R E S T O R AT I O N A N D C O N S E R VAT I O N

O F PA P E R
B Y P R O F. C R I S E N C I O M . PA N E R , L P T, M S C .
MATERIALS TREATED IN THE PAPER CONSERVATION
LABORATORY INCLUDE:

Maps Photographs Drawings Prints

Pastels Watercolors Documents Architectural

drawings

Blueprints
MATERIALS TREATED IN THE PAPER CONSERVATION
LABORATORY INCLUDE:

Asian Art Works

including scrolls, Parchment Wallpaper
screens,and wood
block prints

3-dimensional
objects with
paper
components
H I S T O RY O F PA P E R
• The word paper is derived from the name of the
reedy plant papyrus, which grows abundantly along
the Nile River in Egypt.
• In ancient times, the fibrous layers within the stem
of this plant were removed, placed side by side, and
crossed at right angles with another set of layers
similarly arranged.
• The sheet so formed was dampened and pressed.
H I S T O RY O F PA P E R
• Upon drying, the gluelike sap of the plant,
acting as an adhesive, cemented the layers
together.
• Complete defibring, an indispensable element
in modern papermaking, did not occur in the
preparation of papyrus sheets.
• Papyrus was the most widely used writing
material in ancient times, and many papyrus
records still survive.
PA P Y RU S PA P E R
H I S T O RY O F PA P E R
WOODCUTS DEPICTING THE FIVE SEMINAL
STEPS IN ANCIENT CHINESE
PA P E R M A K I N G. 1 6 3 7
W O O D C U T S D E P I C T I N G T H E F I V E
S E M I N A L S T E P S I N A N C I E N T
C H I N E S E PA P E R M A K I N G. 1 6 3 7
W H Y A R E PA P E R S M O R E T H A N
500 YEARS OLD ARE STILL
GOOD?
COTTON RAGS
COTTON RAGS PLANTS:
COTTON, LINEN, HEMP
WHY ARE SOME BOOKS BECOME
BRITTLE THROUGH TIME?
Birch Tree Mulberry Tree

PA P E R T R E E S
PA P E R M A K I N G P RO C E S S
500 YEARS AGO
PA P E R M A K I N G P RO C E S S N O W
Oxidative degradation
Most common type of
degradation (aluminum
sulfate sulfuric acid)
Sulfur dioxide particulates on
paper (air pollutant) is turned
CAUSES OF
into sulfuric acid
PA P E R
D E G R A DAT I O N Nitrogen oxides from pollution
is turned into Nitric acid
CAUSES OF
PA P E R
D E G R A DAT I O N

Foxing
 General term for brow stains which
appear on paper.
 It maybe caused by bacteria,
mold, or metal.
Insect damage
Ink corrosion
 This is if the ink use is “Iron gall”
 Deteriorates paper because of
sulfuric acid component.
Insect damage Foxing

C AU S E S O F PA P E R D E G R A DAT I O N
COMMON TREATMENTS FOR PAPER OBJECTS INCLUDE:

surface cleaning to reduction of surface removal of self- separation from

reduce superficial dirt; mold; adhesive tapes; harmful mounts and
laminations;

aqueous treatment to
consolidation of reduce acidity, alkalization to inhibit mending tears; filling
flaking or friable deterioration products, future degradation; areas of loss; and
media; discoloration, and
stains;

lining fragile or
fragmentary objects
with Japanese paper.
S T E P S I N C O N S E RV I N G T H E PA P E R
• make the condition report
• test the pH of the paper (acidic paper is usually has pH of 4.5)
• Solubility test of the ink in different solvents ( water, ethanol)
• washing with de-ionized water
• buffer wash with pH higher than 7(calcium bi-carbonate)
• Chemical used for de-acidification
• Ammonium hydroxide + ethanol + water(small amount)-------> alkaline solution
• The alkaline solution is to be sprayed on the paper
STEPS IN
CONSERVING
T H E PA P E R
• After buffer washing,
the paper is laid flat
using the above
materials
• After drying, test the
final pH (ideal pH is 8)
• Tears around the edges
are repaired using
STEPS IN
Japanese tissue
CONSERVING
paper(kozo) and
T H E PA P E R wheat/rice starch paste
or methyl cellulose
• weight is put in order to
strengthen the bond between the
paper and the tissue paper
attached
STEPS IN
• retouching the Japanese paper
CONSERVING attached by matching the original
T H E PA P E R color of the paper using watercolor.
• Thickness of the original paper is
also matched by attaching enough
amount of Japanese paper
CARING FOR YOUR
TREASURES
• Documents, manuscripts, and works of art on
paper such as prints, drawings, and watercolors
are inherently fragile.
• Handle paper objects as little and as gently as
possible.
• When doing so, be sure that your hands are
freshly washed.
• Window mats provide maximum protection for
works of art on paper because they allow items to
be viewed and transported without direct
handling.
• Unmatted artwork and documents are more
vulnerable.
CARING FOR YOUR
TREASURES MADE
O F PA P E R
• Transport them in folders.

• When consulting documents, place them flat and at least

three inches away from the edge of the table on a clean
blotter or sheet of paper.

• Fragile or frequently used documents may be placed in

polyester sleeves for added protection

• Never apply pressure-sensitive (self-adhering) tapes to

valuable documents or artwork.

• Use folders to organize documents rather than attaching

paper clips, staples, or rubber bands—all of which can
cause damage.
CARING FOR YOUR
TREASURES MADE
O F PA P E R
• Mats, folders, and storage boxes should be made
of cotton rag or 100 percent chemically purified
wood pulp with an alkali reserve equivalent to two
percent calcium carbonate and buffered to a pH of
7.5 to 10.
• It is essential to choose a framer who uses proper
materials and techniques.
• Keep objects in a cool, dry environment. Maintain
a temperature below 72 degrees Fahrenheit with
relative humidity (RH) between 30 percent and 50
percent.
M O L D AT TAC K !

• Before you begin working with mold infestation, use

Personal Protective Equipment (masks, disposable
clothes, gloves).
• Do not move infested books or paper that are not
covered with a plastic bag.
• Not covering the moldy books will cause cross
contamination with other items in your collection.
M O L D AT TAC K !
 Treat them locally as much as possible, so the mold
will not spread.
 Dry the affected area as quickly as possible using
dehumidifiers. Only treat mold after it has dried.
 Use a HEPA filter vacuum to clean the affected
area and items.
 All materials used need to be discarded or cleaned
with water and soap.
 Use 70% Isopropyl Alcohol to finish the cleaning of
brushes and vacuum parts.
 After finishing, clean the area.
CLEANING OF BOOKS
AND DOCUMENTS
PLANNING THE CLEANING PROCESS
 Carefully examine your materials to answer the following
questions:
 Is it stable or fragile?
 Is it brittle or degraded due to paper acidity and/or iron gall
ink?
 Is there any mold? Is there dust? Is there insects?
 Are there pencil markings?
If there are any written marks on the materials do not remove
them, they are part of the its history!
CLEANING OF
BOOKS AND
DOCUMENTS
SUGGESTED CLEANING MATERIALS
 A big table covered with plastic sheeting.
 Safety face masks or respirator masks.
 Nitrile or latex gloves in case of mold.
 Natural soft bristle brushes.
 Air blower.
 Latex sponges.
 A cleaning procedures guide.
CLEANING OF
BOOKS AND
DOCUMENTS
PROCEDURE IN CLEANING BOOKS
Start on the outside of the book:
 Hold it firmly and clean the edges with a brush, a soft cloth
or dry sponge, from the spine to the fore-edge.
Then proceed to the inside:
 While cleaning inside, carefully use a brush or a sponge to
wipe the surface of the book.
 Be careful to not apply too much pressure
CLEANING OF
BOOKS AND
DOCUMENTS
PROCEDURE IN CLEANING BOOKS
Then proceed to the inside:
 Start from the center, then outwards.
 This will prevent any dust or dirt to get into the gutter of the
book.
 If you have dust or dirt inside the gutter, the use of an air
blower will help.
CLEANING OF BOOKS
AND DOCUMENTS
REMOVING ODORS - A DEODORIZING CHAMBER
With the help of a deodorizing chamber you may be able to remove some
of the following odors found in collections:
 Mold
 Smoke
 Wood
 Oil or diesel
 Vinegar
 Pests
CLEANING OF
BOOKS AND
DOCUMENTS
REMOVING ODORS - A DEODORIZING CHAMBER
• Distribute the zeolite on the bottom of the container,
insert a grid shelf then place the book, or books, on the
shelf.
• If necessary, insert a few pieces of a thick paper between
the pages, this will keep the book fanned open and stable
on the shelf.
• Keep the lid closed for a few weeks to allow the zeolites
to absorb odors.
• If necessary, you can keep the books in the chamber for a
longer time, repeat it as needed.
BRITTLE AND FRAGILE
PA P E R R E PA I R
MENDING TEARS
 Note on this example that a few small pieces of paper
are loose and broken due to acidity of the paper.
 You will need to re-attach them before proceeding to
work with the larger areas.
 Tear thin strips of heat-set tissue with your fingers, this
will provide uneven edges, which is desirable for the
mending final appearance.
BRITTLE AND FRAGILE
PA P E R R E PA I R
MENDING TEARS
• Place the page to be mended on the top of release paper and blotter.
• Use a small weight, so the paper won’t move, and place the piece of
heat-set tissue on top of tear.
• Do not forget to place the shiny side of heat-set tissue in contact
with the broken paper, which is where the adhesive side is.
• Cover with release paper and use the small iron to apply heat, warm
enough to activate the glue.
• You will need to test your iron to set the temperature to a desirable
level.
• Protect any printed part of the paper as the ink may be unstable and
will bleed with heat.
H E AT- S E T J A PA N E S E T I S S U E PA P E R
APPLIED TO MEND THE TEARS
BRITTLE AND FRAGILE
PA P E R R E PA I R
INFILLING LOSES
 Using a piece of polyester film and a permanent marker to
trace the area to be infilled.
 Place the polyester film on top of the page and, with a thin
point permanent pen, trace the edges of missing areas.
 The pen line will serve as a guide when cutting the heat-set
tissue to fit the size insert.
 As you can see on this photo, the guidelines are matching the
losses.
TRACING USING
POLYESTER PLASTIC
TO KNOW THE
A M O U N T O F JA PA N E S E
TISSUE TO BE
AT TAC H E D
INFILLING LOSES
 Remove the brittle page from
under the polyester film and
place it on top of a larger piece of
BRITTLE AND heat-set tissue, bigger than the
area you are mending.
FRAGILE  With the help of an awl, trace the
PA P E R guidelines of the missing area on
the top of the heat-set tissue.
R E PA I R  Tear the heat-set tissue you just
traced and place on the areas to
infill.
 Use silicone release paper under
and on top of the page.
 Apply heat and proceed to the
other side repeating the same
process.
AT TAC H H E AT- S E T JA PA N E S E
T I S S U E PA P E R O N B OT H S I D E S
O F T H E PA P E R
1-TRACING 2-CUTTING
3-ATTACHING THE PIECE 4-IRONING FOR ATTACHMENT
FINAL WORK
• If water is absorbed in the
stain area, it indicates that the
paper fibers in the stain area
have broken down most likely
due to acid.
• When a drop of water is put on
WAT E R T E S T a clean area and is not
absorbed, it indicates that the
paper fibers are still intact.
DEACIDIFICATION
O F PA P E R

• In Japan, DAE (Dry ammonia ethylene

oxide process) has been used since
1999.
• In other countries, they use
Bookkeeper process.
• Libertec® suggested a
deacidification process where a
mixture of magnesium oxide and
calcium carbonate is sprayed over an
evenly open book.
pH paper

Bookkeeper spray chemical

D E AC I D I F I C AT I O N
PROCESS OF BOOKS
STABILIZATION
OPTIONS WITH
IRON-GALL INK
ENVIRONMENTAL
REQUIREMENTS
FOR DIFFERENT
KINDS OF
MATERIALS
T R E AT M E N T O P T I O N S F O R
I RO N - G A L L I N K O N PA P E R
S TA I N R E D U C T I O N O N PA P E R
FOUR
LEVELS OF
IRON-GALL
INK
CONDITION
FOUR
LEVELS OF
IRON-GALL
INK
CONDITION
UCHIBAKE
• Uchibake (beating brush) is one of the restoration
techniques used in Japanese paper conservation in
which layers of lining paper as well as backing
paper are beaten with a brush after they have
been adhered with furunori (aged paste).
• Most Japanese paper restorers say that adhesion
between pieces of paper become firm while the
adhered pieces of paper themselves become
flexible due to uchibake.
• It is also said that the good adhesiveness caused by
uchibake is attributed to the intertwining of the
fibres of the lining papers.
U C H I BA K E ( B E AT I N G
BRUSH)
BARRIER BOARD
DOCUMENT CASES

• Measure a pH of approximately 8.5 and are made

from a strong 60 pt., solid-core tan board composed
entirely of lignin-free cellulose fibers.
• For added protection, the boxes contain a 3% calcium
carbonate buffer to neutralize acidity that may be
introduced through handling or the environment.
UNBUFFERED ACID-
F R E E I N T E R L EAV I N G
TISSUE
• Unbuffered tissue is acid-free and is recommended for use
with protein-based materials such as leather, silk, and wool.
• Cyanotype, dry transfer or chromogenic prints also require
unbuffered tissue.
• This tissue is an excellent choice for separating prints,
drawings or lithographs and protecting artifacts.
• Textile conservators and archivists highly recommend using
unbuffered tissue for wrapping, stuffing, and interleaving.
Very thin (.001) tissue for maximum translucency.
MANUSCRIPT
FOLDER
• Acid-Free, lignin-free, Perma/Dur stock manuscript
folders provide ultimate protection for long-term
storage of important papers.

• Manuscripts and other meaningful documents benefit

from the 3% calcium carbonate buffer which helps to
control migrant acidity. Professional archivists, librarians,
and others charged with vital record protection will love
these acid-free folders.
L I N E C O C O N S E R VAT I O N
M O U N T I N G M AT B O A R D
100% ALPHA CELLULOSE

• Framers don't have to sacrifice quality when mounting,

matting and picture framing.
• Economical Lineco Conservation Mounting Mat Board
features pigmented conservation quality surface papers and
a high alpha cellulose conservation core.
• Bleed and fade resistant throughout, this 4 Ply +/-53 Pt.
• Conservation Mat Board is buffered with 3% calcium
carbonate and is available in the most popular colors.
HEAVY-DUTY ROLL
STORAGE TUBES
• These roll storage tubes are made with acid-free, blue-
gray Perma/Dur.

• They are manufactured to meet rigorous standards of

permanence. Each tube is buffered with an alkaline
reserve of approximately 3% to prevent acid-migration.

• Water resistant, neutral pH adhesive is used in the

construction of these tubes.

• Ideal for storage and shipping of textiles, tapestries,

carpets, posters, large maps, etc.
WHITE NEUTRAL
PH ADHESIVE
• Lineco acid-free adhesive has excellent lay-flat
properties and dries clear.
• Easy to use polyvinyl acetate (PVA) formula is fast
setting and re-moistenable with water.
• This adhesive was formulated specifically for
preservation materials and will not become brittle
with age.
• Adheres to most porous surfaces.
DOCUMENT
R E PA I R TA P E
• This very thin and extremely transparent pressure
sensitive document repair tape is non-yellowing,
removable with solvents, and has a neutral pH.
• To use, dispense a length of tissue, place over the
tear, and burnish with a bone folder.
• Working the adhesive into the tear causes the
adhesive to strengthen the tear as well as cover
and support the area around the tear.
METHYL CELLULOSE
ADHESIVE
• A neutral pH, water reversible adhesive that
dries clear.
• Use for repair, gluing end sheets and general
archival adhesive applications.
CONTROLLING LIGHT DAMAGE

• UV light and Visible light deteriorates paper by causing the

fibers to vibrate rapidly
• In Watercolor, light causes the pigment molecules as well as
the paper to vibrate quickly resulting to deterioration through
time.
• These vibrations due to light is also the cause of the chemical
changes that result to embrittlement and fading such as
yellowing.
CONTROLLING
LIGHT DAMAGE
• Putting light-sensitive items into boxes;
• Keeping the lights off when no one is
retrieving materials or installing motion
sensors on the lights (this step also saves
on electricity costs);
• Filtering tubular fluorescent lights with UV
blocking sleeves (no filters exist currently for
compact fluorescents); and
• Covering windows with shades.
CONTROLLING
LIGHT DAMAGE
• Keep collections off of top shelves and away
from direct contact with windows.
• Protect any materials that may be particularly
susceptible to light damage, such as framed
color photographs or watercolors, by
displaying away from any direct light
(sunlight and spotlights) and glazing with UV
blocking glass or Plexiglas or by displaying
good quality facsimiles.
EXHIBITION
LIGHTING
• While on exhibit, collections are most susceptible to
light damage and care should be taken to protect these
materials.
• The intensity of light and the length of time the materials
will be on display are the primary factors and need to be
considered together.
• Most collection materials can be on exhibit for three to
four months at 50 to 150 lux and show no fading.
EXHIBITION
LIGHTING
• We can measure the damage to materials in
direct proportion to the light level multiplied by the
time of exposure, measured in lux hours (lx h).
• For example, an object lit for 10 hours a day at 50
lux for 100 days would have a light dosage of
50,000 lx h.
• Ideally, light-sensitive materials would only have
an annual exposure of 50,000 lx h.
• When considering how much and how often an
item is to be on display, always keep in mind that
light damage is cumulative and irreversible.
MATTING AND FRAMING FOR
WORKS ON PAPER AND
PHOTOGRAPHS

• Poor quality materials and improper framing

techniques are a common source of damage to
artwork and cultural heritage materials that are in
otherwise good condition.
• Staying informed about proper framing practices
and choosing conservation-grade mounting,
matting and framing can prevent many problems
that in the future will be much more difficult to
solve or even completely irreversible.
• Picture framing
professionals may be
under high pressure to
CHOICE OF A make a sale, so it is a good
idea to have a basic
FRAMER understanding of
acceptable conservation
framing materials and
techniques before talking to
a framer so that you know
what to ask for.
MATERIALS
• There are many materials commonly used in
picture framing that can cause harm to the
object within.
• Even materials that are sold as archival-
quality could be potentially harmful.
• Do not let aesthetics override preservation
options.
MATERIALS

• Poor quality materials are less expensive and can

create the illusion of value for the customer while
causing damage overtime.
• Oxidation and the release of acidic gasses from
poor quality materials can accelerate the
deterioration of paper objects causing them to
become embrittled, stained and discolored.
MATERIALS

• Choose 100% cotton rag mat board for all window mats and as the primary
backing board that the piece will be mounted on.
• For a secondary backing board,
Coroplast™, archival corrugated
board, 100% cotton honeycomb

MATERIALS boards, or Dibond® are all good

options.
MATERIALS

• Do not use any type of foam board such as Fom-

cor®, “archival” paper faced foam boards, Gator
board, expanded PVC boards such as Sintra® or
Komatex®, any lignin containing paper-based
mat boards, kraft (brown) paper, non-archival or
self-adhesive tapes (i.e. document repair tapes),
or ATG (adhesive transfer gum), all of which are
used in the majority of frame shops.
D O N ’ T U S E T H E S E M AT E R I A L S
MATERIALS

• When an object is matted but not framed, a

COVER SHEET may be used for protection of the
mounted object.
• Clear polyester film such as Melinex®, an
archival-quality polyester is not suitable for use
on objects with friable media, i.e. pastels, loosely
attached graphite, chalks and other types of
media which are not securely attached to the
paper.
MATERIALS

• Archival tissue paper is more appropriate for

delicate media such as pastel, charcoal, soft
graphite pencil, or opaque watercolor.
• Acid-free glassine is not recommended as it
becomes acidic over time and easily distorts
with fluctuations in humidity, potentially causing
surface damage to the object.
C O N S E R VAT I O N
FRAMING
C O N S E RVAT I O N F R A M I N G
C O N S E RVAT I O N F R A M I N G
CONSERVING
MICHAELANGELO

H T T P S : / / W W W. M E T M U S E U M . O RG / M E T
M E D I A / V I D E O / C O L L E C T I O N S / D P / M I C
H E L A N G E L O - C O N S E RVAT I O N
V I D E O S O N T H E C O N S E R VAT I O N
O F PA P E R
• https://www.youtube.com/watch?v=gVZ8MKOwLJg
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