conservation book repair a training manual

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Conservation Book ReDair:A Training Manual

bYArternis BonaDea

Alaska State Library, Alaska Department of Education, 1995


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CONSERVATIONBOOK REPAIR:ATraining Manual

Artemis BonaDeaConservationTechnicianAlaska StateLibraryAlaska Departmentof EducationJuneau,Alaska

ILLUSTRATED BYAlexandra PrentissTigard, Oregon

1995


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CONSERVATION BOOK REPAIR

FAIR USE AND REPRODUCTIONThe contents of this manual may be reprinted in whole or in part, with proper credit, toaccommodate users, library board members, and personnel of libraries.Reproduction of this manual in whole or in part, for resale, except to recover actual costs,is not authorized.

BRAND NAME DISCLAIMERFrom time to time a brand name will be given after referring to a generic product. Thebrand names given are those commonly used and accepted by professionals in the field ofbook conservation and are given to assist the beginning book repair student in obtainingsupplies that may not be familiar.Naming a particular product in the manual does not constitute an endorsement of thatproduct.

Alaska State Library Cataloging-In-Publication DataBonaDea, Artemis.

Conservation book repair : a training manual / Artemis BonaDea ; illustrated by Alexandra Prentiss.190 p. : ill. ; 28 cm.

Includes bibliographical references and index.1. Books--Conserva tion and restoration--Handbooks, manuals, etc..

2. Bookbinding--Repairing--Handbooks, manuals, etc.. 3. Library materials--Conservation and restoration-Handbooks, manuals, etc.. I. kentiss, AlexandraII. Alaska State Library. III. Title.2701.B66 1995025.84

This publication is fundedby the Alaska State Library and an

Inter-Library Cooperation Grantfrom theAlaska Library Association

Distributed by theAlaska State LibraryBox 110571Juneau, Alaska 99811-0571ii


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TABLE OF CONTENTSPREFACEACKNOWLEDGMENTSI. INTRODUCTION 1II. THE BASIC INFORMATION 7

A. Book Structure and Construction ..................................................... 7B. Paper and Book Cloth ..................................................................... 12C. Paper Repair Materials .................................................................... 16D. Repair Adhesives ............................................................................ 20E. Linen Thread .................................................................................. 22F. Sewing Needles.. ............................................................................ .26

III. BOOK REPAIR TOOLS AND TECHNIQUES 27A. Book Repair Tools .......................................................................... 27B. Book Repair Techniques ................................................................. 33

IV. SIMPLE BOOK REPAIRS 39A. Cleaning Pages ............................................................................... 39B. Tightening or Repairing Case Hinges .............................................. 42C. Mending Book Case Corners ........................................................... 46D. Paper Tears, Cuts and Losses .......................................................... 51

V. INTERMEDIATE BOOK REPAIRS 58A. Tipping-In Detached Pages ............................................................. 58B. Hinging-In Detached Pages ............................................................. 61C. Replacing Damaged or Missing Pages ............................................ 66D. Replacing Missing Corners on Case Bound Books .......................... 68

VI. ADVANCED REPAIRS 71A.B.C.D.E.

Repairing the Spine Head or Tail .................................................... 71Rebacking A Case Bound Book ...................................................... 79Recasing A Text Block Into the Cover.. ......................................... .99Repairing and Reattaching Damaged or Separated Leaves, Folios

or Signatures ....................................................................... 107Endpaper Treatment and Repair.. ................................................... .112. .ln


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F. Resewing A Damaged Text Block .................................................. 117G. Designing Specific Book Repairs .................................................... 134

VII. MAINTAINING A LIBRARY COLLECTION 135A. Clear Plastic Tape ........................................................................... 135B. Post-It Notes ................................................................................... 135C. The Photocopy Machine .................................................................. 135D. Shelving Techniques ....................................................................... 136E. Removing Staples and Paper Clips .................................................. 138F. Paperback Books and Spiral Bound Books ...................................... 140G. Pamphlet Binders ............................................................................ 144H. Plastic Book Jacket Covers and Mylar Covers ................................. 154I. Wrappers and Boxes ....................................................................... 159J. Flattening Rolled or Folded Material.. ............................................ .169K Mylar Encapsulation ....................................................................... 170L Disaster Preparedness and Recovery .............................................. .172

VIII. GLOSSARY 173IX. SELECTED BIBLIOGRAPHY 184X. BOOK BINDING SUPPLY SOURCES 186XI. INDEX 189

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PREFACE

Many conservation book repair programs in Alaska owe much to the author of this work.Artemis BonaDea has spearheaded the education of Alaska library personnel in thesetechniques since 1988. Beginning with brief presentations and one-on-one training in the198Os, she has presented workshops in several Alaska locations since 1990.In 1990, the Continuing Education Committee of the Alaska Library Association (AkLA)and the Library Coordinators of the Alaska State Library identified training in bookrepair and conservation as a high priority. In response, AkLA applied for and receivedan Interlibrary Cooperation Grant to offer three conservation-style repair workshopsacross the state. When added to previous presentations, at least one or two sections of thispublication were presented in Palmer, Homer, Sitka, Juneau, Fairbanks, and Anchorage.In varying the length of presentation and location during the workshops, we determinedwhat worked best in training and what hand-outs proved most useful. We also discoveredthat, while the hands-on workshops were very helpful, the trainees inevitably hadquestions when they returned to their libraries to face repair problems on their own. Inaddition, not all portions of the state could be offered these workshops, although we stillbelieve that hands-on training works best for this subject. We considered a video tape asan alternative, but soon settled on a medium which would be universally accessible to allsmall libraries in the state: the written word with numerous illustrations.As the workshops came to an end, this book began to take shape. Artemis had developedhandouts for the presentations and in response to telephone requests. Subsequently,several individuals volunteered to follow the methods of conservation book repair foundin this volume and offer suggestions in the attempt to make the language and illustrationsas clear as possible. The explanations found in the publication have been field-tested inworkshops as well as by individuals who have not been able to attend the workshops.The Alaska State Library and the Alaska Library Association collaborated in producingthis publication, but primary credit must go to Artemis BonaDea who has worked veryhard to make this a successful publication. Artemis received training at the University ofWashington, the University of Iowa, and Johns Hopkins University. Her work on thisvolume is artful, accessible, knowledgeable, and exacting: the same as her repairs. Weare delighted to present this book to Alaska libraries and hope that it proves to be helpful.We will appreciate any comments and suggestions.

Kathryn H. Shelton, Librarian IIIAlaska Historical Collections, Alaska State LibraryAlaksa Department of Education

Juneau, AlaskaAugust 1995

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ACKNOWLEDGMENTS

This manual has been supported by many people who have given generously of theirtime and talents. At the Alaska State Library, special thanks go to Kay Shelton, for heron-going support, Sondra Stanway for reading several drafts and giving so muchencouragement, Ellen FitzGerald for proofing and working through the repairs in variousdrafts, and Aja Razumny for her ever present assistance and humor.Many professionals in the broad field of conservation/preservation have also given timeand support to this project. Kate Leonard of the University of Washington deservesspecial mention as time and again she answered my basic questions and explained herreasoning for various repairs. Her input has made this a better volume.

In, addition, Normandy Helmer of the University of Oregon; Carol Pratt, a privateconservator in Eugene, Oregon; and Joyce Jenkins of the Petersburg Public Library,Petersburg, Alaska, also deserve special thanks for reading various drafts and sharingtheir comments.I wish to gratefully acknowledge Jane Greenfield, the Library of the New York BotanicalGarden, the American Library Association, Andrea Krupp of the Library Company, andthe staff of the American Philosophical Society for permission to reprint some of theillustrations and instructions in this volume.It has been a pleasure to work with Alex Prentiss. I can only wish every author as fine anillustrator and co-creator as she has been.

Artemis BonaDeaConservation Technician

Alaska State LibraryAlaska Department of EducationJuneau, Alaska

August 1995

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CONSERVATION BOOK REPALR

I. INTRODUCTIONMost of a public librarys resourcesare spent on collecting, cataloging andcirculating material. While much effort goes nto acquiring books and papermaterials, ittle follow-up occurs n caring for that samematerial.Book and paper materials receive a great deal of use: they are pulled off theshelf roughly, stuffed into backpacks, orced onto photocopiersand dumpedinto book drops. In addition to ongoing patron and staff use, the books in alibrary collection are constantly aging; many are expensiveand difficult toreplace.Caring for a library collection is a large task. Each ibrary, regardlessofsize, must choosehow to care for its collections. Successfulbook repair isan important componentof a collection developmentand maintenanceprogram.In the past, maintaining a library collection was usually accomplishedwithplastic tape and household glue. Unfortunately, theseproducts do not leadto successful epairs. Books return for repairs again and again or arediscardedwhen they are damagedbeyond repair. In many cases, he faultlies with the repair choices, not the book.The basic conceptsused n conservationbook repair, such as using materialsthat are stable and reversible, were originally introduced to care for rarebook collections. These samepractices and materials can be successfullyadapted o repairing non-rare books, and t is the intent of this manual toteach hese echniques or use in circulating and referencecollections.

A. USING THIS MANUALWhile it can be difficult to learn practical, hands-onskills from a book andtempting to jump right into a repair techniquewithout reading theintroduction, PLEASE resist the urge. The introduction to each echniqueexplains how to choosea particular technique and why that technique workswhile others do not. With a solid understandingof theseprinciples andtechniques, t is possible to quickly evaluatedamaged ooks and choose hetreatment hat will lead to a successful epair.


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A GLOSSARY on page 173 explains some of the terms used n this manualthat may not be familiar.

B. CHOOSING BOOKS TO REPAIRChoosing which books to repair is the first step n any successfulbook repairprogram. Becauseeach ibrary is unique, one librarys guidelines forretaining or repairing books may be very different from anothers, Takingthe time to create guidelines that are realistic and consistentwith the needsof a collection can insure the well being of library materials and the effectiveuse of staff time.Before choosing to repair a book, ask questions such as:l Is this book a candidate or weeding? Is the information misleading orhas t been superseded y a new edition or a better book on the subject?Is the information trivial, of no discernible literary or scientific merit orirrelevant to the needsand nterestsof the librarys patrons?l Has the book previously beenrepaired using improper or damagingtechniques? Is the book worn beyond mending or rebinding? Should thisbook be replaced or sent to the bindery? Is it easier and cheaper opurchasea replacementcopy rather than repair the old volume?It can be a difficult decision to not repair a book. However, the urge to saveevery book is unrealistic because omebooks cannot be effectively repairedand should be replaced. Learn to choose he books that can be repaired andthose that cannot so the library collection will be in better condition and stafftime will be better utilized.Choosing the proper repair for a book and carrying out that repair takesknowledge and skill. In a small library, the person who makes he repairdecision will probably be the person who repairs the book. In a largerlibrary, that processmight be sharedby two staff members, n which case,both people need to understand he principles of book construction andrepair.


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After deciding to repair a book, choose he best kind of treatment. If avolume is to be replaced or withdrawn after one more circulation or when areplacement s purchased,mending it quickly using non-conservation repairmethods such as clear plastic tape, might be an option. If the book is neededfor a longer period of time or is part of a permanentcollection, always repairit using conservationrepair techniquessuch as those outlined in this book.

C. DETERMINING WHY A BOOk NEEDS REPAIRIt is important to determine why a book needs epair.

Has it been damaged hrough carelessness r simply through use?Was it manufactured n a way that caused he damage?Has an old repair failed or causedmore damage?How have previous repairs hindered the mechanics the way the bookopens and closes, he way the pages urn) of the book?Look at the kind of paper used n the book and how the book isconstructed.Is the book constructed n signatures folded pages hat can be sewn orglued together)?Is the book constructed n single sheetsglued or oversewn ogether?Is the paper coated and shiny?

All these actors should be consideredwhen choosing o repair a book anddeciding what techniques o use.Examine the volume carefully and determinehow it is constructed. BOOKSTRUCTURE CONSTRUCTION is discussed n detail on page 7.Determine which part of the structure ailed and which repair technique smost suitable. Some books were not constructed o be repaired and willnever successfully be put back together. Repair time and skills are valuableso use them on the books that are worth repairing and have lasting value.Remember,choosing not to repair a book is not a value udgment about thecontents of a book. The concern s to choose he type of treatment that abook will receive.

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D. PLANNING REPAIRS AND THE WORKSPACE0

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Read the directions for any repair thoroughly before attempting therepair.Make sure the workspace s large enough o work comfortably. Clearaway excessobjects and have the tools and materials neededclose athand.Think about where the repaired books will dry. Materials that are gluedor pasted must dry under weight or the paper will buckle.If the book has severalproblems, start with the simplest and work towardthe most complex. In general he text block is repaired first (torn pages,damagedsignatures,etc.) then the cover (rebacking, mending damagedcomers, etc.). The last part of the book to be repaired s the attachmentof the text block to the cover (the crash and endpapers).Try to group similar types of repairs ogether. In addition to saving timeand materials, repeating he same epair several imes is a good way toimprove repair techniques.

I. PRACTICING REPAIRSInitially, its a good idea to practice each repair either on a book that hasbeen withdrawn from the collection or on plain paper. Different types ofpaper and different book structureswill react differently to the paste orglue. For instance, shiny, coatedpaper will not absorb as much moistureas uncoated paper so less paste s used on the latter kind of paper. Seepage 12 for a discussionof types of paper.Read the explanation and nstructions before beginning a repair. Taketime to assembleall the tools and materials called for in the instructions.

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l Reread he instructions after practicing a repair two or three times. Theywill probably be more understandableand somequestions hat came upduring the repair may be answered. Once it is clear why and how a repairworks, it is easier o choosea technique o match a particular repair needand not rely on the written instructions.

The materials and techniquesused n conservationbook repair should notdamagebooks and, f a repair is not successful, t can usually be reversedand repeated. Be aware of your skill level and limitations. If a repair is tooadvanced,wait until you have more experience. Practice these echniques oimprove your skills. Above all, keep working.

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Joint I Cover Board

Spine - 4

/Tail

Pastedown

Hq?ad

- Hinge

Fly leaf

Square/

Fore edge

Endsheet

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II. THE BASIC INFORMATIONUnderstandingbook construction, the materials used o repair books and theproper way to handle tools are mportant componentsof a successful epairprogram.Books are constructed n several ways. Many repair materials work best oncertain kinds of paper or in specific parts of a book. The right tool for theright job is an axiom that applies to book binding as well as other fields.Having a few specialized tools and understandinghow to use them will savetime and energy.

A. BOOK STRUCTURE AND CONSTRUCTIONThe pagesof a book, whether they are sewn or glued together, are called thetext block. The covers of a book are called the case. The case s made ofthe front cover, the spine and the back cover.

1. TEXT BLOCKS IN SIGNATURESWhen the text block is sewn, the pagesaregathered ogether n groups; then each group isfolded in half.

A group of folded pages s called a section orsignature and is usually four to eight piecesofpaper (four pieces of folded paper equals sixteennumberedpages).

Books that are constructed of sewn signatures end to function best becausethe pagesare securely attached o one another and they open flat.7


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Modern manufacturing techniquesenable book manufacturers o create atext block with signatures,cut small notches n the folded edge and insertglue to hold the pages ogether instead of sewing thread. Thesebooks looklike they are sewn, but they are not. Open the text block to the center of asignature and look for the thread, if its not there, the book is g lued.

2. TEXT BLOCKS IN LOOSE SHEETSText blocks can also be single sheetsglued together in a processcalledadhesive,perfect, or fan binding. In this process, ast drying glue is appliedto the spine of the text block.Adhesives that dry very quickly are often brittle and that is why the spine ofa book cracks when the book is opened. Once the spine glue is cracked, thepageswill begin to fall out.In addition to the problem of brittle glue, there is often very little glueattaching each page to the adjoining pages. When the glue is only in contactwith the very thin edge of each sheetof paper, pagescan easily separateovertime.

3. SINGLE AND DOUBLE FAN BINDINGln single-fan binding, the pagesof the text blockare fanned in one direction and glued along thatfanned edge. ln this style of binding, a thin line ofglue penetrates he inner margin of each page, notjust the spine edge.

Double-fan adhesivebinding goesanother step beyond single-fanbinding. After the pagesare fanned none direction and glued, they are alsofanned in the opposite direction andglued along the second anned edge.Double-fan binding applies glue on


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the inner margin of each side of the page,not just on the spine edge or theinner margin of one side of the paper. It is much stronger than single-fanbinding.When library binders bind a book using double fan binding, they useadhesives hat dry slowly and flexible. In addition, they usually reinforcethe spine edge of the adhesivebound text block with cloth and paper so it isstronger and the text block opens lat.A library binder can be a good sourceof information to understand hebinding processes. Keep in mind the bindery is selling a product and as thecustomer,you can question the binder until all the techniques are fullyexplained. The services offered must meet the specifications that a libraryhas defined for its collections.In order to set minimum levels of excellence n library binding, the LibraryBinding Institute has published the Standard for Library Binding. Thisbooklet explains the different types of b indings and what standardsshouldbe met in library bound books. The Guide to the Library Binding InstituteStandard For Library Binding written by Jan Merril-Oldham is a plainEnglish explanation of the Standard.

4. OVERSEWN TEXT BLOCKSBefore library binderies began o fan bind books, the most common form oflibrary binding was oversewing.In the oversewing process, he folds of thesignaturesare trimmed off and the pagesofthe text block are oversewn o one anotherwith a diagonal whip stitch.

Since the sewing threads end to pierce deepinto the inner margin, the pagesarerestricted from turning easily.

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Oversewing is a strong form of binding, but it is often so strong that overtime the pagescan break out of the binding as they are forced to turn againstthe sewing threads. Oversewn books may not be candidates or rebindingsince much of the inner margin was trimmed off or damagedby theoversewing threads.Books should not be oversewn unless hey are very heavy and have widegutter margins to accommodate he sewing threads. Many libraries stipulatetheir binders must have permission to oversew a volume.

5. SEWN TEXT BLOCKS: Flat Back and Rounded and Backed TextBlocks

The pagesof a book attached ogether by sewing or gluing is called a textblock. Before a text block is attached o a paper or book board case, t canbe treated n several ways.Flat Back Text Blocks cFlat back books are a type of binding which has a flattext block spine. The casespine of flat back books isusually a piece of book board covered with book cloth.The spines of flat back text blocks have a tendency obecome concaveover time. To prevent this, the spine ofthe text block can be rounded and backed. IRounded and Backed Text BlocksText blocks are rounded and backed to shape he flat spine of a text blockinto a curved spine with shoulders.Rounding a text block is the processof molding thespine of a text block into an arc of approximately one-third of a circle. Rounding takes place after the pagesof the text block are attached o one anotherby sewingor gluing. A light coat of adhesive s applied to thespine which is then worked into shapewith light

(

10 reprinted fromBookbindinj & theConservation of Books


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pressure,applied with your fingers or a special hammer called a backinghammer.Backing is the processof shaping a ridge or shoulder on each side of thespine of a text block prior to attaching the spine lining material.Using a backing hammer, the folds of eachsignature orglued pagesare bent over from the center o the left andright until shoulders are formed againstwhich the boardswill fit. The width of the shoulders s determinedby thethickness of the cover boards.In addition to providing space or the cover boards,backing also distributes the swell causedby the sewingthreadsor adhesiveand helps maintain the round of thetext block over time.

reprinted fromBookbinding & the6. BOOK CASE CONSTRUCTION COnservation ofBo&Regardlessof how the text block is assembled,modern books are usuallymanufactured n two stages.The text block is constructed n oneoperation where the pages are attached oone another, the spine covered with acloth liner, called crash, and a paperspine iner is added over that.The book case, consisting of a frontcover, a spine and a back cover, isconstructedseparately n a secondoperation and the two parts of the bookare attachedby gluing the crash and endpapers o the casecovers. The crashholds the text block into the casewhilethe end papers cover up the crash.

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B. PAPER AND BOOK CLOTHMany types of paper or book cloth can be used n manufacturing, bindingand repairing a book.

1. PAPERAlthough many different types of papersare used o print and manufacturebooks, three important types of paper to be familiar with in book repair areuncoatedpaper, coatedpaper and acid-free paper.Uncoated Paper

Uncoated paper is the most common type of paper and s made rom plant ortree fibers that are processednto sheets. Originally, most uncoatedpaperwas handmade rom linen or cotton rags. These older papersagevery wellbecause hey contain few damaging chemicals.In the 186Os, processwas developed o turn cellulose fiber from trees ntopaper. This type of paper can be made n large quantities but contains somevery damaging chemicals hat causepaper to becomebrittle more quicklythan paper made from cotton or linen.Coated PaperA sheetof paper can be impregnatedwith very fine clay to produce a veryfine printing surface. Introduced at the end of the 19th century, coatedpapers s ideal for printing halftone illustrations. Unfortunately it is not verystrong and is highly susceptible o water damage.Often the text pagesof a book are printed on uncoatedpaper while the pagesthat contain illustrations are printed on coatedpaper. The coatedpaper maybe part of the signatureor tipped onto a page uncoatedpage.

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Acid-free PaperAcid-free is a designation given to paper that has a pH value of 7.0 orgreater on a scale of 1 to 14. Fibers from any source can be made into paperthat is acid-free. Both coated and uncoatedpaperscan be acid-free.Acid-free paper used n conservationbook repair includes photocopy paperand Japanese epair tissue.

2. BOOK CLOTHBook cloth is a specially woven cloth backed with thin paper. The paperbacking gives the cloth support, minimizes stretching and allows thematerial to maintain a crease.There are three main categoriesof book cloth.l Starch-filled book cloth in which the weave of the cloth is filled withstarch. This type of cloth is sometimescalled sized book cloth.l Acrylic-, pryoxylin-, or vinyl-impregnated book cloth.l Plastic coated book clothHeavier book cloth is sometimescalled buckram.

3. PAPER AND BOOK CLOTH GRAINPaperand book cloth have a grain just as fabric does and it is important tounderstandhow that grain affects repairs.

When the grain of the paper and book cloth runsparallel to the spine of the book, the cover andpagesopen freely and stay open without mucheffort. This is called with the grain.

reprinted from Library Materials Preservation M

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Paper hat is bound into a book with the grainrunning perpendicular to the spine of the book iscalled against the grain.Modern publishers often print the pagesof a bookagainst the grain to get more pageson a large sheetof paper.When the grain runs perpendicular o the spine of abook, the book can be difficult to open and it willnot remain open without a great deal of pressure.

reprinted from Library Material Preser

Books printed against the grain are easily damagedsincepatrons must forcethe book open to read or photocopy it.When pagesor the caseof a book are repaired, the grain of the repairmaterials should always run parallel to the spine of the book.

Determining the Grain of Paper or Book ClothAll paper and book cloth has a dominate grain. Paper can be tested or grainusing the bend test, the tear test or the water test.The grain of book cloth usually runs parallel to the selvageor bound edge ofthe fabric. If the selvageof the book cloth has been cut off or if there is anydoubt about the grain of book cloth, the bend test or the tear test can be usedto determine the grain.Bend TestThe quickest way to test the grain is to bend the paper or cloth slightly ineach direction.

Bring two opposite edgesof a piece of paperor cloth together but do not crease. Instead,gently press down on the bend with minimalpressure. Feel any resistance.

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Now bring the other two opposite sidesof the paper or cloth together andrepeat he process.In one direction there is more resistance han the other. The greaterresistancemeans he paper or cloth doesnot want to bend in that directionbecause t is bending against the grain.When the paper or cloth is bent in the opposite direction, there is much lessresistance. The bend that offers the least resistance s the bend that goeswith the grain of the paper or book cloth.Mark the direction of grain on the paper or future reference.Tear TestAnother way to test for the grain is to tear the paper or cloth.

Paperor cloth will tear easily and straight alongthe direction of the grain. 6-L

When forced to tear against the grain, the paper orcloth will be difficult to tear and the tear will tendto curve until it meets the grain. 7 r-I

Tear the cloth or paper close to a comer and then pencil a small straight linein that comer indicating the direction of the grain so it wont need to bedeterminedevery time it is used.Water TestWhen grain is particularly difficult to find, a water test can be used. Use thistest only to test paper being used o repair a volume, not on pagesbound in abook.Draw a 4 straight line along one comer of a largesheetof paper. This line will not necessarilybethe grain line, it is simply an orientation line.

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Cut a squareout of the comer, including l/2 of theline.

Moisten the small squareof paper and lay it on awork surface. As the water is absorbed nto thepaper fibers, the squarewill begin to curl. The twoedges hat curl toward one another are parallel withthe grain. Mark the correct grain on the square.

Replace he curled square n position on the large sheetof paper (match thecut pencil line) and mark the correct grain on the large sheet. Remember,the first pencil line is not necessarily he grain line.

C. PAPER REPAIR MATERIALSConservation book repair generally usesJapanese epair tissue, wheat paste,and heat-set issue or archival repair tape to repair paper tears.

1. JAPANESE REPAIR TISSUEJapanese epair tissue s sometimescalled rice paper, but this thin paper ismade rom the fibers of the mulberry tree, not from rice as the nicknameimplies. The strength of Japaneseepair tissue comes rom its long fiberswhich make the paper very strong, even though it is very thin.HandmadeJapanese epair tissuesare made on a mold and have mold orchain lines which can be seen n the paper. These ines generally run thesamedirection as the paper grain. The lines are visible when the paper heldup to a light or held down to let the light shine from above. The grain canalso be determined by using the tear, bend or water test discussedpreviously.

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In general, Japanese epair tissue s torn rather than cut. A piece of tornJapaneseissue has a delicate featherededge that blends into the repairedpaper, so there is no sharp edge or the repaired page o turn against.Different methods of tearing Japaneseissue are discussed ater in theBOOK REPAIR TOOLS AND TECHNIQUES section.Japaneseepair tissue can be purchased n different weights and colors.Generally, three weights will cover most repair needs. Since most paper snot truly white, buy the natural or toned colors.

. TENGUJO light weight for working over type or illustrationsl KIZUKISHI medium weight for most repairsl S~KISHU heavy weight for heavier paper

Although Japanese epair tissue may seemvery expensive, only a smallamount s used on any one tear. One sheetof Japanese epair tissue will lasta long time.

2. HEAT-SET TISSUEHeat-set issue s a thin tissue that has been coated with a heat activated,acrylic adhesive. The tissue is tom or cut to fit the tear or paper loss, laid inposition and covered with silicone releasepaper (so the tissue doesnt stickto the hot iron). The tissue is adhered o the paper with a heated ron(approximately 100 degreesF.).A standardhousehold ron or tacking iron from a book repair supply houseor hobby store can be used to adhereheat-set issue. Heat-set tissue is soldwith the silicone releasepaper.Heat-set issue tends o be more brittle than Japanese epair tissue as t doesnot have the long, strong fibers of the Japaneseissue. It is notrecommended or use on the folds in paper or areas hat need to flex andbend. Since heat-set issue s not applied with moisture, it works quite wellon shiny, coated paper that can buckle when wet.

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3. DOCUMENT REPAIR TAPEDocument repair tapesdiffer from common clear plastic in severalways.The carrier (the part of the tape hat holds the adhesive) s thin, acid-freepaper, not plastic. It is not as stiff as plastic tape so a page can turn andbend more easily. The adhesiveused s a neutral acrylic adhesive hatshould not dry up, yellow over time or seepout the edgesof the documentrepair tape. Because his adhesive s neutral (neitheracidic nor alkaline), itshould not react chemically with the paper.The manufacturers of these apeshave tested he materials using artificialaging tests and they believe these apeswill remain stable over time and canbe removed easily. Actual experience s not always so positive. Somelibraries are finding that these apesdry hard and crack or that the adhesivedries up and the paper carrier falls off leaving the paper discolored. Inaddition, some tapesare not reversible over time.Becauseof these problems, documentrepair tapes should not be used onvaluable books or books that are a part of a long-term permanentcollection.Document repair tape has becomeaccepted or use n some circulatingcollections and is definitely better than clear plastic tape. Some ibrarieschoose o use document repair tape on materials that will not remain in thecollection for a long time, such as referencebooks or childrens books.Document repair tape can be a quick way to repair paper ears, and staff canuse t easily after very little training.Document tape is sold under severalbrand names. Some of theseareFihnoplast P, Filmoplast P-90, and Document Repair Tape

4. CLEAR PLASTIC TAPEMany library books are repaired with clear plastic tape. What appears o bea quick solution can becomea long term headache n a library repairprogram. Before using plastic tape, t is important to understandhow itworks and how it affects books.

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Plastic tape is dangerous o use n books because t is unstable and causesagreat deal of damage. Often two or three ayers of tape will cover a singlerepair. The first repair did not work and additional layers of tape were addedto correct the problem. Unfortunately, adding more layers of tape onlycreatesa thick pile of tape; it doesnot repair the book. .Plastic tape has two main parts: a clear plastic carrier and an adhesive hatsticks to the paper. As the tape ageson a piece of paper, the adhesivepenetrates he paper fibers of the page and causesa chemical reaction thatstains he paper and makes t brittle. Once the adhesivehas dried, the plasticcarrier falls away and the stain remains. The adhesiveon the tape seepsoutthe edge of the plastic carrier, attracting dirt or adhering one page to another.Once tape s in a book it is very difficult, if not impossible to remove.Simply lifting the tape off the page will damage he paper because he toplayer of paper is removed with the tape. If the tape covers the text, it cannotbe removed without damaging he print. Removing plastic tape s difficulteven for trained conservatorswho work with chemicals and special tools.Using tape to reattach a loose page restricts the page rom turning freely.The tape has a sharp edge and makes he original paper heavier than beforeso the paper tends to turn against he edgeof the tape and not at the hinge.Soon the paper breaks against the edge of the tape and falls out of the book.Now a secondrepair is neededand f the page s repaired a second ime withplastic tape, the sameproblem occurs.Wide, clear plastic tape is also used o repair the cover spine or corners of abook and special repair wings are sold to repair comers as well. Whiletape covers up the problem but it doesnot repair it. Often the tape slides outof position or detachesentirely while the adhesive emains on the bookcover attracting dirt or sticking books to one another on the shelf.Some ibraries that practice conservationbook repair may use plastic tape nvery specific instances. Plastic tape might be used when a book will notremain in the collection for a long tune, such as childrens books, referencebooks that are updated regularly, or books hat need one more circulationbefore they are discarded.Decisions regarding when and how to use clear plastic tape should be madeaheadof time. Be certain a book is not important in a long term collection

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policy before repairing it with plastic tape. Keep in mind that once the tapeis in the book, it cannot usually be removed without damaging the book.

D. REPAIR ADHESIVESThere are two main kinds of adhesives sed n conservationbook repair:paste and glue. Each has special properties and should be used n specificinstances.

1. PASTEPaste s generally a cooked mixture of water and vegetablestarch, such aswheat or rice. Repairing paper with pastewill give a stronger bond thanrepairing it with glue because he paste soaks nto the paper fibers and bondsthem together. Since paste contains water, it can stretch and cockle paper.It dries slowly and can usually be reversedwith water.

Wheat PasteWheat paste s used o mend tom paper, attach Japaneseissue or soften oldpaste and glue. It is not usually usedon book cloth or the caseof a book.Wheat paste can be purchaseduncooked, nstant or pie-made. Wheat pasteprepared rom scratch will last for 3 - 4 days before it begins to mold.Prepare a small amount of paste and keep t refrigerated.Instant commercial or preparedpastescan be convenient n some situations.These pastesare available from severalsources isted in the SUPPLYSOURCES, page 118.

Thick Wheat Paste (generalpasting)6 TBS wheat starch2 Cups cold waterPlace the wheat starch n the top of a double boiler.Mix the water into the starch stirring constantly.

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Bring the mixture to a boil.Lower the heat and stir constantly as the mixture simmers.Cook until mixture thickens.Remove from heat and cool.Put through a sieve and store refrigerated for 3 - 4 days.

Thin Wheat Paste (used to thin PVA)3 l/2 TBS wheat starch2 Cups cold waterFollow the instructions for Thick Wheat Pasteabove.

Microwave Wheat Pasteone tablespoonwheat starchfive tablespoonsdistilled waterPlace the wheat starch n a deepcontainer, add distilled water andplace in microwave. Microwave on high setting 20 - 30 seconds,remove paste and stir. Return to microwave and cook another 20 - 30seconds. Remove and stir again. Continue this process or 3 - 4minutes dependingon the power of your microwave. Paste shouldstand a few minutes before using.

2. GLUESeveral ypes of glue have been used n bookbinding over the years, themost common being animal hide glue. In recent years, animal-basedglueshave been replaced with synthetic vinyl resin glues, the most common ofwhich is polyvinyl acetateemulsion (PVA).

Polyvinyl Acetate (PVA)PVA is a good all-around adhesive. It has a low moisture content and driesquickly. It dries flexible, so it can be used o tighten hinges, repair bookcover comers and reattach oose book cloth to book board. PVA is not

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affected by mold or fungi. However, it is damagedby freezing, so mostbook repair supply houseswill not sell PVA by mail from October to March.If PVA freezes, t separates nd loses ts adhesiveproperties.PVA can be thinned with water or thin wheat paste or differentconsistenciesand effects. Thinning PVA with water adds moisture and doesnot add any additional adhesiveproperties while thinning with wheat pasteadds he adhesivequalities of the paste o the glue. Many book binders orrepair technicians use a 50/50 mixture of PVA and wheat pastestrainedthrough a sieve. Other books may describedifferent adhesivesor mixturesof adhesives.PVA glues cover a wide range of brand namesand not all are used to repairbooks. For instanceElmers glue is technically a PVA but is not flexiblewhen dry so it has imited use or repairing books. Two common brandnames or PVA glues used n book repair are AT-l 100 rom Colophon BookArts Supply and Jade403 available from Talas. These companiesare istedin the SUPPLY SOURCES.3. WORKING WITH ADHESIVESMost people learning to repair books use too much adhesive. The beliefseems o be that if a little is good, a lot is better. In book repair, that justisnt true. A thin, even coat of adhesivemakes the best bond. Too muchadhesivewill ooze out of the edgesof a repair and bond to the pages. A lso,too much adhesivecauses he paper to wrinkle and takes onger to dry.Watch each repair carefully. If there is excessglue or paste, wipe it away.Next time, try to use ess pasteor glue.When applying adhesive,choosea brush that matches he size of the surface.When pasting or gluing a small area,use a small brush. When the area slarger, use a bigger brush.

E. LINEN THREADBooks are traditionally sewn with linen thread which is very strong and canbe purchased n severalsizes. Choosing the right thread s important for asuccessful epair. Using thread that is too thick can damagea book becausethe text block may not fit back in the original case. Thread that is too thincan tear through the folded signaturepaper. In general, ts best to use as

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thin a thread as possible, but choosing he right thread dependson the kindof paper and how many signaturesare being resewn.1. THREAD SIZESCommon sizes of linen thread are 12/4,18/3,25/3,35/3 and 60/3. The firstnumber is the thickness of the strand or ply and the secondnumber is thenumber of strands or ply per thread. So 12/4 s composedof 4 strands hatare 12 thick. The 12 refers to an industry designation hat relates to theweight of the wholesale quantities of thread. In this sizing system, thesmaller the number, the thicker the thread so 12 thread is thicker than 60thread.35/3,30/5, and 18/3 are a good assortmentof thread to have on hand. It canbe hard to recognize a particular thread size so its a good idea to mark thesize of thread on the inner cardboardspool before discarding the paperwrapper.

2. WAXING AND THREADING LINEN THREADLike all thread, linen thread has a tendency o tangle. Waxing sewing threadwith beeswax keeps the thread from tangling and helps the thread grip thepaper. Run the thread through a cake of beeswax wo or three times to coatit with wax, then run the thread through your fingers. The heat generatedfrom the friction will melt the wax into the thread.

3. MEASURING THREAD LENGTHThe length of thread neededdependson the height of the book and howmany signaturesneed to be resewn. Save ime by measuring he threaddirectly on the book.For instance, a book with one unattachedsignaturewill need a piece ofthread that is at least three text block heights ong plus one text block heightfor tying knots.

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4. ADDING ADDITIONAL LENGTHS OF THREADIts not a good idea to try to work with more than 4 - 5 book heights of threadat one time. There are two ways to add additional lengths of threaddiscussed n TYING KNOTS IN THREAD, which follows.

5. LOCKING THE THREAD ONTO THE NEEDLEIt can be very frustrating to have a needle all off the sewing thread n themiddle of a repair. Lock the needle onto the thread before beginning a repairto assure he needle will not fall off during the repair.Thread the needle as usual.

Grasp the leading end of thread (theend that was threaded hrough the eyeof the needle) and wrap it around yourthumb.

Carefully pierce the thread with theneedle against your thumbnail.

Pull the needle through the piercedthread.Hold onto the sewing thread and pull until the pierceu cnread s tight againstthe sewing needle.

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6. TYING KNOTS IN THREADThere are two basic knots used n book repair, the weaversknot and thesquareknot.The Weavers KnotSince sewing with a very long piece of linen thread can be difficult, theweavers knot is used to tie on additional lengths of thread so shorter lengthscan be used.Tie on additional thread when there s about 6 of thread left on the needle.Tie the knot inside the signature,as close to the last sewing station aspossible. A knot cannot easily pass hrough a sewing station hole so itshould lie between the sewing station holes on the inside of the signature.1.

2.

3.

4.

5.

Make a loop of the remaining thread and hold it in your left hand, withthe short end of the loop on the bottom.

With a new thread, make a loop with the short end on the bottom andhold it in your right hand.

Insert the left-hand loop underneathandinto the right-hand loop and hold both inplace with your left thumb.

Take the short end of the right-hand loopunder and through the left-hand loop asillustrated.Pull the short end of the left-hand loopand both ends of the right-hand loopaway from each other until the knot issecure. Trim both ends.

25 reprinted from Library Materials Preservation


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The Square KnotSquareknots are used o tie off sewing thread when resewing a text block orattaching materials into pamphlet binders.1. Take one end of thread in each hand.2. Pass he right-hand thread over the left-hand thread and through the loop. Pulltight.

3. The original right-hand thread s now onthe left side. Place t over the right-handthread and bring it through the loop. Pulltight. Trim the end of the original thread.Do not cut the added thread.

reprinted fmm Library Materids Preservation

F. SEWING NEEDLESUsing the right needle will make sewing easyand more successful.Needles should be as small in diameter as possible, have a blunt point, andhave an eye no larger than the shaft of the needle. If the sewing needle smuch bigger than the thread used, t will make a hole that the sewing threadcannot ill up.Many book suppliers advertise needles hat are very large, sometimesmuchlarger than the sewing thread. Leather harnesscalled Egg Eye needles(#4)work very well with most thread and are available n leather shops. Sourcesare listed in the SUPPLY SOURCES ist.

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(IONSERVATION BOOK REPAIR

III. BOOK REPAIR TOOLS AND TECHNIQUESThe repairs explained in this book will be easier o accomplish using theright tools and a few specific techniques.If you already have tools and techniques hat seem o work, practice eachrepair using the tools and techniquesgiven in the instructions, then decidewhich is better. If a tool or technique does he same ob and doesntharmthe book, feel free to use t.

A. BOOK REPAIR TOOLS

A folder is a tool approximately 6 - 8 long and about 1 - 1 l/2 wide. Atypical folder is approximately l/8 thick, smooth with one pointed end andone rounded end made from animal bone or plastic. Folders are used ormany things such as creasingpaper, smoothing down repair tissuesandworking cloth into a oint area. Someplastic folders are available with tworound ends. When purchasing a folder, try to buy one made of bone withone rounded end and one pointed end. That tool will be much moreversatile. Bone folders can also be filed to a desired shapeand size whileplastic folders cannot.

A microspatula is a metal tool, approximately 6 - 8 long with one roundedend and one pointed end. Use a microspatula o pick up pastedstrips ofJapanese epair tissue, lift book cloth or endpapersaway from the bookboard, or apply glue or paste n a very tight area. Microspatulas aremanufactured very thin and many book binders file or sand hem eventhinner.

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A needle-in-a-stick can be used to apply glue to small, tight areas,markcutting lines or score ear lines on Japanese epair tissue.This kind of tool can be purchased rom a pottery material supply house(needle n a wooden handle) or botany material supplier (needle n a plastichandle). It can also be constructedby drilling a very small hole in the end ofa wooden dowel and inserting the needle nto the hole. The needle should fittightly into the hole in the dowel. A small drop of g lue on the end of theneedle will help it hold better.

A good assortmentof brushes makes repairing books much easier.The size of the surface o be pastedor glued determines he size of the brushused, so keep a variety (thin, medium, thick) on hand. Round or flat bristlebrushesbe used.While natural bristle brushes are usually best for performing repairs, somelibraries recommendusing a synthetic bristle brush for PVA glue as t can bedifficult to wash all the glue out of a natural bristle brush. A buildup ofPVA glue can ruin a brush. Some people like to use separate rushes orpaste and glue.A brush should never be allowed to dry with the adhesiveon it. Keep thebrush in the adhesiveor water and always wash a brush out when finished.Mild hand soap or dish washing liquid can be used o thoroughly cleanbrushes.

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When storing a brush in water, use only enough water to cover the bristles.If the water extends above he ferrule of the brush (the metal ring around theshaft of the brush that holds the bristles in place), the wood of the shaft canexpand with moisture. As the wood dries and contracts, the ferrule and thebrushs bristles can loosen.Shakeout all the water from a brush before putting it in paste or glue.A self-healing cutting mat and sharp X-acto knife, scalpel or breakaway utilityknife such as Olfa Silver makesprecisecutting easy and fast. It is important toalways work with a sharp blade whencutting or trimming repair materials.Attempting to cut with a dull blade willusually result in a torn edge hat needsevenmore repair.Cutting on cardboard s not always a good idea because he knife blade canbe caught in the track of a previous cut and ruin a repair. Self-healingcutting mats allow numerouscuts to be madewithout tracks forming.These mats can be purchased n various sizes rom book supply sources,artstoresor fabric stores.

Dividers can be used to transfer and mark measurementsrom one place toanother.Other basic tools include sharp scissorsand a rigid, metal straightedge.

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Punching sewing holes n folded signaturescan be tricky. Using a punchingjig and a signature punching cradle will make the ob much easier.

To construct a punching jig, simply fold apiece of paper n half lengthwise and clipone end diagonally. This d iagonal cut marksthe top of the printed page.

Mark the desired sewing hole stations on theoutside of the fold in pencil.

Turn the jig inside out so the pencil marksare on the inside of the fold.Place the punching ig inside the pamphletor folded signature. The ig should beseatedall the way down into the fold andlined up with the top edge of the book.

Lay the pamphlet/signature lat on the tableand carefully punch holes through the foldwith the needle-in-a-stick.(Remember he diagonal cut on thepunching jig should be at the top of the bookpage.)

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A signature punching cradle helps control placement of the sewing stationsand can be constructed out of thin plywood, mat board or cardboard.

To construct a simple cradle from acardboardbox, make a 45 degreeangle Vcut in both ends of a box.

Cut two pieces of cardboard2 longer thanthe length of the box and 1 wider than thelength of one side of the V cut.Glue a 1 l/2 strip of book cloth connectingthe two pieces of cardboardalong one ongedge.

Glue the cardboard strips into the cut outV with PVA.

Open the material to the center of thesignature and lay it in the cradle. Make surethe material is seatedall the way down intothe cradle. Lay a punching jig on top of thematerial and punch with a needle-in-a-stick(page 28).

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Paper wrapped bricks or jars filled withcoins or buckshot can be used as weightswhile a repair is drying.l/4 glass with ground edges makes aperfectly flat work or drying surface. Theglass should not be larger than 18 x 18 orit can be difficult to move from one place toanother. Thin pieces of plywood or Formicacan also be used.

1. CARING FOR TOOLS

It is very important to keep book repair tools clean, especially tools that areused to apply paste or glue.Wash folders, knives, needle-in-a-stick and brusheswith warm soapandwater. If adhesive s left to dry on a tool, it can build up over time anddamage he tool. This is especially true for brushes.

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B. BOOK REPAIR TECHNIQUES1. TEARING JAPANESE REPAIR TISSUE

Japanese epair tissue is usually tom so that the edgesare feathered,not cutsharp as they would be with a knife or scissors. The feathered edge allowsthe repair tissue to blend onto the text paper. Repair tissue can be tom witha water tear or needle tear. A needle ear gives a slightly less featherededge han a water tear.

To water-tear a piece of Japanese repairtissue, use a small, pointed natural bristlepaint brush to draw a wet line or shapeonthe Japanese issue. For a straight line, weta piece of repair tissue against he edge of aruler or straight edge. The water weakensthe fibers of the tissue and allows it to tearalong the wet line.

To needle-tear a piece of Japanese repairtissue, use a needle-in-a-stick (page28) toscore he surface of the Japaneseissue. Thepoint of the needle createsa dotted line onthe surface of the Japaneseissue to tearalong.

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To tear a piece of Japanese tissue to a specific shape, such as to repair amissing comer or mend a hole in the middle of a page, ear the tissue asfollows:Lay a piece of black mat board orpaper under the missing area o makethe outline of the loss more visible.Put a piece of Mylar polyester filmover the loss to protect the page romthe water and needle; then lay twolayers of Japanese epair tissue overthe Mylar and water tear or needletear (above) the patches o fit theloss. One patch will go on each sideof the loss.If the damagedpage s not attached o the text block, it is possible to use alight table or the light from a window to see he area hat needs o bepatched. Put the text page on a light table or window, cover with Mylar andrepair tissue. With the Mylar film protecting the page,needle or water tearthe Japanese epair tissue to the desired shape.

2. APPLYING ADHESIVE TO JAPANESE TISSUEWhen applying adhesive,choosea brush that matches he size of the surface.If the area s small, use a small brush; a bigger area needsa bigger brush.A thin, even coat of adhesivemakes he best bond. Too much adhesivewillooze out the edgesof a repair and can stain other surfaces.

Apply paste or glue to paper or clothby brushing from the center of thematerials being glued toward the outeredges n a star burst pattern.

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Brushing from the center out in a starburstpattern protects the edge of thepaper or cloth. There might be small tears at the outer edgesof a piece ofpaper or cloth that the brush could catch and tear or the brush might grabthe edge of the paper and turn it back on itself, sticking the two surfacestogether.

In addition to applying adhesivedirectly to a piece of paper, t can also beapplied indirectly. This method is especially useful when working with verysmall pieces of~paperor cloth.

Brush the adhesive onto a piece of glass orplastic then lay the paper or cloth on top of it. Thepaper or cloth acts as a spongeand absorbs headhesive rom below. Use the bristles of a brushor fingers to work the paste nto the Japanesetissue. When Japanese epair tissue s transparent,it has soakedup all the paste t can.

Masking is another technique used o applyadhesive o paper. By using a strip of wastepaper o protect most of a sheetof paper,you can apply adhesive o a very specificarea n a controlled way. This is especiallyhelpful in operations such as TIPPING-IN APAGE.

3. Drying RepairsMost repairs involve moisture of somekind, be it paste or glue. Whenmoisture is introduced into paper, board or cloth, special precautionsneed tobe taken.A wet repair should be isolated from other pages in a book or it canadhere tself to adjacentpagesand the book will not open correctly. Repairs

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to the cover of a book must also be protected until dry.The simplest way to isolate and protect a paper repair is with a moisturebarrier, such as wax paper, Mylar or by using a combination of a non-stick,porous material such as Hollytex or Pellon with blotter paper.Since moisture cannot pass hrough a barrier such as wax paper the repaircan take longer to dry.Non-stick, porous material, such as Hollytex (purchased rom book repairsupply sources)and Pellon, a woven polyester material (available fromfabric stores) can also be used o protect a repair. Both thesematerials allowmoisture to pass hrough so repairs dry faster, but keep n mind the moisturehas to go somewhere. When using porous materials, be sure to use blotterpaper to absorb he moisture so it doesnot travel to the pagesof the book.Blotter paper is a thick unsized paper made rom rag or cotton Enters.Because t does not contain size (the additive to paper that makes t moistureresistant), t can absorbmoisture easily. When blotters are used o absorbmoisture in a book repair, they should be replacedwith dry blottersperiodically so the moisture of the blotter will not remain in the book.Repairs must always dry on a smooth surface under weight so that theydo not buckle and curl. l/4 glass with ground edgesor pieces of plywoodcovered with Formica can be used to createa smooth surface anywhere.Glass or plywood can be stacked so that several epairs take up very littlespace. Paper wrapped bricks, jars filled with coins or buckshot can be usedon top of the glass or weight.

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4. MEASURING BOOKSMeasuring books accurately can be a challenge since books are not alwayssquareor flat. Its standardpractice n book repair to take most repairmeasurementswith a piece of scratchpaper rather than a ruler.

Measuring the Height of a BookLay the scratch paper inposition and mark one or bothends of the measurement. Adddirection arrows to indicatewhere the measurementstartsand stops.Measuring the Spine WidthThe spine can be measured n two ways.Measure actual distance across hespine from shoulder to shoulder.

Measure the actual thicknessof thespine by laying the book flat on thetable and measuring vertically acrossthe spine.Be sure to measure the thickest part ofthe book. It might be the spine, the foreedge or part way inbetween.

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With the measurements n paper, the exact measurement an be transferredto paper or cloth as often as necessary. Label each measurement o as notbe confused ater.Sometimes t is easier and faster to mark a cutting line with a needle pointinstead of a pencil. Use the needle-on-a-stick o mark a measurementbyslightly piercing the paper, rather than marking it with a pencil.Dividers (page 29) can be used o mark and transfer measurementsrom oneplace to another.

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IV. SIMPLE BOOK REPAIRSMost book repairs begin as simple problems. If a simple problem is ignoredor handled ncorrectly, it becomesa complex repair. When a book isrepaired early, there is much less work and the volume stays in circulationlonger.

A. CLEANING PAGESWhen attempting to clean paper, always start with the least abrasivecleaningmethod before trying others.Keep in mind that cleaning library materials be a time consuming task.Evaluate each book before attempting to dry clean it. Make sure hatcleaning a particular volume is a good use of time.

1. Dry CleaningDry cleaning is any kind of cleaning that doesnot use water or liquidcleaners. Done correctly, dry cleaning will not damage ibrary materials.

Some dirt can be swept off the pageusing a soft, natural bristle brush.Always brush from the center of the pageout toward the edges n a star burstpattern and up and down the hinge areato remove dirt or erasercrumbs.

Brushes can be of any size but should have soft, natural bristles. Plastic ornylon bristles can scratch he paper. Brushesused or dry cleaning shouldnot be used for water, paste or glue so its best to designatea brush ust fordry cleaning.

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Watch out for paper tears that can catch on the brush and NEVER brushfrom the edge of the paper toward the middle. The brush could grab theedge of the page, pull it back on itself and causea tear. This is especiallyimportant to rememberwhen there are small tears on the edge of the page.After using a dry brush to sweep off the surface dirt, products such asOpaline or Skum-X can be used to remove more stubborn surface dirt.Opaline and &urn-X are both eraserproducts. Opaline comes n a bag andSkum-X in a shakerdispenser.Opaline is applied by kneading thebag above he paper until the paper iscovered with a fine powder of tinyerasercrumbs. Skum-X is appliedlike salt from a salt shaker.Using clean fingers, rub the paperlightly in a circular pattern. DO NOTRUB THE PAPER WITH THEOPALINE CLOTH BAG or the bagwill become soiled quickly andtransfer that dirt onto the page. It ispossible to protect the page from skinoil by rubbing through a soft cloth ora piece of polyester film, such asMylar.ALWAYS work in a circular motion from the center of the page toward theoutside edge. Be very careful of the edgesof the page; they tear easily.The erasercrumbs changecolor as they pick up dirt. Once they seem ohave picked up as much dirt as possible, brush the erasercrumbs off thepage.Use a natural bristle brush to sweep heerasercrumbs off the page. Brush from thecenter of the page toward the edge of thepaper and dont forget to sweep he erasercrumbs out of the hinge area. If the page s

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B. TIGHTENING OR REPAIRING CASE BINDINGHINGESCasebinding is a general term for the processof constructing a hard coverbook in two parts: the text block and the caseor cover.As detailed in BOOK CASE CONSTRUCTION, the major point ofattachmentbetween the text block and the cover is the crash cloth thatcovers the spine of the text block and is glued to the cover boards. The textblock is usually attached o the caseso that it sits approximately l/8 - 3/16above he shelf. This means hat gravity is constantly pulling the text blockdown.The adhesive n the hinge area can dry up over time and become weak whilethe spine and endpapersare still intact. When the glue dries up, the crashseparates rom the book board and the hinge area becomes oose. Often theend paper will split along the hinge and the crash will be visible underneath.The common repair practice of applying plastic tape to the hinge area doesnothing to reattach he crash to the caseboard, it only adds a layer of tape nthe book.

1. TIGHTENING LOOSE HINGESNOTE: If a book needsother repairs such as recasing or rebacking,do not tighten the hinges until those repairs are completed. Tighteninghinges is generally the last repair to be completed.

When the hinge area s loose and the endpaper snot tom, use a wooden stick such as a bambooskewer or thin knitting needle coatedwith PVA tofeed a small amount of PVA into the oint area.Carefully insert the PVA-coated knitting needle orstick into the hinge area at the top of the book,rotating as the stick is pushed down.

reprinted from Cleaning & Preserving Bindings & Related

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still dirty, repeat the procedure. When the eraser crumbs do not changecolor, they have picked up as much dirt as possible.Librarians often find pencil or pen notations on the page of a book. Whilemost pens are permanent, somepencil marks can be erased rom paper. Awhite vinyl eraser, such as Faber Caste11rand Magic-Rub eraser, srecommendedbecause t is less abrasive han most other erasers. Thesevinyl eraserscome in severalsizes and can be shapedwith a knife orpurchased n a pencil form and sharpened o reach small areasor betweenlines of print.Erase n one direction, working from the center of the paper toward theedgesof the paper. DO NOT rub the eraserback and forth or erase rom theedge of the paper toward the center of the book.Use a natural bristle brush to sweep away the eraser crumbs, paying specialattention to removing erasercrumbs from the inner margin of the page.Remember o brush from the center of the page toward the edge.

2. Other Types of CleaningDry cleaning will only remove surfacedirt. More advancedcleaningtechniques nclude taking the book apart and washing each page. That is atime consuming and costly process. If simple dry cleaning doesnot seem obe successful, t may not be feasible to clean the book. If the book is stillusable as is, return it to the shelf. If it is not usable, consider replacing thebook. Keep in mind that staff time is valuable and many books needattention. Consider educating patrons with a Keep Our Books Cleancampaign.

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Pull the stick out, turn the book over and repeat on the opposite end. Becareful not to get any glue on the spine of the text block.After both ends of the hinge are glued, put a piece of wax paper or non-stickmaterial in the hinge area o protect the end paper from any excessglue thatmight seep hrough the tom hinge area or out the head or tail. Remember,glue in the wrong place could glue the book shut

Close the book and use the long thin edge ofa folder on the outside of the cover to workthe book cloth down into the case oint. Usethe long edge of the folder as the ends, eventhe rounded one, can sometimes ear throughthe book cloth.

Work from the center to the top of the book, then from the center to thebottom of the book. This will adhere he crash, end paper and book boardand move any excessglue out of the hinge area.Note: Rubbing the folder along the spine oint can make the bookcloth shiny. To prevent this, lay a piece of non-stick material or thinpaper on the book cloth before working with the folder.

Open the book cover and use a folder togently work the end paper back into thehinge. Again, use the long flat edge of thefolder as the ends can tear through the paper.

Replace the wax paper n the hinge, closethe book and rub the folder in the outer ointonce again.

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Place he book in a book press o dry. If abook press s not available, put knitting _needlesor shelf list drawer rods in the hingeareasof the case and place weight on thebook. Let dry overnight and return to theshelf.TIGHTENING/REPAIRING DAMAGED HINGES ON A CASEBINDINGSA variation of the TIGHTENING LOOSE HINGES technique can be usedwhen an endpaper s split at the hinge. Check the crash carefully, if morethan l/4 of the crash is torn, it should be replaced. (Replacing crash sdiscussed n RECASING, page 99).

Use a small paint brush ormicrospatula to apply glue to the splitend papersand work them intoposition.

Put a piece of wax paper or non-stick material in the hinge area o protect thepaper rom any excessglue and close the book.Use the long thin edge of a folder on the outside of the cover to work thebook cloth down into the case oint. Remember he rounded ends of thefolder can sometimes ear through the book cloth.Work from the center to the top of the book, then from the center to thebottom of the book . This will adhere he crash, end paper and book boardand move any excessglue out of the hinge area. Wipe away any excessglueand try to use less glue in the future,

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After setting the joint with the folder, carefully open the book cover andgently work the folder along the inside hinge, working the end paper backinto the hinge.- Again, use he long flat edge of the folder as the ends cantear through the paper.Replace the wax paper. Place he book in a book press or put knittingneedles or shelf list drawer rods in the hinges and weight with paper coveredbricks. Let dry for at least one hour, then check the repair.Sometimes he repaired end paperswill notquite meet. This spacewill not affect thestrength of the repair but it can be coveredwith a strip of Japaneseissue and wheatpaste for a cosmetic touch.Tear a piece of Japaneseissue (page 33) theheight of the text block and wide enough tocover the hinge repair. Apply paste o theJapanese issue (page 34) and gently lay thetissue on the hinge.Use a folder to carefully work the tissueback into the hinge.Insert a piece of wax paper or non-stick material, close the book and use thelong edge of the folder to work the cloth into the cover oint.Place the repaired book in a press or insert rods or knitting needles n thejoints, add weight, and dry overnight before returning it to the shelf.

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C. MENDING BOOK CASE CORNERSThe corners of a book take a great deal of stressand can be damagedwhilethe rest of the case s still in good condition.This is another repair that is often handledwith plastic tape or purchasedrepair wings. Applying tape or wings doesnot repair the comer; instead taddsa layer of tape on top of the problem. The adhesive on the tape canseepout or dry up over time, causing he plastic carrier to fall off. That canleave behind a sticky residue that is often impossible to clean up.

NOTE: If the book cloth has been worn off the top or bottom edgesof the cover boards, replacing the book cloth at the comers may not bea wise use of time. Consider rebinding the book.

1. REPAIRING BOOK BOARDS CORNERSThe book board used in book caseconstruction consists of many layers ofboard. If the book cloth is damagedor tom open at a corner, the differentlayers of board are often visible. When damagedcomers are repaired withplastic tape, the book board is not repaired, t is only covered up. To trulyrepair the book corner, the various layers of book board must be glued to oneanother and the book cloth repaired or replaced.

In some cases he corners aredamagedwhile the book cloth is stillintact. Other times the book clothwill be tom or missing. In eithercase,cut through the book cloth onthe top and fore edge of the board.Cut well past the damagedboard intosoundboard and cloth.

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Separate he layers of board and use amicrospatula or knife to apply PVA glue toseveral of the book board layers. The PVAwill seep hrough the thin layers of board soevery layer does not need o be glued. Thenumber of glued layers dependson thecondition of the book board.

If the original book cloth covers he comer,paint a small amount of glue on the wrongside of the book cloth and smooth t over thecomer. If the book cloth needs o bereplaced, follow the instructions forAttaching New Corner Book Cloth, page48.

With fingers or a folder, press he bookcloth onto the board, moving from the baseof the repair up toward the comer edge.Wipe away any excessglue with a cloth orpaper towel.

Note how much excessglue cameout of the corner and use that as a gaugeto decreaseor increase he amount of glue used. A small amount seepingout is good because t means hat the glue has reachedall the layers ofcardboard. Too much adhesiveseepingout is wasteful and makes a mess oclean up.For sharp flat comers, cover each side of thecomer with wax paper or non-stick materialand clamp between two pieces of bookboard using Binders or Bulldog clips(available in most office supply storesorcatalogs). Use densemat board or bookboard, not corrugated cardboard hat willcompressunder the pressureof the clips.

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Another way to achieve flat comers s to laythe repaired comer flat against the worktable and weight it down with a papercoveredbrick.

Comers do not have to be sharp or flat to protect the book. Some olderbooks may look more natural with roundedcorners, especially when onlyone or two corners are repaired. If roundedcomers would look better, moldthe comers nto position while the glue is wet and let the repair dry withoutweight or pressure.

2. ATTACHING NEW CORNER BOOK CLOTH TO A REPAIREDCORNERAfter the corner book board is repaired, cut a piece of new book cloth tocover the repair. The grain of the book cloth (page 14) must run parallelwith the spine of the book.

Glue the book cloth patch in p lace on theoutside of the book cover. Dry underweight.

Fold the point of the new book cloth comerover the book board so it forms a 45 degreeangle. Use a needle-in-a-stick to mark theposition where the book cloth covers hecomer. This mark should be as close to theedge of the comer as possible

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Unfold the new book cloth comer and drawa line through the needle point, along the 45degree old. Cut the book cloth along thisline. \ \

The new book cloth patch has twoedges. Regardlessof which corner isbeing repaired, the top or bottom edgeof the book will be designatedas thetop. The other edge will be the foreedge of new book cloth patch.

.

Apply PVA along the top edge of thenew book cloth then fold the edgeover the book board.

Use a folder to press he book cloth flushagainst the thickness of the book board. Thebook cloth should be glued completely flatto all sides of the book board.

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The new book cloth has a tendency o bulgeout at the corner so push the new book clothdownward against the front edge of the bookboard with the point of a folder.

Apply glue to the fore edge of the new bookcloth and work the cloth into position overthe book board with a folder.

Use a folder to work the new book cloth flatagainst he book board and slightly roundthe corner.

The original cloth can be trimmed to eliminate the ragged edgesand glueddown or the ragged edge can be glued as s. Gluing the loose threads downcan sometimeshelp camouflage the new book cloth if it is not a good colormatch.

Dry the repair under weight using paper coveredbricks (page 48) or betweenpieces of book board with Bulldog clips (page47).

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Some older books may look more natural with rounded corners, especiallyif only one comer is being repaired. For rounded comers, mold the cornersinto position while the glue is wet; dry without weight or pressure.

D. PAPER TEARS, CUTS AND LOSSESIllustrations in this section show each repair completed n a bound book.The same echniques are used or a single sheet of paper not bound in abook. .Paper ears are a simple repair often handled incorrectly with clear plastictape. Clear plastic tape covers up the problem but it does not repair it and itcan cause additional damage o the paper over time. As discussed nCLEAR PLASTIC TAPE on page 18, plastic tape should only be used onmaterials that are not considereda part of a permanent collection.

1. REPAIRING SIMPLE OR COMPLEX TEARPaper tends to tear at an angle so most tears will have a top and a bottom. Ifthe tear passes hrough the text or an illustration, it is easy to seewhich isthe top or bottom because he bottom of the tear will show the white paperfibers. If the tear doesnot pass hrough text, look at the tear very carefullybefore pasting it together.Some tears will go with the grain of the paper while others go against hegrain. Tears that go with the grain of the paper will usually be smooth andstraight while tears that go against he grain will tend to have more featherededgesand will curve as they try to align themselveswith the paper grain.In simple paper tears the page has been torn one time and the tear has anobvious top and bottom. This is easy o seewhen the tear passes hrough thetext or illustrations.Complex tears are really more than one tear. When a tom page s notrepaired, the page can easily tear again and the second ear can have adifferent top and bottom. Always look at the tear and lay the edges nposition before applying adhesive o make sure the tear is in the correct

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position. If the edges are not in the correct position, the repair will not lieflat and the text or illustration may be obscured.There are three ways to repair paper ears n conservation book repair:

l using wheat paste alonel wheat paste with Japaneseepair tissuel document repair tape.

Repairing Tears With Wheat Paste AloneWhen the paper tear has a strong, obvious top and bottom edge, applyingwheat paste o the edges of the tear can be enough to bond them together.

Use a very fine paint brush,microspatula or needle to applywheat paste o the top and bottomedgesof the tear and press hemtogether.

Cover the repair with wax paper orHollytex and press the edgesof thetear together with a folder.Remember o always best to workform the base of the repair toward theedge of the page.Wipe away any excesspaste hat is forcedout of the edge of the tear. Note how muchexcesspaste was used and try to use essfor the next repair. Always aim for enoughpaste;not too little, not too much.

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When the repair is dry, curl the paperaroundall the edges are well adhered. the repaired tear and make sure

If there are loose edges, epasteand dry under weight. If the page creasesatthe repair, consider applying a Japanese repair tissue (below) patch overthe repair. If the tear is not properly aligned, moisten the areawith water torelease he repair and redo it.Repairing Tears With Japanese Repair Tissue Patch and Wheat PasteJapanese epair tissue adds strength to a repair. It is used when the tear doesnot have wide, overlapping edgesand needs einforcement.Read BOOK REPAIR TOOLS AND TECHNIQUES (page 27) forinstructions on tearing and applying paste o Japanese epair tissue. Choosethe best method for tearing and applying paste before beginning the repair.Apply paste on the Japaneseepair tissue,then pick up the tissue using a needle,microspatula or fine tweezers.

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Carefully lay the tissue on the tear. Ifthe tear is at the edge of the page,extend the Japanese issue 3/8 pastthe edge of the paper. This extensioncan be turned under now or trimmedwhen the repair is dry.

It can be difficult to work with apiece of Japanese epair tissue over3 so try repairing long tears withseveral short, overlapping pieces ofJapanese issue. While it may seeminviting to use one long piece oftissue, t is much harder to control,and the finished repair can lookclumsy.

Once the pasted Japaneseissue s laidover the tear, cover it with a strip ofwax paper and use a folder to gentlypress he edgesof the tear together.Remember o always work from thebaseof the repair toward the edge ofthe page.Wipe away any excesspaste hat is forced out of the edge of the tear. Ifthere is much excess,use ess next time.When the entire tear is repaired, cover it with wax paper or non-stickmaterial and blotter paper, then put it under weight. Remember, f the repairdoesnot dry under weight, the paper can buckle and curlAfter the repair is dry, curl the paper around the tear and make sure all theedgesare well adhered. If there are loose edges, epasteand dry underweight. If the page creasesat the repair, consider applying a secondJapanese epair tissue patch on the opposite side of the original repair.

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Repairing Tears With Document Repair TapeDocument repair tape s discussedon page 18. In general, t should only beused on books that are not valuable or part of a librarys permanentcollection.Make sure the edgesof the tear are lined up correctly and apply the tape overthe tear. Do not try to repair a long tear with only one piece of tape. Ifnecessary,apply tape on both sides of the paper to attach oose edgesbutremember hat this will add two extra layers of thickness to the book.Archival tapes are usually 5/8 to 1 wide. Tape that wide can often be cut inhalf or thirds so as to lessen he amount of tape used n each book. Inaddition to saving money, it will also be better for the book. When tape isapplied to both sides of a repair, cut the secondpiece a little wider than thefirst so the edgesare offset.2. REPAIRING PAPER CUTSPaper cuts slice completely through the paper fibers so they do not have atop or bottom featherededge. Paper cuts must be repaired with a Japaneserepair tissue patch or documentrepair tape. Since the cut is unsupported, tmight be better to put repair tissue on both sides of the cut or wrap a shortamount of the Japanese epair tissue or document repair tape around to-theback side of the repair to reinforce the repair. Follow the instructions forapplying JapaneseRepair Tissue Patch and Wheat Pasteor ApplyingDocument Repair Tape.

3. REPAIRING PAPER LOSSESIt is not too common to find holes in the middle of the page, but it canhappen. While the print can not be restored, he page should be mended oprevent further damage.Choose wo layers of Japaneseissue that will be close n thickness to therepaired page.

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Tear two pieces of Japaneseissue to cover the hole using the techniquescovered n TEAR A JAPANESE TISSUE PATCH OVER THE DAMAGEDAREA, page 34.Protect the text block with wax paper on either side of the damagedpage.Pasteup one piece of Japaneseissue, position it on the page and work theedges nto place. Pasteup the secondpiece of repair tissue and lay it inplace, working edgesdown with a folder.Cover with wax paper or non-stick material and blotter. dry under weight.After the repair is dry, curl the paper around the tear (page 53) to ensureallthe edgesare well adhered. If the edgesare loose, repasteand dry underweight, then test again.

4. REPAIRING MISSING PAGE CORNERSChoose wo layers of Japaneseissue that together will be close in thicknessto the repaired page.Protect the pagesbehind the repair with wax paper. Use a piece of blackmat board to highlight the edge of the repair.

Fold a piece of Japaneseissue in half andI---- 7-\place over the missing comer. The edgesofthe patch should extend past the edgesof the

page*L III,

Needle or water tear (page 33) the two :layers of tissue. The patch should be about -.&l-7

x.l/16 wider than the loss. -*..:i.

conservation book repair a training manual

Documents

book repair tools

book repair techniques

conservation book redair

book structure

book cloth

beginning book repair

conservationbook repair

repair adhesives