Speed Art Museum Number of Objects in Hte Collection

Labeling Ethnographic Objects
past Helen Alten
(as published in the ICOM Ethnographic Conservation Newsletter, Number 17, Apr 1998. pp. eighteen-21.)

Tags
Tag and tie options
Surface applications
Labels
Applying a barrier coat
Applying the number
Acme glaze
Conclusion
Books and products nosotros recommend
Links to related data

The diverseness of materials that contain ethnographic objects tin can make labeling them with catalog and/or accession numbers highly problematic. Consider the following problems earlier selecting an approach to labeling:

• · Must the number exist "permanent? " with the proviso, of grade, that it can be removed easily if necessary.
• · Do staff members remove tags before placing items on exhibit?
• · Do exhibit designers object to visible numbers?
• · Are your collections stored nether water pipes, in a basement, or whatsoever other surface area where they might be damaged by water?
• · Are some of your collections permanently stored in liquid?
• · Are insects a problem in your museum?
• · Exercise yous demand a simple inventory control tool?
• · Are yous using a computer database? Or hand-written accretion logs? Or both?
• · Practise you lot agree that whatsoever form of harm to an object is unacceptable? (Some museums accept a certain level of damage in the name of inventory control.)
• · Who is applying the numbers? Are they skilled craftspeople or occasional volunteers?

Rather than one solution for labeling all ethnographic materials (or whatever museum materials), proper labeling requires a palette of options for a skilled practitioner. You must choose betwixt writing on the surface of an object or attaching something, such equally a tag, to an object. For case, the to the lowest degree dissentious, and best able to survive a h2o-related disaster, is a tag. Notwithstanding, there are choices well-nigh the blazon of tag to utilise, as well. And what exercise you lot do if your object has no holes, knobs or handles on which to attach a tag? Also, a tightly attached tag may crusade baloney, breaks or surface vesture.

Tags

Some museums successfully rail their collections using merely acid-free tags. This approach works when the museum registrar can command the activities of art handlers, showroom designers and others who may handle objects. Tags may work, too, if there are clear institutional rules that anybody abides past because the museum director believes in them and actively enforces them. Notwithstanding, the less command yous have, the less likely that tags volition survive for long. Don 't waste product your coin on tags if the unabridged museum staff does not respect their purpose.

At that place are several tag types. The nearly common is the white, acid-free paper tag with white cotton cord. This tag comes in a variety of sizes and shapes and has a number of advantages and disadvantages. Among the advantages are the soft cord, the ease of applying numbers in ink, and the pH neutral nature of the acid-free paper stock that is used. Always test each new shipment with a pH pen or pH strips before using. Among the disadvantages are the white fibers that cotton string tin leave on artifacts and the propensity for oil to wick from objects through the cotton wool string to the paper, causing ink to run. In addition, these tags are also noticeable (which some museum professionals consider unacceptable), they provide a food source for insects, and they do not withstand immersion in water. Some suppliers employ constructed strings, though this is not noted in their catalogs. E'er test tag strings before using. A cotton fiber string produces ash when burned, but a constructed cord melts. Avoid nylon string; information technology deteriorates and damages artifacts.

Tag and tie options

Exist creative and do not accept white cotton string as your only tie option. If this cord is objectionable, consider the culling of cotton embroidery floss in colors that friction match your objects. Remember to test for color fastness. Dip the embroidery thread in water and press it against blotter paper, white paper, or cotton toweling using weights. Let it dry, then check for whatsoever color that transferred. If y'all think that other liquids or oils might come in contact with the thread when it is attached to an object, exam the thread in each of these, too, for color fastness.

For outdoor objects or oily objects (such equally birds, grease dishes and seal skin), choose a tie that will not wick or deteriorate. The same approach is needed for museums with chronic pest problems or that store objects in less than ideal locations. I selection is teflon monofilament, which is available as Glide unwaxed dental floss in the U.s.a.. Practise not substitute other dental flosses without a barrier. They are multi-filament nylon and volition deteriorate. A museum in Canada orders skived (a method of cutting Teflon into thin sheets) Teflon - an inert fluorine compound - from the manufacturer precut into set widths. The museum feeds the Teflon through a Dymo labeler and easily prepares tags for outdoor utilise and for moisture archaeological pieces. Narrow strips of Teflon also work well for ties.

A less expensive tag material for outdoor or wet use is Tyvek, a polyolefin. Although longevity may be a trouble due to the inclusion of possible additives such as anti-static coatings, small museums on limited budgets recycle white gristly Tyvek post envelopes or Tyvek Firm Wrap from construction sites to brand tags. If budgets permit, buy Tyvek from a reputable supplier, without whatsoever additives. It tin can be purchased equally a soft material or a stiff "paper." The soft version makes an fantabulous necktie, the stiffer version is easier to write on. Tyvek materials tend to carry a slight static charge, which could be problematic and should exist tested if you are because using the material on an object with flaking pigments or frail paint. Also, some inks may bladder off the Tyvek surface when wetted; test before apply.

Metal tags, such as aluminum plant tags, work well in a dry climate or insect-infested area. They do not require a writing ink; accession information is pressed into the surface with a pencil or Dymo labeler. However, they must be considered advisedly as they may scratch object surfaces and promote corrosion (metal to metal deposition).

Metal wire and nylon ties -- such equally fishing line, some plastic lock straps, many strings and virtually dental floss -- must be isolated from objects with polyethylene plastic tubing. Otherwise they volition cut into surfaces and when they deteriorate, will cause damage to that area of the object. Tubing solitary tin can also be used equally a tie, but do not utilize poly (vinylchloride) (PVC) tubing (Tygon is one make proper name) for annihilation under any circumstances whatsoever. PVC tubing is tempting because it is soft and flexible, yet it deteriorates forming chloride byproducts such equally hydrochloric acrid.

Some of the plastic ties that come up with garbage numberless may be inert plastics. Check with a local supplier, or do a burn test comparing them with a known, acceptable plastic. Zap straps, zippies or interlocking straps sold in estimator stores and in automotive and electric stores may be some other choice. Most of these are nylon, meaning y'all cannot use them directly on objects. Some may be polyethylene or polypropylene and can be used; read the package labeling carefully.

Consider coated wires. Some telephone wire is coated with polyethylene, an inert plastic. As with all plastics, test or read the package before using. If the plastic is hideously vivid, information technology can be toned down with acrylic paints. Seal the ends with wax or by melting the plastic closed, so that the metallic does not scratch or corrode and stain the object.

Exercise not use a rigid, stiff tie or tag in contact with an object that has a soft, delicate surface. Effort to brand certain that the tie or tag is as soft or softer than the object and then that if the two were rubbed together the necktie or tag would be abraded, not the object.

Surface applications

If yous decide to apply catalog numbers directly to objects, rather than using tags, in that location are iii methods to consider: (one) applying a label to the surface; (two) writing directly on the surface; and (3) applying a barrier glaze, and so the number.

In that location are some bones rules for applying labels and numbers to objects:
(1) For objects fabricated of more than one material, cull the least porous surface. (Metallic, shell, glass or ceramic are improve than woods or leather.)
(2) Avoid numbering over paint or pigments.
(3) When in incertitude, use a tag.
(iv) Do not apply a potent textile to a flexible surface.
(5) Disasters happen. Retrieve, bulwark coats and labels will float off objects immersed in water. Use tags as a backup system.

Labels

Labels with pressure sensitive adhesives are more often than not discouraged. Commercial labels, no thing what the supplier promises, will deteriorate with fourth dimension. Many have a rubber-based agglutinative that will yellow. Some, especially those touted equally "acrid-gratis," have acrylic adhesives that will cold menstruum into your object and can be impossible to remove with fourth dimension. Labels made past a conservator, using a known adhesive conception, may piece of work in the short term, but could cause trouble with time. Few polymer-based adhesives actually stand the exam of time. Only wheat or rice starch paste, post-obit formulations used to repair paper for centuries, can be recommended. Be conscientious with this method; excessive water may stain organic materials. Even so, pH neutral rice paper labels applied with a starch paste prepared with minimal h2o, successfully adheres to most leather, Native tanned hides, tapa and baskets. This works well unless the hide is extremely oily. The paper adheres all-time if it has been wet torn, not cut, making the edges fibrous.

Labels can also exist sewn onto a woven textile in expert condition. DO NOT SEW a characterization onto leather, hides, breakable textiles or baskets. Sewing into these artifacts creates irreparable holes and tears. Use a nonadhesive cotton tape or Tyvek and as few stitches as possible. Do non knot the sewing thread, attach it by looping through itself on the characterization, before sewing into the fabric.

Writing directly on the surface

In rare instances, less damage is caused past writing a catalog number directly on the surface of an object than applying a number to a barrier coat. A soft pencil (#2 or HB) is recommended for mark the reverse of a paper object. Write in an unimportant area and exercise non press hard plenty to create indentations. If the newspaper is soft, like crepe paper used for Buddhist funeral figures, apply a softer pencil. Plastic objects should have nix applied to them. Withal, if staff insist on applying numbers, write straight on plastic objects with a fine wax pencil, a h2o soluble All-Stabilo pencil, or acrylic paint applied with a fine brush. Exercise not utilise the number near important manufacturer marks in case the number precipitates surface damage. The number may go irremovable with time.

Applying a barrier coat

The rationale for using barrier coats is that a clear lacquer layer volition prevent inked numbers from bleeding into an object and allow for like shooting fish in a barrel removal if necessary. However, this theory becomes invalid if the barrier material damages the object or the ink bleeds through the barrier. A wide multifariousness of clear coating materials has been used over time. Here are a few usually used bulwark coats, with comments as to their properties:

(i) Clear nail polish has poor aging backdrop because its principal ingredient is cellulose nitrate. It stains and damages surfaces as it yellows and darkens. Information technology eventually peels off. Despite these problems, smash polish continues to be used by many museums considering information technology is easy to obtain and to apply. It is not recommended for utilize considering it volition damage your collection.

(2) Acryloid/Paraloid B-72 resin has the best crumbling properties of any bulwark coat material. It is commonly used every bit a 25 % solution (weight to volume) in acetone, toluene, a mix of acetone and toluene, or ethanol. The solvents volition damage plastics and painted surfaces. This material volition be absorbed into porous surfaces and will exist hard to remove completely. It has poor working properties: it becomes gummy and stringy requiring the improver of solvents. Many catalogers complain that information technology requires a long time to dry (toluene releases gradually from this resin), and loftier relative humidity may impact its properties. Acetone solutions ofttimes bubble, making them impossible to write on. Information technology forms a brittle barrier film. If used in unventilated areas, the solvent fumes, particularly toluene, are a health risk to the cataloger. Because of all those factors, use Acryloid/Paraloid B-72 just on unpainted, non-porous surfaces in well-ventilated rooms. Place the solution in a castor pinnacle bottle, such every bit an empty, clean smash polish bottle, for piece of cake application. If it bubbles, use a slower evaporating solvent in the solution, such every bit toluene.

(iii) Acryloid/Paraloid B-67 resin will yellowish slightly with time. The resin dissolves slowly in Naptha, mineral spirits, Stoddard solvent, petroleum benzine, or white spirits (all like petroleum distillates). These solvents are less probable to solvate painted surfaces. They volition dissolve oils and waxes. The resin has better working properties than the Acryloid/Paraloid B-72 resin, withal there have been some complaints about slow drying. Typically, the barrier coat dries inside minutes. The barrier coat volition exist difficult to remove - it does non rapidly dissolve in whatever solvent. But it will somewhen dissolve in one of the solvents mentioned above. As with Acryloid/Paraloid B-72 resin, the barrier film is brittle. TEST first, before using Acryloid/Paraloid B-67 on painted or unpainted not-porous surfaces. Practise non utilize on wax figures. Once again, apply simply in a well-ventilated room.

(4) Poly (vinylacetate) (PVA) Emulsions & Acrylic Dispersions will xanthous with fourth dimension. Some ten years former samples are quite yellowish. Considering they are water-based bulwark coats, they are the healthiest to use . Merely water may damage or stain many organic materials, and then use these materials judiciously. The PVA makes a flexible coating that works well on flexible objects. PVA'southward, however, have a low glass transition temperature and may cold menstruation or become tacky in warm climates. Therefore, these resins are not recommended for numbering objects in the tropics. Commercial PVA 's have unknown additives, altering their aging properties. Acrylic dispersions and emulsions will xanthous slightly. They brand more brittle films than PVA's and have higher glass transition temperatures. Many commercial acrylic emulsions, such as acrylic artist's medium, have ammonia additives that will harm metals. Acrylic gloss media have fewer additives and should yellow less than a matte media. I do good of matte media is that it creates a slightly rough surface on which a pencil can exist used to write the catalog number. When yous accept a pick, use an acrylic dispersion rather than a PVA and employ to non-porous, not-water sensitive materials. Remember, although these resins are applied in a water solution, they require solvents for their removal. Do not use them on surfaces that will be damaged by solvents.

(five) Aquazol (PEOX Dow Chemical 2-ethoxy-2-oxazoline), is a water-based removable barrier coat. It is soluble in water, methanol, ethanol, acetone, propylene glycol, methylene chloride and MEK. Aquazol is not recommended if h2o impairment is a threat to your object. Information technology may piece of work well equally a topcoat or in sure situations were solvents cannot be used. Recently introduced to conservators, investigations continue on this material.

Applying the number

Catalog numbers can be applied to objects with a quill pen, a fine brush, or an empty felt tip marker (TRIA past Letraset). All three require practice and skill. The quill pen may scratch a surface because information technology has a metal pecker. The castor is the most difficult to use, but the softest for artifact surfaces. The TRIA marking is an empty felt tip pen with three different nibs designed for use with dye-based inks. Unfortunately, paint-based inks, which are more light stable, will clog the felt. When the TRIA mark works, information technology works well. Otherwise, it is frustrating to employ. The fine quill pen works best if the cataloger is experienced in its use. I do not recommend drafting pens; a common brand is Rapidiograph. These metallic pens scratch surfaces, clog frequently and their ink formulations vary.

After the pencil, the 2d best writing cloth is carbon black acrylic pigment or ink with tested crumbling properties. For a white ink, use rutile titanium dioxide pigmented white acrylic paint. Do non utilize an ink unless you know it is acrylic and paint based. "India Ink" formulations vary from manufacturer to manufacturer and often comprise dyes. For tags, use dark pencil or a light-fast felt tip pen, as noted beneath. If the collection is wet, tags numbered in pencil concluding longest.

Commercial felt-tip pens are occasionally used to number objects merely they are not recommended. When you use them, yous have no control or knowledge of what you are applying to an object. Ink formulations alter without notice, and each ink contains a soup of chemicals: solvents, binders, dyes and pigments. Solvents may migrate through a bulwark glaze, many dyes will non survive calorie-free exposure, and binders may form acidic byproducts every bit they age. Simply the pigments, if they are nowadays (few felt tip pens use pigments because they clog the felt applicator), will survive. That said, the two nigh unremarkably used commercial pens are Sharpie and Pigma pens. Never use these pens to write on barrier coats or directly on object surfaces. Pigma pens will non write well on plastic substrates, including the bulwark coat resin. Both piece of work well on tags. Test their lite fastness by writing on a piece of Tyvek and clipping it to a clothes line for three months in the summer. If the writing survives, it should stand the exam of time.

If you choose to use a white patch with black numbering ink instead of white lettering on a dark object, utilize the same white acrylic paint mentioned above and employ it on meridian of the base glaze. Never utilise white acrylic paint equally a base coat. Do non use commercial products, such every bit White-Out, for a white patch. Many of these products historic period poorly and formulations change without notice. Alternatively y'all can prepare your ain white patch material using rutile titanium dioxide pigment, toluene, and 25% Acryloid/Paraloid B-72. Again, e'er utilize the white patch on top of a clear base of operations glaze.

Finally, choose someone with skilful, articulate handwriting to write your catalog numbers. This may not be your registrar. Be honest, it is important that these numbers exist clear to time to come staff, too.

Top glaze

Some museums protect the applied catalog number with a 2d barrier glaze. The theory is that this volition prevent the number from abrasion and loss during normal wear and tear of object treatment. Top coats and base of operations coats may be different. In fact, I advise that the materials used to apply the catalog number and the acme coat dissolve in the same solvent while the base coat is unharmed because it dissolves in a dissimilar solvent. This allows a catalog number to be reapplied without stress to the object.

A Selection of Objects and How to Number Them

Baskets: (ane) wheat starch paste, pH-neutral fibrous newspaper labels, pencilled number or
(2) an acrid-gratis tag placed within the basket

Tapa: (1) wheat starch paste, pH-neutral gristly paper labels, pencilled number or
(2) pencil written direct on the surface

Feathers: test dye stability, Acryloid/Paraloid B-72 base glaze on quill with black or white acrylic pigment

Hides: (one) tag preferred, otherwise
(2) wheat starch paste, pH-neutral fibrous paper labels, pencilled number

Buckskin: (one) tag preferred, otherwise
(2) wheat starch paste, pH-neutral gristly paper labels, pencilled number

Gut: (1) tag preferred, otherwise
(2) Rhoplex N-580 acrylic dispersion, pH-neutral fibrous paper labels, pencilled number

High-fired Pottery: Acryloid/Paraloid B-72 base glaze with black or white acrylic paint

Shells: Acryloid/Paraloid B-72 base glaze with blackness acrylic paint

Wood: Acryloid/Paraloid B-72 base of operations coat in an inconspicuous place (will stain the wood) with black or white acrylic paint

Oily wood: (1) Tyvek tag with teflon necktie preferred.
(2) If writing on surface, clean label surface area with a petroleum distillate, then Acryloid/Paraloid B-67 base coat with blackness or white acrylic pigment

Glass: Acryloid/Paraloid B-72 base coat with blackness or white acrylic pigment

Painted wood or metal: Acryloid/Paraloid B-67 base coat with blackness or white acrylic pigment

Metal: Acryloid/Paraloid B-72 base coat with black or white acrylic paint

Plastic: (i) tag preferred otherwise
(2) write directly on the surface using All-Stabilo water soluble pencils, no bulwark coat

Decision

Whatever techniques you use, consider it to be a micro-conservation handling. Tape on your accretion cards exactly what materials you lot used and where you used them when labeling the item. And, if you know, record how it can exist removed. Your successor will thanks years hence.

Special thank you to Ruth Norton, Lori van Handel, Gayle Clements, Marianna Munyer, Terri Siegel, Terri Schindel, Julia Fenn, the Canadian Conservation Institute and Uk'southward MDO. The information in this article is the effect of work by many individuals and organizations over the past ten years.

Courses we recommend:

Books and products nosotros recommend:

Collections Labeling Kit Based on piece of work by the AIC/AAM Joint Committee on Numbering, this kit provides three ½ ounce castor superlative bottles of different clear lacquers, two bottles of solvents, and bottles of black and white acrylic inks. Included are three different ink applicators: a fine brush, a quill pen and an empty COPIC marking. Iii different pencils, two that are h2o soluble, samples of unlike tags and ties, and gloves also are included. A small-scale booklet provides information on how to use each of the items in the kit.

Collections Labeling Kits are a popular particular. Because of the number of components in the kit, and its popularity, nosotros tin't always predict accurately how much textile we should have in stock. We regret that there may be a shipping delay of 2-4 weeks if nosotros run out of kits or whatever of their components. We try to make sure this doesn't happen, only please exist patient with the states if your order takes longer than expected.

Collections Labeling Kit	$77.55	[Add to Cart]
Paraloid (formerly Acryloid) B-72 in Acetone	$5.fifteen	[Add to Cart]
Paraloid (formerly Acryloid) B-67 in Naptha	$five.15	[Add together to Cart]
Acrylic Gloss Medium in water	$5.fifteen	[Add together to Cart]
Black fluid acrylic ink	$5.15	[Add together to Cart]
White fluid acrylic ink	$five.xv	[Add to Cart]
Empty .5 oz. castor pinnacle bottles	$3.00	[Add together to Cart]
Labeling Kit Booklet	$12.00	[Add to Cart]

COPIC Empty Marker An empty felt marker with replaceable nibs. Created for dye-based inks. One end is Fine Line and the other is the standard Chisel end.

All-stabilo pencils Water soluble pencils that write on near surfaces. Recommended for writing direct on plastics or on the back of plastic-coated photographic papers. Practise not stack photographs on acme of each other; writing may transfer. Use a separator of glassine or acrid-free newspaper. Volition write on metals, glass and ceramics without a barrier coat, likewise, although this is not mostly recommended. Writes well on Acryloid B-72 and Acryloid B-67 base coats. Do not use a top coat equally it solubilizes in most liquids.

All-stabilo white pencil (single)	$2.08	[Add to Cart]
All-stabilo white pencil (dozen)	$xviii.75	[Add together to Cart]
All-stabilo blackness pencil (single)	$2.08	[Add together to Cart]
All-stabilo blackness pencil (dozen)	$18.75	[Add together to Cart]

Pigma Micron Pen, .25 mm, is a fine signal writing instrument offer a waterproof, quick-drying paint ink. Fade proof and smudge proof on porous surfaces, including 100% cotton fabrics. Will not smear or plume when dry. Fade resistant. Does non drain through most newspaper. Use for writing on paper tags and cotton wool twill tape. Does not write on plastics, and then volition dewdrop and smear if used to mark on barrier coats practical to objects. Never use to write directly on objects or archival materials. pH neutral and chemically stable. Ideal for acid-free environments. Excellent for not-museum drove purposes such as graphics, journaling, scrapbooks, memos, illustration, drafting, archival recording, cartooning, and accounting.

Links to related information on other sites:

Labelling and Marking Museum Objects
http://www.mda.org.great britain/labels.htm

mda (Museum Documentation, Uk)
http://world wide web.mda.org.united kingdom/

mda Resources (Museum Documentation, UK) Labelling and Marking
http://world wide web.mda.org.uk/labels.htm

mda Manual Systems (Documentaion Forms)
http://www.mda.org.uk/mansys.htm

Use of Acryloid B-72 Lacquer for Labeling Museum Objects (Conserve-O-Gram i/4) - (An Adobe PDF file)
http://www.cr.nps.gov/museum/publications/ conserveogram/01-04.pdf

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Source: https://collectioncare.org/numbering-museum-collections

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