S T E P H A N I E WAT K I N S

Practical Considerations for

Humidifying and Flattening Paper

A B S T R AC T ten are considered, the ultimate goal is safe processing of

cultural and artistic heritage.
Relaxing and flattening papers are routine conservation This overview developed from the discussion at the
treatments. The goals are to introduce and remove mois- Archives Conservators Discussion Group at the 30th
ture using rates and techniques safe for the items. The Annual Meeting of the American Institute for
humidification methods overviewed include chamber, Conservation in Miami, Florida, June 2002. Possible
ultrasonic, damp blotter, Gore-Tex and Teflon packs, mist methods and considerations for approaching humidifica-
or spray, and local application. The flattening methods tion and flattening of paper materials will be mentioned,
overviewed include air dry and double-screens, blotter and but this overview is not intended to be an instruction man-
felt stacks, friction mounts, presses including heat, drying ual nor a minutes of the meeting. It will not cover all of the
screens, Dutch strainer, and vacuum-suction table. A few possible procedures, or many of the nuances inherent with
procedures are illustrated with hand-drawn diagrams. the procedures.
Issues specific to archives, library, and manuscript collec-
tions are discussed. A brief, select bibliography is included. H U M I D I F I C AT I O N
This paper developed out of an informal presentation by
the author given at the Archives Conservators Discussion The aim of humidification is to reintroduce moisture
Group (ACDG) session of the 30th Annual Meeting of into the paper support to relax the fibers. There is a pop-
the American Institute for Conservation (AIC) in Miami, ular notion that if a paper is creased, folded, or curled,
Florida, in June 2002. humidification must occur. To be certain, brittle papers
need to have moisture reintroduced before physical
manipulation can safely occur. For more robust materials,
humidification is not always needed. Gravity and time, or
Conservators and technicians decide two basic things pressure and time, can be as effective, depending on the
when humidifying and flattening paper materials: (1) How relative humidity of the storage area. Curled paper that is
to introduce moisture to relax the paper support and at sturdy can be hung from flat clips, such as paper-protect-
what rate, and (2) How to remove the moisture from the ed bull clips, and left over a short time to slowly uncurl
item and at what rate. The methods used to achieve the (e.g. panoramas, large blueprints, etc.). Protect the items
desired goal will be determined by the sensitivity of the from dust and light exposure during this process as it may
media, aesthetic of the item, type of item and intent of col- take several weeks.
lection mission, the available resources, and experience of However, humidification relaxes the paper in a faster
the practitioner. The concepts behind the procedures are manner and fibers are less likely to be stressed. Water is a
important, not whether a specific tool is available. tool and can be used in many forms (gas or liquid) and
Procedures may need to be repeated or combined for best size (droplet, mist, or vapor). The amount of moisture
results. As variations on the methods to humidify and fla t- used will vary on the type of paper and the ambient
humidity in the room. Questions to ask before deciding
An earlier and shorter version of this paper was presented as part the appropriate procedure might include: What are the
of the Archives Conservators Discussion Group session on June risks of local versus overall humidification? What should
10, 2002, during the AIC 30th Annual Meeting, June 6–11, 2002, the item look like in the end and how best to approach that
Miami, Florida.. Received for publication Fall 2002. goal? How much moisture should be introduced and what

The Book and Paper Group Annual 21 (2002) 61

70 The Book and Paper Group Annual 21 (2002)

Fig. 8. Friction mounting

smooth (crease-free), release paper is necessary as is a long, Drying boards are portable, making this method easy to
cool dwell time for flat results. If done improperly, damage use in a small space or in a production routine. The tension
can occur from heating, creasing, and differential expan- produced from the mounted drying can cause ripping of
sion. Problems with this method include potential decrease weak areas within the paper, such as found in aged, short-
in life of items from use of heat, labor-intensive as only fibered western papers that are already torn and discolored.
one to four sheets can be processed at a time, and expense Eastern papers respond well to this method, as can large
of press and electricity. It can be an option for items that items (Webber and Huxtable 1985; Nishio 1988.)
have moisture-sensitive coatings, media (such as highly Medium- and heavyweight papers with cloth and heavy
water-sensitive dyes in inks, copy prints, or photostats), or paper backings respond well to stretching methods.
paper fillers. Curved, very stiff, or distorted materials
should not be flattened in this manner, as they will likely Plexiglas/Perspex (as Part of Lining Pr o c e s s
break under the weight of the press platen before flattening [Dacron/Linen/Cotton])
can proceed. This procedure usually follows a complete washing, but
the use of a multi-layer cloth/paper backing/lining system
Karibari (Drying Board), Gatorboard, Stretch is also a method to flatten through stretching. Like the
Mounting (figs. 9–10) Gatorboard, and Ka r i b a r i, multiple items can be put on one
Use of drying boards, mounting wet paper onto paper board. After drying horizontally overnight, the Plexiglas
and wood lattice boards, are a traditional Eastern method can be stored in an upright position for a few weeks while
for drying. Wood boards are familiar to papermakers. The drying is completed. Disadvantages are that items dry
traditional Japanese board (Karibari) allows more airflo w through the front (movement of discoloration could move
from both sides of the board, whereas use of Gatorboard as to the front as with Gatorboard), and adhesive remains on
the drying board surface limits the drying to one side. the back of the backing material after mounting is com-
Watkins Practical Considerations for Humidifying and Flattening Paper 71

Fig. 9. Karibari (Japanese drying board)

plete. In addition, items are expanded under stress while Vacuum-Suction Table
drying that can lead to curling or tearing upon release from Since the invention of the vacuum-suction table by
the rigid Plexiglas support (Albright and McKlintock Marilyn Weidner and Franklin Shores in the 1970s, prac-
1982). titioners have been finding more ways to utilize it. It is
unknown how widespread the use of vacuum-suction
“Dutch Strainer,” Stretch Mounting (fig.11) tables is in drying sheets of paper. It can be beneficial for
The “Dutch strainer” technique is used in paintings removing much of the moisture within a sheet of paper,
conservation and utilizes a wooden stretcher or strainer as for animal skins, or for items where flattening under a
a frame to support an item. Strips must be adhered along stack situation is inappropriate. However, it can dry things
the (usually back) sides, or the borders of a lining or back- in an unnatural, expanded state and curling, distortion, and
ing can be used if strong enough. The humidified item is tearing can result. Also, drying individual sheets on the
placed evenly spaced and parallel to the wooden frame. vacuum-suction table can be time-consuming for archival
The border or edge strip is then wrapped around the work. Machines can be expensive to purchase (less so if
wooden supports and secured to it as evenly as possible to homemade construction) and cost of electricity should be
ensure equal pressure and thus, even flattening upon dry- considered (Weidner 1984, 1986).
ing. This method is good for cloth mounted items, large
items, items with sensitive media, or those that need I SS U E S S P E C I F I C T O A R C H I V E S , L I B R A R Y, A N D
stretching, not pressing, for drying. An assembly line MANUSCRIPT COLLECTIONS
approach can be done if the quantity is sufficient, but the
method can be time-consuming for a few items. Maintaining Order
Keeping track of the order can be time-consuming and
frustrating for the conservation professional, but impera-
72 The Book and Paper Group Annual 21 (2002)

Fig. 10. Stretch mounting

tive. To maintain order during humidification and flatten- ter (gently pressed with a finger or use the corner to wick
ing, paginate (odd or even) or foliate the items before up the damp spot). These tests do not need to be conduct-
anything is done. For letters organized by dates, they can be ed if gravity or other non-moisture, non-solvent methods
relied upon only if all are dated. Check before starting. are used.
While working, tag or barcode each humidification screen,
then carry this organizational scheme to the blotter stack. Fe II Movement of Iron-Gall Ink (Iron Gallo-tannate)
Remain consistent in the laying down of materials and get Recent, ongoing research in the Netherlands suggests
into a routine to reduce the likelihood of misplaced items that because of the destructive internal chemical cycle
or loss of order. between the ink and paper support that is generated, in
part, by the presence of water, humidification should not
Media and Colored Papers, Methods of Testing be done to documents that have iron-gall ink. Full treat-
(Solubility/Moisture Spot Tests) ment including washing with alkaline reserve (for the
There are numerous ways to test whether media or paper) or no treatment is currently felt best. Other options
paper elements will move or be altered during a humidifi- may be possible in lieu of humidification, but at present
cation and flattening procedure. Often referred to as are limited. Flattening without humidity or with very low
solubility tests, procedures will vary and can indicate dif- humidity (despite the chemical reactions incurred) seems
ferent conditions. Observing the rate of movement and to be the most prudent, course of action for these materi-
circumstances for results can often lead to an appropriate als at this time (Eusman et al. [2002]).
h u m i d i fication and flattening technique for each item, even
for “soluble” media. Some of the various techniques Copy-press Inks
include, but are not limited to use of a damp small round H u m i d i fication can easily blur copy-press inks and they
brush absorbed off; a miniscule dropper drop absorbed off can transfer in a pressing situation. Consider using cold
or run through a vacuum-suction apparatus; a dampened vapor or gas (very slightly!) for humidification and very
miniscule (usually self-rolled) cotton swab that can be smooth, thin polyester webbing when flattening, or use a
rolled or dabbed; or a small, dampened filter paper or blot- dry-mount press. Localized, selective flattening and ten-
Watkins Practical Considerations for Humidifying and Flattening Paper 73

Fig. 11. Dutch strainer

sioning can be labor-intensive, but potential solutions for contain the crumbs and debris in one area. The paper tray
the most sensitive materials. Heat pressing can also be can be easily dumped of its contents as needed. Poly (ethy-
problematic, but must be assessed on an individual basis. lene terephthalate) film (Mylar Type D) does not work
well for the tray material because of its characteristic stat-
Surface Cleaning Prior to Humidification ic charge. Large, soft haired brushes, like Hake, are useful
Surface cleaning can reduce the need to replace for quick elimination of debris on the surface and key to
polyester webbing and other supplies used in the humid- reducing residual ground eraser crumbs from the surface
ification and flattening processes. For archives and library (erase once, brush twice). Erasers and brushes are ineffec-
collections, clean the most dirty and sooty items during a tive for soot or dirt that has been imbedded into the paper
batched humidification and flattening regime. The idea is or present for a long time.
to reduce the dirt or debris that might otherwise spread
throughout the collection through item use or transfer Mold-Damaged Papers
(cross contaminate) during the humidification and flat- It is imperative to use a support of polyester webbing or
tening procedures. Dirty items can be potentially paper when working with mold-weakened papers.
hazardous to patrons as well. More concentrated cleaning Materials contaminated with mold should be aspirated in
efforts will be required of items where the information is an isolated area and the working supports and housing
blocked by dirt. Ground poly (vinyl) erasers in shaker dis- materials discarded as cleaning proceeds to reduce cross-
pensers are very useful for this procedure. Cleaning with contamination of material. Vacuums with HEPA filters
block erasers can be time consuming and over cleaning is (e.g. Nilfisk, 3M Electronic) can be used to quickly reduce
easy. Architectural cleaning pads can be too abrasive and mold spores. Use a wide mesh screen to vacuum through
manufactured with inconsistent quality regarding eraser to prevent loose pieces of paper from being dislodged by
content. Smoke sponges are sometimes efficient, but can the force of the vacuum. There are still questions whether
potentially be abrasive or leave a residue. For batch treat- alcohol use is effective in causing dormancy of mold. Also,
ments, a three-sided tray made from a smooth material some stains can grow in alcohol. Remember to wear per-
such as glassine, backing, or wrapping paper can be used to sonal protection equipment. This is especially important if
74 The Book and Paper Group Annual 21 (2002)

money or resources are unavailable to have the specific smooth polyester webbing and large smooth blotters, such
mold type identified. as from a roll, are helpful to obtain good results when
Many moldy materials will be semi-relaxed from weak- pressing any type of panoramic or oversized item. If the
ness already and humidification and flattening may not be item is larger than stock supplies, taping the backsides of
necessary. Mold-damaged materials can be humidified, but blotters along the seams and staggering seam placement in
usually a much shorter time is necessary for the paper to the blotter stack can help to reduce potential creases when
become sufficiently relaxed prior to flattening. Pressing pressing. Stretching techniques (when condition of the
rather than stretching methods are generally recommend- items allows) can be easier than pressing methods and can
ed for mold-damaged items. take up less space.

Fasteners Blueprints (Cyanotypes)

If and how fasteners are removed from papers within a Dr. Michael Ware’s research (Ware 1998a; Ware1998b)
collection is dependent on the type of collection and con- into cyanotypes indicates that the amount of moisture used
dition of the fasteners and paper. Some archivists cut the during humidification should be kept low. Cyanotypes can
paper in the area of the fasteners when located in the mar- be very brittle by the time of treatment. Pressing, rather
gin areas and the size of the sheet isn’t essential for than stretching, is generally preferred for these items.
provenance. However, conservators may find this an
extreme option and many cannot condone the practice. To Documentation Issues
retain the integrity of the item, fasteners can be removed Documentation of treatment can be potentially more
with a microspatula by working to lift the metal away from time-consuming than the treatments in an archive collec-
the paper. Fasteners are removed from the back if remov- tion. For tracking treatment procedures, documentation in
ing a staple or from the front if removing a paperclip. Use a checklist format or generalized summary is efficient for
of staple removers can be damaging because their sharp large, batch treatments. For example, where it is important
points can easily tear paper. to know variations on the general procedure specific to
individual items, a check list, whether on paper or in a
Varnished Maps database, will speed things along. For large groups of items
Limited humidification in a chamber is often a preferred where treatment procedures were not varied (such as with
method for humidifying varnished maps, to try and avoid media testing, surface cleaning, and humidification and
blooming of the coating from excess water. Some coatings flattening), a general summary of the breadth of the col-
can be reformed, but this procedure involves solvents lection treated and a count of how many items per day,
(sometimes more than ethanol for shellac), takes time, can month, or week can be easily kept for production statistics.
drive the varnish further into the paper, and isn’t always There’s also the anti-documentation approach, where it is
even. If unrolling is the reason for a flattening request, on not considered effective to document minor, routine pro-
occasion gravity can be used when the original and backing cedures such as surface cleaning, humidification, and
materials are sufficiently strong enough. Let gravity work flattening. Some archives and libraries impose restrictions
by attaching the item with multiple clips along a line (or on conservation practitioners not to document in any way,
wooden dowel) and hang in a darkened area protected feeling documentation an unnecessary luxury impeding
from dust. This procedure can take several weeks. production. Educating administrators slowly and politely
is recommended. Documentation is not optional.
Lined Maps/Laminate Materials According to the AIC Code of Ethics and Guidelines
Multiple laminate items can be very problematic to for Practice, photographic documentation of the items to
humidify and flatten as each layer can absorb moisture at be treated should be performed also. Practical solutions are
different rates, expand differentially, or separate. Usually, sought to meet the AIC standards and reasonable con-
much grief and lost time can be avoided by humidifying straints on time. A common practice is to photographically
with a chamber (or Gore-Tex or Tyvek to unroll, then document representative and extreme examples within one
chamber) and choosing air-drying stretching versus fla t- collection and periodically document labels, stamps, and
tening techniques. format for future researchers. Photographic documenta-
tion with 35-mm black and white silver-based film is still
Panoramas/Oversized Items acceptable for long-term preservation. Photocopying, and,
Panoramas can be made of many materials, from archi- while not yet an “archival” format, color transparencies
tectural linens to heavyweight papers with synthetic (slides) have also been used, and digital photography is
additives. As they can be quite stiff and crack easily upon gaining popularity as a documentation format because of
unrolling, repeated humidification is often necessary to quick gratification for the user, ease of use, and compati-
safely unroll these. Use of continuous (not pieced), very bility with already existing computerized data systems.
Watkins Practical Considerations for Humidifying and Flattening Paper 75

Training Non-Conservation Pr o f e s s i o n a l s Alper, Diana. 1993. How to flatten folded or rolled paper docu-
There is a pervasive notion in the popular press that ments. Conserve-O-Gram 13.2 (rev.). Harpers Ferry,
things ought to be humidified and flattened. Sometimes WV: National Park Service.
just putting a crumpled letter in a folder in a box with Care of photographic moving image and sound collections, ed.
other papers pressing against it will reduce the creases over Susie Clark. Leigh: Institute of Paper Conservationn,
time. When humidification and flattening are necessary, 115-123.
there can be easy procedures that can be batched for work Clapp, Anne F. 1987. Curatorial care of works of art on paper.
efficiency. Training of non-conservation professionals to New York: Nick Lyons Books.
do this work can be productive; however there is often lit- Eusman, Elmer, et al. [2002] The iron gall ink corrosion web-
tle follow-up, especially if training is off-site. There can site. Amsterdam: The European Commission on
be high rates of turnover of staff or volunteers so each per- Preservation and Access. At <http://www.knaw.nl/
son may learn from the person before them, or not. ecpa/ink/)> (accessed 12 Dec 2002).
Different people have highly variable skill and compre- Eusman, Elmer. 1995. Tide-line formation in paper
hension levels between them. The type and number of objects: cellulose degradation at the wet-dry boundary.
procedures that the trainer introduces may depend on the In Conservation research 1995: studies in the history of art,
skill level exhibited by the workers. Well-meaning people 51:11–28. Washington, D.C.: National Gallery of Art.
wanting to do something to help, can take on more than Glaser, Mary Todd. 1999. Relaxing and flattening paper by
they ought, sometimes without knowing how damaging humidification. Conservation Technical Leaflet #4.
their well-intentioned actions can be. Problems that can Andover, MA: Northeast Document Conservation
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tification of photostats, copy prints, copy pencils, tening [Draft]. Paper Conservation Catalog ed. 1, chap. 28.
vellum-parchment versus papers, etc. Empower the newly Washington, D.C.: American Institute for Conservation
initiated to take responsibility for their choices and their Book and Paper Group.
actions, be available to answer questions, and re-demon- Hamburg, Doris, Dianne van der Reyden, and Timothy
strate procedures while personnel build self-confidence. Vitale. 1984. Humidification [Draft]. Paper Conservation
Catalog ed. 1, chap. 22. Washington, D.C.: American
I N C O N C LU S I O N Institute for Conservation Book and Paper Group.
Hofmann, Christa, Dianne van der Reyden, and Mary
Humidifying and flattening well can be beneficial to the Baker. 1992. The effect of three humidification, flat-
preservation and conservation goals of collections. There tening and drying techniques on the optical and
are numerous variations on techniques and reasons why mechanical properties of new and aged transparent
procedures are preferred. The initial ACDG session and papers. In Conference Papers, Manchester 1992, ed. Sheila
the brief overviews published in the Book and Paper Group Fairbrass. Leigh: The Institute of Paper Conservation,
Annual will perhaps generate further discussion on this 247–256.
topic at next year’s meeting in Virginia. Keyes, Keiko Mizushima. 1984. The use of friction
mounting as an aid to pressing works on paper. Book
AC K N O W L E D G E M E N T S and Paper Group Annual 3:101–104.
Nishio, Yoshiyuki. Karibari (drying board) made with new
The idea for the AIC-ACDG session and encouraging materials. AIC preprints. American Institute for
my participation in the discussion regarding humidifica- Conservation 16th Annual Meeting, New Orleans.
tion and flattening originated with Kathy Ludwig and Washington, D.C.: AIC, 280 [abstract]. And personal
Kristen St. John. Ms St. John and Nora Lochshin, who notes from this presentation.
took notes at the session, have helped refine this paper for Sugarman, Jane, and Tim Vitale. 1992. Observations on
inclusion in the BPG Annual. They have my sincerest the drying of paper: five drying methods and the drying
appreciation for their expertise, time, and efforts. process. Journal of the American Institute for Conservation
31(2):175-198.
R E F E R E N C E S A N D B R I E F, S E L E C T van der Reyden, Dianne. 1992 and 1995. Paper-based
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Ware, Mike. 1998a. Cyanotypes: their history, chemistry,
and conservation. In
Ware, Mike. 1998b. Cyanotype: the history, science and art of
photographic printing in Prussian blue. London: Science
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& Television.
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STEPHANIE WAT K I N S
Head of Paper Conservation
Conservation Department
Harry Ransom Humanities Research Center
The University of Texas at Austin
[email protected].