
Check it out: www.thepreservationlab.org

Check it out: www.thepreservationlab.org
The purpose of this blog is to show a relatively easy long-term solution for strengthening and protecting the packaging for shallow banker’s box enclosures. There are two notable benefits to using this solution. The first being that in some cases little to no repairing needs to be done to damaged parts of the box and the second is at no time does any adhesive come into contact with the original piece. I have developed this system down to a science. If I make my measurements correctly, from start to finish, the lid and base jacket can be made from the custom stencils in about 180 minutes.
Ultimately you’ll be cutting 2 pieces of 4 mil Mylar to the following dimensions (W+thx4+4inches x H+thx4+4 inches) with the help of stencils.
To make a stencil I just place the lid in the center of the wastepaper and adding about 1mm all around, trace the width and height. Add 1 wall thickness all around followed by 1 wall board thickness all around then another wall thickness all around. Draw each of these added lines all the way to the edge of the paper.

You may notice little adaptations to the tabs that will be cut out of the Mylar. I make the tabs on opposite sides to create symmetry. Here is a close-up of one.



After scoring and cutting out the Mylar to match the pattern, fold on the lines using either a ruler and bone folder or your fingers.


When you are all ready, place the box in the center of the Mylar sleeve and place double stick tape where the tabs will secure the corners. Start with the outside corners first.


One of the great qualities of this protective wrapper is that it can cut out repair time by the virtue of the strength of the wrapper itself.
Secure the rest of the outside, then inside corners, and we’re done!




Now it’s time to enjoy the music.
Chris Voynovich (CHPL) — Senior Conservation Technician
Check out this new article about the work of the Preservation Lab by our collaborator Melissa Norris, with assistance from Ashleigh Schieszer, Jessica Ebert, and Kevin Grace at https://libapps.libraries.uc.edu/source/preserving-taft/.
Isn’t Preservation just so cool!
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.
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.
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.
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?
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.
Hinged U-sleeve allows access to the card as well as stability for storing next to the envelope.

Detail of Hinge
Overlapping Components, Before Treatment:
Hinged Overlapping Parts, After Treatment:
Before Treatment:



*Bonus Experimental Technique:
Before Treatment & After Treatment:

Two volumes, after treatment:

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
In August of this year, the Lab received a Palm leaf book from Archives and Rare Books library during one of our usual monthly meetings. This item was brought to the Lab to receive a new enclosure for a better long-term preservation storage and easier access. Along with a new enclosure, the Lab was asked to create two surrogates of one of the original Palm Leaves for classroom use. Under the direction of Ashleigh Schieszer, lab conservator, technician Chris Voynovich constructed the housing working closely with Catarina Figuierinhas who created the surrogate leaves.

Creating Surrogates
In order to create an accurate surrogate of one of the Palm leaves, the Palm leaf book was taken to the University of Cincinnati Digitization Lab to be photographed with a PhaseOne Reprographic System. This system includes 60 MP PhaseOne digital back, DT RCam with electronic shutter, Schneider 72 mm lens, and a motorized copy stand. At the digitization Lab, one of the Palm leaves was digitized, recto and verso. The collaboration between labs allows the Preservation Lab to obtain a great quality image of a Palm leaf to print a high quality surrogate.


Once the Preservation Lab received an image with enough quality to work with, the process of creating a surrogate started.
In order to create a surrogate, it is important to have in mind several different aspects such as the purpose of the surrogate and the physical characteristics of the original object (texture, thickness and colors). When thinking about the purpose of the surrogate one has to answer questions such as: Is the surrogate going to be displayed or handled? If so, how? Behind a glass case? Will it need a presentation enclosure?
In this case, the purpose was for the librarian to be able to show a “real” palm leaf page without having to actually handle the original fragile leaves. Also, having a surrogate of a palm leaf would allow patrons and scholars to handle a replica of an original object without having to unwrap and open the book.
Our goal was to create two surrogates; one in color, true to the original Palm leaf page; and
another black and white, allowing the writing to be read easier.
Since we wanted to create a surrogate as identical as possible to the original, it was necessary to study the original object’s texture and thickness, as well as consider specific details such as gilt edges or punched holes.
The first step was to select several papers to test for printing. Selected papers had a similar texture and thickness to the original Palm Leaf and/or were selected because they contained a handy ICC profile.
Once the papers were chosen for texture, thickness and color profiling, the image obtained from the Digitization Lab was enhanced in Adobe Photoshop CC 2015 and several surrogate samples were printed using a P7000 Epson Printer pigmented ink jet printer.
Constructing a new enclosure
I’ve heard the joy should not be in the finished product but in the process. I have to say I agree with that theory. I love receiving a challenge like this and pounding out a solution. This particular enclosure had many facets which turned out to be exciting as well as rewarding to problem solve together with lab staff.

Using a structure engineered by our lab conservator, first, I created a double-sided sink mat with two open windows to display both sides of the two surrogates. Rare earth magnets were introduced as fasteners to hold the objects secure inside each mat. The surrogates are supported and viewable through a Vivak and polyester transparent L-sleeve, which is removable. The Vivak and polyester sleeve was welded together on the lab’s Minter ultrasonic welder.

Volara supports were constructed to cradle the book so the gilding would not touch any abrasive surfaces, and so there would be a support for the cover once opened. The surrogates help provide information to patrons without causing wear and tear on the fragile book through handling. Originally, we considered storing the surrogates in a tray below or above the book to conserve shelf space, however by arranging the mats next to the object, they could immediately be on display when the enclosure is opened. I am pleased with the outcome. It is now possible to enjoy all the parts of this amazing work within the enclosure itself while minimizing the opportunity for damage, as well as providing a “wow!” factor.


Final enclosure with the original palm leaf book and surrogates.
Catarina Figueirinhas (UCL) — Senior Conservation Technician
Ashleigh Schieszer (PLCH) — Book and Paper Conservator
Chris Voynovich (PLCH) — Conservation Technician
Photo credit: Jessica Ebert (UCL) — Conservation Technician
You may recall that back in July I blogged about these two beauties that came to the Lab for custom enclosures. They both returned to PLCH at the beginning of September in their custom enclosures, so I thought I’d share what type of enclosures we came up with to address all the fragile elements of these particular artists’ books. Continue reading
While all the books, documents, and objects that we receive in the lab are interesting and exciting, artists’ books are definitely a crowd favorite, especially amongst the technicians. When Holly and Ashleigh come back from the PLCH rare books meeting and announce they’ve brought back some artists’ book we all get a little excited and know that there are probably some fun cloth covered clamshell boxes in our future. Last week when the techs met with Ashleigh, our conservator, to discuss upcoming projects there was quite a bit of oohing and ahhing when she unwrapped and assembled the two artists’ book they had brought back to the Lab for enclosures.
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When the original Main Library at 629 Vine Street opened to the public in 1873, three beautiful and intricate stained glass windows graced one of the reading rooms in the building. In 1955, when the building was demolished, the windows were sold at auction, later to resurface as part of the decor of the Old Spaghetti Factory on Pete Rose Way. After the restaurant closed to make room for Paul Brown Stadium, the Library purchased the windows and began making plans to return them to the Main Library for the appreciation and enjoyment of our customers and staff. Thanks to the generosity of the Friends and the Annabel Fey Trust Fund, the three windows have now been re-created and restored to their original glory and will be on permanent display in the Main Library.
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Now on exhibit at the Public Library of Cincinnati and Hamilton County are a collection of stereoview photographs that were treated and rehoused in the Preservation Lab this past winter.
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