 Go ahead, Susan. Hi, everyone. I want to welcome you. And I want to remind you that there's a handout in the box below the general chat. And feel free to download that. And just as a reminder, I post the webinar recordings usually within a day or so. And along with the PowerPoint slides and the handouts, and if the handout's been amended, I post the amended handout. And you can tell that it's been posted because the ad for it will no longer be on our home page. And then you'll find it in the archive. So if you have questions about connecting to collections care or questions about caring for your collections, you can join the community on the Connecting to Collections Care community, which is on the AIC website. And the directions for joining it are on our website. You don't have to be a member of AIC to join the Connecting to Collections Care community. And you can keep up with us on Facebook or Twitter. If you have problems, you can contact me. This is my email address, u2ccatculturalheritage.org. If you need disaster assistance in the U.S., this is a 24-hour hotline. And there are people that answer it all the time. So feel free if you need assistance. Beginning next week, we have a course called Cleaning the Museum Without Damage. You can register for that if you want. It has a fee. And our next free webinar is the end of the month on collections facility planning. So that's what we have going on. I'll look forward to seeing you. And remember, if you have questions, put them in the general chat and I'll make sure they get answered. So I'm going to turn it over to Eliza Gilligan. Hello, everyone. Thank you for joining us today. I am really excited. This is my first webinar ever. So bear with me. Mike, I hear a little bit of an echo. I'll just keep talking and hopefully you can work on it. The intro for my presentation, I think, covers the basics, what I want to say, and hopefully you've had a chance to read it. The class is focused on circulating collections repair. The term circulation can mean different things depending on the institution you're talking about. Sometimes a book just circulates within a suite of offices or if you're at a university library, which is where I've worked for most of my career, you can have books that go home with students or faculty members for a whole semester, a couple years, and then they have all sorts of adventures. Keeping in mind that a repair for a circulating book needs to be as permanent and durable as possible while still maintaining access to the intellectual content means that you do sacrifice sometimes the original components that you would try and retain for conservation. But those are the choices you make when you're thinking in terms of special collections versus circulating collections. And then when Susan told me that there would be, you know, over 200 registrants for this class and that I wouldn't necessarily know who the audience was, I decided to focus on a baseline of treatment steps and then talk about what it would take in terms of training, equipment, and supplies and square footage to take it to the next level. You will know where you fall in this continuum and hopefully the information I'm providing is helpful. And then I'm absolutely ready to answer questions at the end. Book repair is not conservation. Not all steps are reversible. There's no documentation and we don't do research or matching of materials. In general, non-reversible adhesives will be used, but just PVA, which is a polyvinyl acetate adhesive. It's a water-based adhesive, but it is not water soluble. It looks like Elmer's glue, but it has much better archival qualities. It can only, once it's dried, it can only be lifted mechanically, which means that there will be a loss in materials, either as a bookcloth, the board, or the paper if you try to reverse the repair. Like I said earlier, photo and written documentation is a crucial component of conservation ethics, but we don't take that step for book repair. This is not to suggest that book repair is a lesser activity. I don't want to cause hurt feelings or imply a status that one is better than the other. Rather, since repairs are not reversible in this context, you have to be very thoughtful about the repairs you choose to do and put a lot of mental energy into developing appropriate and sustainable workflows. The images on your screen are the parts of a book, sort of basically in terms of a case finding or typical hardcover book. We don't usually see raised bands in circulating collections unless they are false bands built into the spine of the case. Much of the damage we see in library and circulating collections is thanks to the weakness of the cover to text attachment, which that the inner hinge, and usually it's only a single layer of paper with a cheesecloth weight fabric lining that's called mull or crash or super. Adhesive bound books, and I've got two examples in a photograph at the bottom of the slide, can be hardback or paperback. Sometimes the text block is in signatures like the book on the right with glue injected into holes that look like sewing holes, and sometimes it is a stack of single pages that have been double-fanned with adhesive brushed onto each side of the fan, like the book on the left. Adhesive bound books are particularly vulnerable to splitting and losing pages since the spine is usually lined only with a layer of glue and paper. So given a damaged book, the first step is to assess the damage. Do you have torn or detached pages? Is there tape? Are the boards secure but maybe the spine is slapping or maybe the board is partially detached? Is there a torn head cap? Is there dirt? Is there mold? Some books can be easy to fix. If it's a few page tears, it's not that big a deal, but sometimes it's more involved. When you're just starting out, you want to take some time and learn to examine a book, maybe make a little tick sheet to keep track of all the damage that you spot as you go through the book. Once you get more experience, you'll develop an eye. The process will go faster. Now you also want to at the same time assess the book and its potential for repair. Is the book case bound? Is it paper bound? Is the book sewn or adhesive bound? If it's adhesive bound, is there enough gutter to rebind? The gutter margin is the part in the center of the book and if there's not a lot of gutter margin and you chop off the spine, you run the risk of losing access to the text. Sometimes you just have a torn head cap and that's just a little finicky repair, but sometimes things do get more complicated like broken sewing or a completely slit adhesive binding. If you have something that's more complicated like a broken adhesive binding, you'll need to know that you'll need a guillotine to trim the text block evenly and a special clamp to hold the text block while you scan the pages. If you have a commercial binder available to you through your institution, sending items like that out for a new adhesive binding is a great cost-effective option as long as you have enough gutter margin. Likewise, heavy reference books can be rebound by a commercial binder with the bottom of the text block flush with the bottom of the new case. This prevents the text block from falling out again. The term is case flush bottom and most binders are familiar with this. You can also do this in-house if you have the skills and the equipment. It's a great option for heavy art catalogs that come in and the case is a beautiful cloth-covered case. The text block is gorgeous coated paper with beautiful pictures of artwork and it's just so heavy it falls right out. You can recase that again case flush bottom and I'll go over that a little later in the presentation. But after you've done your assessment of the damage and the book, the next step that I think is really valuable is to check in with the librarians or the curatorial staff or the subject selectors that you work with. This review process was something we developed at the University of Virginia Library. The idea came to me when I was reviewing the repair shelf in Alderman Library and found a piece of bound paperback of my Antonia. The call number label said that it was copy 30. Now, did we really need to rebind this book? Copy 30 was probably a label back from the days when UVA had an undergraduate library and it was very likely that the scope of the American literature holdings had changed since then. Books are usually selected for repair as part of the circulation process which means that the subject selectors are not part of the repair conversation until you bring them in. Since we didn't know the whole story on any given book, we created a flag that had our assessment plus the categories that we needed to know so that the subject selector could fill them in. We didn't use this flag for every book. Just those that had a lot of damage or liked the copy of my Antonia said copy 30. Now, if you can zoom in or take a close look at these two sample flags, you'll see that the types of damage are listed as brittle, graffiti, handbind, water damage, text blocks separated from the case. These are typical categories and our preservation librarian would just circle the ones that applied, but the top of the flag shows things like the number of circulations, number of copies that are available through UVA, other libraries at UVA or in the University of Virginia system and a number of copies in WorldCat. We had a technician that did a lot of research so that when the subject selector was given the book and the flag, they could make the decision really quickly. We found that if we just gave them the repair flag, they would not necessarily prioritize the research it took to make the decisions. And we found that by having a staff person within our department who did the work, all the librarians had to do was come by the book truck that had their books on it, make a few decisions, have a quick conversation with the preservation librarian, and then get on with their day. And yes, this does take extra staff time, but we found that it was really worth it because as a department, we were demonstrating that we were being cost effective when we made decisions about book repair. We would talk to the librarian and say, well, this is going to be really expensive. And there were times when they would say, sure, just withdraw that paper back all by another one from Yankee Book Peddler or what have you. But then sometimes they'd say, oh, you know what? This is something that I need to take a deeper dive into. So it was a great way to forge relationships with the other library staff. And it was a great way to get to know the collections because sometimes you get sort of stuck in your department and you don't get out to see what's on the shelves or see what collections or how they're developing. And if people are interested in having blank copies of the repair flag and the subject selector flag, I can forward those to Susan so that they're made available after the presentation. So what can you do in-house? This depends on how many staff hours you have to devote to in-house repair. You have a budget for purchasing equipment and supplies. You have a dedicated workplace and a place to store supplies. Branding staff takes money and it takes time. But more importantly, once you've trained staff in book repair and mending and those hand skills, they need to be able to have enough consistent work to maintain the skills. When I'm teaching book repair, usually at the end of the first quality check, I always say, good, now do another hundred because it's that amount of repetition that allows the person to develop their hand skills, to develop their eye, develop their assessment skills and decision-making skills when it comes to repair. This is also true if you are trying to incorporate students into your workflow or volunteers. Are they going to be there in long enough blocks of time so that the training you give them is able to accumulate into meaningful skills? In the case of students, their schedules can vary and they may have a bunch of classes or exam time. They all disappear and you have to be mindful that their studies are their first priority. And then again with volunteers, some are able to make it on a regular basis and some not so much. So that is an important consideration. Also, equipment like book presses and board shares are expensive. They take up a lot of space. If you get a grant or a donor to purchase them, that's wonderful, but you've got to make sure that you have a workflow and consistent staff hours to make it worth that investment in space and money. The same goes for a large array of supplies. They can be expensive and you've got to store them where they will be safe. If you've got book cloth, you want to make sure that it doesn't get water damage or dust or other things happen to it while you're waiting to use it. The same for board and other supplies. So let's talk about practical categories of repair. I've got a few slides describing very basic levels of repair and the supplies needed. These techniques are a great start for a repair program utilizing part-time staff and minimal investment in tools and supplies. If you can do more than that, great. These skills are foundational and for more complex repair techniques, they come in handy. Likewise, if you have a repair outpost or a group of volunteers working on a project, these skills may be a good way to think of how to scale a project. So starting with dry cleaning. Now I'm not going to play the video. These are repeated and some in more detail in the repair handout, but I just wanted to sort of go over the format so that when you did look at the handout, it would be familiar to you. This is a YouTube video with a person from a Filatole collection demonstrating how she cleans a cover or an envelope with a dry cleaning sponge. Dry cleaning is a really important basic repair. You need to dry clean before you do a page mend. If you're working in an archive, very often books and collections come in dirty, or if somebody has had books checked out into their office for several years and they finally retire, the books come back, you could wind up spending some time dry cleaning. So it's an important skill. The videos short, but really good. The supplies needed are a soft brush, a smoke off sponge, which can be bought online from Amazon or Home Depot or something. You could also use a soft white cosmetic sponge. They're sold in the drug stores. They're sold online. They come in all different shapes. I like the triangular ones. Oh, the slides cut off. Anyway, there are triangular ones that are really great for getting in the gutters of books. And this is important because if you start dry cleaning and dirt starts falling into your gutter, you don't want to lose it. So the sponges can also be cut to shape. You can cut the dirt off as you go. And they're very soft. They're very gentle. The smoke off sponges are a little more aggressive. So if you have, say, a map that's more sturdy, heavy duty paper, that's great. If you have something that's sort of delicate, like a map or an engraving, the white cosmetic sponge is a better way to go. Now, dry cleaning is also a good way to take care of mold. And if we work in libraries, historic houses, museums, just about anywhere, you will probably encounter mold at some point in your career and people will ask you to clean it up. If you do, please pace yourself carefully. Try not to do it in a non-ventilated space. Try not to do it for more than an hour at a time. People need to be very mindful of their respiratory health and take breaks. If you have a big project with a lot of mold, look into respiratory protection, but also look into ways to pace that project so that you don't get physically overwhelmed. The problem with mold is that it's an allergen, even if it's dead and it's sort of stained with paper, someone could still react to it. So if you do have a circulating book that has a bit of mold, that would be a great reason to use the subject selector check sheet where you say, hey, do we really need this? Could we get a copy of this? How often is it circulated? And what are the possibilities? On to tip-in. This is, again, a nice repair video that shows doing a single-page tip-in on an adhesive-bound book. And the technique would also work on a bound book. Sometimes you have a single page that gets torn out. And, again, I'm sorry, it seems that my text boxes have been cut off, but, again, this is a copy of what's in the repair handout. The supplies needed are minimal. It's a glue brush, glue. The anolpha are an exacto knife, a cutting mat, a ruler. This is a very simple repair to make. And, again, if you have, say, a book that's got one or two moldy pages, you can take them out, photocopy them, tip in the photocopies, make them available in your circulating collection. Or if the pages have been really damaged and it's a widely-held book, you can get ILL into your library loan pages to replace the damaged pages, hit them back in, and you have a book that's ready to go and circulate and be useful as part of a research collection. The only caveat is that it really doesn't work if you try and tip in more than 10 pages at once. The chunk of glued-together pages gets a little bulky, and the spine of the book can't flex as easily. So if you do have more than 10 pages, then that's a situation where you would want to look into getting a replacement copy of the book or talk with the librarian, a curator, about how often is the book used, could the need be met through ILL, and so on. The heat set mend. This is a very short video. It doesn't have any audio. And it shows a person mending a map with many different kinds of tears using heat set tissue. It's a really good skill to develop because once you get into book repair, page repair, you'll realize that there are very many different kinds of repair, and this little video shows you different scarf tears, different shapes. Mending is a really important skill to develop. It may seem simple, but once you get into it, you'll realize not only are the tears different, but sometimes you're dealing with flat paper. Sometimes you're dealing with paper that needs to fold, like in a map that's got to be... that's a fold-out, say, in a book, or that tucks in a pocket in the back of a book. And getting a mend that's secure but can fold and flex is a really great skill to develop. The heat set mend is a non-reversible... unless you start to use solvents, it's a non-reversible mend using a tacking iron. Now, the tacking iron, you can get a pricey version, a C-Elector or a Hangar 9 or the two most common. Recently, I went to Joanne Fabrics and bought a $16 mini iron for ironing the seams and quilting, so if you are on a budget and you're exploring the growth of a department or you have a project in a remote location where you've got a small operation, there are some less expensive ways to go. And it's a good skill to learn and it will help you develop skills that would be applied to more complex book repair treatments. Paper removal. This is just a picture and a very quick intro to paper removal. There's much more information on the handout. If you look at the picture, there are two different kinds or vintages, I should say, of pressure-sensitive adhesive. The one big yellow stripe is a couple of different layers of tape that have been on the book much, much longer. That spatula is under the carrier. The tape has oxidized such that the adhesive is dried out and the carrier just pops off. Now, that is good in a way because you can just pop off the carrier, brush away the crumbly bits of the adhesive residue, and if this is a circulating collection book, you're going to be working probably in an area that doesn't have venting, so you would not be working with solvents. You would just take some heat-set tissue and mend over top. Don't do solvent work if you don't have adequate ventilation, either with a fume hood or a fume trunk. And don't attempt solvent removal or pardon me, solvent-based removal of adhesive residue if you don't have experience in training. It can take a lot of trial and error to find the appropriate solvent mixture to lift out that adhesive residue, and you could really, you know, harm yourself, harm the book. So it's better in that situation to just take some heat-set tissue and mend over it and make sure that the crack title page doesn't fall out. The pale gray square on the fore edge is a much younger vintage of tape, and that can be removed by placing your micro-spatula, like the one in the picture, on a heated tacking iron for a few minutes until the spatula gets warm enough to flip it under the carrier. Since the adhesive is still tacky and soft, you'll be making it soft enough to peel the carrier away and you slowly peel the carrier away until it's completely lifted away, and then you take the soft, sticky adhesive residue, and you can lift that with a cray-for-racer. A cray-for-racer is widely available in art supply stores, and it's really effective at picking up the adhesive residue. It's a very safe, mechanical way to lift adhesive. It will take a little practice because you have to sort of dab at it with a firm pressure, but at the same time, you don't want to tear the paper. But it's a really great way to clear the residue, and then you can remend the old tear with some heat-set tissue. The last category I've got a picture of is called the spine lap. Now, the boards on the book and the top picture are securely attached, but the thin cloth on the cover has split along the spine. The structure of the book is basically sound, and the kneaded thick is mostly cosmetic. Often, people will make a re-back mend where they remove the original spine cloth, add new cloth over the spine, and the boards and these little flaps that wrap around. However, there's a much less invasive, low-impact way to go. It's called the spine lap. The supplies needed are a micro-spatula, Japanese tissue, PVA, bone folder, waste paper, mylar. If you don't have mylar, polyethylene strips can be made by cutting up Ziploc bags. Ziploc bags are made of polyethylene, which is a nonstick plastic, and then an ace bandage or a nonstick fabric to wrap the book when you're done. I've got one sort of in-process picture here on the slide, but it goes into much more detail on the handout. Basically, you take a hinge of Japanese tissue that's the length of the spine and about a quarter inch on each hinge. There are two ways to execute this repair. You can glue one hinge to the spine of the book, aligning the fold to the edge of the spine or the joint. You glue that down. You let it dry. You put in the mylar or the polyethylene strip to keep the tissue from sticking to itself. You put in some waste paper. You glue out the second hinge, and then you lower the original spine into place. And usually, you can get the original spine and the cloth of the joint to line up, and it's almost unnoticeable. Once it's dry, you pop out the mylar and the book should flex and work just fine. You can do cosmetic touch-ups with watercolor or, pardon me, a colored pencil or acrylics if you choose. Another way to do the repair is to lift the cloth on the board. You tuck one hinge under that, glue down the cloth, and then glue the other hinge onto the inside of the original spine. Both work really well. It just depends on the structure of the book, which one you choose. And again, I go into more detail in the handout. This is a really great skill to learn because you learn the skills of lifting cloth. Tucking tissue in place, getting the glue to be just the right amount so that you don't glue it out all over the place. And you can do this on a spine that has one torn joint or two tears or partially tears. I've seen it. I've been able to make it work where you mend one hinge and then once it's dry, and the other one's partially torn, you can either do the partial mend or you can lift the whole joint and do another mend on the other side so that the original spine is buried on both joints and yet you haven't had to put in any repair cloth or take the whole thing apart. A head cap repair is something I had in my list earlier and I don't have specific on this because each torn head cap is its own little crunchy mess because of the way people pull books off the shelf. But once you master the techniques of the spine lap, lifting cloth, fitting tissue, and keeping your glue neat, you'll be able to do a head cap repair. No problem. You'll be able to assess sort of the shape of the tissue or cloth mend that you need to create and how you're going to tuck it under the original cloth and how you're going to attach it to either a tight back spine or maybe a little hollow tube to stick it on to a hollow or to a case binding. Just please don't do Marike on top of with PDA and SC6000 that repair tends to peel off a few years later, especially if you try and do it on polished leather. And then not so practical categories. This really depends on the sort of the scope of your repair operation. Reselling is really hard to get right and then you have to line the spine, make a new case or refit the original case back on. A new case construction can take many steps and that can take a lot of training and practice to get right. The double fan adhesive reglueing doesn't work unless you have a guillotine to trim the text block evenly and then a fanning clamp to hold the text block perfectly while you fan the book back and forth. Now, if you don't have these things, then it's time to consider a box for the book. That was an option that we had listed on our subject selector workflow. Sometimes even if the book was horribly damaged, curators, librarians had just keep it in the box. We need it for a while longer or we need it as long as the faculty can use it and so on. My handout has some links to some box-making videos. You can buy boxes. You can watch those videos and decide if making boxes in-house works for you. It can be expensive to order the board, but if you have a good group of students or a good group of volunteers and when you don't have full-time staff, it can work. The videos are really great. There's also a link to the Library of Congress publication that covers many, many boxes and housings. Just watch the videos and think about whether you have the scale to get a board shear, the workspace to set up the tables, and so on because maybe you are ready for a bigger workflow. There are commercial binders that can do some of their rebinding and they're a great way to outsource things like the adhesive rebind or oversized materials that you may not be able to do in-house. And then for more complex intervention treatments, such as, like I said, the new case or retained case, I will direct you to the AIC Wiki, the book and paper group section. There is a really great treatment of board reattachment options, my personal favorite being a board reattachment with Tyvek hinges by Emily Duncan. There is also a page on case binding repair for circulating collections, and that was done by Carol Dial and Werner Hahn. So I'm going to direct you to those instead of trying to reinvent the wheel and fit it into an hour-long webinar session. And also very soon there will be a set of directions for a rebinding technique that I developed. It's called the quarter cloth new case binding. And I'm really sorry that I wasn't able to have it ready in time to include as a handout for you. I'm doing this in cooperation with two other conservation professionals, and everybody's got their full-time obligations and juggling responsibilities, but we're very close to having it ready for publication on the AIC Wiki. And what it is, it's a way of developing a building a new cloth case that breaks up the steps for case construction a little differently so that you leave the width of the board longer than usual and you take time to fit the spine of the case first and you customize that, and then you cut the fore edge of the board. And what this does, it allows you to custom-fit the spine of an old book picture repairing. And as we all know, old books aren't square. They aren't even. And when you're trying to make a new case for them, cutting, you know, square and even new cases, they don't always fit. So this is a customization step. And I found that it worked much better when teaching non-conservation people, non-book-trained people. It just came more intuitively. People had a lot more confidence in their ability. And also, when you are a book repair technician but also the binding technician or supervising students, it breaks the steps up into smaller components so that you can go do your other tasks and come back. So stay tuned for that. And I'll close by just saying, please, when you are doing your repairs, don't overdo them. This is a picture of a book from UVA that someone with a lot of good intentions really over-engineered them and reinforced the fine with probably 20-point board, threw on some line-coed cloth with a lot of glue and then a lot of tissue and a lot of glue and a lot of tape. And in the case of this book, it wound up being transferred to Special Collections and in order for me to make it usable, I had to tear out a lot of paper that was just glued to beyond salvage. But that is, I think, everything I have to say, and I will close and open for questions. So right now there's two questions. One is, what about using polybinyl alcohol, PVA for a chip-in? So PVA in the book repair world is not polyvinyl alcohol. It is polyvinyl acetate. If you're being persnickety, it should be capital PVA little c. So that's sort of a misnomer or colloquialism in book repair. If you go to a book repair vendor or a conservator and look for something like LVase or Jade 103 or an archival adhesive, they'll say PVA, but it's polyvinyl acetate. But what about using them for a chip-in? That's what you would use, PVA. Okay. Okay. And Lindsay Williams says, I had to step out for a moment, so you may have talked about this. Are there many options for repairing sound books that are brittle other than ordering a box? If the paper's brittle, it's almost impossible to sew it. And even if you are able to sew it and then line it and put a new cover on, if it is going to circulate in the context of going to a student's backpack, chances are it won't last very long. That's something where you would have to have a conversation with the librarian or maybe your institution is small enough where you know, oh, this book is just going to go to the history department office, reference library, and sort of sit there and just go 20 feet to this office and 20 feet to that office. So then maybe you could get away with a very weak repair, but that's when you have to rely on your own judgment for knowing how the book circulates. But that's also when you could sit down and say, oh, is it available on Happy Trust? Has it been scanned? Could you get a facsimile? Yeah, you may have an echo because of me. Oh, that's okay. I'm sort of going to keep talking over it. If the book has been scanned, and you're a library person, you can download it as a PDF because I know how to make a double-fantasy of books. I've found old book repair manuals where I just download the PDF, print it out, trim it, and make a double-fantasy of binding just so I have a paper version for my own fun. That's something that's doable. You'd have to, again, check with your librarians or your curators to say, am I allowed to do this within our licensing agreement for whatever? If it is really important to somebody to have a paper version of that book available to them, that's also a possibility. Yeah. I have a question about this illustration that's on your last slide. The green is bookcloth repair, and then there's the white band. A little off-center is a hinge. Yeah. It is very common to see in old repairs or even in repair videos where people think the way to mend the cover of a text attachment is to put a hinge from the front board or the paste down to the first page of the text block. And so this is what you're looking at. And people can be really enthusiastic and put in a really heavy piece of tissue or a really heavy piece of paper and make a paper hinge, reinforce it with some film of plaster or something. And then when that starts to fail, they turn the first page in the text block and reinforce the first page of the text block from the other side and then attach it with a heavy-duty hinge to the second page. And it goes on and on and on. Okay. So Carolyn Ziegler says, apologies for the gross question, but somebody brought me a book with a roach. They think pretty strange. Yes. Any suggestions about how I might clean it up? Hey, I live in the south, so that is not a gross question. That is a real question. It is, you know, something that we deal with. Now, depending on how many stains there are and usually it looks like little brown commas all over the place and then fly specs looks like little dots, you can pick it off with a scalpel. Usually it is on there pretty good. So if you just need to sort of make a quick clean, that is when you would want to take your smoke off sponge, which is sort of the big beige open-cord sponge and just sort of brush at it and see what comes up. Whatever is loose will come up and then the rest you just sort of leave. If your collections are stored in sort of room temperatures, you know, 70 degrees, 50% relative humidity, they are going to be dry and not that dangerous. They may be a little, there may be a little bit of an X factor, but if it is not a rare book then it is usually not worth your time to sit there and pick off each little piece of fly spec or roach spec. And Lindsay says, also you have to run into issues where brand new books have broken at the front and she'd hinge as if the spine wasn't cut to the right size, too large and with too much tension and it pops apart. Yeah, so this is when it's great to have a commercial binder and you just send them out and this is common with art books where you've got a flat back so that they, that's like a thick piece of cardboard so they can stamp a really pretty gold idol that says, you know, famous artist's latest catalog on it and then that bind doesn't flat with the book. If you have an in-house operation and it's a brand new book and your fine arts librarian or your curator or whomever doesn't mind, that's something where I would maybe take off the spine and create a custom spine that fits the book and then send it on its merry way. I mean, the person makes a really great point that nowadays books aren't made that durably. So, yeah. Yeah, Kim Doyle says, would you place a link to this webinar after completion to review? Yes, the webinar will be posted and it will have the same address as when you signed in and the address won't change so once you see that the ad for this is no longer on the homepage for connecting to collections care, it will be in the archive and I will repost the... I'll make some amendments to the handout and I'll also do the slides and I'll make sure that the... where the slides have the writing going off the edge that it's all visible so... Yeah. You can look forward to that and while we're here and we're waiting for more questions, please fill out the evaluation. It's really important. We use them. We don't just ignore them. So, yeah. And I'll get the recording link fairly quickly so it might even be the end of the day that it gets posted. We'll see. Looks like Erin Bell is typing something. Okay. Yeah. Well, I hope people found this useful. Yeah, I think so. Do I get to look at the evaluation? Oh, yes, you will. Oh, great. Yeah. And so she says, what are your thoughts on book repair tape, invisible tape? Is it worth using or bad for long term? Let's see. I don't know the brand invisible tape off hand. My guess is if it's a pressure sensitive adhesive, it is going to be bad long term. If it's a pressure sensitive adhesive, it stays really soft and mushy until it oxidizes completely and usually by then it turns yellow and sunk into the surface of your paper and made it really brittle. And then I mean like, I'm looking at, I mean like scotch book tape. Many of the books have older library stickers on them. Yeah. Oh, that's a different question. Oh, I'm sorry. I'm getting distracted. Yeah. So anything that stays soft and sort of spongy and oozes out the sides out from under the sticker is bad and you could use your heated spatula to scrape away the stuff that's come out and then try and lift the whole sticker and replace it with something more archival. Okay. Oh, that's good. Some of them affixed to the spine with packing tape. Yeah. Packing tape. Wow. That's also going to be really soft, gummy adhesive and it will stay messy for our lifetime. Yeah. Again, I think the heated spatula is a great way to go. You can buy heated spatulas. They're more expensive. So that would be another instance where you say, okay, we have enough of this workflow where it makes sense to invest in this piece of equipment and probably a dedicated space because it gets kind of messy with all the gummy sticky stuff. Yeah. So Bernie on A says, what do you suggest other than adhesive tape? Or mending? Yeah, that's what it looks like. That's when I would go with the heat set. Okay. Because it's only soft as long as it's hot and then it hardens and it's cured. Okay. And I'm sorry if I didn't make that clear. So Caroline Sigler says, I would be interested in more training on adhesive removal. How should I look for this type of training? I think that AIC runs a five-day paper removal workshop. I don't know how often they'll keep running it. I think one of the difficult things is that I watched a lot of videos trying to put together good options for this class and there's a lot out there that I don't agree with. People are brushing glue directly on old spines after they've gone to the trouble of cleaning off the old hide glue. They're over mending. So I think adhesive removal is like take what I said from the tape removal section, practice a whole bunch on circulating collections and stickers and different vintages. And you'll learn a lot. Because people who do book repair and paper repair were observant, we care, so we pay attention. And I think you can learn a lot that way. You don't want to go down the solvent route unless you have someone showing you what to do safely. But if you're going to work with a heated spatula or the tacking iron or something that you can learn a lot by doing. Okay, Amy Chris says, what about film-a-plus pressure tape for touring pages? I wouldn't use the pressure tape. I would use the heat set. Film-a-plus makes a heat set. And it's called film-a-plus R. And I've found that the film-a-plus pressure tape can get to be very hard and brittle itself. So if you put it on a piece of paper that's not the right size, it becomes a problem then for the page. So that's something to be cautious about. And we have another question coming from Lindsay Williams. I have a question about, you can get from Gaylord and other places adhesive-backed book repair tape that is cut so that you can put it over an end band to repair broken end bands, the end bands. What do you think about that? I mean, I've put it on my cookbooks that are ripped out. Oh, I think if you want to do that on your cookbooks, go ahead. I don't find that a lot of that stuff lasts very long. And I think using it at home, you're very careful of your own book, but people really put library books through the ringer. So I think you're much better off using cloth and TVA. Okay. Lindsay Williams says, does heat-set tissue work with all types of paper, coated in uncoated magazines, brittle, et cetera? I primarily use Japanese tissue. And I'm unfamiliar with heat-set tissue. If you use Japanese tissue with wheat starch paste, that can work for a lot of things, although I wouldn't use it on coated paper because the kaolin in the coated paper can get really messy and can soften and get clumpy. But I think the heat-set is basically a machine-made archival tissue with a very, very thin layer of glue on it. You can make your own heat-set if you have a preferred Japanese tissue and you brush out a very thin layer of PVA on mylar, put down the Japanese tissue and lift it up. That is something I've done for projects where I needed a particular look or a particular weight of the mending paper. And the machine-made paper was not the right weight, but not the right thickness and looked wrong. So Sarah Stiley says, what about the effective heat on paper? Is that an issue? No, because you're not leaning on it for more than 30 seconds. And you'll see that in the video. The young woman has a little itty-bitty tacking iron that's got a little triangular foot to it, and you just put it down and count to 30 or so, and then you lift it up. That said, if you have some special paper that is heat-sensitive, I can't think off the top of my head what that would be. You'll know to do something else, but I've worked on a lot of architectural drawings, diazotypes and cyanotypes and so on, and it works just fine because you're not leaning on it for too long. And it's not like putting it in the dry mountain press. Right, or putting it out in the sun. Right. So it's now the top of the hour in a few seconds, so I think we're going to say goodbye. But thank you so much, Eliza. And like I said, this thing will be posted very soon, and once you see that it's not on the main page, it's in the archive. And I will add a few things that were mentioned, and I will also add the ARC Wiki links and stuff like that. Okay? Great. I remember there's the cleaning course that starts next week and then space planning the end of the month. And we'll see you then. Thanks. Bye-bye. Okay. Thank you, Susan. Thank you, Mike. Thank you, Mike. Okay.