upholstery and to clean it. And then we looked at the back of the chair. And this is behind one of the arms. And we removed some of the fringe, the fringe trim from the back of the arm. And that's where we saw what the original color of this fabric used to be. And the rest of it had faded. So at this point it was decided we would remove the show cover, the show cover only, and try and save the foundation materials. So here's that same chair with the show cover removed and all of the original foundation materials intact. The foundation includes springs, webbing, horse hair stuffing, cotton batting, and the muslin covers. And you'll notice the original tufting was preserved. And so that would be, for those of you that aren't familiar with upholstery, the tufting are these wells in the back of the chair where the buttons are holding a deep depression. And they're also present on the seat. So this is historic foundation workmanship and worthwhile saving because, number one, it's original. We see what materials they were using and we can also examine their workmanship from the period. And this is the chair after the reinstallation of, not reinstallation, but when the new fabric was installed. It still retains its original upholstery foundation material. But in some cases, it may not be advisable to try and save the upholstery. These chairs are from a theater and they're used as props for productions. The property manager advised us that the chair frames were worth salvaging, but she didn't want to save the upholstery. In fact, they regularly re-upholster them depending on the production they're being used for. And all of these chairs had gotten completely wet in a flood event. So in that case, you get out your sharp knife and cut away the upholstery. And this is a big help in allowing the wood to dry out. So I'm going to talk just briefly about removing mold. This is starting to get into the realm of treatment, but it's pretty straightforward and I think it's within your capacity to attempt if you have the time and the inclination. So the first thing I'll mention is number one on this list, which is the mold must be dry before attempting to remove it. If you try and wipe up or vacuum wet mold, you're just going to smear it. So here's an example of the underside of a table that has mold growing on it. And so it's the white spots that you see on the bottom of the table. And once this is dried, the first step is to vacuum it using a HEPA filter. And this removes everything that's loose on the surface. The next step after vacuuming is to wipe up any remaining mold so the vacuum doesn't get all of it. And a lot of it remains adhered to the surface. And here I'm using a paper towel that's been dampened with a solvent. The solvent is a mixture of alcohol and water mixed at a one to one ratio. And this is what you get after you wipe some old bare wood. This is dirt and grime coming up off of the wood. So don't be alarmed if you're wiping a piece of bare wood and you see this happening. You're just basically cleaning, doing a cleaning job on the wood. And I mentioned that I was using alcohol as the solvent here. This is an important point that I want to bring out is that alcohol is safe to use on bare wood because there's no finish here. And alcohol also will kill any remaining mold spores. But if you're working on a piece of furniture or a part of the furniture that has a finish on it, you cannot use alcohol because alcohol will attack that finish. So in that case, I recommend using mineral spirits as the solvent. And here I'm wiping the mold away with a paper towel dampened with mineral spirits. Mineral spirits is benign to almost every furniture finish. Of course you want to do a little testing in an out of the way area, but nine times out of ten you're going to find that mineral spirits is safe to use on a furniture finish. And I'm just talking about hardware store variety mineral spirits. And I recommend the odorless kind. This is what I use for my alcohol mixture. I mix it up half and half with distilled water. And again, it's just your hardware variety alcohol. This works fine. If that's not available or you would prefer to use isopropyl alcohol, you can do that. It's available at the drug store. And this particular container came already at 50% concentration. So now let's cover a fire situation. And the main thing here is careful handling to prevent further damage. You can imagine charred wood being very fragile and crumbly. So you don't want to be picking things up and grabbing it by that area. And also handling things that have soot or ash on them. You have to be very careful because just touching the surface of something that has soot on it, you can drive the soot further down into the surface. And believe it or not, we were able to salvage some furniture or a lot of furniture from this client's fire. And this is what you'll see in the aftermath of a fire. It's always a mess. And not only is there smoke, soot, and ash, but everything is soaking wet from the fire. And as I was preparing for today's webinar, I realized that dealing with fire is similar to dealing with a wet event. It includes drying, vacuuming, and air circulation. And what I want to impress on you is the first item on the list to avoid touching the surface of soot and ash. That can cause a real problem when it comes time to clean the object. So if you need to pick something up, try and get it from underneath or grab it from a non-presentation surface. I'm not going to go into cleaning soot and ash very far because it's tricky and I think it's best left to a conservator. Or possibly a conservator could consult to develop the best cleaning protocol and then train some volunteers how to do it. But it can be a risky treatment. Here's an example of carbonized wood. It's a four foot tall wood sculpture and in terms of salvage, there's not a lot to be done except to not touch the charred wood if you need to move it. As you can imagine, carbonized wood is fragile. After salvage, a conservator can consolidate the wood and restore the finish. This is a small painted box that was in a house fire and has soot on the surface. So again, you want to be careful about how you touch something like this. And if I were going to pick this up, I would try and get it from, slip my fingers underneath it and only grab it by the bottom. This was cleaned using a dry eraser technique. Dry cleaning methods are usually best because wet cleaning can drive the soot further into the surface. And just so you can appreciate why this is important, this is a close up view of an aged paint surface showing an alligated surface. And you can see how easy it would be to trap excess soot in the texture of that paint. I want to give you an idea of how smoke and soot can penetrate an object. This is a cabinet with a fitted interior and the outside doesn't look too bad from having been in a fire. And when you open it up, it still looks pretty good, even cleaner than the outside. But soot tends to settle out on horizontal surfaces and can penetrate inside closed cabinets. So that covers my salvage portion of the presentation and I'd like to finish up by showing you two examples of how a disaster plan can make or break the recovery from an event. I think it's worthwhile to just take a couple of minutes to do this. This is an historic farm museum. Its main components are the structures and their contents. This small organization had a rudimentary disaster plan in place. The plan said that if the barn ever caught fire that they would bulldoze the back house. The back house is the structure that connects the barn with the main house. And for those of you that are not familiar with New England architecture, this is called the big house, the little house, the back house, and the barn. So by bulldozing the back house, they would break the connection to the main house. And this was a conscious decision to sacrifice a portion of the building in order to save the rest of the house and its contents. Unlucky for them, they did experience a raging barn fire. But the plan was executed and they successfully saved the main house with all the contents. And there's a little more to this story. From where I was standing when I took this picture, behind me is a chapel on the grounds. And this is the chapel. It's about a hundred yards away from the house. And on the night of the fire they carried out the second part of the plan, which was to hand carry collection items from the house over to the chapel. So they organized a human chain and moved everything into the chapel. And here is a success story and it relied on having a disaster plan. The not so good story happened at this village museum. The collections are stored in the historic structures, which you can see a couple of them on the right hand side of this picture. And they also have collection storage in the warehouses that you see here. They had no disaster plan. And the grounds were flooded a few years ago and the contents of all the buildings, including the warehouses, got wet. They too had a bulldozer. And while their intentions were good, the bulldozer was used to push the collections out of the warehouses and into this pile. So instead of having water damaged collections, they ended up with a pile of trash. You do strange things when you're in the grips of a disaster. So here's a case where a disaster plan would have helped them think through this scenario ahead of time. So that wraps up my comments for today and so now I'd be happy to entertain any questions. Great. Well thank you so much, John. We had a couple of questions come in. Sarah had a couple for you, and I believe Sarah's at a Rosa Lowinger's shop down there in Florida. So she was wondering, early on in your remarks, you were talking about the need to dry wood slowly. So she was wondering if you would recommend a drying rate to prevent wood checks due to rapid dehumidification. I'm not familiar with a drying rate. It's pretty much like kitchen chemistry. We do it by the seat of our pants. And so just think about the different ways you can dry furniture. The most obvious thing is to get it out of the wet environment so you move it out of the wet room or the wet building. You might put it, if your only option is, you might just take it outside if the weather is good. I would avoid putting it in the direct sunlight because that can heat up the piece of furniture if it's a hot day and it's in direct sunlight. So a shady spot would be good. But a drying rate wouldn't be something that I could recommend. I'm not familiar with a particular drying rate. You're going to expect furniture wood to take a long time to dry out. My experience is that water can go into wood very quickly, but it takes days for it to come out. And so I think the basic idea that I presented of having it in a dry room with fans running to circulate the air and just ambient temperature, whatever the temperature you've got in the room, will work fine. My biggest recommendation is to stay away from heat, though. We don't want to heat it up. Just to continue on this idea, part of that question was to prevent checking. You may not be able to prevent checking if you have old wood that was dry, gets soaking wet, and then dries out again. That may put more stress than the wood can handle, and you may end up with some checking. But I think the idea of drying slowly, continuously, and evenly is just what to keep in mind. Just a follow-up question on that. For me, would you have recommendations for how people can check in on the process of drying? What kind of recommended tips you would have for how frequently they should be checking on the object and ways to make sure that it's not drying too quickly? I do this just based on my experience, because I'm so familiar with wood. For someone that doesn't have that same familiarity with wood, you can purchase moisture meters for wood that will measure the moisture content of the wood. I don't think they're too expensive, and they're very low-tech. You just touch two prongs to the surface of the wood, and by some electrical measurements it measures the amount of moisture in the wood. But it will be obvious in the beginning it will show you a high moisture content, and then day after day that will slowly go down. If you get it down to 12 or 8%, then you're getting down to a very good range for moisture content. It would be difficult to get it below 8% unless you turn on the heat and blow hot air on your furniture. So as long as you stay away from that idea of trying to heat the furniture, you're going to be okay. Great, thank you. And then Sarah had another question for you, John. I was just wondering what your opinions are on using sunlight or UV to kill mold, specifically on non-upholstered items. So once the piece has dried and you're moving into the mold removal phase, what are your thoughts on using UV to kill mold? I think that those things will kill mold. I think it works very slowly. And I think as we're all aware, mold spores are everywhere. We're breathing them right now. They're on our furniture. Mold just waits for the proper environmental conditions to spring to life. So if I go through my typical cleaning procedures for removing mold and drying it out, I'm okay with that. I haven't felt the need to use sunlight or UV to make something sterile or to try and get it towards sterile because I think that's an unrealistic kind of a goal. Maybe if it's something that you don't feel comfortable wiping or using any kind of solvent on, then a UV light would be the way to go. I haven't had to use it in my own experience. Great. Well, thank you. And then we had a question come in from Lauren Hall. I was wondering if you have any recommendations for preventing displacement when pieces with mercury or inlaid wood are park clay floors are drying after a water event. And I don't think we've specifically addressed that, Lauren. Any thoughts on that, John? Right. Now, the only thing I mentioned earlier was what to do with things that are already detached. So if you have marquetry or other inlays in wood, and so I think if I understand the question is you're worried about them, maybe they will become detached and you want to do something proactive to stop that from happening. So this is a little bit of a tricky question because I'm going to assume we're looking at a wet piece of furniture and you don't want to cover the surface with anything that's going to trap moisture in the furniture. So the question is how do you keep these things in place? And the first thing is to, first of all, don't handle them very much. And it's an interesting question that I hadn't considered very much, but my answer here is might be a little bit beyond what you'd be comfortable doing. But if the piece of furniture is wet, that means the adhesives are still wet. So you conceivably could clamp them right back down into place and hold them there and leave the clamp there for a day or so and let it begin to dry that way and that they would stay in place. But, you know, that's, like I mentioned in the beginning, that's trapping water onto the surface. So if there are finishes there, then you're running the danger of blanching them. So I don't suppose I have a very satisfying answer for that question? I see Lauren is typing a response now, but yeah, it's a helpful way to think about things, certainly, and a good question that Lauren's raised for the group. So thank you for that. If anyone else has any questions, do feel free to go ahead and put those in the chat window. John, as I mentioned to you, when we were initially discussing this program, many of the participants who are taking part in this training, of course being based there in South Florida, their institutions may have suffered some of the impacts of hurricane Irma most recently. And I know that many of you do have furnishings in your collections as well. So if you have any specific examples of things that happened to any of the pieces in your collection, feel free to just share those two and how you might have addressed some of the water damage. So Lauren. I see the continuation. I see your question there. Yeah. So let me just mention something about this. Hi, Lauren. We talked earlier when you had trouble down there. So your parquet floor has gave you trouble. And I can see that being a real problem that they would warp when they dried and wouldn't go back together correctly. So with a floor, you might be able to dry the floor if there's a basement. You might be able to get under there and dry the floor from underneath with air circulation blowing up on the bottom of the floor. And if that's the case, then you could put possibly, if you can anticipate this problem happening, put some kind of a weight over the top of the parquet floor to hold them in place while they're drying out. But you can see how if you've got something over the top of the floor, it's not going to be drying from the top surface. So you're going to have to have some other method of drying the floor if you've got a weight on top of the floor. And the same thing is going to be true with furniture. If you're covering over a surface, it's not going to be drying very well. So sorry about that problem with your floor. That sounds like a real doozy. Feel free to contact me offline if you have any more questions about that, Lauren. Great. Well, did anyone else have any other questions for John? I haven't seen any other type being happening in the window. I think you've given us all a lot to think about John, so we're very grateful for sharing your words of wisdom here. If no one has anything else to ask about, I'll go ahead and I guess wrap up the program for today. I wanted to share with you all a link to a survey that would take you to just a quick form to evaluate this eight-part webinar series. It will only take just a couple of minutes for you all to complete. It would be really helpful for us to know if this format is effective for covering these topics. There's a few blank spaces at the end where you can chime in on what worked well, what didn't. If you have thoughts on any of the technical issues or the content itself, I recognize that it's probably a little bit challenging to talk about eight different presentations with eight different speakers at the top of the survey, just a reminder of what that schedule was for each of your sessions and the topics and who spoke. But if you can kind of just speak to generally how effective this was as a training mechanism, keep in touch with each other between our two in-person sessions, that would be tremendously helpful for us. As I mentioned previously, you all were the first ones to go through this round of training, and so we're very grateful to you all for your willingness to serve as the first class to go through the regional response team training. We are going to be doing this again with a team that's based in the Houston area early next year, and then later in the year we'll be working with a team in Seattle. I would love to have the opportunity to connect you all with some of those team members as they begin putting together their own groups. So you can have some conversations about how you all are working with your group there in South Florida. Some of the things that you've encountered as you've put together your structures and protocols and that sort of thing. So that's something that I would definitely like to be continuing to work with you all in in the future. I will be following up with everyone in regards to some of the final training elements that I had discussed in previous emails, including your incident command system training as well as opportunity for respirator fit testing, which will be scheduling in the coming weeks. So keep an eye out for an email from me in regards to that. But I do want to just go ahead and take the opportunity now to say thank you to you all for showing up for these webinars. I know it was a long series and I hope you all found them to be helpful and a nice way to keep in touch with each other over the summer. Again, thank you to our presenter, John Brandon. We're very grateful that you were able to step in somewhat last minute and take over with this program. It's really helpful to have your words of wisdom shared with the team. And thank you to everyone who took part in this training. It's been so wonderful working with you all for the last few months and you will hear more from me in the very near future. So thanks everyone. Okay. Thank you, Jess. It was my pleasure.