BPG Annual Meeting Tips Sessions

From Wiki

Book and Paper Group Wiki > BPG Annual Meeting Tips Sessions

This page presents the treatment tips and creative solutions presented at the BPG Tips Sessions at the 2013, 2014, 2016, and 2018 AIC Annual Meetings. If you presented tips at these or other Annual Meetings, please contribute to this page. For treatment tips that have not been presented at an Annual Meeting, contact the BPG Wiki Coordinators at [email protected], who will help you find a place for them on the Wiki.

Copyright 2018. The Book and Paper Group Wiki is a publication of the Book and Paper Group of the American Institute for Conservation of Historic and Artistic Works. It is published as a convenience for the members of the Book and Paper Group. Publication does not endorse nor recommend any treatments, methods, or techniques described herein. There is an ongoing project to update the BPG Wiki. We welcome contributions and feedback. If you would like to get involved in this effort, please contact the wiki team at [email protected].

Contents

2018 Tips Session - 46th AIC Annual Meeting, Houston, TX

Enhancing Watermark Images: A Photoshop Method. (Claire Valero)

Handout

Valero, Claire. 2018. "Enhancing Watermark Images: A Photoshop Method (PDF)." Presented at the 46th AIC Annual Meeting as part of the BPG Tips Session Luncheon. To be published in the forthcoming Book and Paper Group Annual 38.

Laid Paper

Wove Paper


Videos of Enhancement Process on Laid Paper

Step 1 of 2 Step 2 of 2


Videos of Enhancement Process on Wove Paper

Step 1 of 2 Step 2 of 2





2016 Tips Session - 44th AIC Annual Meeting/42nd CAC Conference, Montreal, QC, CAN

Resewing a Book In Situ (Adrienne Bell)

Bell, Adrienne. 2016. "How to Resew a Book in Situ Using Beading Wire, Floss Threaders, and Alligator Forceps (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.

Microscope Bridge overall

Microscope Bridge For Oversize Paper Artifacts (Seth Irwin)

Irwin, Seth. 2016. "The Adaption of the Video Slider into a ‘Microscope Bridge' as a Practical Alternative for Using a Stereomicroscope to Examine and Treat Oversize Paper Artifacts (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.
21 Additional Images of Microscope Bridge

Cost Effective Transparent Suction Platen (Seth Irwin)

Irwin, Seth. 2016. "A Clear Suction: An Easy and Cost Effective Method for Making a Transparent Suction Platen (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.
Images of Suction Platen

Silicone Shapers


Silicone Shapers (Natasa Krsmanovic)


Krsmanovic, Natasa. 2016. "Silicone Shapers: A Useful Tool to Aid in the Treatment of Works of Art on Paper (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.







Mounting Works on Paper Using Embedded Magnet Strips (Christina Taylor and Tina C. Tan)

Taylor, Christina and Tina C. Tan. 2016. "A Method of Mounting Works on Paper Using Embedded Magnet Strips (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.

Discreet/Isolated Fills (Jodie Utter)

Utter, Jodie. 2016. "Discreet/Isolated Fills (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.

The Book Halter (Renée Wolcott)

Wolcott, Renée. 2016. "The Book Halter, an Alternative to the Colibrì Book Jacket (PDF)". Presented at the AIC Annual Meeting, BPG Tips Session.

2014 Tips Session - 42nd AIC Annual Meeting, San Francisco, CA


Rainwater, Emily, moderator. 2014. "Book and Paper Group Tips Session 2014: Contemporary Treatment—Tips and Techniques (PDF)." Book and Paper Group Annual 33.
Link to blog post on Conservators Converse



Beading: A Japanese technique used to relax laminated paper (Betsy Palmer Eldridge)


When two sheets of paper have been pasted together overall, the result is a sheet that is much thicker and stiffer than the two individuals. Ms. Eldridge described her technique of using a string of beads known as ura-suri to soften, relax, and remove cockling from the laminated paper. She forms the beads into a coil, then makes a repeated circular motion with a flat hand. During the Q&A, Rachel Freeman mentioned that marbles or a Japanese printmaking baren work well too.

Quick and Easy Plexi Paste (Cher Schneider)


Ms. Schneider developed this method for adhering two pieces of Plexiglas together to make mounts. Step 1: Collect Plexi shavings into a glass container. Step 2: Dissolve first in drops of acetone until it gets milky white, then add drops of toluene until it becomes transparent. Do not stir too much. Step 3: Apply to one side of the joint with a glass stir rod, then attach the other piece. Clear excess with a piece of matboard, then with a swab dampened with toluene. Step 4: Cure for 15-20 hours. Step 5: Clean glass tools by popping the dried Plexi paste right off. She does not recommend trying to re-use dried Plexi paste. During the Q&A, John Baty suggested a bake-out to cure the paste.

Alt Training (Beth Doyle)


After struggling with the difficulties of providing care and handling training to temporary and permanent staff and students, Beth Doyle of Duke University Libraries figured out that using social media to make short training videos on specific topics is a great way to reach everyone in a timely manner. The instagram videos are 15 seconds and the youtube videos, such as this one, are 2 minutes. If you want to make your own, she recommends using multiple paths to reach the largest audience, exploiting what each platform has to offer, reusing and recycling clips where possible, accepting that what you have is good enough, and keeping it short.
Links to online training videos

Studio-Lab Weight Sources (Stephanie Watkins)


Ms. Watkins reviewed the types of weights that conservators use, with suggestions for how to find or make your own. Because they are by nature heavy, she suggests above all that looking locally or making your own is the most cost-effective, and in the spirit of the meeting, ecologically sound. If you do have to have some weights shipped, she recommends USPS flat weight priority. Items that have been used as weights include magnets, sewing weights, scuba, exercise and fishing weights, car tire balancing weights, glass scraps, paperweights, flat irons, shoe anvils, weights manufactured by conservation suppliers, hand-crafted weights, scrap metal, and heavy items from freecycle. Home-made weight fillings include ball bearings, BB shot, coins, stones, sand, glass, beads and beans. Modifications can include polishing, covering, and adding smooth boards, felts, handles, and fabric. Form follows function, so determine the size and shape needed, then look around to see what is available. During Q&A, Denise Stockman mentioned a friend who sometimes has to travel out of the lab to do conservation work on-site brings empty containers and fills them with water for make-shift weights. Stephanie has compiled these and other ideas on the AIC Wiki page for Weights.

Diagram of hinging system by Terry Marsh

Cling and Release: Silicone Mylar+Japanese Paper+Wheat Starch Paste= A One-Step Hinge for Float Framing (Terry Marsh, read by Anisha Gupta)


This PDF ( TerryMarsh-OneStepHinge ) explains the process.











Aquazol as a Heat-set Adhesive on Paper (Adam Novak)


Mr. Novak presented two quick tips. First, he shared his recipe for heat-set tissue, based on research by Katherine Lechuga, summarized here. He makes a 6% solution of Aquazol 500 in deionized water and brushes it on very thin (2 gram) tengujo paper. After cutting the repair strip, it can be set in place temporarily using the heat of his finger. Then, he places silicone release paper over the repair and sets it with a tacking iron. (When questioned later by Sarah Reidell, he indicated that he did not know the exact temperature used with the tacking iron, but supposed that it is in the range of 150 degrees F.) The repair may look shiny in comparison with surrounding paper. If this is the case, shine can be reduced by brushing on a bit of ethanol.

pH Strips Versus pH Meters (Adam Novak)


The second tip addressed the issue of very different readings with a pH strip and a pH meter when measuring deionized water solutions buffered with calcium hydroxide. Mr. Novak has discovered that the conductivity is very low in the calcium solutions and that there is not enough ionization to get an accurate reading with the strips. This is only the case with calcium- other buffers have higher conductivity and the strips read more accurately.

Sprayer used for toning with cellulose powder

Cellulose Powder (Becca Pollak)


Ms. Pollack described her technique of spraying cellulose powder with an airbrush to minimize local discoloration on paper, cover foxing, or prepare for inpainting. She sprays the powder directly through stencils and adds pigments for toning if necessary. The basic recipe is below as a starting point, but adjustments may need to be made depending on its moisture sensitivity of an object or the desired effect. She also sprays films on Mylar and allows them to dry for future use. In that case, she sprays a layer of plain methylcellulose first to improve cohesion of the sheet.

Basic recipe:

  • Approximately 20mL 0.5-1% Methocel A4M (Ms. Pollack reports that Elissa O’Loughlin prefers 1-2% of A15C; and Jim Bernstein prefers a mixture of cellulose ethers or gelatin.)
  • 5-10mL isopropanol
  • 1g of micro-cellulose powder




Applying New Techniques On A Traditional Adhesive For Book Conservation (Marjan Anvari)


Traditional, western conservation training in book and paper conservation centers around the use of wheat starch paste. Ms. Anvari is an Iranian conservator working on middle eastern objects and decided to develop a repair adhesive based on a traditional Iranian adhesive that is also flexible and reversible in water. This adhesive, used by artists and artisans and known as ‘green paste,’ is dark yellow in color and leaves a stain, so Ms. Anvari worked to purify it, and came up with an acceptable recipe. She gave out samples at the end of the session. The paste can also be acquired from Raastak Enterprises, which can be contacted for more information.

Flattening Translucent Paper (Laura Neufeld)


Ms. Neufeld tested four techniques for flattening thin papers: Mylar flattening, the hard-soft sandwich technique, friction flattening, and edge flattening. A gampi-fibered paper was used for testing. The Mylar flattening technique, featured in the article ‘The conservation of three Whistler prints on Japanese paper’ by Catherine Nicholson, required the paper to be fully wet and gave the paper a slight sheen. The hard-soft sandwich technique, featured in the article ‘Architectural Drawings on Transparent Paper’ by Hildegard Homburger and Barbara Korbel, did not require much moisture and removed severe creases. The sandwich calls for polypropylene fleece, but Ms. Neufeld found that this can be substituted with polyethylene fleece or Gore-Tex with the fuzzy side away from the object. Friction flattening, described in the article ‘The Use of Friction Mounting as an Aid to Pressing Works on Paper‘ by Keiko Keyes, can have similar results as using a kari-bari and has been found to work well on both old master and Japanese prints. She found edge flattening to be the most difficult. This slide (Flattening_Slide) shows the results in normal and raking illumination.

Tek-Wipe in Conservation (Gwenanne Edwards)



Ms. Edwards presented on common uses for Tek-Wipe in paper conservation including capillary washing, slant washing, suction washing, drying and flattening, and in emergency response. She recommended this material because it is highly absorbent, strong, reusable, machine-washable, dimensionably-stable, you can vary the saturation, it pulls discoloration out well, it is safe with solvents, and it is significantly less expensive than blotter. Ms. Edward's handout (PDF) reviews the uses for this material and provides information about suppliers.

The blog post on Conservators Converse captured the discussion that followed:

"They are available from a number of sources under various trade names, such as Texwipe or Technicloth. The overwhelming majority of commenters at the end of the session wanted to talk about Tek-wipes and other blotter replacements. Seth Irwin uses them to pull tidelines from paper using a tacking iron. Betsy Palmer Eldridge suggested that they would work in some of the drying techniques tested by Laura Neufeld (above.) In Australia, they use bamboo felt and interfacing in place of blotters. Bill Minter said that Christine Smith uses bath towels. Anna Friedman uses Sham-wow (warning: this link takes you to the company page with a video commercial)."



Slide showing placement of rare earth magnet in chamber

Rare Earth Magnets to Make Solvent Chambers (Anne Marigza)


Ms. Marigza uses rare earth magnets in a solvent chamber. One on either side of the inverted glass or Mylar container will hold the solvent-saturated blotter (or other absorbent material) in place. The magnet can be discarded when it becomes powdery.


Illustration of Bill Minter's rolled paper flattening system

Flattening Rolled Drawings for Digitization (Bill Minter)


Mr. Minter developed a method for flattening architectural drawings by reverse-rolling. He places a cardboard tube at the edge of the table with an attached paper extension hanging down to the floor. He places the leading edge of the drawing in the roller, then rolls it the opposite way and lets it sit for a day. When unrolled, it lays flat enough for digitization.

Velcro for Phase-Boxes (Bill Minter)


Do you find your velcro hooks and loops to be too strongly attached to each other that they do not pull apart easily? Mr. Minter has discovered a less aggressive velcro. Instead of being labelled as such, the only way to distinguish is that the box is marked ‘clear.’ It comes in strips, discs, or rectangles.

Samples of dry-tear screens

Dry-Tearing of Paper for Infills (Bill Minter)


Lay some wire mesh on a flat surface and place the infill paper on top. Run the tip of an awl, needle, or other pointed instrument along the line you want to tear. It will create a perforation that can be dry-torn. McMaster-Carr sells wire mesh different gauges and materials. Above are samples of two sizes.

Toning of Paper (Bill Minter)

The Preval sprayer works great for small paper-toning projects. Clean well after use. During the Q&A, we learned: They sell replacement valves if the ones you have get clogged. The glass jars can be saved and reused.





2013 Tips Session - 41st AIC Annual Meeting, Indianapolis, Indiana


The article in the BPG Annual (PDF) includes the following tips:

A “Hot Air” Trick for Lowering ph in Aqueous Treatment (Karen Dabney)

A Papyrus Rehousing Project at Duke University Libraries (Beth Doyle)

Lascaux Linings in the Treatment of Park Plans from the Cleveland Public Library (Jamye Jamison)

Superstorms and Contemporary Disaster Preparedness and Response (Laura McCann)

Materials and Techniques for Mounts, Encapsulations, and Book Supports (Renate Mesmer)

Oil-absorbent Pads as Useful Tools for Disaster Response (Karen L. Pavelka)

Action Bias (Shelly Smith)

A Simple Suction-disk Extension for Treating Bound Items (Judith Walsh)

A Wicking System for Removal of Solvent Soluble Stains (Judith Walsh)

References


Reidell, Sarah, moderator. 2013. "Book and Paper Group Tips Session 2013: Contemporary Treatment—Tips and Techniques (PDF)". Book and Paper Group Annual 32. Accessed June 6, 2016.

Various Authors. 1994. "Tips & Techniques". Book and Paper Group Annual 13. Accessed June 6, 2016.

Book and Paper Group Wiki
Using the Wiki

·Contributors Toolbox ·Reference and Bibliography Protocols ·Accessing Conservation Literature (AIC) ·Help Wanted ·Template for New BPG Chapter

Materials and Tips

·Annual Meeting Tips Sessions ·Materials, Equipment, and Tools ·Adhesive Recipes and Tips
·Gels, Thickeners, and Viscosity Modifiers (ECPN) ·Oddy Tests (R&A) ·Instrumental Analysis (Paintings) ·Technical Examination (Paintings) ·Microchemical Testing (R&A)

Preservation

·Selection for Preservation ·Exhibition, Supports, Transport ·Imaging and Digitization ·Housings ·Encapsulation

Conservation History and Ethics

·Culturally Sensitive Treatment ·Conservation Ethics (AIC) ·History of Conservation and Conservators (AIC)