Tag Archives: Vivak

Vivak, Velvet, and Vantage: Display Installation for FotoFocus 2024

Introduction

One of my favorite aspects of working for the Preservation Lab is the problem solving required to reach our clients’ goals. Whether performing treatments, building housings, or installing displays, we frequently find ourselves thinking outside the box to come up with custom solutions to unique problems.

FotoFocus

The problem solving aspect of the job was in full force with a recent display request from Art and Special Collections Reference Librarian, Sara Williams, for CHPL’s (Cincinnati and Hamilton County Public Library’s) participation in FotoFocus 2024 this Fall.

For those unfamiliar, FotoFocus is a biennial “month-long celebration of photography and lens-based art that unites artists, curators, and educators from around the world” (as described by the FotoFocus website). This year’s event was FotoFocus’ seventh iteration and encompassed 107 projects at 86 participating venues across Greater Cincinnati, Dayton, Columbus, and Northern Kentucky.

The Display Request

The theme for FotoFocus 2024 was Backstories, which focused on hidden stories within photographs that are not initially obvious. With this theme in mind, Sara Williams came up with the idea of highlighting stories hidden within one of CHPL’s most highly prized collection items: the 1848 Fontayne and Porter Panorama Daguerreotype. (For more information about this historic photograph, its preservation, and daguerreotypes in general, an earlier blog post I wrote on the subject can be found here.)

1848 Fontayne and Porter 8 full-plate panorama daguerreotype

To convey this idea, Sara requested that the exhibit contain surrogate images attached to the back of the display cases, with images popping out at varying degrees of depth, highlighting the idea that each subsequent image is zoomed in closer, just as the story within the images become more in-depth.

Constructing a Prototype

I am still relatively new to the world of conservation, and even newer to that of display installation. When confronted with a task I am unfamiliar with such as this request, I like to think about what needs to be achieved, and then brainstorm how it can be achieved practically using stock materials we have in the lab. I did not yet have the specs on the display cases or the sizes of the specific images, but Sara gave me several printed foam board images like what would be used in the display to run tests with. Most importantly, I knew the two following bits of information:

  • The display needed images attached to a cloth-covered wall within the display case.
  • The images needed the ability to be mounted at custom depths from the cloth-covered wall.

After some brainstorming with our head conservator, Ashleigh Ferguson Schieszer, we decided to try using Vivak to “pop out” the images at various depths.

Vivak is a copolyester plastic that can be easily bent into various shapes, yet retains its shape once creased. It is also clear, making it useful for displays due to its ability to blend into backgrounds and not detract from the featured objects.

We also decided to use our cubicle walls as a test site until we could get our hands on the actual cases, since attaching a support mount to a cloth covered wall was a unique challenge for us.

First Prototype

First Vivak Support prototype
Attached to wall with two pins along top

I constructed the first prototype by creasing a small sheet of Vivak twice into a “J” shape. I poked two holes in the smaller lip of the “J” so that I could use pins to secure it to the cloth-covered wall, with the image adhered to the larger lip.

This was moderately successful. These would be easy to construct and the pins held the support’s weight. But I was concerned about the Vivak bowing under the weight of the images, especially for the ones that were to be at the furthest depth from the cloth-covered wall, as it was already wanting to sag without an attached image under its own weight.

Second Prototype

I made the second prototype into a “C” shape, so that there were two lips that could be pinned to the cloth-covered wall. My hope was that this would add more stability and reduce the potential sagging. This was certainly an improvement, but it still felt unstable, and I felt the Vivak pieces that needed to be longer still might sag.

Support with added base to combat sagging
“C” shape with added backing strip

I next added an additional support piece of Vivak along the back of this prototype so that the pins would penetrate it as well as the two lips, adding even more stability. This yielded the most favorable result so far, yet I felt like the process could be streamlined.

I wanted the “pop-outs” to be contained to one piece of Vivak, so for the final prototype so I extended the two lips of the “C” so that they overlapped each other making a square shape.

Final Prototype

Final prototype with overlapping Vivak strips
Attached to wall with Vivak folds at top and bottom – still showed propensity to sag
Attached to wall with folds along sides – this eliminated the tendency to sag!

The final prototype gave the stability of the second prototype but was easier to produce as only one piece of Vivak needed to be cut. After constructing this successful variation, I had the idea to rotate the “pop-out” 90 degrees so that the creased section of the Vivak would be vertical rather than horizontal, eliminating any tendency for it to sag from these creases outward.

Installation

Sara had also requested that both the cloth-covered wall and base of the display be covered in black velvet to give the display a cleaner look, as the existing cloth had seen better days. This was accomplished by removing the boards, cutting enough velvet so they could be wrapped and completely covered on its exposed side, and then secured on their hidden underside using a staple gun.

The case before modifications, during deconstruction
The walls and base of the case were recovered with black polyester velvet
The case reconstructed after recovering

I had initially planned on using large “T”-shaped pins to fix the “pop-outs” to the cloth-covered wall, as they were abundant in the lab, and I felt the length of them would yield a stronger hold. However, upon attempting to test the prototype on the actual display case, it was discovered that the wall I assumed was cloth-covered foam was cloth-covered wood. As the “T”-shaped pins were long and not very sturdy, they would be extremely difficult to hammer into the wood.

I ended up using small ½” brass escutcheon pins. They are low profile and would be relatively easy to hammer into cloth-covered wood. I punctured 4 pilot holes through the overlapping “C” lips so the pins could hold the Vivak together, and then individual pins were hammered through the holes into the cloth-covered wood.

Long T-pins compared to the shorter escutcheon pins
The shorter pins were the perfect length to nail into the thin display case wall

Once the velvet was installed and the “pop-outs” were secured to the freshly velvet-covered boards, the images could be adhered directly to the Vivak using double stick tape, as they were surrogate images printed onto foam board.

Nailing the Vivak support to the display case wall
3M 415 double stick tape was used to adhere the surrogate images to the Vivak supports

The Display During Installation

Once the cases were modified with the black velvet polyester and the Vivak supports were nailed into place, the bases were ready for Sara to add additional components underneath.

View at an angle showing the varying depths of field
Three cases ready for final touches by Sara Williams

After Installation

The completed display, entitled Depth of Field: The Universe of the Daguerreotype went live on September 24, and was located on the 2nd floor of the South building at the Downtown Main branch of CHPL through November 1st. Sara Williams curated a wonderful series of images, featuring supplemental newspaper articles, city directories, images shot through a microscopic lens, and more to highlight both the scientific and human stories that are contained within this iconic Daguerreotype.

Captions describe:

  • The astonishing achievement of how the photographic images were captured outdoors when normally, daguerreotypes are produced indoors to control the complicated process.
  • How moisture and dust caused deterioration specks which are shown under 100x magnification and routinely monitored.
  • The panorama’s unique anoxic custom enclosure, where the absence of oxygen prevents further degradation.

Although the display is no longer viewable, its primary subject still is. The 1848 Fontayne and Porter Panorama Daguerreotype can currently be viewed in the Cincinnati Room of CHPL’s Downtown Main branch along with other fantastic displays curated by Sara. Be sure to check them out and be on the lookout for the return of FotoFocus in 2026!

View of the exhibit after installation next to the Story Center

Matt McCoy – Conservation Specialist [CHPL]

Polyester Encapsulated Page Binding *Part Two: The Components

This past year, the Preservation Lab was recruited to conserve the Public Library’s scrapbook of Althea Hurst.

Scrapbooks are complex library materials.  They are conduits to stories told through the use of collections of ephemeral materials (a.k.a. materials meant to be thrown away and not meant to last), such as newspaper clippings, letters and postcards, and maps.
Due to their collection of content, scrapbooks usually are bursting with problematic preservation issues.  Often, fragile pages hold stiff, brittle, or heavy parts that are adhered and folded.  Components are frequently found layered and overlapping.  These parts are filled with information and are intended to be handled and experienced; however, as the parts become fragile with age they are nearly impossible to touch without causing damage.

Before1

Althea Hurst scrapbook with adhered components, before conservation treatment. 

In most situations, it’s often best to digitize an object and protect it by storing it in an enclosure. I often recommend patrons reference the digital copy rather than handling the physical object.  Alternatively, if an object will be handled (and the importance of the object warrants conservation treatment) another solution is to support the pages by encapsulating them within clear polyester film.  The polyester film encapsulations are then bound into an encapsulated page binding.  This format help preserve the parts in the author’s intended order, however, this course of treatment must be carefully considered as it can sometimes be an invasive solution if disbinding is required.
In the case of the Public Library’s scrapbook, the scrapbook had been previously reformatted by a prior owner due to its poor condition.  At some point in the object’s history, each page and cover had been separated from the binding and stored in non-archival plastic sleeves to protect the pages from breaking.  Oversized rubber bands held the album in two manageable stacks.

Before2

Althea Hurst scrapbook as received, before conservation treatment.

When the library received the object, the pages were in dire need of stabilization before it could be digitized and also needed improved storage.  Because the scrapbook was already disbound into pieces (even the covers were detached) an encapsulated page binding was selected as the most fitting option for storage.  The local historical importance of the scrapbook warranted full treatment.

Before3

Althea Hurst scrapbook, view of inside upper cover and first page, before treatment.

Being a novice in encapsulated page bindings, I reviewed a few binding structures and wrote about my discoveries here.  I settled on constructing a modified screw-post binding to fit the needs of the Public Library’s scrapbook.
Now armed with a direction for constructing the album structure, the next challenge was:
How do I encapsulate a scrapbook that houses a variety of adhered material, such as pamphlets, postcards, letters, maps, and more, and still make the parts accessible?

Encapsulation Techniques

To determine a solution for preserving the arrangement of parts, I researched various methods of welding paper, polyester film, and spun bond sheets of polyester webbing to encapsulated pages.  I compiled the methods into a model binding for reference in preparation for treatment.

Below are a list of experimental solutions for housing and encapsulating the scrapbook’s multiple parts.   Many of the techniques were utilized in the final treatment, as you will see in the photographs below.

1. Traditional Encapsulation

  • This technique was used to fully encapsulate scrapbook pages overall, or to encapsulate removed single sheets that needed extra support
  • Pages or parts were sandwiched between polyester film and ultrasonically welded on all four sides:

traditional

  • Gaps along the corners were left to encourage air exchange and to prevent buildup of acidic off-gassing of the historic materials.

2. U-sleeve: welded on 3 sides for top edge access

  • Useful for items that may need to be handled outside of the plastic and are thick or heavy

Usleeve

Usleeve2Hinged U-sleeve allows access to the card as well as stability for storing next to the envelope.

3.  Polyester sheets welded on two parallel sides

  • Could potentially be helpful in the right circumstance for thin items that may need to be handled outside of the plastic. Two access points are helpful for reducing static cling and suction, however, items may accidentally slide out more easily (see next technique for a similar yet preferred method).

4.  L-sleeve: welded along the left side and bottom edge (in the shape of an “L”).Lsleeve

  • Alternative technique to the U-sleeve for storing parts that may require future handling.
  • An L-sleeve can be welded to one side of an encapsulated page binding with an ultrasonic weld after the L-sleeve is created.
  • For thicker materials, an additional small weld along the bottom right edge is helpful to prevent materials from sliding out of the sleeve when the page is turned.

5.  Spot welds: heat or ultrasonically welded

  • Technique used to hold materials in place and prevent them from sliding within an encapsulation

spotweld

6. Thin overlapping attachments

  • Overlapping parts that need to be kept in a specific composition can be carefully removed from the page by a conservator and individually encapsulated.  The encapsulated components can then be welded to the upper sheet of the polyester page using a variety of techniques to preserve the original orientation.
  • Using these techniques allows access to all the components on a page that would otherwise be inaccessible in a traditional encapsulation, and keeps the author’s intended composition.
  • Parts must be oriented and welded to the upper sheet of polyester before creating the finished encapsulated page, i.e. before encapsulating the lower sheet of polyester to the upper sheet.

i83079427_1015_D19N_2 i83079427_1015_D19N_1

7.  Hollytex hinge

  • A strong synthetic hinge (made from spun-bonded polyester) that is welded to the clear polyester sheets with ultrasonic welding.
  • Useful for easily viewing the front and back of  overlapping parts or loose bits.

Detail of Hinge

hollytex

Overlapping Components, Before Treatment:

THE PRESERVATION LAB: A collaboration between the University of Cincinnati and the Public Library of Cincinnati and Hamilton County Object Institution & Library: PLCH CALL #: 977.178092 ffH966Zh 1938 SUBJECT: Althea Hurst scrapbook, 1938 - documents the journey of four Cincinnati school teachers - took a trip to Canada, Nortern Europe, Germany, Eastern Europe, and France. Scrapbook filled with photographs, brochures, notes and other ephemera. DATABASE ID: 1015 ITEM #: i83079427 TREATMENT ID: LIGHTING: EcoSmart 27-Watt (100W) Full Spectrum Craft CFL Fluorescent with sock diffusers FILTER(s): none COMMENTS: CREATOR: Jessica Ebert WEBSITE: thepreservationlab.org

Hinged Overlapping Parts, After Treatment:

THE PRESERVATION LAB: A collaboration between the University of Cincinnati and the Public Library of Cincinnati and Hamilton County Object Institution & Library: PLCH CALL #: 977.178092 ffH966Zh 1938 SUBJECT: Althea Hurst scrapbook, 1938 - documents the journey of four Cincinnati school teachers - took a trip to Canada, Nortern Europe, Germany, Eastern Europe, and France. Scrapbook filled with photographs, brochures, notes and other ephemera. DATABASE ID: 1015 ITEM #: i83079427 TREATMENT ID: LIGHTING: EcoSmart 27-Watt (100W) Full Spectrum Craft CFL Fluorescent with sock diffusers FILTER(s): none COMMENTS: CREATOR: Jessica Ebert WEBSITE: thepreservationlab.org

8. Paper Hinge

paper hinge_1     paper hinge2_1

  • Usu Mino tissue is welded in between two sheets of polyester
  • The extended Usu Mino hinge can then be brushed with paste and adhered directly to a paper leaf.
  • Useful in other applications, for example preserving loose components in paper textblocks, such as pressed flowers or handwritten notes.

9. Polyester four flap attachment

  • For small but thick objects
  • To secure thin components with multiple parts on top of an encapsulated page while still allowing full access

i83079427_1015_D14N_2_2

10. Paper spacers

  • Strips of acid free paper can be placed within an encapsulation to prevent smaller components from moving within larger encapsulated pages.
  • The paper space holders are visually pleasing so the viewer is not distracted by the page below.
  • Static holds thinner sheets in place
  • Thicker textblock leaves may need to be spot welded in-between the document and the paper strip

paperSpacer

11. Stiff support leaf with cloth hinge

  • To support heavy page encapsulations AND/OR include heavy components in pockets on a strong page within the binding
  • Constructed out of 2-ply mat board, PVA, and Canapetta cloth

Before Treatment:

THE PRESERVATION LAB: A collaboration between the University of Cincinnati and the Public Library of Cincinnati and Hamilton County Object Institution & Library: PLCH CALL #: 977.178092 ffH966Zh 1938 SUBJECT: Althea Hurst scrapbook, 1938 - documents the journey of four Cincinnati school teachers - took a trip to Canada, Nortern Europe, Germany, Eastern Europe, and France. Scrapbook filled with photographs, brochures, notes and other ephemera. DATABASE ID: 1015 ITEM #: i83079427 TREATMENT ID: LIGHTING: EcoSmart 27-Watt (100W) Full Spectrum Craft CFL Fluorescent with sock diffusers FILTER(s): none COMMENTS: CREATOR: Jessica Ebert WEBSITE: thepreservationlab.orgAfter Treatment:

THE PRESERVATION LAB: A collaboration between the University of Cincinnati and the Public Library of Cincinnati and Hamilton County Object Institution & Library: PLCH CALL #: 977.178092 ffH966Zh 1938 SUBJECT: Althea Hurst scrapbook, 1938 - documents the journey of four Cincinnati school teachers - took a trip to Canada, Nortern Europe, Germany, Eastern Europe, and France. Scrapbook filled with photographs, brochures, notes and other ephemera. DATABASE ID: 1015 ITEM #: i83079427 TREATMENT ID: LIGHTING: EcoSmart 27-Watt (100W) Full Spectrum Craft CFL Fluorescent with sock diffusers FILTER(s): none COMMENTS: CREATOR: Jessica Ebert WEBSITE: thepreservationlab.org

12. Stiff flyleaf to support encapsulated pages when laying open

  • Constructed out of 4-ply mat board, PVA, and Canapetta cloth
  • The stiff flyleaf contains a smaller hinge than the interior support leaves

THE PRESERVATION LAB: A collaboration between the University of Cincinnati and the Public Library of Cincinnati and Hamilton County Object Institution & Library: PLCH CALL #: 977.178092 ffH966Zh 1938 SUBJECT: Althea Hurst scrapbook, 1938 - documents the journey of four Cincinnati school teachers - took a trip to Canada, Nortern Europe, Germany, Eastern Europe, and France. Scrapbook filled with photographs, brochures, notes and other ephemera. DATABASE ID: 1015 ITEM #: i83079427 TREATMENT ID: LIGHTING: EcoSmart 27-Watt (100W) Full Spectrum Craft CFL Fluorescent with sock diffusers FILTER(s): none COMMENTS: CREATOR: Jessica Ebert WEBSITE: thepreservationlab.org
THE PRESERVATION LAB: A collaboration between the University of Cincinnati and the Public Library of Cincinnati and Hamilton County Object Institution & Library: PLCH CALL #: 977.178092 ffH966Zh 1938 SUBJECT: Althea Hurst scrapbook, 1938 - documents the journey of four Cincinnati school teachers - took a trip to Canada, Nortern Europe, Germany, Eastern Europe, and France. Scrapbook filled with photographs, brochures, notes and other ephemera. DATABASE ID: 1015 ITEM #: i83079427 TREATMENT ID: LIGHTING: EcoSmart 27-Watt (100W) Full Spectrum Craft CFL Fluorescent with sock diffusers FILTER(s): none COMMENTS: CREATOR: Jessica Ebert WEBSITE: thepreservationlab.org
*Bonus Experimental Technique:

13. Welding polyester film to Vivak

  • Even the cover contained an attached component!
  • As per a request by the curator, the original cover was incorporated into the new binding with reversible methods.  The original cover was hinged into a sink-mat package that was sandwiched between a cloth covered mat and a sheet of Vivak.
  • After a bit of experimenting, a polyester L-sleeve was ultrasonically welded to the Vivak “pastedown” so the original arrangement could be preserved

Before Treatment & After Treatment:

i83079427_1015_A04N i83079427_1015_D04N_pastedown

  • A flyleaf of polyester film was hinged onto the “pastedown” to protect the attached component from being abraded by the edges of the textblock leaves:

IMG_1149
Two volumes, after treatment:
IMG_1147_1
Final challenge: how to manage the scrapbook’s large treatment effectively and efficiently.

To read about our collaborative treatment workflow, please see the next upcoming installment: Polyester Encapsulated Page Binding *Part Three: The Workflow.

Ashleigh Ferguson Schieszer (PLCH) — Conservator, Conservation Lab Manager
Photographic Documentation – Jessica Ebert (UCL) – Conservation Technician

Mounting a Microscopic Book

One of the treasures I was recently asked to prepare for display was a book called The Smallest Book in the World. The library owns two copies printed by German typographer, Josua Reichert. The tiny book contains typography that was uniquely designed specifically for the binding. Each page contains a CMYK colored alphabet letter in an exquisitely designed font. While not currently the smallest book in the world, it is probably the smallest traditionally printed edition!

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