- Paper
- Artifacts, Framed and Rolled Items
- Born Digital
- Photographs
- Oversized Papers and Photographs
- AV
- SVs (Special Volumes)
- Z Collections
- Photocopying/Scanning
- In Case of Mold
- First pass physical processing
- Closed materials
Compiled by Amy Morgan, archival processing assistant, in July 2019.
Before I do any work on a collection, I confer with the archivist in charge of that collection. They tell me how in depth the collection needs to be handled. This is important, because not all collections need the same level of work. For example, if a collection is already in folders that are in good shape, re-foldering may not be necessary. If there is foldering to be done, some collections need the folders to be completely labeled, while others only require collection name/number, and still others are fine with blank folders. I also make sure to ask the archivist any questions I have along the way, and inform them of anything strange or possibly noteworthy. It is always wise to ask about something you are unsure about, and they appreciate you being conscientious and thoughtful about your work.
Note: If you yourself are the archivist in charge, I hope this guide is useful to you, too.
My other all-encompassing note is: ALWAYS USE PENCIL. And I mean that; I don’t even have a pen at my desk.
Here is a list of tasks I often find myself doing to generally make collections reading room ready, not all for the same collection.
- Determine whether re/foldering is needed at all
- Determine whether letter- or legal-sized folders are needed
- Folder loose papers
- Remove at least some binder clips if there is an obnoxious number of them (saves space)
- De-binder if necessary and folder up contents
- Split up overstuffed folders
- Label folders with collection number and collection name
- Title folders
- Number folders
- Inventory (box list or folder list)
- House materials in Hollinger or Paige boxes
- Label the boxes
- Shelve materials, write coordinates on box labels
- Send coordinates via ticket to person in charge of the Locations Database for entering
- Inventory
- Give caseless items cases and replace badly broken cases
- Label cases with a unique identifier
- Label A/V items themselves with unique ID if possible/necessary
- Put items in a shared box
- Put items in a box dedicated to collection (less frequently)
- Shelve materials, write item numbers on shared boxes, make note of coordinates
- Enter coordinates in the non-circulating spreadsheet
- Remove from plastic as much as possible
- Sort by format
- Sort by subject
- Sort by size
- Place images in appropriately-sized acid-free enclosures
- Estimate circa date and number of images in each enclosure
- Inventory
- Number enclosures
- Shelve materials, write coordinates on boxes
- Send coordinates via ticket to person in charge of the Locations Database for entering
- Determine which size is most appropriate
- Number individual papers if necessary (usually not necessary)
- Number the oversize folders and write collection number/ name beneath
- Place in shared oversize box, write OPF numbers on box, note coordinates
- Less frequently, place in oversize box dedicated to collection
- Send coordinates via ticket to person in charge of the Locations Database for entering
When foldering loose papers, the best practice is to fold along the score of the folder that best fits the pile of papers within. What that means is, the papers are flush with each side of the folder, with little to no space left inside the folder. This helps the papers sit better in the folder and boxes with minimal slumping and curling. It is helpful to remember that these papers will be sitting this way for decades, and if they are kept flat, they will be easier to work with than if they become semi-permanently curled.
Note: if you are reusing folders that already had writing on them from a different collection, make sure you cross out or erase all old, residual information, even if you have turned the folder inside out. You might be surprised how quickly it can become confusing to have, say, two different collection numbers or titles on a folder.
Some collections arrive in a big jumble with no folders at all, or some folders and other loose papers packed in a box. You will likely see papers of many sizes, ranging from letters in envelopes to posters. That said, what if you find loose papers that are too big for letter- or legal-sized folders? First, assess what it is, how big it is, the material it’s made of, its importance, etc. It’s possible you’ll be able to fold it or trim it down to fit (trim pretty much only if it’s slightly too big). Your archivist in charge will be happy to help you if you feel uncomfortable making the judgment call. Sometimes, curatorial staff are called in to help make the judgment. In general, modern computer paper can be folded, but older and/or more delicate material maybe shouldn’t.
So if you’ve found yourself with paper that must go into an oversize paper folder, depending on the collection you’re working on, you can either add it to an existing OPF or make a new one. Please see the oversize papers section of this document for more details.
Okay, so what about those letters in envelopes I mentioned before? We are steering towards leaving them in the envelopes more often than removing them. We simply place them in folders like we do for standard sized paper. If you are asked to remove letters from envelopes, what you do is you put the envelope behind the letter, so the folder contents are: letter, its envelope, letter, its envelope, etc, and keep that consistent, so they can more easily be matched up later. We keep the envelopes because they typically have lots of useful information on them, such as the names and locations of the correspondents and the postmark with the date. Even postage stamps can hold valuable information.
Sometimes, existing folders are way too full of papers to handle easily. In cases such as these, it is necessary to split up the folder into two, three, or sometimes more parts. Each new folder will have the same title as the original folder, plus (1 of 4), (2 of 4), etc. following the title. Or if the original folder was untitled, you may leave the title blank, but still write (1 of 4), (2 of 4), etc. These numbers indicate that this group of folders belongs together and is one intellectual grouping.
If a folder is slightly overstuffed, you can create a new score on the folder that creates a wider bottom for the papers to sit in. This saves you a folder in addition to the time making a new one. The easiest way to create a new score is with a bone folder and a straight edge, but in a pinch, you can fold it without tools; the edge of your desk may come in handy in trying to get a clean fold. However, I recommend the bone folder method.
Wilson Special Collections' format for labeling folders is:
Collection # in the top left corner of the folder with a period at the end. Then, the collection name in the top middle of the folder. If you must include the accession number, put it in parentheses next to the title. Folder numbers go in the top right corner of the folder. So the whole thing looks like this:
| XXXXX. Collection Name | Folder title |
| (Acc. ######) | ## |
When handwriting on folders, always use pencil – just like everywhere else in the archives. For smaller collections, handwriting the collection number and name is usually sufficient. However, it is more efficient to create a stamp for larger collections.
It is best to follow the style guide for typed folder lists that will wind up in the finding aid. However, you may write a truncated version of a long title on the physical folder – it takes less time to write, saves space on the folder, and saves your hand if you're writing on a large number of folders. Examples of reasonable abbreviations are: using the initials of a name if that person is one of the main players in the collection, state abbreviations (NC for North Carolina), and writing the first few words of a long title of a writing and using an ellipsis at the end. As long as the researcher can match up the physical folder with the title listed in the finding aid, that is enough.
Fancy foil-backed archival quality label template: G:\wilson\ts\archival\labels\Box Labels OneLibrary newtemp.docx
Ho-hum everyday shipping label template: G:\wilson\ts\archival\labels\Box Labels OneLibrary 5164 temp.docx
Only use the lesser-quality labels if we run out of foil-backed, or if archivist-in-charge says otherwise. If you have any questions about this, feel free to ask.
If you are replacing old folders, you will need to get rid of them eventually to keep your workspace available for your current project. But where should they go? To the reusable folder box or recycle bin?
- Tabbed
- Beat up (ripped, chunks missing, networks of irregular creases, etc)
- Soiled, stained, or otherwise gross
- Heavily written on both sides*
- Stamped on both sides
- Straight-cut (untabbed/whole "bar" going across top of folder)
- Lightly used
- One side blank or lightly written on
*If the writing on the folder is obviously related to the collection, or – better – the contents of the folder, you can keep the old folder with its contents. Remove the contents, place the old folder behind them, and put them all in the new folder. That way, you can keep the creator’s original and maybe helpful notes for the researcher to see.
Hanging folders are worth a mention here. While they make sense for filing cabinets, they can be a problem for us because they don’t sit very well in paige or hollinger boxes; those hooks are at best annoying, at worst insufferable. In the past, we have gotten rid of all hanging folders in collections. Lately, under our relatively new iterative processing practices, we have kept some very large collections in their original hanging folders, because refoldering would have been a monumental task. Usually, the archivist-in-charge tells me from the start if I should replace or leave hanging folders. That said, don’t be afraid to ask about them if you come across a pocket of them you weren’t expecting to see.
This step is not always necessary. The archivist in charge of the collection usually makes this call, and if there is any doubt, ask.
De-bindering often saves space inside a box, and sometimes the binder is so big that it doesn’t comfortably fit in a Hollinger, so in cases like that, it’s often better to de-binder. However, other times, it’s better to leave contents in the binder, even if the binder is too big for a Hollinger. Examples of when you might leave a binder as-is are if the presentation of the binder/artifactual value are important, or at the other end of the spectrum, it’s simply not worth spending the time de-bindering.
Desleeving refers to removing papers from plastic sheet protectors. While it does save space to get rid of the sheet protectors, it is time-consuming, especially for a large quantity of pages, so make sure it’s worth doing for the collection you’re working on.
Real-life anecdote: I did a small collection recently where fragile 19th-century documents were in plastic sheet protectors such that one had to remove them to look at them – some were folded, others were in there with copies or transcripts, which blocked the view from one side. It would have been risky to serve them up in the reading room, because a researcher would have to take them out to see them and then put them back, and not only were they pretty delicate, it was also a little difficult. Not a good mix. In this case, it was in our best interests to spend the time desleeving and foldering/interleaving.
When housing folders of materials in boxes, it is important to fill the boxes to the right amount of tightness. This is another way to prevent slumping. It's also kind of nice when paging the boxes if the materials don't keep shifting and sliding around; it's just easier to handle when the center of gravity remains consistent. When filling a box, keep putting folders in until the folders no longer visibly slant or slump. To test tightness, lift a folder halfway, and then let go of it. If it slides easily back down and hits the bottom of the box with just a little resistance from its neighboring folders, that is good. The folders will support each other, and researchers can remove folders easily, both of which are safe for the materials. If it is difficult to pull a folder out, remove a folder or two. Remember, researchers in the reading room will be using this, and not everyone is as gentle as you are (there's a reason you've gravitated towards Technical Services, after all).
Sometimes, it is necessary to use a spacer, or a follower block, if you can only partially fill a box. This is a long piece of archival-quality cardboard which is scored symmetrically on either end. To put the spacer in the box, fold along the scores that will best fill the space between the last of the materials and the back wall of the box. Place the spacer with the flat side touching the materials and the ends touching the back of the box. The same tightness rules apply. Occasionally, you might find that using two spacers, one on either side of the materials, is the best fit. One advantage to this is the weight is more centered in the box, but keep in mind balancing the use of resources vs the needs of the materials.
Up until here, I have only talked about paper. However, sometimes you will come across artifacts. I believe this will decrease in the future with the new accessioning system in place and developing, but it might be worth mentioning anyway. In my experience, the archivist in charge has usually made most or all of the judgment calls regarding artifacts, including when it is necessary to ask the curators. Usually, all I have to do is label the box. From what I have seen, artifacts in a given collection are placed together in one (or how ever many) box(es). If you come across artifacts that seem to have been overlooked, ask your archivist about it.
Since writing the above, I have come across artifacts in the backlog work I’ve been doing. Basically, I ask Jackie for help (she is archivist-in-charge for my backlog work). Sometimes, she calls in one of the curators to come look at the stuff and see what should be kept and what should be discarded/returned to the donor.
If the item is small enough to fit in a hollinger or paige box, it is generally advisable to house it in that. However, if it's too big, or there is some other reason specific to that item, it might be best to deframe it. I usually ask the archivist in charge first, and then we go from there. We will often end up asking curatorial and conservation staff for a consult. Generally, the curator answers questions like these: does the frame have research or artifactual value; if not, is the item worth the time/effort to deframe? And, the conservator answers questions such as: is it safe for the item to be de-framed; and, what is the best way to house the item, deframed or not? Conservation will also deframe the item for us if it's difficult to do.
Please note: DO NOT DEFRAME DAGUERREOTYPES OR OTHER MULTI-LAYERED PHOTOGRAPHIC FORMATS.
Occasionally, you will come across paper that has been tightly rolled for so long that it stays curly. A lot of the time, they are oversized papers like posters or blueprints, but sometimes, smaller papers are rolled, too. Whenever possible, we try to unroll them and store them flat in folders. Some papers are more stubborn than others. What we do is place them into folders, then weigh them down with something heavy for a few days (or a couple of weeks) to encourage them to lay flat. They will often still be a little prone to curling, but after the initial flattening, it should be enough to be able to transfer them into boxes (or mapcase drawers if they are XOPs), where depending on the material, they will either have other things weighing down on them; or, if stored vertically, will have enough compression from the other materials in the box they’re stored with, plus the sides of the box holding everything together, to continue the flattening process in the stacks.
If an item must remain rolled, the prefix for that is “R”. Currently, what we are doing with them is up in the air. We had a bunch that had built up recently, and put them away in a mapcase drawer. They were all examples of items that remained rolled because of size. I don’t know what we’ll do with smaller rolled items that must remain rolled for other reasons. Nor do I know what is happening with rolled items that are too big for a mapcase, even rolled up.
Born-digital items are materials that hold digital files. Examples are floppy disks, CDs, DVDs, USB flash drives, hard drives, etc. Occasionally, there will be born-digital items interspersed among a largely paper collection. What we do with these items when we find them largely depends on the collection. Sometimes, we leave them where they are, but other times, we gather them up and give them back to the curator so they can be ingested. Chances are you’ll usually know when to expect born-digital materials in a collection and what to do with them, because your archivist in charge will probably already have briefed you, but that said, if you find some you weren’t expecting, tell the archivist.
Photographs get complicated. There are dozens of formats and sizes, and on top of that, some of the formats harm each other if stored together. Never be afraid to ask for help with photographic materials. Don't try to wing it if you're not sure. Pretty much everyone asks Patrick for help, or at the very least, input, on how to handle photographic materials.
Remove as much plastic packaging, protectors, etc. as possible. The chemicals used in the photographs can and will react with plastic in unpredictable ways. It's too bad there isn't transparent paper, but until there is, we're going to have to just deal with opaque, because acid-free paper provides a much more stable environment for the images than plastic.
Remove as much acidic paper/cardboard as possible, as well. Newspaper is one example. One sign it should be removed is if there are browned/yellowed marks where the acidic item was in contact with the other materials. I recommend removing cardboard/newspaper even if there is no obvious yellowing. Often, cardboard was placed with a print to keep it from getting bent, but it can cause harm if left in contact with it long-term, so it really is best to remove it at this point. If there is information related to the collection written/typed on the acidic paper/cardboard, make a copy on acid-free paper and put that in with the material.
You might feel out of your depth with dating images at first – I know I did - but hang in there. Circa dates are very helpful for researchers. We usually try to offer a decade estimate, for example 1870s, 1930s, 2010s, etc. Even if you're a decade or two off, this still gives the researcher a ballpark to work in. They will have an idea going in whether a group of photos is roughly from the turn of the century or mid-century, for example. I find that looking at the clothing/fashions in the pictures is a good start. If there are any cars or equipment/tech in the pictures, that is a big help, too. The physical format of the image itself can also be a clue. You get a feel for it after a while. What helps is when a photograph is labeled as X date, because that gives you a frame of reference. Also, if you happen to be looking at a collection of family photos, you often see an individual from babyhood to old age, and if you're armed with their birth year, or a year written on the back, you can make pretty good guesses as to what decade an image of that person was taken in. All of this helps you build your expertise. It’s very “learn-as-you-go".
Photographic materials are housed in what we call image folders. The prefix is PF. Here is an example: if I had image folder 3 in collection #09876, the folder number would be PF-09876/3. The writing on PFs follows the same guidelines as on paper folders, but with the special number. Sometimes, the numbering system can be more complex and specify which image box it belongs in. This is in anticipation of digitization, and helps us keep track of which folders have been digitized, and which images belong where. The archivist in charge will tell you if that level of numbering is necessary for the collection you’re working on, and I promise you it would make more sense when you’re actually doing it than if I tried to explain it here.
It is good practice to place photographs in enclosures that are close to their size so they don’t slide around as much as they would in a standard letter- or legal folder. This reduces the chances of the emulsion getting scratched. It kind of depends on the collection what kind of box to put the photographs in. Sometimes, we put the smaller enclosures in letter- or legal-sized folders and place those in Hollingers. Other times, we put the enclosures in boxes that are sized for them. One thing I know for certain is that photographic materials 11x14 inches or larger are stored flat, while everything else can be stored vertically. [Is 11x14 classed as “PF” or OP-PF"? Where is the cut-off? Is there a cut-off?]
If you’re looking for guidance on oversize photographs, please see the next section where I explain about both X/OPFs and X/OP-PFs.
Slides often come to us in plastic holding pages. Depending on the collection, we will either leave them in there or remove them and place them in little archival-quality paper cartons (I like to call them take-out containers), which then go into special slide boxes. From a preservation perspective, getting them out of the plastic is vastly preferred, but we don’t always have the time to do that. Slides that come to us in boxes will almost certainly end up in the archival boxes so they don’t get lost or slide all over the place.
There are some glass formats that are very fragile, such as glass-plate negatives and daguerreotypes. There are special boxes that have "cells", which give the items more support inside the box. Patrick will tell you more when you ask him about housing those special formats.
A note about daguerreotypes and other similar formats: these images are made up of multiple layers. Because of this, it is best to leave these images in their frames, which hold them together. It can really mess up the image if the layers slide around and become misaligned.
I talk a little about Z image boxes in the Z collections section.
Often, photograph albums in our collections are best left intact. If the album is small enough to fit in a hollinger, it can be placed there. If it's too big for that, it can be placed in a flat box and stored with the photograph collections.
There are a few sizes to choose from. Try to use the smallest size possible, so the papers don't slide around more than they have to, and so they’re a little easier to handle; those big sizes can be awkward. The “normal” oversize papers are called OPFs and XOPFs, and the oversize photographs are called OP-PFs and XOP-PFs. We have two current sizes of OP/PFs, and XOP/PFs go in the map case drawers. XOP/PFs can be awkward to handle, so it's not uncommon to ask for help in putting them away. There is also a “taco cart” near the research room that you can borrow if it’s available, as long as you bring it back promptly when you’re finished; the research room needs it for paging. Occasionally, you might come across the “legacy” size of 16x20 inches, which is smaller than the smaller current OPFs we use. Photographs may use this size more often than “normal” papers currently, but to be honest, I am not 100% sure about that; I don’t typically handle nearly as many OP-PFs as I do OPFs.
When writing information on oversize folders, the opening of the folder should face you. Write the folder number near the bottom-right corner, and the collection name and number underneath. [Folder # example: OPF-02644/5] When you put away the OP/PF, add the shelf coordinates to the same bottom left corner, underneath the other information. Consistency is especially appreciated for oversize materials; if one can flip through one corner of them and be able to identify each folder by looking at one small area, it makes paging go a lot more smoothly.
We usually put OPFs in shared oversize boxes (OBs) in the stacks. OP-PFs are a little bit in flux. They will probably also still end up in OBs in the stacks.
We pre-print labels for these boxes and keep them in a folder in the TS workroom.
Here is what the folder looks like:
And here is an example of some preprinted labels:
This helps us keep track of what number we’re up to, so we don’t repeat a box number (or skip one, although repeating is worse). What I like to do is trim the labels with an Xacto knife and straight edge – I cut off the excess white right underneath the big box number. I don’t know how visible it is in the picture above, but 426 and 427 have been Xactoed, and the other sheets have not. I do this for two reasons: to make the box number part fit better on the side of the box, and to create a smaller blank label for placing on top of the lid. The box number goes on the short side of the box. Have the box number facing you and look at the top of the lid. The blank label should go on the bottom right corner.
Example:
We generally store “normal” oversize papers and oversize photographs in separate boxes, although the boxes are kept in the same area (at least for now... there may be changes afoot). When you put a new OP/PF in an OB, add the OP/PF number to the label on the top of the lid. This is for convenience when paging, and believe me, every little bit helps when you’re trying to page OPFs. Similarly, if you’re putting a new XOP/PF in a mapcase drawer, add the XOP/PF number to the label on the drawer.
With A/V formats, it’s useful to know that researchers will not be playing back the original, archival copies. Unless there is a special reason the researcher must lay eyes on the original physical item, they will never have it served up to them. (And even if they do see it, it must be approved by library staff, and they will not be playing it.) (By the way, I have never heard of this happening before, but I am supposing it could happen under very specific circumstances.) Instead, we make use copies from the original that the researcher can use in the research room. This reduces the wear and tear on the original and helps preserve it. So, since originals are virtually never paged, they do not get entered into the locations database. Instead, they are entered into the non-circulating spreadsheet. That way, library staff can find the items when it’s time to make use copies, and originals are far less likely to be accidentally served to researchers.
The unique identifier for A/V items – similar to photographs and oversize folders – goes by this format: X-#####/N, where X is the format-specific prefix, ##### is the collection number, and N is the number assigned to that individual item. For example, if I had audiocassette 15 in collection #22345, its unique ID would be C-22345/15.
It’s good to label both the item itself and the case it’s being stored in with the same unique ID. This is so they can be matched up later if they ever get separated. It can be important to be able to do this, because the case may have important information about the item that isn’t on the item itself, so it’s good practice to do this with all of the items. Sometimes, you simply can’t label the item itself with a unique ID. Don’t worry about that, it’s just the nature of some formats.
When you are labeling the A/V item with a unique ID, try to be consistent about where on the case you put it. It’s mostly a matter of convenience, but whoever is trying to find the item will cope if it’s not perfectly consistent. It’s generally a good idea to put the unique ID on the spine, to make it easier to find on the shelf. However, if there is no room, like the case is too thin or there is writing you shouldn’t cover, it’s better to put it on one of the other sides of the case, near the usual spine area if possible. When it comes down to it, as long as it’s somewhere on the case, that’s a good thing. I have found it’s difficult to be consistent when placing the unique ID on audiocassettes themselves, because the creators often used all different brands with different labels, and wrote differing levels of information and notes on the tapes, so I just do my best to squeeze it in somewhere.
You can either write the unique ID directly on the case or item if there is a surface that can be written on, or create a label to stick on. In the case of an audiocassette case, you can place a label on the plastic case, even if it blocks text that is on the paper “wrap-around" label inside, because it can be removed and read that way. However, if there is a sticker along the spine of the case that has informational text on it, do not cover it with a label. You can either hand-write on the labels or use a template in a word processor and print them. Sometimes, I will use an Xacto knife to cut labels in half length-wise because it helps to have a narrower label in those cases.
It is also worth mentioning, when handling A/V, be careful not to touch the parts of the item that hold the actual data, like the tape in an audiocassette or video cassette or a film reel, so you don’t damage the playback. When in doubt, ask the archivist in charge.
When you’re taking inventory of A/V items, capture information that has been written on the cases or items so it can be added to the finding aid. This can help researchers determine whether or not they’d like a use copy made.
Special volumes, or SVs, are volumes that are too big for or otherwise should not be stored in standard legal- or letter-sized folders. Examples include scrapbooks, ledgers, and account books. We usually store them flat. Most of the time, we wrap them in paper. Sometimes, if we anticipate the volume will be heavily used, we will put it in a box for easier access. Occasionally, the volume is too big to be wrapped, and must be placed on the shelf as it is. Other times, Conservation may make or order custom boxes specifically for a particular volume.
To supplement this written account of wrapping volumes, I created a video to demonstrate how to do it. Hopefully, the video will fill in the gaps where my written explanation couldn't convey the technique. It is in the Wilson Technical Services Sharepoint page, under "Departmental Documents", in the "TS Archival" folder: https://adminliveunc.sharepoint.com/sites/lib/departments/wts/Shared%20Documents/TS_Archival/Wrapping%20Volumes_Medium.mp4
Wrapping volumes is similar to but different from gift-wrapping. More paper is typically used to help protect from dust. There is a big roll of acid-free paper that we use to wrap volumes. You need a nice, big, open flat surface to work on. BEFORE YOU WRAP: Label the SV with its unique ID [ex: SV-01337/9], either by writing it directly on the item in brackets or on a slip of acid-free paper inserted just inside the front cover (recommended).
Start by unrolling the paper roll 2 or 3 feet. Place the volume on the paper such that you can gently fold (not crease) the end of the paper up and around to the opposite edge of the volume, covering the top. The edge of the paper should be no more than a centimeter away from that opposite edge. Now flip the volume and the end of the paper over towards the rest of the roll so it’s resting on its other cover. This should cause the paper to wrap around the volume like a burrito. Cut the paper just shy of the edge of the volume. I like to start the cut with the volume lying flat to give myself a guideline, then I flip the volume back to the other side so I can keep cutting the paper.
Once the cutting is done, pull the paper reasonably snug around the volume. I like to have the “open” side face up. It’s helpful to place something heavy on top to keep the paper in place. Next you fold the end flaps up similar to how you’d gift-wrap a present, although there is typically way more paper here than when you’re gift-wrapping. When both flaps are folded up, take your cotton ribbon and tie it around the volume to keep the flaps down, in the same criss-cross way you’d do for gift-wrapping. The bow should be tied on one of the edges rather than on top, so it doesn’t interfere with stacking on the shelf. I consider the bow edge the front edge.
It is good practice to write the unique ID on 3 sides. I do the bottom right corner of the top, the right side of the front edge, and the right side of the right edge. This way, the item can be identified from multiple angles.
Example of the finished product:
Z collections are small collections that are 5 or fewer folders. They are housed in shared boxes, stored in collection # order. Processing them is very similar to larger paper collections. When numbering the folders, it’s helpful to number them 1 of X, 2 of X, 3 of X, etc.
There are a few categories of Zs: SHC-z, SFC-z, and the z image boxes, to name a few. Z image boxes are also broken up into SHC-z image, SFC-z image, etc, and I think that system is staying for now. Relatively new as of this writing are the z negative boxes. Photos are a little bit in flux. Maybe by the time someone is reading this, there will be hard and fast rules.
When you add a Z to a Z box, it can be as simple as dropping the folder in, or you might have a shifting project on your hands if the box is too full. Either way, make sure the collection number ranges written on the outside of the box match the contents of the box, and record changes you make so you can either edit the locations database or pass along the changes to whoever is the one who edits the locations database.
Note: many of the older z box labels are covered in packing tape. We no longer do this. The intent was good – to protect the labels from damage - but it poses a problem if the range of collections housed in that box changes. In cases like this, we use an address label (like Avery 5160) to cover up the old range and write the new range on.
If you’re making a new Z box, use one of the pre-printed labels in the folder in the TS workroom (the same one the OB labels are in). Once again, this helps us keep track of what number we’re up to.
Here you can see the SHC z box labels:
They are affixed to the box like so:
If you need to make more, the template for the big labels can be found here: G:\wilson\ts\archival\labels\Box Labels OneLibrary SHC Z newtemp
And there is currently no template for the small labels with the box numbers on them.
Here is an SFC z box label, in the old style:
And it looks like this on the box:
There is currently no up-to-date template for SFC z box labels.
Sometimes, it is in our best interests to use the Multi-Function Device (MFD) when physically processing materials. It can be quicker to make a copy of an enclosure than to transcribe all of the information written on it. It can also provide a more accurate account of the information, especially if there is hard-to-read handwriting involved. If there is something visual about the item that can't be transcribed, such as an icon/logo, something about the arrangement of the words, or countless other potential qualities difficult to think of on the spot, that's another good reason to photocopy. In addition, if the item with the information is too big for a Paige or Hollinger box (such as a large manila envelope), or very bulky (like a bubble mailer), photocopying it allows you to "shrink it down" to a sheet or two of paper. Note: You might not have to reduce the size of the scan if only a small section of a large item has relevant information.
Our current MFD (Xerox Global Print Driver PCL6) also has a USB port, with which you can print directly from a USB drive. I have tried a few times to get it to connect to my phone directly, with no luck. Mine's an iPhone; I don't know if Android phones would have better luck. That said, you can use your phone to take digital images of an item if scanning either isn't an option or not giving you a good enough quality image. Then either you can print it from your computer or save it to a USB drive and plug that into the MFD and print it from there. I am sure you could use a digital camera, too, although I have not. I don't know if any or all cameras would connect directly with the MFD via USB, but the USB drive strategy would certainly work.
A recent example where I used the MFD was a collection that arrived in letter boxes (03810. Couch). The letter boxes had information about their contents written on them. They were too unwieldy for the scanner, but I took pictures, saved them to a USB drive, plugged it into the MFD and printed color copies on acid-free, archival quality paper.
Another example of MFD use was with a multi-page document from 05088. Boyer. This document was printed/typed on paper with some kind of coating that flaked off in little pieces every time it was handled. This was a great candidate for making photocopies on archival quality paper. I used the flatbed section of the scanner rather than try to use the feeder. Now we have a usable copy that will not visibly deteriorate just from being picked up.
1. If the screen is blank and the ring of light around the power button is blinking, press the power button to wake up the MFD.
2. If you place paper in the bypass tray, a screen will pop up to confirm the paper type in the bypass tray. Make any changes if necessary, and when it looks good, press "OK".
3. Select "Copy" button on screen.
4. Place the item you want to copy on the flatbed. If possible, line it up with the top-left corner (the one with the green arrow pointing inward at it). If not possible, just try to center it within the 8.5x11 section so it doesn't get cut off in the scan.
5. You might want to make a test copy on normal paper first if you're looking to make an archival paper copy to see if you need to move the item, what settings might need adjusting, etc.
6. Choose your settings. The ones I find most important most of the time are:
- Number of copies.
- 1- or 2-sided.
- Black-and-white or color.
- Paper supply – I find if I'm using the bypass tray, it pays to change this from "Auto-Select" to "Bypass Tray" so it doesn't wind up using Tray 1.
- Reduce/Enlarge as necessary.
- Original size – this setting controls how much of the flatbed is scanned. It starts you on "Default size", which seems to be 8.5x11 inches (letter size). It appears to me if you need to scan a larger area than that, your best bet is to click into "Original Size", then "Custom/Presets", and increase the length that will be included in the scan (the scannable area is 12 inches long). It lets you increase it to 14 inches, but my best guess is that's for the feeder (but that really is just a guess).
- Any other settings, like Darken or Saturation, that you might need to make relevant information stand out or be legible.
- If you're still not satisfied, you can find even more settings if you scroll all the way down. Press "Customize", then select "Feature List." Click the eyeball icons to add/remove a particular setting from the settings list. Click "OK" to save your changes and dive into your new adjustments.
7. When you're ready, hit "Start".
8. Every time the MFD scans a sheet, a message will pop up that says it's "complete". Just press okay on that and continue to make whatever other copies you need.
9. When you're done, you can either just leave it as it is or hit the physical "Home" button (it has a house icon on it), and it will revert back to the main menu screen. Remove the original(s) from the flatbed and take your new print-out(s). Recycle imperfect copies you don't need to keep.
*I imagine if you could get your phone or camera to connect to the MFD, the directions would be largely similar.
1. If the screen is blank and the ring of light around the power button is blinking, press the power button to wake up the MFD.
2. If you place paper in the bypass tray, a screen will pop up to confirm the paper type in the bypass tray. Make any changes if necessary, and when it looks good, press "OK".
3. Insert your USB drive into the USB port.
4. A message should pop up that reads, "USB drive has been detected" - select "Print from USB".
5. Browse your USB drive on the MFD's screen and select the files you want to print.
6. Choose your settings. This is much a much shorter list than for photocopying.
- Number of copies, black/white or color, 1- or 2-sided like for photocopying.
- Paper supply – I find if I'm using the bypass tray, it pays to change this from "Auto-Select" to "Bypass Tray" so it doesn't wind up using Tray 1.
7. If you want to select more files, press the "Add Document" button at the top of the screen. If you don't see it on the screen, scroll up until you do.
8. When ready, hit "Print".
9. Repeat as you need.
10. When you're done, hit the physical "Home" button (it has a house icon on it), and it will revert back to the main menu screen. Remove your USB drive and take your new print-out(s). Recycle imperfect copies you don't need to keep.
Okay, great, but what about mold?
I’m so glad you asked. Sometimes, materials will have mold on them, usually from exposure to water/moisture. Separate the moldy stuff from the rest, and show it to the archivist-in-charge. Sometimes, they will call in one of the curators to assess it and make a judgment about if it’s important enough to keep and send to Conservation for cleaning, or if it should be discarded.
Mold: A photo gallery
Mold on a page:
Mold extreme close-up:
Mold and water damage:
Hardcore mold and water damage:
Color bleeding, water damage, and mold:
Mold on a book cover:
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Existing folders are maintained, hanging or otherwise
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Loose papers are gathered into folders, not arranged, these folders are not labelled.
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Publications are not foldered.
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Binders aren't taken apart
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Manilla envelops are left as is
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Letters in envelops are put into folders in single clumps, the researcher can take them out of the envelop with enough room so that the letter can be examined and placed back in the folder
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Contents in used folders are re-foldered or the non-accurate information is erased.
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Existing description is recorded; box information is captured in box list, information on folders that are re-foldered is retained through transcription, photocopying, or saving the folder itself.
Example of information on boxes used to create box list
Small cardboard box left in document case
Original folders in document case
Example of recycled folders used in the accessioning process. These were refoldered.
Metal case with contracts. Contracts were foldered, labelled with information from the metal case.
Closed materials are always isolated in their own boxes. If the closed materials consist of selected items from throughout the collection, the items may be filed individually in folders that refer back to where they belong when the restriction expires. The closed folders should be filed in a box at the end of the collection, with an orange "Closed, do not page" slip attached to all boxes that are closed.