Archiving Ephemera Archivist Ephemera Archives
PRESERVATION GUIDELINES
FOR EXHIBITING LIBRARY AND ARCHIVAL MATERIALS
University Library
University of Illinois at Urbana-Champaign
TABLE OF CONTENTS
I. INTRODUCTION
II. EXHIBIT FUNDING AND OTHER ASSISTANCE
III. SELECTING MATERIAL
IV. GENERAL GUIDELINES
V. GUIDELINES FOR MANAGING LIGHT SOURCES
VI. GUIDELINES FOR MANAGING TEMPERATURE AND RELATIVE HUMIDITY
VII. GUIDELINES FOR EXHIBIT CASES
VIII. GUIDELINES FOR SUPPORTING PAPER-BASED MATERIALS
IX. GUIDELINES FOR OTHER TYPES OF MATERIALS
X. GUIDELINES FOR CREATING EXHIBIT LABELS AND CAPTIONS
APPENDIX A—LIGHT SENSITIVITY OF EXHIBIT MATERIALS
APPENDIX B—MATERIALS COMMONLY USED IN EXHIBIT CONSTRUCTION
APPENDIX C—ADDITIONAL RESOURCES
I. INTRODUCTION
Exhibitions are a valuable tool for promoting the Library’s rich and varied collections and for attracting the attention and support of students, faculty, and the public. Moreover, exhibits are an important part of the library’s educational mission to make available “published materials [and] unpublished documents…that together comprise a current and retrospective record of human knowledge.
Exhibits, however, pose a number of preservation challenges, especially for fragile materials. By following a few simple guidelines, provided below, damage to collections can be avoided. Good preservation practices and good exhibit design need not be mutually exclusive.
II. EXHIBIT FUNDING AND OTHER ASSISTANCE
Some of the support materials mentioned here are available at the Development Office. The Conservation and Preservation Units may also supply additional materials if necessary. These units are also happy to provide guidance and assistance throughout the exhibition process.
Additional funding for materials valuing up to $100 may be requested through the Exhibits Committee.
III. SELECTING MATERIALS
An item’s physical condition should be first be considered when selecting materials for exhibition. Not all materials can withstand the hardships of display. Select only those pieces whose physical condition will not be harmed in any way through exhibition. Assess each piece carefully to determine its ability to stand the rigors of an exhibition. If in doubt, consult Conservation or Preservation for guidance.
IV. GENERAL GUIDELINES
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Exhibit cases should be as clean as possible before exhibit materials are installed.
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Hands should be washed prior to handling library and archival materials. Some materials, such as photographs and some metal objects, require the use of clean cotton gloves at all times. (Dirt or body oils will cause deterioration.)
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Handle fragile or sensitive materials as infrequently as possible and use both hands.
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Handle only one item at a time.
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Be aware of any peculiarities of the material involved such as loose or protruding sections and look for existing damages before moving it.
1 University Library Mission Statement
2 ANSI/NISO Standard Z39.79-2001
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Never leave materials on the floor during installation or de-installation. Floors harbor many dangers: insects, dirt, moisture, and foot traffic.
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Use sturdy boxes, preferably acid-free, to transport materials from one location to another. Fragile or sensitive items should be transported in boxes padded with acid-free tissue or a natural fabric such as cotton. Do not use bubble wrap, as it can stain items or accumulate condensation if exposed to a dramatic increase in humidity. Use a cart to move large boxes or numerous boxes.
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Securely lock display cases and periodically examine them for tampering or breakage.
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For unenclosed displays mounted to walls, use facsimiles in place of original materials.
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For fragile and sensitive materials, if available, use a facsimile.
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In flat cases, for optimum visibility, especially by individuals in wheelchairs, prop up exhibit materials and labels in manner that it does not damage the materials.
V. GUIDELINES FOR MANAGING LIGHT SOURCES
Visible and ultraviolet (UV) light can easily damage exhibit materials, particularly paper ones, through yellowing, fading and disintegration. Thus it is important to follow the guidelines set out below.
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A maximum exhibition length should initially be determined for each exhibited item based on its light sensitivity, anticipated light level, and its cumulative past and projected exhibition exposure. Generally, the exhibition duration for light-sensitive items is about 12 weeks with 8 hours of exposure daily. (Commensurably longer exhibit durations may be set for items of lower value or that are not considered rare or unique.) A UV light meter can be used to determine UV levels in an exhibit space, and data event loggers can be used to determine visible light levels over an extended period of time. Blue Wool Standards cards can also be used to predict the extent to which materials will be damaged during exhibits. These items must be installed in the exhibit space ten weeks (or a time equal to the duration of the exhibit) before the exhibit takes place, so request this test from the Preservation Unit well in advance.
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Because light damage is cumulative over the life of an object, even low levels of illumination may result in degradation if the exposure is long enough. Ideally, upper limits of light intensity in exhibit spaces should be at maximum 50-75 microwatts per lumen of UV radiation and 50 lux for sensitive items that are lit for 10 hours a day for 100 days.2 (See Appendix A for a list of sensitive materials).
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Cover windows in exhibit areas with blinds, shades, or curtains whenever possible.
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If covering natural light sources is not possible, install ultraviolet filters to control light levels. UV filters are available in the form of plastic sheets or rigid panels, which can be cut with scissors and applied directly to windows or cases. Although rigid panels are generally more expensive than sheeting, they tend to be less noticeable and easier to remove. Both are only effective for a limited time and must be replaced periodically according to the manufacturer’s specifications.
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Install ultraviolet filters over indoor lights. Place UV light filtering sleeves over fluorescent tube lighting. If your department has UV filters for natural and indoor lighting, make sure that they are still effective. These filters have a lifespan of 5 to 15 years depending on the intensity of light in the room. Replace old filters. There are also low UV emission tubes or bulbs available, but these are more expensive and harder to distinguish from regular tubes.
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Because they emit heat, position incandescent light fixtures at least three feet away from the exhibit case.
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Particularly light sensitive materials, such as most color photographs and some colored writing inks, are not good candidates for exhibition. See Conservation or Preservation for guidance on individual items.
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To prevent uneven fading, do not place any portion of an object over another or put an object in an environment where light levels cannot be maintained at the recommended conditions.
VI. GUIDELINES FOR MANAGING TEMPERATURE AND RELATIVE HUMIDITY
The optimal environment for most library materials is a constantly maintained temperature no higher than 75 degrees Fahrenheit and a constant relative humidity level between 30 and 40 percent. However, these factors are not easily controlled in many areas of the Library. When it is not possible to control the overall environment, steps can be taken to regulate relative humidity within the exhibit case. For particularly fragile materials, avoid putting them in environments that experience radical shifts in temperature and relative humidity.
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The first step in controlling the micro-environment is to determine the humidity levels inside the case. The Preservation Unit can monitor the relative humidity of an exhibit space prior to exhibition using event data loggers, which can generate downloadable graphs that illustrate environmental fluctuations. Please consult the Preservation Unit at least a month in advance of the exhibition to install one of these devices in the exhibit spaces. Be aware that seasonal changes in temperature will cause relative humidity to fluctuate.
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A simple method for regulating relative humidity is to incorporate naturally absorbent materials into your exhibit cases, such as cloth made of natural fibers or acid-free card stock.
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For items that are especially sensitive to relative humidity changes, such as photographs and vellum bindings, use additional desiccants such as silica gel to control excess humidity. Please note that this method is less effective in older exhibit cases, which do seal tightly. The use of silica gel requires careful calculation and prior conditioning to achieve the desired level or relative humidity, so consult the Preservation Department for assistance.
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Some items are particularly sensitive to changes in relative humidity and thus might not be suitable for exhibitions in which the humidity cannot be adequately controlled. For example, parchment and vellum may contract violently and unevenly if displayed in too dry an environment, or if moved to an environment drier than that in which it has been stored. Conservation and Preservation can provide further guidance on individual items.
VII. GUIDELINES FOR EXHIBIT CASES
Selecting the appropriate exhibit case is essential to preserving library materials. Many cases, such as those of wood, especially oak, can harm papers, photographs, and metal objects through gas emissions. If possible, use only new cases constructed of safe materials such as metal, plexiglass, and some sealed woods (see Appendix B for a list of safe materials). These cases can be purchased commercially or locally according to the Library’s specifications. If building new cases is not feasible, an alternative is to create isolating layers between the objects and the walls and floor of the cases.
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If possible, never allow the original object to come into direct contact with surface of the exhibit case. Instead isolate it with a layer of nonreactive material, such as acid-free card stock, ragboard, polyester film (Mylar), and Marvel Seal, which provides a good barrier against moisture and gaseous pollutants. Individually mount or encapsulate in Mylar photographs and letters to prohibit contact. Cover the floor of the case with a nonreactive material plus a natural fabric lining such as linen or cotton.
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Have (the conservation department? This section does not make sense. Do we allow exhibitors to paint cases?) seal wood cases before the barrier is installed to provide protection against pollutants. Avoid oil-based products. Conservators recommend water-born polyurethanes and some two-part epoxy sealants. It is also important to remember cases must be allowed to “air out” for at least three weeks after sealing. Cases can also be sealed, or gasketed, using acrylic or Teflon (not rubber). However, for some older cases, sealing and gasketing may provide few benefits; consult the Conservation or Preservation Units for recommendations for specific cases.
VIII. GUIDELINES FOR SUPPORTING PAPER-BASED MATERIALS
Paper can last for centuries if properly made and cared for, though generally it is fragile and highly susceptible to damage by environmental conditions, insect pests, and mishandling. Deterioration of paper may also be caused from inherent faults. Newspapers and paperback books, for instance, are made from types of paper that are by nature short-lived. Acceptable conditions for the preservation of paper are a maximum 50-55% relative humidity at 68 ° Fahrenheit.
A. Guidelines for Photographs
Photographs require special care because of the emulsion layer.
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Whenever possible, use facsimiles for exhibition in order to protect originals.
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High humidity will cause color photographs to fade. The optimum relative humidity for color photographs is 25 – 30%. For black and white photographs, the primary causes are excessive temperatures (above 70 °F), extremes in relative humidity (above 60% or below 15%), and oxidizing gases from storage or exhibit materials that cause chemical deterioration, such as wood. Formaldehyde-based plastics and wood are also detrimental to photographs if they come into direct contact with the materials for an extended period of time.
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Use only acid-free boards for mounting photographs and avoid using alkaline buffered materials.
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Protect all photographs with Mylar to provide a barrier against light and to prevent contact with exhibit case surfaces. Mylar is a commercially-produced transparent sleeve that can be obtained through the Conservation Unit.
B. Guidelines for Supporting Bound Paper-Based Materials
Displaying bound materials such as books, pamphlets, scrapbooks, journals, musical scores in an open, semi-upright position, requires care. While exhibiting bound materials in the open position can greatly enhance an exhibit, it can also harm the material. By utilizing a few relatively inexpensive means of support, bound materials can be exhibited in the open position relatively safely.
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Open bound objects only as much as its binding will naturally allow. . Never lay flat (180 degree angle) a bound object. Even when the spine appears to be fairly flexible and the paper is in good condition, a volume should never be opened beyond 130 to 135 degrees.
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Provide bound objects with adequate support, as binding and paper are fragile. To properly support bound objects, use a cradle, a support device constructed from a nonreactive material such as acrylic sheeting or acid-free card stock for smaller items. Cradles should be large enough to support the entire object and should conform to its angle in the open position. Mass-produced cradles are available in many different sizes from conservation suppliers, and the Conservation Library can also produce custom-made Plexiglas cradles for exhibits.
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If the pages do not remain open naturally, wrap a strip of Mylar around each side of the open book and secure it with 3-M no. 415 double-sided tape. Do not let the tape come in contact with the volume.
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If possible, turn the pages every few days to protect the text from light damage and to avoid differential fading or yellowing.
C. Guidelines for Supporting Unbound Paper-Based Materials
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Support unbound paper objects, such as letters, photographic materials, sheet music, and other loose sheet items with ragboard or acid-free card stock. Not only will such materials provide support during setup and exhibition, they will also help to absorb acids and excess humidity. There are several methods for securing loose sheets to supports. Sheets can be mounted in window mats, or attached to a ragboard or acid-free cardstock support using corner or edge supports. Recommendations vary depending on the type and condition of the material. Consult the Conservation Unit for guidance in providing support for individual items.
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Encapsulate objects and their backing supports in Mylar to prevent against light damage. Leave unsealed one side to allow for the release of acids. You can order pre-made polyester sleeves, such as Foldlock Sleeves from Light Impressions Direct, in standard photograph and document sizes. The Conservation Unit will perform encapsulation upon request.
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Never use sticky substances, such as silicone rubber adhesive, to attach objects to supports.
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Never allow non-archival tapes to come in direct contact with the object.
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Never use pins, thumbtacks, screws, or other metal fasteners with an object.
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Use staples and velcro stickers only for support material and never for the artifact itself.
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Once supported and encapsulated, prop up sheet artifacts with mounting board covered in cloth and attached with staples or Velcro fasteners.
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Attach objects to physical supports in a manner that prevents damage to the object, such as through slippage, sagging, and distortion.
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Use supports that fit the materials they display in terms of size and weight. Make sure that each support is capable of withstanding an item’s weight.
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Do not fold original artifacts (consisting of paper, textiles, etc.) in a manner that puts undue stress on the object.
IX. GUIDELINES FOR OTHER TYPES OF MATERIALS
A. Wood
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When displaying wooden items, maintain optimum humidity and temperature levels of 50-55% RH and 68°F to avoid cracking or warping of wooden artifacts, veneers, and inlays.
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Improper or inadequate support during storage and exhibition warps wood. Consult the Conservation or Preservation Units for recommendations on supporting individual artifacts.
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With regards to lighting, treat wood like paper (see above).
B. Textiles
Light causes both fading and weakening of the fibers in textiles. The more intense and longer the duration of exposure, the more rapidly the fiber deteriorates.
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Some dyes, such an aniline dyes, are more fugitive than others and some fibers, such as silk, are more sensitive to light damage than others. Contact Conservation or Preservation for information on specific types of textiles.
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Store and exhibit all textiles in a flat position. Folding a textile may lead to possible creasing, bruising, and tearing of the fibers as well as attracts harmful insects.
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If folding cannot be avoided, pad the folds with materials such as such as washed cotton or muslin sheeting, acid-free papers or relatively inert plastics (polyethylene and polyester). Only these materials should come in contact with textiles.
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Store and exhibit all textiles using acid-free papers or cotton sheeting to prevent yellowing, which can occur if they are stored in plastic.
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Do not use alkaline-buffered paper or board for supporting textiles.
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Whenever possible, display costumes or uniforms should on mannequins made of inert materials custom-made to fit the artifact.
C. Metals
Many metals are quite fragile and subject to corrosion, the formation of mineral incrustations, and the loss of metallic properties.
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Keep metals in an environment with a relative humidity near 35% (A compromise must be made if the metal artifact is also made with humidity-sensitive materials like wood.) Higher levels of relative humidity in combination with oxygen increase the potential for corrosion of metal objects.
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Include acid-absorbing materials such as natural cotton or linen fibers or acid-free board stock when exhibiting metal objects. Physical contact with materials with a high acid content, such as oak exhibit cases, accelerates deterioration.
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Keep lead objects out of direct contact with acid-containing materials, such as oak. Lead is especially sensitive to acid vapors and acid combined with moisture and may acquire a powdery white surface, evidence of unstable lead carbonate.
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Wear clean cotton gloves at all times when handling metal, and especially lead, artifacts. Oil and sweat from skin can accelerate deterioration
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Before handling metal objects, remove rings, necklaces, keys, etc. that may dent the object. Metal objects may not be as strong as they appear. If there is a thick layer of corrosion the actual remaining metal may be quite fragile. Some metals are softer than others, and all metals scratch easily. Proper support should be provided for weak metal objects. Because support needs will vary greatly, consult the Preservation or Conservation Unit for recommendations on specific materials.
D. Bone, Horn, Ivory, Hair, Feathers, Wool, and Ivory
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Leather: The optimum environment for leather is a stable relative humidity of 50% (+ or - 15%) and temperatures ranging from 55-75° F.
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Ivory: Filter light in cases with ivory objects, as ivory loses its natural coloring when exposed to UV light. Make sure that the humidity is stable and above 30%. Low and dramatic fluctuations in humidity will cause cracking. Wear gloves when handling ivory objects and keep them away from other objects, as they easily stain. Make sure to pick the proper support to avoid staining.
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Bone: Wear gloves when handling ivory objects and keep them away from other objects, as they easily stain. Make sure to pick the proper support to avoid staining.
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Feathers and Wool: Use filtered light, avoid rough handling (leads to abrasions), and make sure the relative humidity is constant, and do not place in contact with acidic or alkaline materials, such as buffered paper or board.
X. GUIDELINES FOR CREATING EXHIBIT LABELS AND CAPTIONS
Exhibit labels and captions can greatly enhance the impact of an exhibit. Here are some guidelines to help with display.
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Use acid-free white paper or colored paper in a light shade that does not hinder readability. Paper labels can be backed with acid free board for support using the safest adhesives available (see Appendix B). PVA and spray adhesives should be allowed to cure in a well-ventilated area for at least 24 hours before inclusion in an exhibit.
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Print labels in black ink.
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Use a san-serif font, such as Verdana, or a simple serif font, such as Times New Roman.
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Use at least 24 point size and bolded for main titles of captions, least 20 point and bolded for general captions, and at least 18 point for text. Font size should be increased proportionately according to the distance of the reader from the label.
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Justify paragraphs with at least at 18-point space in between paragraphs.
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Labels should be displayed at an angle that is still readable for patrons in wheelchairs. If necessary, labels can be propped up using ‘wedges’ or triangles out of corrugated cardboard and 3-M no. 415 double-sided tape.
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Labels should never come in direct contact with exhibit materials.
APPENDIX A—LIGHT SENSITIVITY OF EXHIBIT MATERIALS
Extremely Light Sensitive Materials (up to 50 lux)
Textiles
Silk
Wool
Fur
Paper
Dyed leather
Feathers
Photographs
Moderately Light Sensitive Materials (can take up to 150 lux)
Bone
Ivory
Horn
Wood
Leather and skin
Paintings
Unrestricted Materials
Metals
Stone and Ceramics (unpainted)
Glass
APPENDIX B—MATERIALS COMMONLY USED IN EXHIBIT CONSTRUCTION
Generally Recognized as Safe to Use
Adhesives and Tapes
Certain acrylics (e.g., Acryloid F-10, B-72, and B82; Rhoplex AC-33 and AC 234)
Transparent acrylic adhesive on polyester tape carrier (e.g., Scotch Brand Tape #415)
Acrylic contact cements
Certain two-part epoxies (e.g., Epo Tek 301-2; Hxtal NYL-1)
Certain polyvinyl acetate (PVA) emulsions (e.g., Jade No. 403)
Certain ethylene/vinyl acetate copolymers (EVA) (e.g., Beva 371)
Certain hot melt glues
Animal glues (may stain)
Starch paste (rice; wheat)
Methyl cellulose
Foams
Polyethylene (PE) (e.g., Ethafoam; Polyplank; Polyfoam)
Cross-linked polyethylene (e.g., Plastazote; Volara)
White, extruded plank (not expanded bead) polystyrene (e.g., Styrofoam)
Ethylene/vinyl acetate copolymers (EVA foam) (e.g., Evazote; Volara)
Polypropylene (e.g., Microfoam)
Silicone
Miscellaneous
Glass
Ceramics
Neutral silicone sealant
Rubber sealants without sulfur vulcanizing agents (noncontact) (use after 1 month)
Metals (avoid galvanic corrosion)
Pen with acid-free indelible ink (e.g., Pigma Pens)
Paints, Varnishes, and Stains
Low volatiles, medium barrier:
Acrylic emulsion (exterior or interior)
Vapour barrier paint composed of butadiene-styrene
Acrylic urethane (fully reacted urethane type)
Vinyl acrylic or modified acrylic
Epoxies or urethanes (two component systems)
Papers and Cardboards
Acid-free tissue paper
Archival quality papers (e.g., Permalife paper)
Acid-free mat board
Acid-free corrugated paper board
Acid-free folder stock (e.g., Perma/Dur)
Acid-free honeycomb paper panel
Plastic or Foam Boards
Corrugated plastic boards (e.g., Coroplast; Cor-X; Hi-Core; PolyFlute; Kortek)
Paper-faced, laminated panel board (e.g., ArtCor; Fome-Cor)
Styrene plastic-faced laminated panel board (e.g., ArtCor)
Aluminum sheet laminated to panel board
Plastic Products
Polyethylene (PE)
Polypropylene (PP)
Polyester (polyethylene terephthalate) (PET)
Polystyrene (PS) and modified PS such as:
Acrylonitrile/butadiene/styrene (ABS)
High impact polystyrene (HIPS)
Acrylic
Polycarbonate
Polytetrafluoroethylene (PTFE)
Polymers (Recommended)
Acrylonitrile butadiene styrene (ABS)
Nonsoluble polyamide (Nylon™)
Polycarbonate
Polyethylene
Polyethylene terephthalate
Methyl polymethacrylate (acrylic)
Polypropylene
Polystyrene
Polytetrafluoroethylene (Teflon™)
Polymers that may be used with caution:
Polyvinylidene chloride (PVDC) (stable polymer containing chloride and providing an
extremely impermeable film
Ester-type polyurethane (the more stable of the two types of polyurethane but can
stain artifacts by direct contact)
Silicone (Silicone used as a sealant is not compatible in direct contact. Select a sealant
that is neutral or, at the very least, alkaline)
Sheet plastics
Aluminum foil barrier sheeting (e.g., Marvelseal; Marvelguard)
Polyethylene terephthalate (e.g., Mylar)
Polyethylene (PE)
Acrylics (e.g., Acrylite SDP; Plexiglas)
Polycarbonate (e.g., Cryolon SDP; Lexan; Tuffak)
Polytetrafluoroethylene (e.g., Teflon)
Silicone
Textiles
Unbleached cotton and linen
Polyester: woven, spunbonded
Nylon: woven and spunbonded
Acrylic
Hook and loop fasteners (Velcro)
Wires and Tubes
Nylon monofilament (fishing line)
Polyester monofilament (fishing line)
Polyethylene plastic-coated wire
Polyethylene or silicone tubing
Polytetrafluoroethylene (e.g., Teflon)
Glass tubing
Wood
Antique wood (not just old or seasoned)
Generally Recognized as Unsafe to Use
Adhesives and Tapes
Most epoxies
Polysulphides
Natural and synthetic rubber cements (most contact cements)
Miscellaneous
Cellulose nitrate
Sand, soil, and pebble (contact with salts)
Acidic silicone adhesive and sealant
Paints, Varnishes, and Stains
High volatiles:
Oil-based paints
Alkyd paints
Oil-modified polyurethane varnish
Epoxies and urethanes (one component)
Chlorinated rubber paints
Polyvinyl chloride (PVC) (for metals and alloys)
Papers and Cardboards
Newsprint
Kraft paper
Cardboard
Wrapping paper
Plastic or Foam Boards
Urea formaldehyde impregnated paper laminated panel board (Gatorfoam)
Polyurethane foam board
Polyvinyl chloride foam boards (e.g., Sintra)
Plastic products
Chlorine-containing compounds
Chlorinated rubbers
Rubbers containing sulfur vulcanizing agents
Polymers
Vulcanized rubber (contains sulfur)
Cellulose nitrate
Polychloroprene (Neoprene)
Polyvinyl chloride (PVC)
Ether-type polyurethane
Urea formaldehyde
Restraints
Rubber bands
Sheet plastics
Polyvinyl chloride
Rubber with sulfur vulcanizing agents
Chlorinated rubber
Cellulose nitrate
Cellulose acetate
Textiles
Wool (tarnishes silver)
Silk
Fire retardant treatments (disodium phosphate, etc.)
Durable press finishes (urea formaldehyde)
Carpets
Wires and Tubes
Polyvinyl chloride tubing (e.g., some Tygon)
Rubber tubing with sulfur vulcanizing agents
Chloroprene rubber (e.g., Neoprene)
Wood
Green
Unconditioned
With knots
Certain, more acidic species (e.g., pines, firs, and oaks)
Wood panel products
Interior plywood
Interior particleboard
Waferboard
Chipboard
Untempered hardboard (e.g., Masonite)
Oil-tempered hardboard (e.g., tempered Masonite)
Fiberboards
APPENDIX C—ADDITIONAL RESOURCES
Rare Book & Manuscript Section, ACRL, ALA http://www.ala.org/ala/acrl/acrlstandards/borrowguide.htm
“Guidelines for Borrowing and Lending Special Collections Materials for Exhibition”
Northeast Document Conservation Center
http://www.nedcc.org/plam3/tleaf25.htm
“Protecting Paper and Book Collections During Exhibition”
American National Standards Institutes/ National Information Standards Institute
http://www.techstreet.com/cgi-bin/pdf/free/283108/Z39-79.pdf
“Environmental Conditions for Exhibiting Library and Archival Materials”
Harvard University
http://preserve.harvard.edu/resources/preservation.html
(General information about preserving library and archival materials)
Conserv-O-Grams
http://www.cr.nps.gov/museum/publications/conserveogram/cons_toc.html
(General information about preserving museum collections)
Library of Congress
http://www.lcweb.loc.gov/preserv/
(General information about preserving library and archival materials)
Smithsonian Institution
http://www.si.edu/opa/accessibility/exdesign/sectione.htm
“Smithsonian Guidelines for Accessible Exhibition Design”