BPG Materials, Equipment, and Tools

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This page is designed to be a list of materials, tools, and equipment used in paper and book conservation. For clearly defined (and Google-able) terms like "Scharf-Fix" a word or phrase may suffice, but images are particularly welcome for:

  • modified tools
  • innovative solutions to problems
  • common materials that have been re-purposed for conservation (Gore-tex, trash cans made into humidification chambers)

Also welcome are images that distinguish between similar materials (like Reemay and Hollytex) or link together different names for the same material (soot sponge and dry cleaning sponge).

Captions should be short, ideally less than 25 words. They can include a references link to more reading - either on the wiki or elsewhere. When you click on the photo, it will take you to the file page for that image which can include more detailed description, information about the photo creator, product information, etc.

Related pages: Setting up a Conservation Lab, Conservation Supply Sources

Wiki Contributors: Nora Bloch, Eliza Gilligan, Katherine Kelly, Evan Knight, Kimberly Kwan, Debora D. Mayer, Denise Stockman, Emily Williams, please add your name here

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].


Videos about materials and tools
used in book and paper conservation.

Materials

Adhesives, Consolidants, etc.

Gels

Solvents

Papers, Tissues, Fabrics, etc

  • aerocotton and aerolinen
  • blotter
  • Evolon: polyester micofiber absorbent fabric
  • Tek-wipe used as a replacement for blotter or as a support for lining [3]
  • Poster comparing Tek-wipe, blotter and Evolon. [4]
  • Gore-Tex
  • SympaTex
  • Paraprint OL 60 can be used for washing via capillary action
  • non-woven polyester: Reemay, Hollytex, Bondina
  • Tyvek
  • paper-drying felts
  • toning tissue by dipping in a bath
  • toning tissue with a mouth aspirator

Repair Materials for Leather and Parchment

  • goldbeaters' skin (bovine intestine) for parchment repair
  • alum-tawed goldbeaters' skin for parchment repair
  • fish swim bladders
  • repair tissues coated with textured acrylic [5]

Mounting, Storage and Display Materials

  • clam shell boxes designed to compress splayed velcro bindings [6]
  • Plexiglass dissolved in acetone and toluene used to weld book cradles [7]

Tools


Examination and Documentation

  • methods of testing the surface pH of paper
  • lightbox

Testing and Analytic Tools


Video from the Getty on calibrating pH and Conductivity meters.

  • pH testing with a probe
  • pH testing with strips

Adhesive and Stain Removal

Paper Cleaning and Repair

  • brush
  • soot sponge (also called a chemical sponge, polyurethane sponge (?), dry cleaning sponge)
  • dental tools
  • heated spatula
  • microspatulas
  • mirrors used to see and align the recto while mending the verso
  • lightbox used to trace repair tissues and infills, as well as for aligning infills
  • non-stick Teflon sheet (baking mat?) as a working surface for heat-set mending
  • preservation pencil
  • scalpels
  • small plexiglass mending boards, with and without felt bottoms
  • syringe used to inject adhesive into difficult areas
  • tweezers
  • wooden block (e.g. cedar or ginko) for pasting repair tissues on, this is more durable than pasting on blotter and the tissue lifts more easily
  • suction pad can be used to deliver solvents or reduce moisture for in-situ treatments where a suction table cannot be used (e.g. bound text block)
  • Blog post on creative tools used in conservation, including an extra soft brush attachment for a book-cleaning vacuum[11].

Media Consolidation

  • ultrasonic mister

Humidification and Flattening

  • humidification chamber in trash can
  • humidification chamber in photo tray
  • humidification chamber in a cedar wood tray
  • humidification using a damp blotter pack

Binding

  • book corner rebuilt with delaminated scraps of binders board
  • book press boards with metal lip for creating a groove
  • The Guard-o-Matic [16]
  • long, square-cross section metal jigs for setting various sizes of joint in boxmaking and case-making
  • Velcro boards for securing spine while drying [17]
  • floss threaders for sewing or pulling thread through areas that are fragile or difficult to access

Visual Compensation

  • brush
  • Crayola Cutter
  • modified nose-hair trimmer for shaping fills [18]

Equipment and Lab Furniture


  • binocular microscope
  • board shear
  • board slotting machine [21]
  • boxmaking machine
  • drying racks of various kinds
  • elephant trunks for solvent extraction
  • finishing press
  • laying press
  • leaf casters, including small, makeshift models
  • spray deacidification set-up with Bookkeeper
  • felts for drying paper (see discussion on BPG listserv March 2017 about cleaning lab felts)

Exhibition, Handling, and Support


This topic is covered in more detail in Exhibition, Supports, Transport, but a brief list is added below

  • foam supports
  • book futon [22]
  • book snakes
  • Tyvek coated weighted bags [23]
  • For more weight ideas see Weights

Vendors


For a recent list, see Conservation Supply Sources.

Maker of book presses.

How to Contribute


If you are a registered user of this site, you are welcome to make changes and additions to this page. The BPG Wiki Contributors Toolbox is a great orientation to the Book and Paper sections of the AIC Wiki, including all you need to know about getting registered, making edits, and collaborating with others. If you do not wish to register or are uncertain if your contribution belongs, please contact the BPG Wiki Coordinators.

A word on copyright: When you upload a photo to this wiki, it must be your own photograph or copied with permission from the creator. Once you have added it to the wiki, the creator retains copyright of his or her work, but AIC can re-publish the image in various media and formats, including other wiki pages. More on the AIC-CC User Guidelines page.

References


  1. Stone, Janet L. and Elizabeth A. Morse. 1989. "A Method for Storing Additive-Free Wheat Starch Paste." Abbey Newsletter 13 (8).
  2. Hanscom, Bill. 2011. "Harvard’s Chinese Rare Book Digitization Project (PDF)." Discussion from the Archives Conservation Discussion Group. Book and Paper Group Annual 30.
  3. Stockman, Denise. 2014. "42nd Annual Meeting: BPG Tips Session" Blog post about Gwenanne Edwards' presentation on Tek Wipe, AIC Annual Meeting.
  4. Molina, Marina Ruiz and Amy Hughes. 2016. "A Comparative Study of Cotton Blotter, Evolon and Tek-Wipe as Absorbent Supports for Paper Conservation Treatment." Poster Session at the 2016 AIC Annual Meeting.
  5. Owen, Grace and Sarah Reidell. 2010. "Cast Composites: A System for Texturing Repair Materials in Book Conservation (PDF)". Discussion and handout from Library Collections Conservation Discussion Group. Book and Paper Group Annual 29.
  6. Di Gennaro, Lou, et. al. Drop Spine Box. AIC Conservation Wiki.
  7. Stockman, Denise. 2014. "42nd Annual Meeting: BPG Tips Session" Blog post about Cher Schneider's presentation on "Quick and Easy Plexi Paste".
  8. Warda, Jeffrey, Irene Brückle, Anikó Bezúr, and Dan Kushel. 2007. Analysis of Agarose, Carbopol, and Laponite Gel Poultices in Paper Conservation. Journal of the American Institute for Conservation 46 (3): 263–279. DOI: http://dx.doi.org/10.1179/019713607806112260. Accessed January 19, 2016.
  9. Stiber, Linda and Elissa O'Loughlin. Hinge, Tape and Adhesive Removal. AIC Conservation Wiki.
  10. Watkins, Stephanie et. al. AIC Wiki page on Studio Weights
  11. Jennifer, Noémie. Aug 30 2016. "When Regular Tools Don’t Cut It, Make 'Em Yourself: Conservation Lab". A blog post on The Creator's Project.
  12. Mayer, Debora and Alan Puglia. 2016. "The Challenge of Scale: Treatment of 160 Illuminated Manuscripts for Exhibition". Presented at 2016 AIC Annual Meeting in the BPG Specialty Group Sessions. Abstract and Blog Post available online.
  13. Mayer, Debora and Alan Puglia. 2016. "The Challenge of Scale: Treatment of 160 Illuminated Manuscripts for Exhibition". Presented at 2016 AIC Annual Meeting in the BPG Specialty Group Sessions. Abstract and Blog Post available online.
  14. Joanne Fabric Needle Pullers.
  15. Verheyen, Peter D. Spring 2004. "Vellum Over Boards (PDF)." Presentation at 21st Standards of Excellence Seminar (2001). Guild of Book Workers Journal 39 (1). 6-20.
  16. Brooks, Connie. 1984. "The Guard-O-Matic." Book and Paper Group Annual 3.
  17. Minter, Bill. 1986. "Helpful Ideas for Conservation" Book and Paper Group Annual 5.
  18. Owen-Weiss, Grace. 2014. "Transformation of Personal Grooming Tools into Paper Perforating Pens (PDF)." Poster presented at AIC Annual Meeting.
  19. "Encapsulation". AIC Conservation Wiki.
  20. "Encapsulation". AIC Conservation Wiki.
  21. "Board Reattachment". AIC Conservation Wiki.
  22. Duke University Libraries. 2012. ""How To Use a Book Futon"
  23. Gilligan, Eliza and Nora Bloch. 2017. "Instructions for Making Weighted Bags for Special Collections Reading Room (PDF)."


Gneisinger, Walter and Watkinson, David. “Innovative Uses for Aqueous Foams in Conservation Practice”, Tradition and Innovation: Advances in Conservation. Contributions to the Melbourne Congress, 10-14 October 2000, pp. 77-81.
This paper looks at the use of foams in cleaning and consolidating textiles. The use of foams in conservation has been regarded with suspicion, as not enough analysis has been done on the use and efficiency of using foam instead of water or an adhesive. The advantage of foam is that it they minimize surface tension effects, limiting the amount of water in aqueous treatments, making it a useful tool when cleaning or consolidating fragile porous materials. One of the limitations of cleaning with foam is that the material has to be rinsed after the foam/detergent has been applied.
The authors describe the composition of foam and its benefits, as well as an experiment they conducted where they compared different detergents and methods of cleaning textiles. They did a number of experiments, washing the textiles in water with Synperonic N, Marlipal 013/89, NP 10 and Brij 56 at room temperature, 30oC, 45oC and 90oC, and then using 1000cm3 of foam (with the same detergents) at room temperature. It was concluded that washing textiles with the various detergents at 30oC was still more effective than using 1000cm3 of foam. The authors increased the volume of foam to 3000cm3, and this achieved a similar level of cleaning as a 30 minute wash in water at 30oC.
Though the washing of materials with foam seems like it might not be as effective or practical as aqueous washing, the application of a foam consolidant is a very interesting idea. This could be a good method for consolidating, when a ultrasonic mister cannot be used, for example with very large fragile objects or freshly excavated objects on an archaeological dig.
Kemp Weidner, Marilyn. “Treatment of Water Sensitive and Friable Media Using Suction and Ultrasonic Mist”, The Book and Paper Group Annual, 1993, Vol 12, AIC 21st Annual Meeting, May 31-June 6. [Accessed 9th April 2016].
In 1972, the author invented the suction table and later went on to develop the moisture chamber/suction table/ultrasonic humidifier/air filter system during the 1980's. Kemp’s chamber fits on to a suction table so that an object can be humidified with ultrasonic mist or solvent fumes can be extracted through the air filter system. In the past, other tools had been used to consolidate flaking paint, such as airbrushes, spray guns and the Preservation Pencil. The limitations of these tools are that they are either too strong or that they have a large nozzle so the area covered by the consolidant is too large. The ultrasonic mister in conjunction with the suction table allows for control over the air pressure of the compressor, the amount of ultrasonic mist released by the humidifier, and the force of the suction. This article gives many examples of works of art, with different mediums, that were consolidated under the dome with this method.
Maheux, Anne and McWilliams, Wanda. “The Use of the Ultrasonic Mister for the Consolidation of a Flaking Gouache Painting on Paper”. The Book and Paper Group Annual, 1995, Vol. 14, American Institute of Conservation. [Accessed 1st April 2016].
In 1990, the Canadian Conservation Institute developed the use of the ultrasonic mister for the treatment of flaking pigment on ethnographic objects, and modified for use in paper conservation. The paper provides a brief overview of the equipment, set-up and application of this technique using the consolidation of a flaking gouache painting Black Sun by Michael Snow as a case study. The technique was successful in treating the flaking gouache paint on paper. CCI's original design consisted of modifying a ultrasonic humidifier so it could create a mist of a dilute consolidant, stored within a bottle. The mister also has a local extraction system incorporated in the hand-piece, which collects excess mist that may otherwise build up on areas adjacent to the treated area. In order to use the CCI’s ultrasonic mister in paper conservation, the design had to be modified. The extractor component of the hand-piece was removed, making it smaller and easy to manipulate. A smaller nozzle replaces the original, directing a very narrow stream of mist. The mister is normally used in conjunction with the suction table, helping to reduce the possibility of a build-up of overspray on the work. The table also helps in the penetration and drying of the solution, reducing the risk of an accumulation of adhesive during treatment.
Pataki, Andrea. “Remoistenable Tissue Preparation and its Practical Aspects”, Restaurator, 2009, pp. 51–69.
This article looks at the adhesives used to prepare remoistenable tissues for repairs. The successful adhesives for light-weight tissue repairs were: Gelatin, isinglass, cellulose ethers, starch paste and synthetic adhesives such as Aquazol® and Paraloid B72. Funori and JunFunori® were tested and showed to be unsuitable to make remoistenable tissues. A successful adhesive was judged based on its ability to form an adhesive film, by the concentration it must be made to, by the flexibility of the tissue-adhesive, by the transparency of the adhesive tissue and by the adhesive’s swelling ability, which enables re-activation. The article also looks at the types of tissues used for repair and their characteristics, as well as looing at the different adhesives in their various concentrations, and how these have an effect on their flexibility and what solvents are needed to reactivate the tissues. These qualities are very important when choosing an adhesive and tissue to make your repairs with. The results are reported in a very clear and easy to read table. Images are used to explain some of the tests that were done, which are also useful to understand the issues or advantages of using certain materials.
Ross, Suzanne and Phenix, Alan. “Vulpex spirit soap as a cleaning agent for painted surfaces”, WAAC Newsletter, 2005, Volume 27 Number 1, pp. 15-22.
This is an article that discusses the benefits and limitations of using Vulpex soap. The manufacturer (Picreator Enterprises Ltd. of London) describes the detergent as“a safe cleaner for practically everything from paper to stone.” It can be diluted in either water or white spirit and is often called a spirit soap, also known as a potassium methylcyclohexyl oleate. Vulpex has a pH of 13, meaning it is strongly alkaline.
The authors explain that they are still unsure what the ingredients of the soap are which is always a problem for conservators because it is important to know what we are applying to the surface of an object. They are also concerned about the detergent possibly leaving a residue on the painting’s surface. GC-MS and XRF analysis resulted with a higher level of potassium residue on the surface of the pigments. Though Vulpex is an effective agent to clean painted surfaces, the detergent can swell oil paint, so conservators are advised to use the detergent with caution as it could lead to undesired effects. By lowering the Vulpex solution, the risks to the oil paint layer are decreased. The solution is usually used at a 1:10 dilution, but it would be recommended to use an even more dilute solution.
Stavroudis, Chris and Blank, Sharon. “Solvents & Sensibility”, WAAC Newsletter, 1989, Volume 11, Number 2, pp.2-10. [Accessed 25th October 2015].
An online article that describes the use of polar and non-polar solvents when applied to cleaning, aqueous and solvent gels, detergents and surfactants.
Warda, Jeffrey, Brückle, Irene, Bezúr, Anikó and Kushel, Dan. "Analysis of Agarose, Carbopol, and Laponite Gel Poultices in Paper Conservation" Journal of the American Institute for Conservation, 2007, Vol. 46, No. 3, pp. 263-279.
Agarose, Carbopol and Laponite gels were evaluated as alternatives to cellulose ether poultices on paper artifacts. It was concluded that Carbopol and Laponite RD leave residues on paper which lead to discolouration upon ageing. Agarose did not discolour the paper after artificial ageing. A gampi usouyo barrier tissue was used when applying the gels, and showed to not leave any staining upon artificial ageing of the paper. Methylcellulose A4M still shows good ageing properties and should still be used as a poultice. Agarose may leave agaropectin, a non-gelling polysaccharide, on the surface of the paper, which is not ideal as it can be seen as a food source for pests.
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