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  Indiana University Bloomington Libraries
 Preservation Department
Last updated: 16 March, 2000
URL: http://www.indiana.edu/~libpres/Manual/prsmanual2.html
Comments: memcafee@indiana.edu
Copyright 1997, The Trustees of Indiana University

Preservation Department Manual

CONTENTS
  1. Mission Statement
  2. Overview and Department Functions
  3. Department Head fact sheet
  4. PRS FAQs
  5. Environmental considerations in library collections
  6. Exhibits
  7. Preservation of non-book materials
  8. Disaster Procedures

MISSION STATEMENT

The Preservation Department supports the IU Libraries' mission to support and strengthen teaching, learning, and research, by preserving collections and the information they contain in usable and accessible formats.

OVERVIEW AND DEPARTMENTAL FUNCTIONS

The Preservation Department is at the center of IU Libraries' preservation program, and operates under the guidance of the Director for Collection Development. The department head is a full-time preservation administrator. The Conservation unit performs repairs and makes enclosures for general collections materials and responds to emergencies that threaten the collection. Additional staff time is devoted to preservation activities in other units and branch libraries on campus. The department is responsible for maintaining a disaster preparedness plan and for coordinating response efforts to any disasters affecting the Libraries' collections (refer to Disaster Response for further information).

Preservation Department staff present educational programs for the Library staff, students in IU's School of Library and Information Science and School of Fine Arts, and the community at large. They also provide instruction and consultation to the IU system libraries and other libraries around the state and region.

The Library Preservation Committee, comprised of librarians and staff from around the campus, advises the Preservation Department head and works on specific projects. The Committee members are appointed by the Dean of Libraries for a two-year term. Librarians and staff who are interested in serving on this committee may convey their interest to the Library Human Resources Director. The "Preservation Awareness Week" presented by the Committee during National Library Week in 1992 won the John Cotton Dana Award.

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PRESERVATION DEPARTMENT HEAD

 Melissa McAfee, Main Library E050,812/855-6281, memcafee@indiana.edu

The Department Head's primary responsibilities are to direct, administer, and manage the work and activities of Preservation Department. The full range of activities includes conservation, reformatting and education.

The primary goal of the Department Head is to develop a cost effective operation that is responsive to the needs of other library units, bibliographers and library users. The Department Head:

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CONSERVATION TREATMENT OPTIONS

What treatments does the Conservation Section perform?

The Conservation Section performs a wide variety of treatments including the following: constructing protective enclosures for brittle or fragile items that cannot stand on the shelves alone; sewing or stapling pamphlets into binders; tipping in loose pages; mending torn pages; repairing torn spines; reattaching loose boards or constructing new cases for books; encapsulating single (e.g., maps, posters); and salvaging materials damaged by water, mold, or insects/vermin .

How do I select items to be sent for repair or rebinding?

The sooner you catch a problem, the easier it is to repair. For example, if the spine is torn, but the interior hinge (inside the front and back cover) is intact and the text block is still firmly attached to the cover the repair can be done in-house and will take 20-30 minutes. If the book is allowed to continue circulating until the boards become detached, it will have to be sent for commercial binding (meaning it may be off the shelf for 6 weeks), or the in-house repair will take approximately 2 hours (it may be off the shelf for 2 or 3 weeks, depending on the work flow).

Things to watch for:

What is a brittle book? Can it be repaired?

A book is said to be brittle when its pages exhibit a very low folding endurance prior to breaking. Brittleness is usually attributed to acidity in the paper resulting from its manufacture or storage which causes a chemical deterioration of the cellulose fibers.

In most cases, it is not possible to rebind or repair brittle books. To gauge brittleness, fold the corner of a page back and forth three times (3 double folds) and then tug on it gently. If the corner detaches, the book is too brittle to rebind. These books are generally put into a protective enclosure such as a phase box. However, in cases of extreme brittleness, it is often best to withdraw, replace or reformat the item. If the pages of a book exhibit a distinct dark yellow or brown color, or if the corner of a page breaks off in your hand when folded once, refer the item to the appropriate bibliographer for a decision of that nature.

What do I do if I find a wet or moldy book, or a book is returned in this condition?

Always bring wet and/or moldy books to the immediate attention of the Conservation Section. Wet books will develop destructive mold within 48 hours. High heat and humidity foster mold growth. Therefore, time is of the essence. If the damage occurs or is discovered on the weekend, place the book in a freezer or refrigerator if one is available, and deliver it to Conservation as soon as possible on Monday. If the item is already moldy, wrap it in plastic and deliver to Conservation. If you are unable to deliver it in person, and must use the Library mail service, call to alert Conservation staff to the item's condition so that they can attend to it promptly. If the item was found on the shelf, check surrounding books for mold and wipe the shelf with a disinfectant cleaning agent. (For more information on this topic, refer to the section on Storage and Environmental Conditions.)

How do I decide what treatment to request?

You do not need to decide. The conservation staff is trained to make those decisions. All you need to do is recognize that some sort of repair is needed and route the item to Conservation.

How do I route an item to Conservation?

Branches may request Conservation flags from the Conservation section, or you may flag an item for Preservation and the mail room staff will deliver it. Fragile items should be carefully packaged before sending. If necessary, tie the item with string or cotton tape. Do not use rubberbands or paperclips, as these cause more damage. Notes should be written on the flag or another piece of paper and inserted into the book. Do not paperclip or tape a note to the book. Post-It type notepaper leaves residual adhesive and should not be used.

Are there any repairs I can do myself?

The Head of Conservation Services trains staff members for any branch that wants to undertake pamphlet binding or simple repairs such as tightening hinges and tipping in loose pages. Periodic training sessions are announced in the IUL News. You may also contact the Head of Conservation Services to set up a training session.

There are many common sense steps that staff can take to increase the life of the collections. For example, remove extraneous materials from books (e.g., Post-It Notes, paper clips, rubber bands, scraps of paper) before reshelving. Do not attempt to flatten or unfold brittle items, remove tape, or clean heavy dirt or mold. Refer these problems to the Conservation section. For more information, see the flyer, "Caring for the Library Collections."

What is environmental monitoring and who is responsible for it?

Environmental monitoring usually refers to the tracking of temperature, relative humidity, and light levels within a storage area. (See Environmental considerations for an explanation of proper storage conditions.) The Preservation Department currently owns several electronic dataloggers. These small, very portable units are programmed to sample and record the temperature and relative humidity at set intervals. They can be placed in any storage area, then taken back to the Conservation section's PC where the data is downloaded. Graphs can be printed out showing the fluctuations that occurred during the sampling period. Such graphs are very useful when working with physical plant staff to correct problems that are identified.

What do I do if I discover a water leak in the library?

Call the Physical Plant 24 hour Emergency number (5-8728) and report the exact nature and extent of the problem. (E.g., say "Water is pouring from the ceiling and Library materials are being damaged. We need immediate help," not "there's a leak in the library.") Then call Conservation (5-6282) and report the problem. They will send staff and supplies to assist you.

Disaster response is a primary responsibility of the Conservation section. This includes sending staff to the affected area with materials to help with the immediate response (plastic sheeting, duct tape, wet vac or dehumidifier, fans, boxes for packing wet materials into), and then salvage of any damaged materials. The Preservation Department owns a book freezer/dryer that is used for drying quantities of wet materials and the staff is well versed in the techniques used for air drying damp items or small quantities of wet materials. (See Disaster Procedures for more information.)

Whom do I contact if I have questions concerning conservation treatments?

Contact Melissa McAfee (phone 5-6281; e-mail memcafee@indiana.edu).

[Note: Jim Canary, Conservator at the Lilly Library, should not be called for either advice on general matters or emergency response unless you are unable to reach any staff in Preservation Department at the Main Library. His responsibilities are wholly with the Lilly Library collections.]

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ENVIRONMENTAL CONSIDERATIONS IN LIBRARY COLLECTIONS

The single most crucial factor affecting the physical health and longevity of library collections is a properly controlled environment. Though strict control of individual library environments is not always feasible or affordable, library staff who are aware of the specific conditions and problems within their library spaces, can devise local solutions which best suit their individual collections. In order to maintain the best possible environment for storage and use of library materials, four factors must be closely monitored and the interactions between them understood:

  1. Temperature
  2. Relative Humidity (RH) (Defined as the level of water in the air [Absolute Humidity] relative to the potential amount which that volume of air can hold). Because the amount of water that a given volume of air can hold increases as temperature rises, both factors must be analyzed together in order to obtain a meaningful picture of conditions.
  3. Light levels and the type/wavelength of illumination. Types and levels of lighting can have an impact on temperatures and humidity levels, often increasing temperatures and lowering relative humidity. Light also causes fading, and accelerates deterioration of paper, cloth, and leather.
  4. Air quality and circulation. The presence of certain airborne pollutants can be especially hazardous in humid conditions as compounds such as sulphur dioxide combine with water vapor to form acidic compounds that accelerate deterioration. Dust, soot, and fungus spores also pose a threat to collections.

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TEMPERATURE AND HUMIDITY

What are the ideal Temperature/Relative Humidity levels?

Temperature: Generally, the colder, the better, however, the working comfort of humans must be considered as well. It is very important that temperatures remain as stable as possible. Variables such as outside weather conditions, the presence of people, the operation of machinery and air circulation can all have a considerable effect on temperature. The acceptable temperature range is 65 F ± 5/.

Humidity: Paper, textiles, wood, leather, parchment, adhesives, photo emulsions, and many synthetic substances are all hygroscopic materials; that is, they all respond to the presence or absence of water vapor, and fluctuations in relative humidity will cause them to react. If humidity is too high (over 55% RH for most library materials), ideal conditions form for the growth of mold and mildew (See Biological agents), paper cockles, sizings and adhesives undergo hydrolysis, parchment and wood swell and change shape. Most insidiously, the deterioration of paper in the presence of acid accelerates. If humidity is too low (under 45% RH), paper embrittlement accelerates, adhesives dry out, leather, parchment and wood shrink, dry out and crack, and bindings can break. The acceptable RH range is 50% ± 5%.

In storage areas, conditions may be adjusted to optimal for preservation: 50/ F ± 5/ and 35% RH ± 5%. In adjusting environmental conditions, give priority to maintaining a stable RH, eliminating daily cycling and keeping seasonal fluctuations as gradual as possible.

What can you do to control temperature/humidity levels in your library?

The Preservation Department Head and conservation staff are available for consultation and evaluation of individual library environments and special collection needs. Several types of monitoring equipment are available on a selective basis, though the actual adjustment of library environments might remain a limited option. Certain deleterious conditions can be alleviated by the use of fans, dehumidifiers, keeping certain windows/doors opened or closed, etc. Using blinds or curtains to control natural light decreases heat build-up and light damage. The creation of microenvironments is an excellent option for special collection needs.

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LIGHT

What are the effects of light?

Light is a potent contributor to both the aesthetic and physical deterioration of library materials. Fading of dyes and inks, embrittlement and weakening of cellulose and other organic materials (including red-rot of leathers) are all accelerated by the presence of light, especially in the non-visible ultraviolet and infrared ranges. Both levels and duration of light exposure figure into damage. Generally, it is accepted that exposure to a given level of light for two months will produce the same amount of damage as twice that level for one month. However, light can also be a positive factor in deterring insects, mold and mildew, and adequate levels are essential for monitoring and use of collections.

What can be done?

The vigilant use of curtains and shades, keeping lights off in designated storage/stack areas, and providing individual items with protective enclosures are all effective deterrents to light damage. UV radiation from sunlight and florescent bulbs can be blocked by the use of filtering sleeves and coatings on windows and bulbs. Conservation staff can help in identifying particularly sensitive materials and suggesting optimal storage options.

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AIR POLLUTION

What about air pollution?

Both gaseous and particulate forms of air pollution pose hazards to library materials and users. Gaseous pollutants caused by the burning of fossil fuels, sulfur dioxide (which combines with airborne water vapor to form very destructive sulfuric acid), automobile exhaust, and the grime and dirt of everyday life are common outside contaminants. Inside pollutants include oily residues from cigarette smoke, common dust, fumes/grime from dirty air vents, fumes from cleaning fluids and solvents, dust from drywall repairs and renovation work, and gases emitted from building materials. In addition to absorbing and reacting with various pollutants, library materials can be severely abraded, stained and otherwise damaged by surface grime.

What can be done?

Most importantly, library areas must be fitted with adequate HVAC systems. Filters must be maintained by a regular program of monitoring and cleaning. Again, it is extremely important for library staff to remain in contact with Physical Plant regarding regular maintenance and specific problems.

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MICROENVIRONMENTS

Though control of the general library environment might not be possible, particularly valuable or vulnerable materials can be protected by providing specially controlled areas or individual enclosures for storage and use. Simply boxing materials in archival quality containers can provide considerable protection from light and fluctuations in temperature and humidity while serving as a barrier to dirt and gaseous pollutants. Groups of vulnerable materials might be stored in a specially controlled cupboard, closet or room, for which climate control equipment might be purchased at reasonable cost (e.g., Main Library Secure Area). Ask the Head of Conservation Services for information about commercially available supplies and solutions.

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BIOLOGICAL AGENTS

When is mold/mildew or insect infestation likely to be a problem?

Library staff should always keep close watch for signs of mold/fungi growth, and insect or rodent infestation. Close monitoring for signs of trouble is especially important if humidity levels are high for any length of time. Dormant and/or airborne mold spores can become active within 48 to 72 hours if conditions are favorable (over 70% RH or if books actually become wet). Note that atmospheric water vapor content can rise rapidly in the event of water leaks even if book materials do not come in direct contact with water. Mold does not need heat (think about your refrigerator), but growth is more rapid in warm temperatures. Most insects also thrive in humid, stagnant surroundings.

What do molds/mildews look like?

Blooms appear in a range of colors; frequently beginning as a white surface powder and progressing to black, purple or greenish spots and surface deposits. Once established, molds will "digest" the host papers, leaving them permanently stained and limp and eventually reducing them to pulp.

"Foxing" is a common form of staining characterized by brown or rust-colored spots which form across paper surfaces. Its causes are not entirely understood, but are thought to be related to a chemical interaction between iron impurities present in certain papers and the acids released by fungi. Again, a properly controlled environment, especially the avoidance of high RH and exposure to light, are crucial deterrents.

What if you spot mold?

Quick action is vital:

  1. Contact Conservation immediately at 855-6282. Moldy books must be quickly isolated from other library materials and treated. Do not carry moldy items through stack or work areas without first wrapping them in plastic. If a number of books are affected, wait for Conservation staff to arrive and arrange an organized removal of affected materials. Avoid prolonged contact with mold and be careful not to breathe in mold spores.
  2. Investigate the area where the books were shelved. Are other moldy books present? Does the area seem damp or particularly warm? If conditions are unusually damp or warm, contact your Physical Plant zone manager (see above) and Conservation. Fans and dehumidifiers are available from Conservation and Physical Plant to assist with drying out humid areas.
  3. Shelving which has been cleared of moldy materials should be cleaned and disinfected with liquid Lysol (follow instructions on the label).
Circulation staff should be alerted to watch incoming materials for dampness, mold and mildew (and insects). Damp items should be fanned open and dried out before reshelving. Items which are already moldy must be isolated and turned over to Conservation as soon as possible.

What about other pests?

The best deterrents to insects and vermin are cleanliness, the absence of food and drink, and a stable environment. Look out for live insects in and around books and shelves, carcasses, frass, and other evidence. Rodents usually claw and shred paper and cloth. Look for droppings also. Problems should be reported to your Physical Plant zone manager as well as the Conservation staff.

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COMMUNICATING WITH PHYSICAL PLANT FOR BUILDING ISSUES

Questions or problems regarding HVAC systems, temperature and/or humidity problems, water problems, lights, insects, windows/doors, etc., should be directed to Physical Plant (the head of Conservation Services or the head of the Preservation Department should also be notified).

Each building on campus is assigned to a zone, and Physical Plant employs Zone Managers who supervise the people responsible for maintaining those buildings. Each building also has a building representative, someone not employed by Physical Plant, who acts as liaison between that building and Physical Plant. They try to serve as the main contact for matters of routine maintenance, helping to prioritize multiple work requests.

Physical Plant organizes requests for service into three categories:

When reporting a problem, the usual protocol should be:

1. Call Physical Plant operations center at 855-8728 for emergency and urgent problems. This number is answered 24 hours a day, 7 days a week, year round. Tell them who you are and where you are calling from, and state the nature of the problem. Be as specific as possible and categorize the problem as either emergency or urgent. The dispatcher will send someone to take care of the problem.

2. Contact Conservation Services at 855-6282 and inform them of the problem. If it is an emergency that is damaging the collections (e.g., water dripping through the ceiling onto the collections), they will send staff to help you deal with it.

3. If the problem is one of a routine nature either call your building representative, send email to phypltbl@indiana.edu, or go to the web and fill in their form:

http://www.indiana.edu/~phyplant/html/request_for_service_form.html

The list of building representatives for buildings that house Library collections (current as of March 2000) follows:

Bryan Hall: Tom Swafford
Chemistry: Jack Baker
Coulter Hall: Peg McCrary
Education: Tom Scritchfield
Fine Arts: Betty Jo Irvine
Geology: John Hill or Sherry Cazee
HPER: Larry Patrick
Jordan: Steve Todd
Journalism: Judy Boruff
Law: Betty Fiscus
Lilly Library: Joel Silver
Morrison Hall: Sandy Ham
Music: Larry Stout (acting)
Optometry: Tammy Laird
SPEA: Jim Buher
Student Building: Connie Adams
Swain: Jordan Tillet

For Halls of Residence libraries, contact the Housing Managers listed in the IU Phone Book

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EXHIBITS

Despite its many benefits, the exhibition of library materials poses considerable hazards from the preservation point of view. Both general stress on library materials and localized risk of damage can be minimized by a thoughtful approach to the handling and presentation of exhibit materials and by giving adequate attention to the exhibit environment. Of primary consideration is the length of time materials will be on exhibit: the longer the duration, the more stress on exhibited materials.

What are the causes of direct damage?

Leaving materials on exhibit without adequate support, forcing exhibited materials into shapes that are too stressful on the object's materials and structures, and employment of inappropriate restraining or supporting devices can all inflict permanent damage, disfigurement, or loss. In addition, careless handling or transportation practices can result in avoidable accidents.

What are the causes of indirect damage?

Exposing exhibited materials to high levels of light, especially UV light, which can be particularly intense in locally-lighted exhibit cases can quickly raise temperatures and lower humidity to dangerous levels, drying out the hygroscopic materials which largely make up library materials (paper, wood, leathers, and vellum) and accelerating adverse chemical reactions. Many pigments and inks used in printing and the manufacture of book cloths are especially vulnerable to fading and chemical change.

Exposure to fluctuating or extreme temperatures or humidity caused by exhibit lighting, fluctuating conditions in crowded exhibit galleries, etc. can place considerable stress upon hygroscopic materials as mentioned above. High humidity levels may create favorable conditions for the growth of molds and mildews.

Exposure to poor air quality (including off-gassing from structural or lining materials used in the construction of exhibit cases or supporting/restraining devices and higher levels of contaminated outside air, the presence of people in gallery areas) can initiate or accelerate destructive chemical reactions such as acidification in paper, inks, pigments, book cloths, leathers and other materials.

What are the solutions?

Consultation and basic training in exhibition techniques is available from the Head of Conservation Services, who can provide information abut sources for safe and useful exhibition materials and make referrals to other conservators on campus.

A selection of bookmarks, posters, and bags to promote preservation awareness are available free of charge from Preservation Department.

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PRESERVATION AND STORAGE OF NON-BOOK MATERIALS

What is the most effective way to preserve and store non-book materials (audiocassettes, videotapes, photographs, film, etc.) in my collection?

The most important and effective actions that you can take to preserve all of your library materials are to create a stable environment and provide archival storage conditions. All of these items would benefit significantly if stored in a climate controlled environment. The ideal situation would be to store your collection in a separate room that is kept at 65-70 degrees F and 30% relative humidity. The containers in which the items are stored should be of archival quality. In all of the following cases the actual storage container may have a great effect on the life span of the material. If the enclosure used is not made of archival material, the acid in the enclosure will migrate to your materials and may cause staining or embrittlement. Contact Conservation for information about materials and archival product suppliers.

Once again, it is important to note that rubber bands, tape, plastic sleeves, rubber cement, paper clips, cheap mat board and glassine envelopes cause damage to your collections and should not be used. Remove any of these items left in or around materials before storing. Removal of adhesives such as tape and rubber cement should be referred to Conservation. Removing these by yourself may result in damage.

The following is a list of specific storage suggestions for non-book materials. Unless otherwise stated all of the quoted information was taken from Conservation Concerns: A Guide for Collectors and Curators, Konstanze Bachmann, editor (Washington, DC: Smithsonian Institution Press, 1992).

CONTENTS

SECTION 1: MACHINE READABLE AND ELECTROMAGNETIC MATERIAL

  1. Sound Recordings
  2. Microfilm and Microfiche
  3. Media
  4. Computer diskettes

SECTION 2: ARCHIVES AND MANUSCRIPT MATERIAL

  1. Photographic Materials
  2. Flat Paper

SECTION 1: MACHINE READABLE AND ELECTROMAGNETIC MATERIALS

An important aspect of preservation is careful handling and use of the material. The information contained in this type of ? can only be accessed by a playback machine. Therefore the maintenance of the machine is part of the preservation process. If the machinery that you use to access the information is in poor condition, you may do a great deal of harm to your collection.

SOUND RECORDINGS

 Sound records can be shellac (78 rpm), acetate (field recordings), or vinyl (most commercial LPs). Variations of heat and humidity can be particularly damaging to all sound recordings.

How should I store sound records?

 "Sound records, regardless of their size and capacity should be stored in a vertical position to avoid the deformation that occurs if they are placed at an angle. The playing surface should not be touched; records should be handled by the outside edge and the center area only. Suitable enclosure materials for sound disks are made of a laminate material that consists of three layers: paper on the outer surface, aluminum foil in the center, and polyethylene on the interior side. Such a laminate can be sealed against dust, moisture, and aggressive air pollution." Direct exposure to sunlight or overheated storage facilities may cause warping.

How should I store cassette and magnetic tapes?

 Magnetic tapes should be stored away from magnetic fields of any kind. Because of the plastic and magnetic composition of both types of tape, the life of the tape is "affected by matters relating to use and housekeeping conditions. Particulate matter, including dust, on the surface of tapes has an adverse effect on sound reproduction as well. Exposure to heat and high relative humidity may initiate degradation of the binding in which magnetic particles are embedded. Plastic support materials may contract in the cold and expand with heat causing distortion of sound. "Tapes stored in hermetically sealed packages have a longer life expectancy than otherwise." "Since a constant velocity of the moving tape is essential to obtain good quality sound, tapes should be kept at the correct tensioning level. This is achieved by rewinding them at low acceleration. Because tapes can be stretched by pulling, they should not be shuttled back and forth at high speed by switching between fast forward and reverse."

How should I store compact discs?

Because of the newness of compact discs, very little is known about their durability. "It is recommended that compact discs be stored in a vertical position in environmental conditions similar to those given for conventional discs or magnetic sound recordings."

MICROFILM AND MICROFICHE

The three types of film most common in microform collections are silver-gelatin, diazo, and vesicular. Silver-gelatin films are based on the familiar technology of black-and-white photography, and are the only microform medium that is appropriate for archival purposes. While some early microfilm had a cellulose nitrate base, contemporary film bases are acetate or polyester. Only polyester is recommended because it is the most stable base. The emulsion side of this film is matte, while the non-emulsion surface is glossy.

Diazo film is available in a variety of colors, including black. It may have an acetate or polyester base. Processed black diazo resembles silver-gelatin film but is glossy on both sides. Diazo film is reasonably stable, but eventually fades, even in the dark.

Vesicular film is made of diazo emulsion sandwiched between two polyester base layers. Its major flaw is vulnerability to damage at high temperatures--as in film readers.

How should I store microfilm and microfiche?

Rubber bands should be removed from reels of microfilm. If a film unravels, use acid-free paper to wrap around. Always use plastic reels instead of metal to avoid rust corrosion, and store in acid-free boxes. For microfiche, sleeves of high quality, acid-free, lignin-free paper or "safe" plastics (polyester, polyethylene, polypropylene, but NOT PVC or vinyl) should be used. The fiche should be sleeved with the emulsion side away from the interior edges of the enclosure to prevent abrasion.

Steel filing cabinets are preferable for microform storage. Microfiche enclosures should fit into drawers without buckling. Dividers and placement guides should be used to prevent curling, and these should be made of acid-free materials.

How do I identify damage?

Microfilm is easily scratched by equipment that is out of adjustment or misused or by rough handling. It can also be attacked by mold if stored improperly.

If you detect an odor of vinegar when you open the container, you are dealing with acetate film that is undergoing chemical deterioration. (Microfilm produced before 1980 is probably on acetate base. The use of ypolyester base has increased rapidly since the 1980s.) As the deterioration continues, it will cause embrittlement of the plastic base. Shrinkage of the plastic base can also occur, which causes the image-carrying emulsion to buckle. Crystalline deposits or liquid-filled bubbles on the emulsion are another indication of base deterioration.

Once the "vinegar syndrome" has set in, the rate of deterioration will speed up dramatically, and film so affected can cause adjacent films to deteriorate as well. When possible, degrading acetate film should be segregated from the rest of the collections and given special storage conditions to slow the rate of deterioration (i.e., lower RH and temperatures). Once buckling and embrittlement have occurred, the film cannot be restored or used.


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MEDIA

How should I store motion picture film?

"Low temperature, humidity-controlled storage is the only viable method of permanently preserving color motion pictures. A temperature of 0þ F (-18þC) or lower and a relative humidity of 30% are recommended for long term storage of all valuable camera color negatives, color reversal originals and duplicates and release prints.

"Moderate temperature, humidity-controlled storage at about 40þ F and 25-40% RH is satisfactory for preserving unfaded materials made on stable film stocks. . . .Films should be placed in vented plastic cans (vented polypropylene cans) or in high quality , vapor permeable cardboard containers. To prevent contamination of films stored in vented film cans, it is necessary that the air in the storage area be filtered so as to be completely free of dust, lint, or other particulate material.

"Motion pictures in museums, archives and film libraries should never be projected. . . . Prints. . .should be saved so they can serve as printing masters for whatever film and electronic reproduction media emerge in the future. . . .For viewing and study purposes, videotape copies should be made from prints." (The Permanence and Care of Color Photographs, Henry Wilhelm [Grinnell, IA: Preservation Publishing Company, 1993]; pp. 301-02)

How should I store videotape?

Video is inherently impermanent and will deteriorate over time. Once again, environmental controls will help tremendously. Most importantly, store videos away from magnetic and electrical fields as this slowly erases the material.

Handle video tapes only by their housing supports (cassettes). Never touch the tape surface. Do not use fast-forward or fast-reverse speeds on the playback equipment as they can distort the tape tension. Tapes should be stored in the played position ("tail out") and rewound only at the time of next use, since rewinding can cause the tension to fluctuate. Tapes should be returned to protective housings immediately following playback to avoid dust and other contamination. Stable storage conditions are essential as the plastic support material can contract in the cold and expand with heat, causing loss or distortion of the stored information.

How should I store laserdisks?

Store in vertical position. See section on compact discs under Sound Recordings for more information.

COMPUTER DISKETTES

Diskettes have many of the same physical characteristics of other electromagnetic media and are vulnerable to the same hazards. Don't store near magnetic fields or in a high temperature environment. Discard the plastic sleeves in which they come. These sleeves can create static and erase your disk.

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SECTION 2: ARCHIVES AND MANUSCRIPT MATERIAL

PHOTOGRAPHIC MATERIALS

What are the correct environmental conditions for photographic materials?

Relative humidity is the single most important factor in preserving photographs from chemical deterioration. Relative himidity should be kept below 50%, ideally at 35%. Mold growth is encouraged by high levels of relative humidity, especially above 60%. Damage caused by fungi and other microorganisms is irreversible. (See mold and mildew section and emergency procedures for more information.)

Temperature control is important mostly because of its influence on relative humidity. However, high temperatures will speed up chemical deterioration. Sixty-eight degrees Fahrenheit is the recommended compromise temperature for the storage of photographs and the comfort of people, but lower temperatures are desirable, expecially for color materials. Stable conditions are very important. Photographic materials are hygroscopic, readily absorbing and releasing moisture. They expand and contract with fluctuations in environmental conditions and these dimensional changes accelerate deterioration.

Particulate matter and harmful chemicals in the air can damage photographs. Ideally air should be filtered for these materials, and dust should be kept to a minimum.

Light can cause embrittlement, yellowing, and fading in photographs. Direct sunlight is the most harmful light source; low level incandescent (tungsten) lighting is preferred to fluorescent.

How should I house and handle photographic materials?

Storage materials can be either paper or plastic. Both have advantages and disadvantages. Plastic enclosures that are acceptable include uncoated polyester, polyethylene, polypropylene and cellulose triacetate. These transparent materials allow the image to be viewed without the risk of being damaged by direct handling. Paper enclosures should be acid-free. Buffered storage enclosures are not recommended for color images, cyanotypes, or albumen prints. They are recommended for cellulose nitrate and early safety film negatives, brittle prints, and prints on brittle acidic mounts.

Damage to photographic materials can occur through careless handling. Unsleeved negatives and prints--whether on glass, plastic film, paper or metal--should be handled only with lintless cotton or nylon gloves. Do not fold photographs or leave unprotected from dust and direct sunlight. Store large panoramic negatives or prints flat, not rolled up. Prints or negatives must not be stapled or attached to other documents with paper clips.

How do I identify damage?

Damage to photographic materials is usually caused by mechanical processes or by chemical reactions. The term mechanical processes describes the consequences of handling and physical abuse when viewing, studying, copying, printing, or exhibiting photographs. Damage of a mechanical nature occurs largely as breaking the support (paper, glass, or metal) and abrading the image layer. Chemical reactions may occur in all components of a photograph, but take place predominantly and most visibly with the image-forming substance, resulting in fading, discoloration, or staining.

Contemporary film bases have good dimensional stability. However, earlier materials were prone to shrinkage, which causes the image-bearing gelatin layer to wrinkle.

What should I know about nitrate negatives?

Any photographic collection that contains plastic film negatives from the time period of 1890-1950 may have nitrate film in it. These negatives need special attention and should be separated from other negatives. Nitrate negatives in good condition are almost indistinguishable from other types of plastic films. As cellulose nitrate deteriorates, it becomes highly combustible, posing a serious personal safety hazard as well as threatening surrounding collections. Please contact the Conservation Section for advice if you think you have nitrate negatives in your collection.

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FLAT PAPER

How should I store manuscript materials?

Flat paper should not be stacked, especially if the paper is brittle. Papers should be stored in boxes with papers of like sizes. If different materials must be stored together, you should interleave acid-free tissue or paper between items of different size and composition. The acid from acidic materials can migrate to other materials placed next to them and cause them to deteriorate.

If manuscripts are tightly rolled or if dirt, rusted fasteners or adhesives are present consult with conservation staff. Otherwise, the following steps should be taken when storing manuscripts:

1. Remove all staples, metal or plastic fasteners, post-it notes, etc.
2. Place in acid-free folders
3. Place in acid-free boxes (If file cabinets are used, make sure that the materials do not protrude at the top or sides where they would be damaged each time the drawers were opened or closed.)

How should I store maps?

Maps should be stored in acid-free folders inside map cases. "these folders should be larger than the objects inside and cut to the size of the drawer or box. Fragile or very large maps should be given individual folders. Other materials may share a folder. Interleaving with archivally acceptable paper or tissue is recommended. The number of objects per folder and folders per drawer should be a matter of common sense, determined by the condition and size of the materials. As a general rule, do not overcrowd. Each object must be stored so that it can be easily retrieved without damage. Folders should be clearly labeled in pencil or waterproof ink. Labels that include the entire contents for the folder discourage unnecessary rummaging.

Encapsulation in polyester film is an attractive solution for oversized materials especially if they are brittle or frequently handled.

For objects larger than the available drawers, rolling is a common solution. Rolling saves space and is satisfactory for materials that are flexible enough to withstand unrolling and rerolling. It is important not to roll too tightly and to support the material. Conservators recommend rolling sheet materials around the outside of a tube at least 4" in diameter. The tube should be longer than the width of the sheets so that edges are protected. . . .Once the object is rolled on the tube, the assembly should be wrapped in archival paper or given a jacket of polyester film to protect against abrasion, dust and pollutants. The outer jacket may be secured with ties of undyed fabric tape, strips of cloth or polyester ribbon." (Storage Solutions for Oversized Paper Artifacts; NEDCC Technical Leaflet, 1993)

Please consult with conservation staff on maps that are folded, brittle, or taped.

Ultrasonic encapsulation between two sheets of Mylar is now an option for all flat paper objects. Encapsulation was formerly done using double-sided tape. The new technology accomplishes the same thing but in a much more attractive and archivally sound manner. Consult with conservation staff about this treatment option.


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DISASTER PROCEDURES

Contents:

  1. Emergency Procedures
  2. Water Emergencies
  3. Shelving Collapse
  4. Disaster Response

For more complete information, see the Main Library Disaster Response Plan.

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EMERGENCY PROCEDURES

The following information deals primarily with water emergencies as they affect Library collections. Issues of personal safety are not addressed here.

It is important that each unit of the IU Libraries have its own disaster response plan in place so that, in case of emergency, staff know how to react. The plan should include a list of the people to contact, during regular daytime hours as well as evenings and weekends, with their work as well as home phone numbers (please make a copy of this list and send it to Conservation Section, Main Library), a floor plan of the library in question, a list of materials/collections ranked as to their importance (or areas marked on the floor plan as the highest priority for salvage), a list of emergency supplies on hand (plastic sheeting, buckets, interleaving material, flashlights, extension cords, electric fans, duct tape, etc.), and general directions as to salvage procedures.

The Preservation and Reformatting Services Head and the Head of Conservation Services are available for consultation when preparing the branch library plans.

WATER EMERGENCIES

PERSONS TO SUMMON WHEN A WATER EMERGENCY OCCURS

It is the responsibility of the person first observing the water emergency to call the Research Collections Circulation desk at 5-4501 or 5-4673 (for emergencies in the Main Library) or Branch Librarian AND a member of the Recovery Team. The Research Collections Circulation staff or Branch Librarian should call the Physical Plant 24 hour emergency number (5-8728) to report the problem. The Recovery Director is responsible for contacting all other appropriate personnel.

INVENTORY/PRIORITY LISTS

Attach here, for each department, office, and area, lists of all materials located therein, showing priority for salvage should a disaster occur. To simplify this procedure, assign priorities as follows:

#1 - Salvage at all costs
#2 - Salvage if time permits
#3 - Salvage as part of general clean-up
#4 - Expendable

The following questions may be helpful in determining priorities:

  1. Is the item critical for ongoing operations of the institution?
  2. Can the item be replaced: At what cost?
  3. Would the cost of replacement be less or more than restoration of the item?
  4. How important is the item to the collection?
  5. Is the item available elsewhere or in another format?

Perhaps the highest priority should be given to bibliographic controls of your collections, such as card catalogues, shelf lists, accession records, inventories, and finding aids.

Specific collections or areas will most likely be second on your priority list.

WATER EMERGENCIES--First Steps

If minor leak:

  1. Cover library material in affected area, or try to catch water in buckets or wastebaskets before it damages materials
  2. Notify Physical Plant (24 hour emergency number, 5-8728)
  3. During the hours that the Main Library is open, report problem to 5-6282 (Conservation) and Custodians. (In the Main Library, notify Circulation, 5-4673, who will make arrangements with the Custodians.)
  4. After hours, call Recovery Team
If major water problem occurs:
  1. Do not enter flooded area
  2. Notify Physical Plant (24 hour emergency number, 5-8728)
  3. Notify Recovery Team
  4. Evacuate area (unless doing so would endanger safety of people)

When calling the 24 hour emergency number to report a water emergency to the Physical Plant, BE SPECIFIC about the nature of the problem. Do not say there is "a leak" if there is water running on the floor or pouring from the ceiling. Tell them the exact nature of the problem and that library materials are being damaged.

Red Emergency phones are located on each stack floor in the Main Library, sometimes two per floor. When the receiver is lifted, a call is automatically placed to a dedicated emergency phone at Research Collections (RC) Circulation. The emergency phone may also be reached by dialing 5-4501. Calls to this number should be limited to emergencies of a serious nature.

WATER EMERGENCIES -Salvage procedures

Immediate action is essential to minimize loss of library materials. All paper-based materials will mildew in air within 48 hours if the temperature is above 65 degrees Fahrenheit and relative humidity is above 65%.

Once the source of water is stopped, and if only a small amount of material is wet, the following activities can be carried out until Preservation and Reformatting Services assistance arrives. If you cannot handle the amount of wet material present, wait for Preservation and Reformatting Services assistance. In all cases, contact the Preservation and Reformatting Services as soon as possible.

  1. General steps for handling wet books:
    • Cover work tables with plastic sheeting, newspapers or paper towels
    • Do not open wet books or separate single sheets of paper
    • Keep books well supported, using two hands
    • Do not try to remove mud or dirt by rubbing

  2. General steps for air drying:
    • Begin clean up of area. Remove mud, glass, debris.
    • Initiate record keeping system
    • Separate into three categories: wet, dry, damp
    • Pack or move via book trucks to dry area
    • Move wet and damp items to drying area (with fans, air conditioners, dehumidifiers)
    • Unpack wet and damp items for air drying onto work tables covered with plastic sheeting
    • Interleave newsprint in volumes with clay coated papers (between every page), removing wet newsprint periodically
    • Fan books for quicker drying (open covers so book will stand alone with pages slightly open)

  3. General steps for freeze drying:
    • Wrap every other volume in waxed or freezer paper--one piece covering both covers and spine, leaving ends open
    • Place flat, or spine down, one layer deep, in milk cartons or rigid cartons
    • Tape top of box closed
    • Move box to freezer

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COLLAPSE OF SHELVING AND OTHER STRUCTURAL ACCIDENTS

Collapse of shelving and other structural accidents, such as the collapse of a ceiling or a wall, can be the result of explosions, earthquakes, floods, or natural deterioration. In the event of such an emergency, follow these guidelines:

  1. When structural damage to the building occurs call the 24 hour emergency number for Physical Plant (5-8728) and be specific about the nature of the damage. That department will assess the damage and determine when it is safe to enter the area. They will work closely with the Recovery Director and keep Library Administration informed of the damage and repair/clean-up operations.
  2. The Recovery Director will assess the damage to the affected materials.
  3. The recovery operation for library materials may include:
    • Reshelving by Access Services or Branch staff
    • Evaluation of damage and indication of repair options by Conservation staff
    • Decision-making on individual items by subject specialists

DISASTER RESPONSE-Checklist

This section give general information on the responsibilities of the Recovery Team and outline the steps necessary for a successful salvage operation following a disaster of any kind that affects the Library collections. It is presented here so that every one may better understand, in advance, the process involved.

  1. Appraise damage
  2. Stabilize conditions
  3. Formulate recovery plan
  4. Establish command post
  5. Assemble supplies and equipment
  6. Assemble and train salvage team
  7. Carry out recovery operations
  8. Document actions
  9. Write post-disaster report

DISASTER RESPONSE

The first concern should always be the safety of individuals. The recovery process should begin only after an emergency situation has been brought under control. The Recovery Team is responsible for coordinating all salvage procedures in the aftermath of an emergency situation.

In order to formulate and conduct an efficient salvage operation, the Recovery Team will perform the following basic steps:

  1. Appraise the damage, giving special attention to such matters as the extent and nature of the damage, the quantity of material affected, and the conditions under which salvage operations will have to be conducted.
    In appraising the damage, proceed into the disaster area with caution. If area is flooded or there is doubt about the safety of conditions (e.g., electricity, contaminated water, structural damage, etc.) contact Physical Plant (5-8728) or Fire and Safety (5-4476) and have them check the situation first.
  2. Stabilize and control conditions within the disaster area in order to prevent further damage. For example, in the event of water damage, have environmental controls adjusted to reduce temperature and humidity and increase air circulation.
  3. Formulate a recovery plan, consulting with involved and concerned individuals in the Library and University, and seek the advice of experts when necessary. The objective of this plan is to salvage the maximum number of volumes in a manner that will mi nimize the cost of restoration required.
  4. Assemble necessary supplies and equipment for the salvage operation and make arrangements for any services or outside facilities which may be needed.
  5. Assemble and train the necessary salvage team and arrange for their physical well being while involved in the recovery effort.
  6. Carefully document all actions taken during salvage operations. Written records should be supported with photographic documentation whenever possible.
In order to formulate the most efficient recovery plan for the conditions encountered, these general guidelines should be followed:
  1. Avoid hasty decisions even though time may be of the essence and confusion may reign. Advice of experts familiar with the disaster conditions should be sought in this respect. Develop a plan before involving people or taking large-scale action.
  2. Encourage the Library administration to make an early decision on whether conditions warrant closing of the Library during recovery, or if salvage efforts can be conducted while regular Library operations continue.
  3. Establish a command post in a central location from which salvage operations can be directed, supplies and team workers can be assembled and contacts with emergency authorities, resource services, media, etc. can be maintained.
  4. The Recovery Team Leader should assign responsibilities clearly for vital duties such as those suggested below:
    • Recorder to be responsible for documenting all assessments made and actions taken during the recovery effort, for keeping accurate and complete records of all materials that may have to be removed from the Library, for coordinating photographic documentation, and for recording sources of all services and assistance received during the salvage operation for later expressions of appreciation.
    • Training Coordinator to be responsible for overseeing the training of all recovery crews and for identifying problems in the salvage plan once the effort is underway, such as logistical bottle-necks, impractical operations, problems with staff, etc.
    • Communications Coordinator to be in charge of all incoming and outgoing calls involving such matters as assembly of supplies and workers, requests for services, contact with the media, etc.
    • Media Coordinator to be responsible for communications with the media when the situation warrants. Assigning one individual to this duty will avoid conflicts and contradictions in reporting recovery activities. This duty may be assigned to the Communications Coordinator, if appropriate.
  5. Establish security measures whether the salvage operation is to be conducted with the Library open or closed. Access to the disaster area should be restricted. Special access control measures may need to be instituted even if the Library remains open, not only to prevent theft and further damage to materials, but also to prevent salvage operations from being disrupted.
  6. Choose an adequate work area, dependent upon conditions, which will provide sufficient space for salvage operations, be it as a treatment area, an assembly point for the removal of materials, or other purposes. The area should also be one which provides for the safety of the salvage workers involved.
  7. Should it be necessary, remove damaged materials according to established priorities, unless conditions dictate otherwise, and maintain accurate records, through shelf list or other sources, of the materials removed.
  8. A written post-disaster report is an essential component of the salvage operation. This report should summarize the emergency situation and all actions taken during the salvage operation. It should emphasize what went right and what went wrong. Once this assessment has been made, the Disaster Preparedness Manual should be amended to reflect the necessary improvements identified during the recovery experience.
  9. Replace any on-site emergency supplies expended during the salvage operation.
  10. Written expressions of appreciation should be made to those who provided time and effort, supplies, services, or expertise to the salvage operation.

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Last updated: 16 March, 2000
URL: http://www.indiana.edu/~libpres/Manual/prsmanual2.html
Comments: memcafee@indiana.edu
Copyright 1997, The Trustees of Indiana University

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