Third Week Experience-January 27th

This session started at 9:40am with the history of bookbinding. We discussed and reviewed prominent aspects, some of which I was not aware of:
-The first forms of recording data were palm leaves and clay tablets, both of which were carved. The palm leaves would have colorant smeared into the crevices.
-The beginnings of the conventional book binding as we know it occurred 2nd-11th centuries; it was known as coptic binding (a type of codex). The unique feature of coptic binding is the use of signatures (or pages folded together and sewn through the fold.
-In 7th-12th centuries, early medieval times, vellum made from animal skin was used for the casing. Unfortunately, it (along with wood) is subject to moisture, which causes warping. Because of this, clasps were incorporated into the book design.
-Clasps and bosses were also incorporated to protect book corners in the 9th-14th centuries. At the same time the title was added to the outside of the book, but instead of putting it on the spine, it was added to the fore-edge of the textblock.
-In the 13th-16th centuries new innovations were made to protect books from the elements so that they could be carried around. Books were made with girdles which were like bags with straps as extensions of the book casing.
-Decorative embossed covers were made as early as the 15th-16th centuries. This is done with a metal edge roller that could have gold brine tooling applied to the edge for hand-made designs. The preservation department has the resources to emboss books with the same techniques.
-The 16th-17th centuries are the origins of boards being made from pressed paper or straw.

For any more details about these mile-markers in bookbinding, the external links of the syllabus post should be consulted. Learning the history is a less well known integral part of book repair. When repairing older materials it is sometimes necessary to research the history of the time for the original binding and to date the item by binding type and country. This information could dictate how an item is cared for, thus preserving the historical value of the material. For example, if a book is made in a time where the item is stitched together in a certain fashion, that same method should be used with minor additions (like better glue and paper).

A topic we covered together so that I could pursue it on my own was honing technical skills, such as how to properly handle a scalpel and measure paper. The curvature of the scalpel sometimes allows for an easier cut. It is best to run the knife along the triangle (straight-edge) lightly several times and apply weight to the straight edge. Application of weight makes it so the item does not move,  while the light cuts allow for a more precise edge when you push down harder. The thicker the paper or board, the more important it is to practice these techniques. When more accurate cuts are needed you can use a divider (similar to a compass) to punch holes exactly the same distance throughout the page, or draw light lines to cut along.

Sharlane also started on small repairs, beginning with paper tears. Filmoplast tape should be used on modern books only. It is a permanent, but flexible solution that can only be removed using mineral spirits.
-The first step in repairing a paper rip is matching up the direction of the rip. In other words, look for the textured edges and put them together so they are not showing across the surface of the page.
--One repair type is to add glue to the larger side of the inner fibers (that will be matched to the other side). Surround the mend with wax paper and close the book/put a brick on the paper so that it keeps shape.
--Another simple method is adhering a strip of Filmoplast to the matched up tear. If the tear seems to still not be stable, add a piece to both sides. Make sure to cut the excess tape from the page (try using a straight-edge with a board underneath to guard the rest of the text block).
--There is paper that is especially suited to reinforcing the page called Japanese paper. Tear this paper to the shape of the rip. It is important to tear the paper to keep the long wood fibers intact. Coat the paper with methyl cellulose (preferably on wax paper), which will cause the paper to become clear. It may be necessary to leave a portion of paper not coated in order to pick up the piece, or simply use tweezers or a micro-spatula. Place the piece down over the tear and smooth the edges with a clean micro-spatula. The repair is finished by cutting the excess paper and sandwiching the page between a layer of remay (spun polyester) on each side, followed by blotter paper on the outside.
--Heat set paper/tissue is done in a similar fashion. The top of the paper is made of silocose release paper that activates the glue when heated. Tear the special tissue to the shape of the rip and place it shiny side down. Make sure to use a backer for this method. Cover the area with wax paper and use the special iron to gently go over the paper. *I had a bit of trouble with this because the paper formed spots after ironing. Sharlane tried to fix this by spraying the page with distilled water and placing it between layers of remay and blotter paper, which were put under a piece of plexiglass and weighted. When doing this, be sure to change out the papers frequently.

The second half of the day was spent learning styles of connecting the text block and the machines that are used in the processes. We started with using the large paper/board cutter. Proper use include: clamp down the materials with the foot petal, always have your hands away from the blade, it's a two-hand job, pull the blade handle toward you if the blade is not sharp.

On our own, the other student and I worked on hand binding single signatures. The pieces we worked on were 16 music scores that were going in a folder inside a binder as accompanied materials. We used size 18 thread. The first part of the process is normally determining the binder size by placing the item inside and positioning directly against the spine when closed. Each side should have 1/8 inch or more and the corners should be rounded (using a corner rounder). These items required a little different attention, though.
-The first step in sewing a signature is clipping the pages together in the middle at opposite ends, on opposite sides of the fold.

-Use a staple remover to pry the staples out of the spine.

-Cut enough thread to cover the length of the book, top to bottom, twice plus a little bit more.
-Thread the needle and secure it by running the needle through the tail of the thread (pull to tighten). The thread can also be secured by twisting it directly beyond the eye and keeping tract of it.

-Use an awl or the needle to create five holes: one in the center, one on each side approximately 3/4in from the edge (or use an existing hole), then add two more at the mid points between the others. *Five holes is the strongest for most items that can be repaired this way, but always use an odd number of holes for this type of binding.

-For explanation purposes, I will number the sewing process. The hole nearest to the upper edge of the material is the first hole, with the other five following suit down the spine of the item. *Visual aids below.
3 Start by sewing through the center. Inside>out. Leave a tail (finger-length).
2 Choose a direction and sew through one of the holes directly adjacent. Outside>in.
1 Sew through the last hole. Inside>out.
2 Continue back through the adjacent hole, trying not to sew through the thread. Outside>in. Tighten the string by pulling towards the direction you are sewing in (not against).
4 Then skip the middle hole and go through the next on the other side of it. Inside>out.
5 Go through the last hole near the opposite edge (of the direction you started). Outside>in.
4 Continue back through the adjacent hole, trying not to sew through the thread. Inside>out.
3 Finally, go back through the middle hole, trying not to sew through the thread. Outside>in. Adjust the end tail string (still attached to the needle) so that it is on the opposite side of the beginning tail. Tighten both sides until the strings reverberate or twang.

-Do two square knots in both directions, over under and under over.

-Cut the string so that less than 1/2 inch extends from the knot. The string should come off of the needle easily by pulling on one side.
-Smooth the spine with a bone folder.

-To finish, determine that the binder size is correct by placing finished product inside and positioning directly against the spine. If the item has room enough on the edges, it is ready for the next step of the process. In this case, however, the items were complete because they were going in folders inside of the binder-not being fastened to it.

Of the 16 music scores, Sharlane demonstrated on one, Quinn did seven, and I did eight.

We next watch a demonstration of the double-fan adhesive process using the press in the student worker area (refer to earlier posts).
-Place the back board on the press then the fore-edge of the textblock. Clamp the materials down until there is a slight grab and flip up the spine of the item.
-Add a layer of PVA glue while the item is upright, and bent in both directions (towards and away from you). Try to open it up as much as possible to get rid of air bubbles.

-Wipe away excess glue (though the item is supposed to be evenly coated).
-Adjust the press so that the book is on its side and cover the spine with wax paper before putting another board and brick on top of the item so that it can dry in the correct shape.

When the material is dry you can continue doing a drill and sew binding. This method is used particularly for items is under 1/4 inch thick and not considered special (such as frequently used music scores). For this you need a foot petal drill with a small drill bit.
-Five holes should be drilled in the item (similarly to the signature sewing). Each hole should be 1/16 inch from the edge, which allows for stability of the spine. The two ends should have holes approximately 3/4 inch from the edge. It may be easier for you to mark the spot first, which is fine because that part of the item will not be seen when the binding is finished. Make sure when using the drill to crank the drill up completely before removing the text block in order to not get the bit stuck in the item.

-Enlarge the holes with an awl for sewing.
-Select and cut the binder to size (Using the same technique listed above.).
-It is easier if the flaps on the inside of the binder are marked with where the holes are already positioned on the outside. Start at the back and use the same process for sewing as for a single signature bound object.
-When the sewing is complete, the item is finished and ready for use.

The day ended at 4:20pm after practicing some good tool maintenance: cleaning the glue pot of dried glue and brushes (done weekly).

Second Week Experience-January 20th

This past week I arrived at Case Western Reserve University at 9:00am. The morning was spent discussing environmental contributors and book structure (in regards to several different binding types). Much of this was review of readings assigned last week, as well as from previous courses I've taken: Repair Decisions Workshop, Preservation Management, and Introduction to Digital Preservation. Because of this, in the blog I will post some of the main differences of Kelvin Smith Library's standards from the course information. I also put the syllabus that Sharlane gave me in a separate post, and will update it with any additional readings or information needed for my practicum.

Please refer to previous posts for resources describing book structure. The most common binding types the preservation department deals with are the case binding, oversewing, sewing through the fold, perfect/double fan adhesive and magazine type bindings like saddle-stitching. These are considered "modern" binding styles. One difference from courses and on-site experience is that the fabric called spine-lining is also known as the "super". I did not realize that the fabric added to the top of the text block is called the headband, and on the opposite end it is called the tailband. Also, this preservation department uses a preformed spine piece to allow a pocket to form, instead of only gluing a board to the case.

The main environmental contributors to book deterioration are:
Temperature
Humidity
UV Rays/Lighting
Pests
Particulates

Kelvin Smith Library keeps the humidity of the building at 37-55, in order to accommodate all types of materials. The humidity can be no lower than 37 for vellum/leather binding. The study areas are normally kept at 68-70, while the stacks would normally be slightly lower. One resource to consult on these standards is the Conservation Environment Guidelines by William P Lull. Heat and humidity are the breeding ground for mold spores and chemical reactions in books. For instance, the image below shows mold spreading across the page, while the page itself is yellowing from the chemical reactions.

When considering how to address the lighting in the library, it is important to think of what is feasible or is allowed by existing warranties. There is glass and window film UV protection as an option, along with protective slips to go over bulbs. These options are the most effective way to block out the most harmful part of the light spectrum. I mentioned warranties before, because as it happens the Kelvin Smith Library is new enough that applying the film to the glass would break the warranty. In this sort of case, it is best to invest in curtains with stops. The fabric will prevent full light exposure, while also providing light for studying to a certain extent (stopper). It may be prudent to invest in a light meter to test the effectiveness of preventative measures already taken.

In order to remedy the problem of particulates, which can contain harmful chemicals, a staged filtration HVAC system is ideal. Kelvin Smith Library has such a system that measures the temperature and humidity in several zones. It also prevents mold spores, dust and soot, while testing for particulate and gas contamination (ex: sulfur dioxide or ozone).  The system requires that the filters be replaced two to three times a year.

This seems a lot to ask of the library administration, but at some point the personal standards of the preservationist must be relaxed so that they see you as an ally working towards the same goal. In other words, research and be amiable and flexible.

One of the issues that preservationists have recently learned to bend to is food and drink in the library. Most people don't realize the immediate damage one insect can do to a volume or set of volumes. Sharlane showed me an example of a book eaten by a silverfish, and the lace-like patterns it left behind.

Bugs, I learned, are attracted to all parts of books, chewing their way through paper, cloth and glue. We will spend time identifying bugs. Some of the most common are dermestids (book worms), germastice (book lice), silverfish, and cockroaches. *All of which have been found in the library. One way to locate an infestation is watching for bug excrement (called frass) found under books. It is often the same shade as the paper of the book above it.

To prevent these sorts of incidents from occurring, Kelvin Smith Library has implemented Integrated Pest Management (IPM). IPM relies on the control of the temperature and humidity, policies, and building adjustments, such as having people survey the parameter of the building for holes that pests could enter through. Mice can get through the space of a dime and often nest in ivy. It is key to examine the doors, windows, and pipes without screens as points of entry. An important policy to enforce is one of cleanliness. This involves limiting food and drink areas and having a permanent maintenance staff. Some advisable cleaning materials are microfiber dusters and Hepa vacuums that have soft brushes for use around fragile materials. One of the policies that IPM employs is to inspect gift books for insects and mold, which can be spread to other materials.

When a pest problem already exists there are several ways of handling the situation. The infected area can be sealed off while introducing an extreme humidity low, which kills off bugs. Another option for bug removal is anoxia, or removing all the air from a certain area. Freezing individual items in freeze dry bags while the area is cleaned is also another great way of solving the problem. It is important to not introduce chemicals, because they are harmful to both materials and humans and tend to have a halflife.

To finish up the morning I unpacked the majority of a shipment of books from the commercial bindery, going a step further with the materials. This shipment had many items that needed to be separated out from the Periodicals. The items were going to a branch library, which requires slightly different processing. I matched up items with papers containing extra directions for how to complete processing before the materials return to the circulating collection. The majority of the items require a barcode reinserted along with any special flaps/features that add to the decorative or intrinsic value of the items. In the case of materials needing added to the book, the material was attached to the page with both being placed within the book for the preservation workers to finish. The papers may contain information to check to see if everything the item needed was included by the bindery, which could be checked against the slips that the bindery sends back with each item. If the material had no page, it required no additional attention and was separated out so that it could be processed quicker. Some things to check for when processing items is bubbles in the flexam covers or if the item needs a call number or barcode.

During the second portion of the day Sharlane paired me with the new intern student. We went through the remaining shipment boxes together, while I aided Sharlane in explaining the differences and protocols. When we finished packing the carts, we brought the materials in to complete the page-matching. To finish the process, each type of binding is counted up and checked against the order slip.

Next we examined a cart of damaged items from the circulation department. The circulation department notes damages (including dampness) with the date and initials in pencil by the barcode so that the patron checking out the item is not fined for previous damages. This allows the item to continue circulating. Some of the things to check for when examining an object is if there is a second copy or another addition in the collection. The second copy may be pulled for comparison of condition: Is the second copy in better condition? Does it have the original binding? Does the item also need repair? Should the older editions be withdrawn? It is also important to view the circulation history and how many copies of the item exist in OhioLINK (three or more is the cut off for Kelvin Smith Library). At this point, we discussed the possibility of creating an updated repair decisions chart as an extra project.

The rule of thumb when examining any damaged item is whether it can be fixed in-house by the newest student employee in an hour. If not, the item should be sent to the bindery. The furthest the department goes for non-special/decorative items is rebacking an item. If the item is going to be rebound/sent to the commercial bindery the end sheet with the barcode is taken out. Sharlane will give us a copy of the bindery contract to examine at a later point. The intent of the exercise was to learn to distinguish "doable in-house repairs" from materials that require more attention.

If an item from the year 1923 or earlier makes it to the preservation department, it is considered for digitization. (1910 and before are only handled in-house.) Some of these items may be brittle, and will come with a form describing the extent of the damage. This will include the last circulation as well as the total circulation record for the item. At this point the item is researched to see how many copies exist in the world and OhioLINK, and if there is the existence of a reprint. In some cases, the item's circulation policy is changed to local use only as another way to minimize the damaged incurred from shipping.


Side notes:
-The machine that makes covers is called a co libri machine.
-Coated paper covers are heavy because it is coated in clay. In cases where these or other heavy materials need attention, the bindery can sew in the end sheet (as opposed to gluing) in order to keep the book light weight.
-Some items have fake signatures, which have tabs of paper instead of thread gluing the spine together.
-It costs $11 for a hard-cover commercial binding, and $7 for a flexam cover.

The last task of the day was learning how to check and change the hygrothermographs with Ellie.

Run-down of how the machine works: The pen tips attached to the metal bars you see above are set to the current temperature and humidity of the room it will be measuring. The temperature reading is on the top, while the humidity reading is on the bottom. There are human hairs, which are notorious for being hygroscopic, on the other end of the bars. When the hair expands or contracts, it moves the bar-moving the pen tip across the graph paper. These can be set to measure different amounts of time, such as a month. For our use, it will be measured weekly.

The first thing to do is remove the original paper with a week's worth of readings from the cylinder. (Make sure to clip back the pen piece.) Then the current temperature and humidity is checked using a psychro dyne. First, check the lower thermometer for the room temperature. A piece of fabric surrounds the ends of the thermometers, which must be wet until completely saturated. The machine is then turned on, which activates a fan that blows air in the direction of the thermometer ends. When the temperature settles, record that reading. The difference of the two is needed to find the humidity level.

The psychro dyne machine comes with a chart that has the room temperature on the side of the graph, while the number it increases by at the top of the graph. Follow those two together, and it will say what the humidity was for the day. For instance, the room temperature was 74 degrees (Fahrenheit), while the psychrodyne leveled out at 61 degrees. This leaves a difference of 13 degrees which ends up being 47% relative humidity on the chart. The results are recorded at the end of the previous readings and the top of the blank sheet along with the date. The new sheet is then put back on the cylinder with the end of the page overlapping the beginning (in case readings run over). The machine is then calibrated to the current temperature and humidity, using knobs to move the pen bars. The case is shut, and the machine is put back in place with the psychro dyne. It is ideal to place about mid-level in within the shelving to get an accurate reading.

We changed two of the four machines, ending the day at 4:40pm.