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Nanocellulose Experiments in Art Conservation

Becoming Familiar with Nanocellulose

These days, nanocellulose can be found in everyday products, like compostable plastic-like bags; however, the use of nanocellulose is still in its infancy in terms of research and use in art conservation. (For example, these decomposable poop bags look like plastic bags, but can actually be tossed in your compost pile!)

Introduction

This post takes a look at how nanocellulose films might be used in art conservation. To dip our toes in, experiments at the Cincinnati Art Museum were performed with a group of conservators who work in different specialties: textiles, objects, fine art, photographs and bound materials. We tried out various types of nanocellulose films and how they might be applied to a range of materials.

Laura shows the high degree of translucency of the crystalline films she made in Indianapolis at a prior workshop

Cecile examines repairs on a war bond poster

What is Nanocellulose?

Nanocellulose is made up of nanoscale cellulose particles that come from different sources, like:

Wood: The most common source
Non-Wood Plants: Cotton, ramie, sisal, bamboo, and agricultural by-products. The decomposable poop bags mentioned above are made from corn starch nanoparticles!
Tunicates: Marine invertebrates, the only animals known to produce cellulose microfibrils.
Algae: Some species produce cellulose microfibrils within their cell walls.
Bacteria: Certain bacteria, like Gluconacetobacter xylinus, can produce cellulose microfibrils under the right conditions.

Types of Nanocellulose:

In conservation, the field has been experimenting with two main types:

Microfibrillated Cellulose (MFC): A mix of cellulose microfibrils from pre-delignified cellulosic materials. This type of nanocellulose appears cloudy once dispersed into a film format.

2. Cellulose Nanocrystals (CNC): Composed solely of the crystalline part of cellulose, exhibiting high crystallinity and a high aspect ratio. This type of nanocellulose appears clear in a cast film.

Where to Buy

Many labs and companies around the world make nanocellulose products like gels, nanopapers, and foams. Here are a few:

Europe: Technical Center of Paper (CTP, France), EMPA (Switzerland), Weidmann Fiber Technology (Switzerland), Aalto University (Finland), VTT Technical Research Center of Finland, KTH (Sweden)
North America: The University of Maine (USA), Forest Products Lab, Wisconsin (USA), American Process Inc., Atlanta (USA), Celluforce (Quebec), Kruger Inc. (Quebec)
Asia: University of Tokyo, University of Kyoto, Asahi Kasei

What We Bought

In Cincinnati, we experimented with two products purchased from Weidmann Fiber Technology in Switzerland:

Celova for Art Conservation, 500g Gel: According to the Weidman Fiber Technology website, the gel has a high degree of fibrillation and is recommended for technical applications like art conservation.

Celova MFC powder, 150 g: The powder is suggested for waterless and water-free applications.

During practical applications, the MFC powder did not react the same way as the gel during the film creation. The powder precipitated out and did not cast a homogeneous film.

Cecile’s initial tests with Solka-Floc Powdered Cellulose from Solvaira Specialties. It is a very fine, highly purified cellulose powder made from bleached wood pulp.

While it may have been a mistake in our method of production, my guess is the powder isn’t as well fibrillated for casting and wonder if that’s why it stayed out of solution.

Next, I am eager to try the CNC form, which appears to be available at https://umaine.edu/pdc/nanocellulose/.

What makes nanocellulose films unique?

High Purity and Stability: They’re almost pure cellulose, super stable, and have a neutral pH. They’re less affected by temperature and humidity than regular paper.

Strong Yet Delicate: Mechanically, they’re stronger than traditional paper in some ways but less elastic and easier to tear.

Remarkable Transparency: The nanoscale dimensions of the fibers eliminate light scattering, resulting in highly transparent films, often called “nanopapers.” The transparency is influenced by the film’s structural density, particle size (MFC or CNC), the source material, and the manufacturing process. In practice, this transparency reminded me of the appearance of glassine tape.

How are nanocellulose films made?

There are various ways to make nanocellulose films, but conservators use one main method (as the others are found in larger scale manufacturing processes).

Casting Film by Evaporation: A low-cost and easily reproducible method where a nanocellulose solution is cast onto a substrate like a silicone mold or a polystyrene petri dish, allowing the solvent to evaporate. This technique produces homogeneous films.

Interestingly, it took an extraordinary amount of time for the solvents to evaporate at the Cincinnati Art Museum. Even after placing the trays in a fume hood to encourage drying, it took many days for the films to form during a low RH in December!

Glass and polyester dishes are not recommended for casting onto as the films will not release from these containers.

**What are nanocomposite films?**

Simply put, nanocellulose is combined with an adhesive. During the film’s creation, the adhesive is added into the nanocellulose solution to enhance the film’s physical and optical properties. Common conservation adhesives added to films include Klucel G, wheat starch paste, methyl cellulose, and gelatin.

In our experiments, we used 5% Klucel G, 4% Methocel A4CP, and strained Zen Shofu wheat starch paste. Two batches were made of varying amounts of gel to see if there was a difference in thickness of the films (spoiler: I couldn’t tell a noticeable difference!).

For another batch, Cecile also added in some QoR Golden watercolors that have an aquazol-based binder for a bit of a brown-toned tint that might be handy for filling losses in photograph conservation.

Nanocomposite films created with 20ml of MFC gel with 5% Klucel G and 5% methocel added

Nanocomposite films created with 15ml of MFC gel with 5% Klucel G and 5% methocel added

Nanocomposite film with QoR raw umber and 25% Methocel

Applications of nanocellulose films in art conservation:

Nanocellulose film properties may be handy for use in art conservation for their:

High transparency and stability. Used as a repair material, the films blend into substrates and supporting fragile artifacts.
Compatibility with various adhesives
Minimal discoloration after aging ensures long-term stability and visual integrity of treated artworks.
Reversibility. They can be safely removed if needed.

Limitations to using nanocellulose films in conservation:

While promising, there are some downsides to consider:

Lower tear strength compared to traditional paper. The films are delicate and might not work for items that need to withstand a lot of use.
Water Sensitivity: the films are highly reactive to moisture and require different application repair techniques than traditional paper repairs. For me, I wondered if the amount of time required for the learning curve of successful application was worth the result over traditional paper repairs.
Long-term behavior of nanocomposite films and their interaction with art materials requires further research to ensure compatibility and prevent unintended consequences.

Testing the Films on Paper-Based Materials

Both pure nanocellulose films and nanocomposite films were tested on a non-collection items using a variety of techniques.

Pure films were applied with a range of adhesives while nanocomposite films were adhered either by remoistening/reactivating with solvents or adhered by applying additional adhesive to the film, in addition to what was mixed in during the casting.

While Cecile worked on a war bond poster, Obie worked on a garment, and Laura tested treatment on an ink jet print, I tried my luck on a map.

Together, we all tested a scrapbook owned by Kelly.

First applications on a dark and brittle substrate surprisingly reminded us of the appearance of glassine tape in specular light!

After multiple tries, Cecile impressed me with her application in the red “u” that blends in better than in the black and yellow regions on the war bond poster

My Successful Applications

I had best luck with the nanocomposite films but only when they were reactivated with the adhesive they were made with.

I used a map for a variety of tests on one item to compare results

For example, the 20 ml 0.2% MFC gel created with 0.6 g 5% methocel film blended beautifully into the paper when reactivated with 5% methocel. The methocel was brush applied thickly. See the repair below along the left side in specular light. It doesn’t even look like tape here! The repairs blend nicely. Between the two, I found the methocel nanocomposite film blended better than the wheat starch paste.

Repair on far left: Nanocomposite film made with 5% methocel was reactivated with brush application of 5% methocel.

My second favorite options were the pure MFC films adhered with methocel and wheat starch paste.

My Application Failures

I could not for the life of me find a way to successfully apply the nanocomposite film with Klucel G to a paper substrate without it falling apart during the process. Cecile had better luck while for me, it stuck to everything! I struggled both when it was reactivated with ethanol and when the film was brushed with the Klucel G solution. Plus, it was super shiny and didn’t help the paper lie flat.

Shiny repair on far left: Nanocomposite film made with 5% Klucel G was reactivated with dip in ethanol

I had even worse luck with the nanocomposite films when they were only reactivated with water. I could easily apply them to the paper, however, these performed the worst out of all the repairs, with the methocel nanocomposite film failing to even hold the tear together! See the two center repairs below in specular light. The wheat starch paste held, but didn’t want to hold the tear well aligned.

Failed repair in center: nanocomposite film with 5% methocel reactivated with water before adhering

Compared to kozo tissue repairs (on the same paper): the nanocellulose repairs overall were shinier (more akin to glassine tape in appearance!), but they didn’t seem to cause any planar distortions like the kozo tissue naturally wants to do. However, the kozo tissue blends visually into the paper better. The kozo tissue repairs are the ones with the tails sticking off the edge of the paper.

Repair on left: nanocomposite film made with 5% methocel applied with 5% methocel almost has a glassine tape-like appearance. Repairs on right with tails sticking off paper: traditional kozo paper repairs adhered with wheat starch paste

Conclusion:

Nanocellulose films offer promising potential for art conservation but require a learning curve to handle and apply. Their unique properties, combined with ongoing research and development, could lead to innovative solutions for preserving cultural heritage, but research on long-term stability, compatibility with specific artwork materials, and ethical considerations will be crucial for wider adoption in the field.

Health and Safety:

Pure nanocellulose gels and films are generally considered safe to handle.

Resources

Most of the info here comes from resources shared by paper conservator, Cecile Mear who organized our informal experimentations. Photograph Conservator, Laura Moeller also provided additional resources she gathered from a workshop held at the Indiana Historical Society in June 2019.

bpga36-20.pdf Detailed introduction to nanocellulose films use in conservation
Full article: A New Mending Material: Nanocellulose Film
Nanocellulose Films in Art Conservation: A New and Promising Mending Material for Translucent Paper Objects
bpga42-01.pdf Photograph conservation
bpga41-01.pdf Fan conservation treatment—application of nanocellulose in gel form
YouTube video: Practical techniques for creating nanocellulose film and the application of aqueous adhesives.
Canham, R. ” Nanocellulose Calculator.” Burr Oak Bookbinding. Article related to YouTube video.
Heritage Science. “Nano meets the sheet: Adhesive-free application of nanocellulosic suspensions in paper conservation.” Full Text.
Heritage Science. “New treatments for canvas consolidation and conservation.” Full Text.
Heritage Science. “Novel nanomaterials to stabilise the canvas support of paintings assessed from a conservator’s point of view.” Full Text.
Pinkney, J. “Nanocellulose for Conservation.” University of Birmingham.

Ashleigh Ferguson Schieszer – Special Collections Library Conservator

Variety of experimental tests. The reticulated dishes contain the MFC powder while the homogeneous films were created using the gel.

Historical Binding Structures with Julia Miller

This week the Preservation Lab and the Archives and Rare Books Library hosted a 2-day workshop with the conservator and book historian Julia Miller. The workshop, Identifying and Describing Historical Binding Structure: A Stacks Appraisal Workshop, provided the Preservation Lab staff, University of Cincinnati Libraries’ (UCL) special collections catalogers, and UCL special collections stewards an opportunity to strengthen their skills of historical binding identification and description. We honed our descriptive skills by examining collections from the Archives and Rare Books Library and models/exemplars from Julia’s personal teaching collection.

Julia Miller is in the fore ground holding a highly decorated book that is read with gold stamping and tooling. — Julia Miller presenting to the Historical Binding Structures class.

Thanks to Julia Miller, one of the most knowledgeable and giving people that we have had the privilege to learn from.

Thanks to Chris Harter for providing access to so many Archives and Rare Book treasures and a wonderful space to learn and collaborate.

Thanks to Catarina Figueirinhas for suggesting the course and being the on-site coordinator and organizer.

Lastly, thanks to University of Cincinnati Libraries for their continued support of staff professional development!

Holly Prochaska [UCL] — Preservation Librarian

You’re invited to the PRESERVATION LAB OPEN HOUSE!

Driving & Parking Directions

We recommend parking in Woodside Garage
(2913 Woodside Drive) connected to Langsam Library – where the Preservation Lab is located. The garage is located on the corner of MLK Drive W. and Woodside Dr. When you turn onto Woodside Dr., it will be the 1st parking garage on your right.

Once you park in the garage, take the stairs or elevator to the entrance of Langsam Library. Once you enter into the library, follow the signs down to the lab!

A New Home For the Madisonville Scrapbook

We’re excited to announce that the Madisonville branch is in its final stages to re-open their newly renovated space! Please join the library for the opening event March 18th! At the event, the Genealogy and Local History Department staff member, Chris Smith will talk about Madisonville’s history from 3:30 pm – 4 pm.

During the event, the Madisonville scrapbook will be on view for festivities March 18th.

Because this material is HUGE and considered a rare irreplaceable item, both the book and cradle were hand delivered from one building to another by Preservation Lab and Madisonville staff. Below are “behind the scenes” images showing the delivery of these oversized materials.

View of book in its prior home location, recently cleared of books:

Scrapbook & cradle in room empty of books

For transport, the oversized book was stored in a lightweight (but strong!) custom enclosure:

Two flaps of foam were first sandwiched under a flap of board

The custom enclosure consists of multiple light-weight layers and flaps of foam, all tied together with cotton ties, as shown in Chris’ schematic. This enclosure will be used both for transport and for long-term storage.

Once packaged, both the book and cradle were hand delivered to their new home next door:

Cradle hand delivered next door by Terry Barnum and Chris Voynovich

The book now awaits the re-opening event while staff continue unpacking the rest of collections!

We hope to see you there!

Ashleigh Ferguson Schieszer [CHPL] – Rare book and paper conservator

To read about the conservation of the scrapbook and construction of the book’s cradle, please see the treatment documentation and a prior blog article titled, Madisonville Scrapbook.

As a bonus, to celebrate the completion of the oversized treatment, Chris created a comic you can fold from an 8 1/2 x 11 sheet of paper. Check out the printable file below! Instructions on how to fold can be found on the Preservation Lab’s YouTube channel video titled Preserving Scrapbooks beginning at the 10:42 time stamp.

ScrapbookOnePgWonder_CV_withInterior Download

Job Posting: Conservation Specialist

The Preservation Lab, a partnership to preserve and conserve the collections of the Cincinnati & Hamilton County Public Library and the University of Cincinnati Libraries, seeks applicants for a Conservation Specialist position.

The Conservation Specialist is a technician level position with on-the-job training that may appeal to emerging conservation professionals. This position will join a collaborative team of 7 full-time staff members, including conservators, a preservation librarian, technicians, student workers and volunteers to preserve collections from both institutions. The Preservation Lab staff consists of both Cincinnati Public Library and the University Library members. This position is a Cincinnati and Hamilton County Public Library position but is stationed at the University of Cincinnati West campus.

The Public Library’s Main downtown branch will complete renovations to include a Story Center, with estimated completion fall of 2023. The Story Center will work closely with the special collections Genealogy department at the Public Library, Digital Services, and the Preservation Lab to collect, curate and preserve the experiences, histories and stories of communities, with a focus on communities of color and historically marginalized groups. Collaboration with members of Genealogy, Digital Services, and Story Center staff are an essential component of this position. The successful candidate will also demonstrate an interest in working directly with the public.

Founded in 1853, the Cincinnati and Hamilton County Public Library today is one of the busiest and most highly acclaimed library systems in the United States, providing service to over 800,000 residents through a network of 40 branch libraries, a major downtown Main Library, and a Distribution Center. CHPL holds one of the largest genealogical collections in the United States and many other specialized collections, most of which are housed in the Main library.

Pay rate begins at $17.85/hour. The pay range is $37,128 – $51,979. The position will remain open until filled.

For more information about job duties and how to apply, please visit: https://recruitingbypaycor.com/career/JobIntroduction.action?clientId=8a78826755712ad4015573d869f00055&id=8a78859e84c012b10184e2b7555128d5&specialization=8a78826755712ad4015573da172e0079&lang=en

Ashleigh Ferguson Schieszer [CHPL] – Rare book and paper conservator

Fun with PhotoDoc: Multispectral Imaging with MISHA (Edition 13)

As mentioned in a previous blog post, Andrew and Naomi from Case Western Reserve came to the lab in late February to demo the MISHA portable multispectral imaging system, made possible by a National Endowment for the Humanities (NEH) Research Grant awarded to the Rochester Institute of Technology. In total, Naomi and Andrew imaged five objects from the Public Library, UC Libraries, and one of our third-party institutional clients. Imaged books included, one Otto Ege item, two Book of Hours, one undated Latin music manuscript, and a Pentateuch volume from Hebrew Union College. In all, thirteen separate capture sessions were carried out for the five objects. Afterwards, the raw data from the capture sessions was shared with the Lab via OSF (Open Science Framework) so that I could process the data in the NEH grant supported open access RCHIVE (Rochester Cultural Heritage Image processing and Visualization Environment) software.

The image gallery above shows the recto of leaf 32 from the Public Library’s copy of Fifty Original Leaves from Medieval Manuscripts, Western Europe, XII-XVI century, by Otto Ege.

While each of the capture sessions took only two minutes to complete, I found that processing the raw data took me a bit longer to figure out. Processing the data felt very similar to using CHI’s RTI Builder and Viewer software. However, in this situation I did not have a week-long training opportunity to learn the ins and outs of the software and its functions. For the Spectral Analysis App, I had only a couple of brief documents to refer to, so the learning curve was a little steeper. I also experienced some issues with the software while processing the data with the flatfield files provided from the capture session. But in the end, the processed files seemed fine without the flatfield data, so it all worked out.

RGB image of a parchment page from a Pentateuch volume belonging to Hebrew Union College — RGB representation

Multispectral image of a parchment page from a Pentateuch volume belonging to Hebrew Union College — RGB representation

The above image gallery depicts a leaf from Hebrew Union College’s Pentateuch Ms. 1 with adhesive staining, tape, and prior repairs.

What I discovered through processing all the MISHA data and then comparing it to the existing specialized imaging done in the Lab was that the suite of imaging we do in the Lab is very well rounded and, in general, suits our needs and our clientele quite well. In many cases, our results were at least comparable, if not better (specifically within the UV wavelengths) than the results accomplished using the MISHA. And, especially with our UV workflow, though our current capture time might be slightly longer than that of MISHA, the data processing time is significantly shorter and, in the case of UV especially, the side-by-side results of the accurate normal illumination next to the full color UV image(s) is ideal for our purposes.

RGB image of an opening of a Book of Hours with scraped parchment and illegible text — RGB representation

Multispectral image of an opening of a Book of Hours with scraped parchment and illegible text — RGB representation

The images above show an example of scraped text on parchment from UC Libraries Hours of the Virgin from 1475, currently in the Lab for treatment. Compare these MISHA generated images to the documentation performed by Catarina Figueirinhas and myself using the Lab’s equipment and processes below.

Normal illumination image of the same illegible text — Normal illumination

UV image of the same illegible text — Normal illumination

That said, I am fully aware that not everyone has access to the equipment/training that I have been fortunate to curate/experience over the last five plus years. Also, not everyone uses their finished data exactly how we do. For instance, the needs and expectations of a conservation lab and cultural heritage institutions can be very different. Even within the conservation field, how we use the data provided by specialized imaging in our hybrid book and paper lab is quite different from the kind of data needed by a fine arts conservation lab. Ultimately, I think the core audience for a system like the MISHA system is an organization looking to expand their suite of imaging services, or an institution with no multispectral imaging infrastructure interested in imaging collections in a quick and easy manner. Though for the latter, I would say that there is a big learning curve in manipulating and processing the data, but if greater focus is put into making the software and processing steps user-friendly, especially to novice users, it is completely manageable. And if this step is taken, I think the system could help a lot of institutions dive deeper into the materiality and history of their collections.

The images above depict another example of faded, scraped text. This flyleaf is from an undated Latin music manuscript that is part of the Public Library’s collection. The images below represent imaging done by the Lab, both normal illumination and UV radiation, with the goal to increase the legibility of the inscription.

Normal illumination image of faded text from a parchment manuscript — Normal illumination

UV image of faded text from a parchment manuscript — Normal illumination

In the end, multispectral imaging is just plain FUN! So, the idea of making it more accessible to a wider audience is extremely exciting and I think the work that NEH, RIT, and colleagues like Andrew and Naomi are doing to share the power and wonder of multispectral imaging is amazing. The idea of a portable multispectral imaging system with free processing software that does not take a PhD to use is boundary-breaking, and it gives us a glimpse into a future of accessible and exciting imaging, which thus allows us to see and understand more of the past. I will always be an advocate for that kind of imaging!

Jessica Ebert [UCL] – Sr. Conservation & Photographic Documentation Specialist

An Oversized Enclosure that “Slays”

Winter is approaching here in Cincinnati, far too quickly for my taste! But at the Lab we have been thinking about a winter staple a bit differently… The sled! A book sled, that is. This open-topped carrier of bound treasures has become the newest edition to our enclosure family. It is perfect for housing oversized books to be stored flat, as it enables easy transport of these large tomes, without adding too much extra weight.

The sled has been honed and developed over the years by conservation professionals, but it has its roots at the Newberry in Chicago, where they were used to house their large antiphonary collection. I had the privilege of working at the Newberry prior to joining the incredible team here at The Preservation Lab, so the idea of starting to create book sleds at the Lab has been lurking at the back of my mind. At the Newberry, I was able to create my very first book sled, and understand the simple, yet highly functional structure.

Photo of a sled at the Newberry Library courtesy of Henry Harris.

The book sled was refined by Ann Lindsey and Melina Avery from the University of Chicago when they treated and housed a 52-pound antiphonary from their collection. They were able to design a sled with additional walls and stronger reinforcements. Chris Saclolo from the University of Central Florida further enhanced the book sled by adding wall reinforcements and a removable lower tray.

When the Lab received an elephant folio from the University of Cincinnati Classic’s Library that needed treatment and housing, we were able to create the very first book sled at our Lab! Housing a book over 20 inches tall is no easy feat, so we were thrilled to be able to use the experience and advice from our fellow conservation professionals. I worked alongside Chris Voynovich and Catarina Figueirinhas (because 3 minds are so much better than 1) where we problem solved, planned, and constructed this large book sled. The finished sled design closely follows Saclolo’s recommendations, with minor adjustments to the tray, as our book did not have bosses.

Kasie and Chris working together to construct the book sled.

Ultimately, the book sled will allow the book, Facsimiles of National Manuscripts of Ireland, to be visible on the shelf while also aiding in transporting the book through the library when needed. It will also prevent additional damage and abrasion to the leather at the spine, which received a reback during treatment.

*Facsimiles of National Manuscripts of Ireland* in the finished book sled.

We already have additional oversized books in the Lab for treatment, so more sleds will be on the docket this winter!

Kasie Janssen (CHPL) – Senior Conservation Technician

Suave Mechanicals and The Preservation Lab

The monographic series, Suave Mechanicals: Essays on the History of Bookbinding, just released volume 6 this month. Edited by Julia Miller and published by The Legacy Press (Cathleen A. Baker, publisher), the series focuses on in-depth analysis of historical binding structures, avenues for documenting these structures, and spreading awareness of their importance in bibliographic, conservation, and interdisciplinary research.

Book cover of the series Suave Mechanicals

Included in this new volume is an essay co-authored by Ashleigh Ferguson Schieszer and myself titled “Adding Value: Increasing Access and Visibility to Historic Binding Structures.” The essay reviews work conducted in the Preservation Lab to document, preserve, and promote the special collections of the University of Cincinnati Libraries and the Public Library or Cincinnati and Hamilton County.

The processes and production described in our essay would not have been possible without the knowledge and expertise of the Lab’s staff, student staff, and volunteers who have traveled through our basement doors to make the Preservation Lab the special place it is today…and always has been. As our essay went to the publisher prior to the hiring of our newest team member, we would like to provide the following amended acknowledgement list:

This essay is couched in terms of “what the lab does and why.” Behind each of these actions is a staff member that had the idea and made it happen. The authors are grateful to the past and current Preservation Lab staff: Jessica Ebert, Catarina Figueirinhas, Gabrielle Fox, Sidney Gao, Kasie Janssen, Kathy Lechuga, Patrick Schmude, Veronica Sorcher, Hyacinth Tucker, Chris Voynovich, and our dedicated students and volunteers.

Please visit The Legacy Press (http://www.thelegacypress.com/) to learn more about this volume and to peruse the other amazing books they have to offer.

Holly Prochaska (UCL) — Preservation Librarian, and co-manager, The Preservation Lab

Work From Home

As things change daily in Ohio, we’re staying informed by listening to Governor Mike DeWine’s press briefings at 2pm, in addition to updates from UCL and the Public Library.

In particular, we recommend accessing the Public Library’s COVID-19 web page to see what info and resources the Library is sharing daily, such as how to obtain after school snacks provided by the UMC Food Ministry.

Another resource we’d like to pass along is about the management of collections when faced with a public health emergency. Please see the Massachusetts COSTEP website about collections maintenance, environmental cleaning, and library lending:

Public Health Emergencies

*Update 3/27/2020: The American Institute for Conservation (AIC) has also published a useful list of Collections Care Amid Covid-19 resources to check out. See the Ohio Preservation Council’s COVID-19 page as well.

As of Monday (3/16/2020) the Preservation Lab staff are practicing safe social distancing by sheltering in place. We have packed up our benches and transformed our personal living spaces into productive places to work from home.

Holly’s adorable nook with typewritten words per day!

To stay connected, we use iPads or laptops and have a Preservation Lab Microsoft Team set up for instant communication, video chat, and file sharing. VPN and Remote Access were also heroically provided in extremely short notice by UCL IT staff.

Our work from home projects range from online learning opportunities, research we wish we always had the time to do, report writing, model making, exhibit preparation from pre-cut materials prepared ahead of time, box making (from pre-measured books), and general collections treatment.

We also have a longer list of work-from-home-ideas should the pandemic sheltering last more than a few weeks. These include:

Professional organization committee work (such as AIC/MRCG/& OPC)
Disaster preparedness updating
Creating videos
Writing blogs
Updating procedures and guidelines
Preparing instructional materials
Curriculum creation for teaching
Fabricating book furniture for Gothic binding treatments
Making book futons
Constructing silk screens for washing
Organizing emails and photography files
Sierra (online catalog) record cleanup
Uploading reports to the Preservation Digital Resource Commons
Creating databases such as one to record exhibition lighting

…And more such as the list provided by Duke’s Preservation Lab Team:

For those interested in learning along with us, the lab’s short list of at-home professional development opportunities include the following FREE courses/webinars:

Image Permanence Institute’s Photographic Process ID webinars
AIC Photographic Chemistry for Preservation
Identifying Museum Insect Pest Damage and Addressing it with Integrated Pest Management
UCLA History of the Book
Japanese Culture Through Rare Books
ALCTS YouTube channel:
AIC/ECPN’s “Gender Equity in the Conservation Field”
Lecture on the “Peculiar Problems” of Preservation” with Sanchita Balachandran
AIC & FAIC YouTube: https://www.youtube.com/user/aiconservation/videos
DHPSNY’s Preservation in Exhibits
Online courses from HarvardX
LinkedIn Learning

With so much evolving on a daily basis, remember to take a second to take care of your mental well-being. We recommend the following UC presentation on Seeking Well-Being: Self Compassion and Mindfulness as well as The Science of of Well-Being course offered by Yale.

Ashleigh Ferguson Schieszer – Special Collections Conservator (PLCH)

Annual Preservation Open House

Open and free to the public! Click HERE for a campus map and HERE for information on parking.