I had the pleasure of visiting Washi no Sato, a papermaking park, near Higashi Chichibu in the Saitama prefecture just outside of Tokyo at the end of April. The staff demonstrates traditional paper-making skills and lets visitors make their own sheet of paper and decorate it with leaves and flowers. They also make large sheets of paper which are fairly heavy and used for wrapping papers. When we visited they weren’t in full production mode, but I got some photos of their equipment and videos of one of their papermakers in action.
UCLA Library Conservation Center
The UCLA Library Preservation Department is offering a conservation pre-program internship for qualified students who are applying for Masters-level training in conservation. This internship will provide experience to pre-program students or individuals currently in graduate level conservation programs in conservation decision making, treatment and documentation for library and archival collections. The conservation intern will work under the supervision of the collections conservator to perform repair or make enclosures for materials selected from the collections. Relevant literature will be reviewed prior to conservation treatment and all projects will be documented.
Application deadline is May 7, 2013.
On Tuesday, March 19, I volunteered at the water salvage workshop put together by LAPNet (Los Angeles Area Preservation Network) and hosted by the University of Southern California. Julie Page of the California Preservation Program (CPP) and the Western States and Territories Preservation Assistance Service (WESTPAS) led the workshop. Thirty-six professionals from libraries and archives from around southern California (including two UCLA Librarians – shouts out to Susan and Diane) assembled at the gorgeous Doheny Library for an afternoon, to absorb Julie’s extensive disaster preparedness knowledge. Following a brief presentation about essential disaster prep tools, the crowd, along with several of us LAPNet steering committee members, reassembled in the courtyard to get our hands on a wide assortment of materials, and perform rescue procedures.
Earlier that morning, Julie had put together trays of water that she liberally stocked with archival materials of all types. She had collected black & white photographs on both resin-coated and fiber stock; color photos; colored paper; standard office files stuffed with typical photocopies and laser prints; blueprint materials; large colorful maps (that I was sorely tempted to rescue); black & white negatives; color slide positives in both paper and glass carriers; brittle old scrapbook pages with newspaper clippings (note: these come loose in water); colored paper of various vintages; and glossy magazine paper.
In addition to these wide trays, Julie had placed a variety of books upright in several inches of water in larger plastic containers. The books rapidly absorbed the water and expanded, filling up the initial inch or so of open space to either side. She’d also put together a metal shelf and loosely populated it with books which she doused with water from above. These too plumped with the moisture, making them difficult to unshelve by midday.
Following her lecture, workshop participants got to experience interleaving the books with paper towels, propping them with pages fanned open, and using plastic straws to lightly lift the boards to permit airflow. Another interesting technique involved using Velobind combs to gently keep pages open and stabilized in case of any breeze.
We used sheets of mylar to carefully retrieve, using water tension, documents floating in the wide trays. Dispersing the wet pages across the provided tables on paper towels, we were able to successfully dry our sample materials. Some participant groups were positioned at tables that were unfortunately situated in the full afternoon sun, which caused rippling in the paper of their items as they dried. My table happened to enjoy a shady spot, and our materials seemed to dry more smoothly.
In addition to shade, we learned that a salvage effort will require far more tables than you’d imagine. One estimate is that a standard archival box containing approximately one cubic foot of material will require up to 30 six foot long tables of drying space.
I highly recommend participating in a workshop like this if you can. Even better, Julie suggests helping out someone else’s library or archive recover from their water emergency. You gain direct, hands-on knowledge of how different materials react to submersion – and your colleagues will definitely appreciate the help.
–Dawn Aveline, Preservation Specialist.
Contributed by NYU Libraries Media Preservation Unit’s Preservation Lab Manager Ben Moskowitz.
Media falls off of cores–it’s the worst. You spend all that time and effort to get that perfect wind just to lose it when you take the reel apart. Back in my film school days, when I edited on Steenbeck in a little dark room that reeked of mold and stale cigarettes, I was taught to always pack two things with me: a bottle of aspirin, and a 1” core. The aspirin was self-explanatory. The 1” core was for when film became de-cored from its 2” core, which happens. A lot.
If the core falls out in anyway, you remove the core completely. There is no sense in trying to put it back on–you can’t unscramble an egg. The next step is to place the 1” core in the hole left by the 2” core. From there you can simply wind the film onto the smaller core. Easy.
Well that works fine and dandy for film, where small cores are viable. But what do you do when your ¼” audiotape falls off its core? There is only one size ¼” audio core. However, there are 8mm cores, which can be a makeshift substitute. Follow the same process as film: place the 8mm core in the hole where the ¼” core used to be. Once you have re-cored the ¼” audiotape to the 8mm core, you simply place it all on a split reel and wind the tape back onto a proper ¼” audiotape reel and no one will know the difference.
Please note: much of the below is taken from the UCLA Library Special Collection’s finding aid, which was vetted by June Wayne herself.
Visual artist June Claire Wayne was born on March 7, 1918 in Chicago, Illinois, where she was raised by her divorced mother, Dorothy Alice Kline. At age 15, Wayne dropped out of high school to pursue a career as an artist. By 1938 she had achieved prominence among world-famous writers, actors, artists, and scientists in an international milieu.
When WWII ended, Wayne left Chicago to settle in Los Angeles, where she became an integral part of the California art scene. Inspired by her training in production illustration, Wayne began to produce seminal works of optical art, including The Tunnel and the Kafka series, in the mid 1940s. She continued to expand her artistic horizons, taking up lithography at Lynton Kistler’s facility in 1947. Ten years later, she began collaborating with master printer Marcel Durassier in Paris. In their groundbreaking work on the John Donne suite, Wayne invented many of lithography’s current techniques, vastly expanding the aesthetic potential of the medium. In order to restore the art of lithography in the United States, she founded the Tamarind Lithography Workshop with the support of the Ford Foundation in 1960. Now known as the Tamarind Institute of the University of New Mexico, this organization continues to thrive and help artists become free enterprise workers in the print world.
The collection at the UCLA Library consists of June Wayne’s personal and professional correspondence and documents pertaining to her career as a painter, lithographer, weaver, writer and political and civil activist. Through the Arcadia fund, UCLA Library Preservation Unit has recently undertaken the digitization of many of the rare audiovisual materials in the collection. The contents of these vary, including audio recordings of the Joan of Art seminar series, audio “letters” from June Wayne to Mary Baskett (author of The Art of June Wayne in 1969), home movies, documentation of exhibitions, and many other lectures and interviews of Wayne throughout her career. There is still much work to be done, but eventually the digitized files will be available to researchers through the UCLA Library Digital Collections program.
June Wayne passed away on August 23, 2011 in Los Angeles.
This audio clip is of June Wayne speaking at one of the Joan of Art Seminars in 1972. The original item is held by the UCLA Library’s Special Collections and was reformatted for preservation through the Arcadia fund. Click the following: JoanofArtClip72
<<Siobhan Hagan, Audiovisual Preservation Specialist
A vandalized library book from YRL’s open stacks receives special treatment at the Conservation Lab
A special report from Conservation Technician Wil Lin.
At the Library Conservation Center we regularly receive mutilated library materials–their incompleteness often the result of vandalism or theft. Such damage can range anywhere from a few missing leaves to entire chapters razored out of books. The former is easy to remedy with simple page replacements, but the loss or damage in the latter case can be so extensive as to make replacement or repair no longer viable. » Read the rest of this entry «
At the end of June, I left the humid cornfields of Iowa and headed west to spend the summer in sunny southern California. It is now almost September as I sit to reflect upon the past eight weeks that I have spent as an intern at the UCLA Library Conservation Center (LCC). The past two months have gone by quickly, but they have been an invaluable experience for me as I continue to look towards future graduate level study in conservation.
My name is Amanda Smith and I graduated this Spring with a master’s degree from UCLA’s Moving Image Archive Studies (MIAS) program. During the quarter before I graduated, I was an intern in the Preservation Unit of the UCLA Library working with Siobhan Hagan on audiovisual materials. I had a great time and learned a lot, so I wanted to share a little bit of what I did. » Read the rest of this entry «
Frank Zappa discusses music in libraries! This clip is from an interview with Frank Zappa conducted on October 12, 1988 by Martin Perlich. Perlich, a writer, producer and distinguished broadcaster, hosted and produced the interview series ARF!! (Arts & Roots Forum) which aired daily on Los Angeles public radio. The show featured major cultural figures as well as dozens of arts figures. UCLA Library Special Collections holds the Martin Perlich Interviews 1965- Collection. A recent preservation reformatting project uncovered this aural gem: and there will plenty more to come in the near future!
Click to hear:
<<Siobhan Hagan, Audiovisual Preservation Specialist
I was sorting through a couple bins of damaged books from the Young Research Library yesterday and came across a 1957 edition of S.R. Ranganathan’s the Five Laws of Library Science (Madras, India: Madras Library Association, 1957). The half title page included the fabulous illustration above used by the Madras Library Association.
S.R. Ranganathan was a president of the Madras Library Association, but I don’t know if he was at the time this logo was designed or when the book was published. He also had a brilliant mind – one of the greatest in the library field ever. » Read the rest of this entry «