About Me

Why I’m Here

I’m an engineer who fell in love with animation cels—and noticed something nobody was fixing. People were applying general archival rules to cels as if they were apples-to-apples with other materials. Cels are chemically and mechanically unique, and that difference matters for how we store, display, and ultimately protect them. After purchasing a cel and following the advice available at the time, I witnessed the onset of vinegar syndrome within just a few months. That moment was pivotal — I realized that if no one else was going to provide real answers, I could. With my systems engineering mindset, I knew how to approach the problem systematically: identify failure modes, model the risks, and design practical solutions. Cel Nexus is my way of merging two worlds — my love for animation art and my engineering background — to help collectors protect what they love.

What Makes Cels Different

Cellulose acetate behaves differently than paper, canvas, or film stock—chemically (autocatalytic hydrolysis, acetic acid off‑gassing) and mechanically (paint layers, hygroscopic movement, thermal cycling). Treating cels with generic guidance can miss failure modes that are specific to this art form. My goal is to translate the science directly into practical decisions collectors can use.

How I Work

I build cel‑specific solutions grounded in engineering: diffusion and mass‑balance models, absolute‑humidity and temperature trade studies, acetic‑acid capture and reset protocols, and verification methods that tie AD‑strip readings to internal film acidity. I prefer data over dogma—and I design for the real constraints collectors face.

What I’m Building

• Standards & Protocols: Cel‑tuned storage, reset, and verification steps that actually reflect the material’s chemistry and mechanics.
• Tools: Calculators and models (Arrhenius with absolute humidity, diffusion & off‑gas mass flow, risk curves) that turn measurements into decisions.
• Products: Custom storage solutions engineered for cel geometry, moisture control, and acetic‑acid management.
• Education: Clear language, case studies, and open methods so collectors can protect their art with confidence.

The Mission

I’m not here to “do what’s always been done.” I’m here to evolve cel preservation with the right tool for the material. If we tune our methods to the actual behavior of cels—chemistry first, engineering always—we can extend lifetimes, avoid preventable failures, and keep the art alive for the people who love it.