Category Archives: Uncategorized

The Problem with Foam: Thoughts on our new foam cutter

A housing treatment that I have recently taken on led me to getting some hands-on experience with one of the newer tools to arrive at the lab: The Hercules Cordless-Battery Operated Hot Wire Table from Hercules Cutters.

Image of Hercules Cordless battery operated foam cutter
Figure 1: The Hercules Cordless-Battery Operated Hot Wire Table

The Difficulties of Cutting Foam

We have typically performed foam cutting at the lab using either a hand-held blade like an Olfa or scalpel, a board shear, or in some cases a hand-held saw. While these methods can be somewhat satisfactory, they are none without their limitations. Cuts with a hand-held blade often look sloppy, especially if the foam needs to be stacked; the compressible nature of foam makes it very difficult to make accurately measured cuts this way, and the inaccuracies become glaringly obvious when trying to stack multiple seemingly same sized pieces for thick fills inside an enclosure (something I often need to achieve!).

Stack of foam sheets with emphasis on their imperfect cut edges.
Figure 2: The minor inaccuracies of hand-cut foam become obvious when the pieces are stacked. Notice the unevenness along the edge of this stack of Plastazote foam. Plastazote, as well as a thinner foam called Volara, are among the most commonly used foams we utilize at The Preservation Lab.

A board shear is quick and offers a measuring guide to provide accurately measured cuts, but the edges where the blade slices through the foam often end up rounded or otherwise distorted.

Image of foam with rough edge from being cut on a board shear.
Figure 3: The downward cutting motion of a board shear can often leave the edge of foam looking rounded or otherwise distorted, as can be seen on this piece of Plastazote.

Finally, cuts with a saw can leave a mess and the teeth can leave a sloppy looking edge on the foam.

Stack of foam roughly cut with a saw.
Figure 4: This stack of Plastazote was cut with a saw. A saw’s teeth can leave a very messy edge when cutting through foam.

The Hercules Foam Cutter: Basic Features and Operation

                The Hercules foam cutter uses a different approach. It heats up a filament wire that is pulled taught vertically through the device. While the wire it hot, foam is drawn through the wire to accurately and cleanly (with a little practice) slice through it.

Image of foam plank being cut by a the hot filament of the Hercules foam cutter.
Figure 5: A stack of Plastazote is pulled through the hot filament wire to make a clean cut.

The heat can be engaged in one of two ways: with the power switch turned to “On” mode, the wire stays hot until it is turned off; when the switch is set to “Foot pedal mode”, the wire only heats up while the included foot pedal is pressed. There is an adjustment knob allowing the user to control the temperature of the wire. In general, after experimenting a bit it seems that the thicker the foam, the hotter the wire needs to be.

Image highlighting controls of the Hercules foam cutter.
Figure 6: The Hercules Cutter’s heat controls.

The cutter includes an adjustable guide rail to aid in accurate cutting. The position of the spool that holds the wire is also adjustable, allowing for angled cuts to be made.

Image of Hercules foam cutter with adjustments labeled.
Figure 7: Cutting position adjustments of the Hercules Cutter.

Finally, there is an attachment that can be placed onto the guide rail allowing for circular cuts to be made.

Image of circle cutting attachment on the Hercules foam cutter.
Figure 8: The circle cutting attachment: the foam piece is impaled by the point of the attachment at the center point of the desired circle. The distance from the point to the wire will be the circles radius. Once the attachment is in position for the desired size of circle, the foam piece is rotated as the wire cuts through the foam until a complete circle is made.

Advantages

                The Hercules Foam Cutter’s ability to cut stacked pieces of foam is by far my favorite and the most practical of its uses in my opinion. As previously mentioned, cutting inaccuracies become very noticeable when trying to stack multiple same sized pre-cut pieces of foam. With the Hercules Cutter, the foam pieces can be stacked/attached to each other before hand, and then cut to a uniform size. I was pleased to discover that the heated wire doesn’t seem to have any trouble cutting through multiple layers of foam that have been adhered together using double-sided tape and/or PVA. With a bit of practice, I was able to achieve neat, uniform chunks of foam that were several layers thick. I have found, however, that when cutting foam adhered together using double sided tape it is important to be mindful of where your points of adhesion are inside the stack of foam. It is possible to end up with a stack of foam that doesn’t have any tape holding it together after cutting.

Image of a cleanly cut block of Plastazote using the Hercules foam cutter.
Figure 9: A cleanly cut chunk of Plastazote 4 layers thick. Notice that the section that was cut off has fallen apart due to not having any double-sided tape in this section. Fortunately, this is not the piece I needed from this cut!

Also remember that the thicker the foam, the hotter the wire needs to be. There is a decal attached to the cutter with heat setting recommendations based on how thick the foam is, but the instructions (and also myself) recommend doing a few test cuts with scrap foam first to see what works, as different types of foam will respond differently to various heat settings. It shouldn’t require much pressure from the user to push the foam piece through the wire, and too much pressure will cause the wire to bend or even break; if this happens, the wire isn’t hot enough!

Image of a snapped cutting wire caused by applying to much pressure, and not enough heat, while cutting a foam block.
Figure 10: It is difficult to see as the wire is so thin, but it has snapped. The wire wasn’t hot enough and I had to apply too much pressure to pass this stack of Plastazote through it. Fortunately, there was plenty of wire remaining on the spool, and it was easily threaded back into its port.

I found the foot pedal to be a beneficial feature as well. Some types of cuts require the user to adjust their hand position mid-cut, and it is helpful to have the option to stop the flow of heat into the wire if such an adjustment needs to be made. The wire both heats and cools down almost instantaneously, which is also a nice touch.

Finally, the circle cutting attachment proved to be useful during a recent housing treatment. I needed to create a compartment in a piece of foam to store a commemorative medallion, and my attempts to cut a circle using a hand-held blade did not look good. I was very pleased with the results I achieved using the attachment, although it took several attempts to get my circle to have the correct diameter.

Two images - a hand cut circle into foam and a circle cut with the Hercules foam cutter.
Figure 11: A circle cut into Volara foam using the circle cutting attachment with my previous attempts to make the cut by hand using a scalpal in the corner of the image.

Drawbacks

                It should be noted that many components of the Hercules Cutter are made of plastic. While this makes it lightweight and portable, it causes some problems. The guide rail feels rather cheap, and even with all the screws secured tightly, the rail still has the potential to wiggle around a bit. This can make getting accurate cuts difficult. I did find that cuts still look better using the rail than doing them free hand, though.

Image of adjustable guides on the Hercules foam cutter.
Figure 12: Most of the components of the adjustable guide rail are made of plastic, giving them the potential to move slightly during use, even when tightly screwed down.

Another issue I had with the cutter lies in its cutting platform. There is centimeter grid on it for measuring/setting the guide rail which is a nice idea; however, I feel it would have been much more helpful to have millimeters indicated somewhere like board shears often do, as precision cuts rarely fall exactly on nice round centimeter measurements. The user is forced into one of three solutions: 1) measuring the foam and adding a tick mark to it, which is not as easy and one would think as foam isn’t very easy to make discreet marks in; 2) using a ruler or other measuring device to set the guide rail, which defeats the purpose of the cutting surface containing a measuring grid to begin with; 3) eyeballing the correct measurement between the grid marks. This parred with the already wobbly nature of the guide rail makes it somewhat challenging to make precision cuts.

Image of the measurement grid in millimeters on the base of the Hercules foam cutter.
Figure 13: Although the numbers represent millimeters, the grid lines on the cutting platform appear only every centimeter.

Finally, as the Hercules Cutter operates through a wire essentially melting foam, it can produce a somewhat unpleasant burnt-plastic smell while in use. It is recommended to use under a fume hood, outside, or in another well-ventilated area if possible.

Final Thoughts

As with all other methods of cutting foam, the Hercules Foam Cutter is not perfect. For making simple cuts in a single layer of foam, I still find using a board shear to be my preferred method; it is quick, easy, and the rounded edges left by the blade don’t bother me much if it is only a single layer of foam.  However, the Hercules Cutter has become the default tool I use to cut stacked foam and to make circular cuts. It has been a fun tool to test out, and it is always possible that more practical uses for it will arise as I continue to make more custom and specialized enclosures.

Matt McCoy — Senior Library Conservation Specialist

Congratulations, Linh & Kristopher!

This past Friday two of our Conservation Student Assistants received their bachelor’s degrees from UC! Congratulations Linh (Psychology) and Kristopher (Art History)!! We are so proud of both of you!

They both started in the Preservation Lab in January of 2022 and it has been so exciting to see them grow as students, members of our team and people over that time period!

On Friday I was tickled when Linh, who is leaving UC for grad school in Illinois to pursue a future as a therapist, reached out to me asking to come down to the Lab for a picture. I immediately let Kristopher know, suspecting that he might want to join in. Kristopher will be continuing on with us in the Lab, continuing his education at UC’s law school.

Linh and Kristopher then asked if I could snap some photos of them around the Lab…a request I could not turn down.

Moments like these are the true reminders of why being a student supervisor is so rewarding. To see students graduating, on the precipice of something new and big, and looking back at their time in the Lab with such fondness is really special and powerful. Congratulations to two amazing students! We wish you a smooth journey ahead through graduate school!

Jessica Ebert – Assistant Conservator & Student Supervisor

Fun with PhotoDoc – X-rays and CT scans, Oh My!

An alternate title to this blog could be, “That time we X-rayed medieval choir book at the UC Medical Center, and then the pandemic happened I forgot to write a blog post about it”. Oops!

X-ray image of an oversized medieval book

Let’s rewind the story back to mid-2019, when our Associate Conservator, Ashleigh, expressed interest in radiography on a beautiful, oversized choir book from the Classics Library. I, at the time, was the Photographic Documentation Specialist and had never carried out or assisted with any radiography projects, so I was very keen to start reaching out to anyone I could think of on West and East campus who might have access to such equipment. The most logical answer, UC Health, proved to be the winning one when finally the Director of Diagnostic Radiology put me in contact with the Enterprise Director of Imaging, who said yes to my request, and ultimately put me in contact with my main contact for the project, the Radiology Manager at UC Medical Center.

The date was set, October 22, 2019. Ashleigh, Holly and I packed up the heavy, choir book and carefully transported it from West campus to East campus to be imaged. The UC Health staff were beyond friendly, and I think they got a kick out of imaging the oversized leather volume. The technician really worked with us to adjust the intensity of the radiography depending on what we were trying to capture, whether it was the cover, the sewing and the supports, or the illuminated text (which was a little harder to capture with their equipment).

Overall, we discovered…a lot of nails, split thong supports, and on the lower board, four mends to the wooden board that appear to be bracing a split in the wood that is running vertically.

Red arrows indicate metal braces adhered to the wooden boards
The larger red arrows indicate metal braces while the smaller red arrows indicate the crack in the wooden board.
X-ray image of the spine
Image of the spine which allows you to see the split thong supports and you can even see the tattle-tape security strip!

Then following the radiography session, they were kind enough to ask if we would also like to place the volume in the CT scanner. Since the scanner could easily and safely accommodate the volume while keeping it wrapped in foam, we jumped at the chance!

We received all the imaging files on two CDs from UC Health, and then I went about making heads and tails of it. The radiography images were fairly straightforward. For the most impactful imaging, namely of the spine, upper and lower boards, I created composite images using the panorama feature in Photoshop to merge the images. For example, each cover consisted of four separate images.

With the CT imaging, the CD came with a reviewer software (Sorna) to view the files. Frankly, the CT scans were a little bit harder to comprehend, but nonetheless interesting. Ultimately the CT scanner allows you to view the various materials within the object. Whereas normally for the equipment that was used that would mean bones, organs and tissues, for the choir book that meant metal material like brass, leather, ink and pigment. Within the viewer function there was also an interactive component to the CT data as well, which allowed you to manipulate various levels to see various intensities, but even after a lot of trail and error and experimentation I found it very confusing, though I did get some interesting, and some less impactful, results. Let’s just say, I do not have a future as a CT technician!  I’ll stick to my day job.

  • Still image from CT scan
  • Still image from CT scan
  • Still image from CT scan

Jessica Ebert – Assistant Conservator

Preservation Lab Open House – 2025

Please join the Preservation Lab (300 Langsam Library) for our annual open house on May 1st. There will be cookies! And bookmarks! And stickers!

Also, new this year, two learning opportunities in Langsam Library by the circulation desk (see below)!

Open to the public. Parking available for a fee in Woodside Garage.

A beautiful and uncommon cover

With so much special collections materials going through the lab, sometimes I forget to appreciate the beauty of general collection items. No such problem with this beauty – a stenciled book cover with splashes of gold.

I love pochoir, screen printing, and risograph (the stencil arts), so was thrilled to see this Greek monograph from 1899. It really reminds one of the intense labor that goes into the production of even one book and the subtle difference apparent in each one.

Back book cover.  Stenciled pattern with gold splashes.

Holly Prochaska, Head, Preservation Services & Lab at the University of Cincinnati

Preservation Lab update

The Preservation Lab, after 13 years of collaboration between the University of Cincinnati and the Cincinnati & Hamilton County Public Library, is embarking on an expanded mission to provide our expertise and services to the larger cultural heritage community.  

Beginning in 2025, The Preservation Lab is transitioning to a regional lab model that is entirely managed, staffed and equipped by the University of Cincinnati. The Preservation Lab’s current staffing and location will remain the same during this transition.    

The Preservation Lab provides the full suite of preservation services to the University of Cincinnati Libraries and, for a fee, to other cultural heritage institutions. The Preservation Lab’s expertise is in book and paper conservation, with services available in general circulating materials repair, single-item conservation treatment, housing, exhibition prep, and preservation consulting.Please visit The Preservation Lab’s new website at https://libraries.uc.edu/thepreservationlab.html for updates and more information.

Holly Prochaska, Head, Preservation Services & Lab at the University of Cincinnati

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

Problem Solving: An Exhibition-Style Enclosure for a Collection of Lafcadio Hearn Japanese Bindings

This set of Japanese side-sewn, crepe paper bindings, or Chirimen-bon, came to the Preservation Lab housed in their damaged traditional Japanese wraparound case, known as a maru chitsu. The set belongs to the Cincinnati and Hamilton County Public Library, which has an extensive Lafcadio Hearn collection. This collection of volumes was printed by Hasegawa Takejirō, a Japanese publisher who specialized in books written in European languages on Japanese subjects. The Japanese Fairy Tale Series was one of the more popular series, beginning with six volumes in 1885; though this later collection only has five volumes of fairy tales. Lacadio Hearn was one of the foreign translators employed by T. Hasegawa.

Due to the high profile nature of Lafcadio Hearn for the library and the beauty of the bindings, the collection is often shown during tours and used for display, however, the crepe paper volumes, while in excellent condition, are extremely floppy, and they are also side-sewn, both factors make them difficult to handle and display. The original enclosure is also very fragile and damaged, and susceptible to further damage if used as an enclosure moving forward. For all these reasons, the curators wanted an enclosure that would not only store the collection long-term, but could also be used for display.

This proved to be a challenge, but a fun one. I started by making a couple of sketches and then a couple of models…

Three models pictured, two are collapsible cradles and one display stand with foam insert
Models – two types of collapsible cradles and one model of the display tray/stand

For the models, I had two main focuses: 1) a collapsible cradle that would house and display one of the volumes, and 2) a display component that would act as a tray or level within the enclosure and house the remaining four volumes, in two stacks of two, side by side.

I will always advocate for making a model if you are trying to work through a new enclosure or adjust an existing enclosure or display piece, like a cradle. For example, I knew that a normal collapsible cradle wasn’t going to fit the bill for these volumes. Instead, I was going to need a stiff, squared off spine piece built into the cradle to help support the bindings’ spines.

One of the main areas I had to troubleshoot was the display tray, which would house the four remaining volumes. I knew I wanted to create a stand that would basically replicate one side of a collapsible cradle and have a 1/2 inch Plastazote foam insert, which happened to nestle the thickness of two volumes perfectly, that was covered in Tyvek. But I had concerns about gravity and reliability of PVA to hold the foam insert in place overtime. And I wasn’t happy with my initial ideas of how to remove the volumes (and also the original enclosure and collapsible cradle) from the insert(s), which consisted of a tab underneath the volume. It created friction that would ultimately cause damage to the actual volumes.

Ultimately, I am extremely happy with what I came up with. I think it functions very well, and checks all the boxes it needed to check. Safe, secure storage. Elegant display. User-friendly.

The display stand includes a cloth tape inserted into the boards to keep it from opening too far, a foam insert covered in Tyvek, a lip to support the foam insert overtime, and two polyester film slings to aid in removing the volumes from the foam insert. The polyester slings proved to be an excellent solution for removing all the elements from the enclosure safely and easily.

For those interested in how some of the components were constructed, here are some in-progress images…

Because of the way the trays/components of the enclosure are constructed, they are actually interchangeable. So if the “lower tray” with the original enclosure and collapsible cradle ends up on top of the display tray/stand, that’s not an issue at all. And there is a 1/4 inch Volara foam piece adhered to the outer tray of the clamshell enclosure, so whatever items are on top will be cushioned by soft foam in the enclosure.

Get a full tour of the enclosure by watching our reel on Instagram:

Jessica Ebert [UCL] – Assistant Conservator

Are You Ready for Halloween?

With Halloween creeping up, it’s either a chance for you to unleash your spooky side or to totally panic and obsess over costumes until the last second. Ghost? Meh. Mummy? Boring. Werewolf? Too hairy. But if you work in a conservation lab, fear not. We have you covered!  

This year, we’ve scoured the lab to create costumes that mix chilling creativity with eccentric conservation tools! Each costume has a difficulty rating, so you’ll know if it takes professional skill or just a wildly spooky imagination. 

So, grab some supplies, get haunting, and remember: Conservation may be reversible, but goofy Halloween memories are forever!  

Edward Scissorhands costume, woman in black holding many scissors

Edward Scissorhands
Difficulty level – Easy
Materials and tools needed:

  • Scissors, tons of scissors
  • Black clothing
  • Strong hands (those old scissors may refuse to work properly)

Note – Not recommended for the long-haired among us…so remember, safety first! Keep a safe distance, and beware of those “accidental” snips, unless your colleagues think that you desperately need “just a little trim off the top”.

Mock crime scene with woman pretending to collect evidence by a fake chalk outline

Crime Scene Tech
Difficulty level – Medium
Materials and tools needed:

  • Masking tape
  • Caution tape
  • Gloves
  • Lab coat
  • Tweezers
  • Scalpel
  • Thread (to mimic hair samples)
  • Binder’s board to create a body/chalk outline (create a tri-fold for easy travel)
  • Golden gloss/matte media (or anything that fluoresces) to create “blood” splatters
  • Polyethylene bags (to collect evidence)
  • UV lamp
  • Protective UV goggles
  • Fluorescent scale (optional)
  • Camera (optional)
  • Tripod (optional)
  • A strong stomach, not for the faint of heart

Note – For the body outline, just kindly convince a colleague to lie on the binder’s board. Nothing says “team building” like creating a fake crime scene!

The following costumes can be done as a group effort or a solo act – dealer’s choice!

Ghostbuster on the left, painting of old man at the center, conservator seated on the right

Vigo the Carpathian (Painting)
Difficulty level – Hard
Materials and tools needed:

  • Print out of Vigo the Carpathian – our Lab recently switched to a 17″ wide Epson printer, so we are unable to print large scale items, so Jessica skillfully created the painting with two printouts pieced together.
  • Corrugated board
  • Cloth tapes (to create handles on the back of the painting)
  • Gold spray paint
  • Double-sided tape
  • Black/dark clothing
  • Strong arms and captivating eyes

Note – For that eerie stare DON’T FORGET to remove the eyes from the print out…the creepier, the better!

woman dressed as paintings conservator seated in front of a painting

Sigourney Weaver (as “Paintings Conservator”)
Difficulty level – Easy
Materials and tools needed:

  • Lab coat
  • OptiVisor
  • Acrylic paints
  • Gloves
  • Cotton swab
  • Beaker with filtered water
  • Paint brushes
  • Vigo printing proof, as reference (optional)
  • Must not be easily spooked by creepy eyes staring into your soul

Note – We know we aren’t a paintings conservation lab, but I think we pulled it off…or at least better than the movie, I hope!?

woman dressed as a ghostbuster

Ghostbuster / Bill Murray as Dr. Peter Venkman
Difficulty level – Easy
Materials and tools needed:

  • Jumpsuit from your favorite brand (Dickies, Albion Fit, etc.)
  • Nilfisk GD 10 Back HEPA Vacuum (Proton Pack)
  • Print out of Ghostbusters logo
  • Double-sided tape
  • Portable fan (for special effects)
  • Must be courageous yet capture the whimsy and humor of Bill Murray! Ready for anything!

Note – A portable fan can really elevate the special effects for this costume! Just check out our Instagram reel to see for yourself…

Happy haunting to you all! May the ghost tyrant and sorcerer Vigo (also known as Prince Vigo von Homburg Deutschendorf, Scourge of Carpathia, Sorrow of Moldavia, Vigo the Carpathian, Vigo the Cruel, Vigo the Torturer, Vigo the Despised, Vigo the Unholy1) protect you in all your spooky endeavors!

Catarina Figueirinhas [UCL] – Assistant Conservator

Images by Jessica Ebert [UCL] – Assistant Conservator & Social Media Coordinator

Position Announcement – Associate Dean for Collections

The University of Cincinnati Libraries seeks a strategic, outcomes-focused leader to fill the Associate Dean for Collections (AD) position.  The AD for Collections will lead the overall strategy and direction for units associated with collections, including acquisitions, metadata, digital projects and digitization, e-resource management, physical collections management, and preservation.  To review the full job description and apply, visit  https://jobs.uc.edu/job/Cincinnati-Associate-Dean-for-Collections-OH-45201/1161779000/

brick library building
University of Cincinnati, Langsam Library