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3 STANDARDS#

3.1 STRUCTURE#

3.1.1 This document is structured in line with the organisation of an archive, so documentary, digital and material elements are considered separately. This approach has been taken because although not all projects produce finds or environmental materials, those that do invariably produce a documentary archive, and it would be repetitive to try to organise this document in line with different types of project. Links are made throughout to the processes that inform archaeological projects, as shown above, including monitoring of a project and the receiving and care of the archive.

3.1.2 The documentary archive includes documents and digital material, and each requires different standards in creation and care. Digital material is therefore presented in a separate sub-section of the documentary archive.

3.1.3 If one purpose of a project is to produce a stable, ordered, accessible archive, then that aim must be recognised at the outset. Consistent use of this Guide at all stages of a project will facilitate recognition of this aim, and it is intended that it will increase people’s awareness of their responsibilities towards the archive.

3.1.4 The bibliography lists relevant, detailed standards that should also be consulted and understood.

3.2 THE DOCUMENTARY ARCHIVE#

3.2.1 COMPOSITION#

The documentary archive consists of

• written material eg correspondence, contracts, specifications, notes, records, indexes, catalogues, reports
• drawings; printed, or in pencil or ink
• photographs; eg negatives, contact prints, prints, transparencies, x-radiographs
• digital material

3.2.2 PAPER#

3.2.2.1 SUMMARY OF STANDARDS

1. all paper-based material must at all times be stored in conditions that minimise the risks of damage, deterioration, loss or theft
2. permanent or high quality paper/card and writing materials must be used.
3. all documents must be marked with the project identifier (eg site code) and/or the museum accession number
4. all types of record must use a consistent terminology and format
5. use non-metal fastenings, and packaging and binding materials that ensure the longevity of documents, especially in preparation of the archive for long-term deposition
6. copies of reports and appropriate drafts, with associated illustrative material, must be submitted for inclusion with the archive

3.2.2.2 PLANNING

1. Correspondence, contracts, project proposals, project designs, reports and similar documents will normally have been created on, and printed from, a computer. It is difficult to set standards relating to this process, although it should be noted that printer paper and inks are not recognised as stable. Although it is desirable that such documents are submitted in hard copy, they also form part of the digital archive and can be curated as such. Any documents vital to the functioning of the archive as a reusable resource, and submitted in hard copy, must be printed or copied in a way that offers longevity.
2. The agency involved in the execution phase must demonstrate, to the satisfaction of monitoring agents, that they will work to procedures that ensure the production of a consistent record. This includes use of field manuals that make proper reference to the format of record sheets, plans, etc and the terminology to be applied in recording.
3. It is recommended that project proposals, project designs etc refer to this document as an accepted approach for archive delivery.
4. Intellectual property rights and copyright to all elements of the documentary archive must, if possible, be established at the beginning of a project.

3.2.2.3 DATA-GATHERING, ANALYSIS, REPORT-WRITING

1. It is advisable that all primary records are made on paper of recognised archival quality, of neutral or mildly alkaline pH, and in media, either printed or hand-written, that are equally long lived. It is recognised, however, that this cannot always be achieved. Always use high quality paper for records intended for archiving. Photocopies have a short life-span and must not be used. Pro-forma should be printed, not photocopied, and completed using black ballpoint pen or permanent black ink. Recycled paper also has a short lifespan and is not recognised as permanent for archive purposes.
2. All project records must be produced to a consistent format. It is recommended that pro-forma are used for recording primary data. There are no national standards for the lay-out of record sheets, nor in every case for the information they require, but the following must apply
   1. all record sheets must include the site identifier and/or similar location information
   2. reference to national standards, particularly in the specialist recording of finds information. Use these to ensure that the recognised level of information is recorded, eg in designing record sheets or databases
   3. consistent terminology must be used throughout, so that the same term is applied to the same thing every time (eg do not record some metal objects as copper alloy and others as bronze). Include a definition of terms with the archive if necessary. In some instances local terminologies have been developed, and their use required, eg pottery type series
   4. records must be written legibly and using clear language/terminology
   5. the date of completion of a record, and author, must be included
3. All archive material in the temporary care of project teams or specialists must be kept in the best conditions possible, ensuring protection against fading, damage, damp and loss. It is highly desirable that archives are retained in temporary storage for as short a time as possible.
4. A security copy of written records may be required in the Project Proposal or by the archive repository. This may include microfilming or digitisation. Ensure that these requirements are understood at the outset of a project.

3.2.2.4 PREPARATION FOR ARCHIVE TRANSFER

1. All elements of the paper archive must be classified to identify their function. This is especially important for pro-forma, which must have an identifier and/or title (eg context record sheet).
2. There must be indexes for all parts of the paper archive. Some of these are compiled on pro-forma during data collection, eg running lists of context numbers, but others, such as lists of correspondence included in the archive, will be completed as part of the archive preparation process.
3. The paper archive must be accompanied by an overall contents list.
4. At all stages of management of the written archive, the use of non-metal fastenings, such as plastic paperclips is recommended. Do not use metal fastenings or bindings such as staples and ring-binders, or adhesive tape, when preparing the paper archive for long term storage. Documents of the same type should be bundled together, using the following criteria
   1. fasten paper using plastic treasury tags or plastic paperclips
   2. use a separate title page to mark groups of documents
   3. do not use self-adhesive labels (or such things as stick-on notes)
   4. organise documents of the same type in a logical order (eg record sheets in context order; correspondence in chronological order)
   5. do not fold documents
   6. store documents in acid-free, dust-proof, cardboard boxes, do not store documents vertically

3.2.2.5 CURATION

1. the paper archive must be stored in dark conditions
2. the ideal temperature is a fixed point in the range 13ºC to 19ºC
3. the ideal relative humidity is a fixed point in the range 45% to 60%

3.2.3 DRAWINGS#

3.2.3.1 SUMMARY OF STANDARDS

1. all drawings must, at all times, be stored in conditions that minimise risks of damage, deterioration, loss or theft
2. use polyester based film for drawings
3. all drawings must be marked with the project identifier (eg site code) and/or museum accession number
4. all drawings must identify the subject, and include a scale and, where appropriate, a north sign or other means of location/orientation
5. wherever possible, all original drawings must be included in the archive
6. where possible, store drawings flat

3.2.3.1 DATA-GATHERING, ANALYSIS, REPORT-WRITING

1. use the most stable drawing film available, or low-acid card or low-acid paper. Polyester-based film is recommended because it lasts longer than plastic film
2. original drawings on film must be made with a hard pencil, at least 4H
3. do not ink over original pencil drawings
4. use regular sizes of paper or film for drawings, no smaller than A4 and preferably no larger than A1
5. mark all drawing sheets with the project identifier, drawing number, title, scale, date of drawing, name of the person who drew it and, where appropriate, north sign and site grid and/or appropriate location information
6. include a key to all conventions used for particular elements, colours etc
7. do not use adhesive lettering on original drawings that convey site information as this will eventually fall away
8. publication drawings can be produced to less exacting standards, but they must always be properly marked and produced with stable materials
9. a security copy of written records may be required in the Project Proposal or by the archive repository. This may include microfilming or digitisation. Ensure that these requirements are understood at the outset of a project

3.2.3.2 PREPARATION FOR ARCHIVE TRANSFER

1. the archive must include an index of all drawings, some of which are compiled during data collection, in the form of running lists of drawing numbers which must be maintained during analysis and in preparation of drawings for publication
2. pack drawings so they can be stored flat. Acid-free card folders are preferable for separating groups of drawings. Polyester covers can be used, but use tissue paper to separate the uppermost drawing from the polyester
3. do not use adhesive or tape of any kind

3.2.3.3 CURATION

1. drawings should ideally be stored flat, in the dark, in dust-free containers
2. the ideal temperature is a fixed point in the range 5ºC to 10ºC
3. the ideal relative humidity is a fixed point in the range 45% to 60%

3.2.4 PHOTOGRAPHS#

3.2.4.1 SUMMARY OF STANDARDS

1. photographs must, at all times, be stored in conditions that minimise the risks of damage, deterioration, loss or theft
2. media that can be kept in perpetuity, in their original form, must be used for record photographs
3. all photographs must be marked, or made identifiable with, the project identifier (eg site code) and/or museum accession number
4. all record photographs must identify the subject, and include a scale and, where appropriate, a north sign or other means of location/orientation
5. photographs must be packed using appropriate materials

3.2.4.2 DATA-GATHERING, ANALYSIS, REPORT-WRITIN_G

1. digital photographs are increasingly used for record photography but must only be used as a substitute for photographic film if there is a clearly established procedure for long-term preservation of the digital archive, and if proper measures for the collection and security of digital photographs are followed throughout the life of a project
2. black and white film processed to British Standard 5699 is the archival ideal, as it is recognised as suitable for long-term storage, but colour film is now an acceptable alternative. Use processing companies that develop film to high specifications, as commercial, automatic processing techniques do not meet archival standards and must not be used
3. transparencies should be duplicated to allow the use of one set, while the other can be stored. This is most easily achieved by taking two original photographs rather than making copies later.
4. where appropriate, record photographs must include project and object identifiers, and a scale and direction of view indicator
5. used films should be processed as soon as possible to counter the effects of film deterioration
6. video is not recognised as a record medium of archival quality and must not be used as a primary record, although it can be used as an enhancement to recorded information. If submitted with an archive, it is advisable to transfer it to a DVD, where it will be incorporated into the digital archive and curated as such

3.2.4.3 PREPARATION FOR ARCHIVE TRANSFER

1. photographs should be classified by type of media, with negatives, prints, transparencies, x-radiographs and others categorised separately, as some media have differing storage requirements
2. all photographs, or their holders, must be marked with the project identifier, object identifier (if appropriate), film number and frame number
   1. mark negative holders, not negatives
   2. mark prints on the back using a soft pencil, not ink
   3. mark transparency mounts, not the film
3. the archive must include an index of all photographs, some compiled during data collection, in the form of running lists of frame numbers. These lists must be maintained at all times
4. a photographic index should record the category of film (or create separate indexes for each category), film number, frame number, title and/or subject, the date the picture was taken and who took it
   1. silversafe-type paper envelopes are ideal storage media for negatives and x-radiographs, although the careful use of polyester packets or hangers may be more practicable
   2. store prints in acid-free paper enclosures or polyester sleeves, and/or in archival print boxes
   3. pack transparencies into polyester packets or hangers if they are to be stored in cabinets. Some repositories may take them stored in archival boxes

3.2.4.4 CURATION

1. prints should ideally be stored in archival boxes or dust-proof cabinets, at a fixed point within a temperature range of 13ºC to 19ºC, and a relative humidity of 40% to 60%
2. negatives and transparencies should be stored in dust-proof cabinets, although archival boxes may also be appropriate
3. colour film should ideally be stored in a temperature range of 0ºC to 2ºC, in accordance with BS Standard 5454:2000. This is likely to be impracticable, not least because it is difficult to access them for consultation, and it creates acclimatisation problems. The recommended conditions are a fixed point in a temperature range of 5ºC to 10ºC, at a fixed point of relative humidity in the range 30% to 40%. This temperature range will still necessitate a period of acclimatisation prior to handling
4. black and white film should ideally be stored at a fixed point of temperature no higher than 18 ºC, and preferably much cooler.

The recommendation here is a fixed point in the range 15ºC to 19ºC, and a relative humidity between 30% and 40%. There may still be the need to acclimatise materials prior to handling if conditions of storage vary greatly from those of consultation

3.2.5 REPORTS AND PUBLICATIONS

1. when first submitted, the archive must include a short summary report explaining the background to the project, when it was carried out, by whom, where the project was located, and the results of the work
2. copies of all published material relevant to the project must be submitted with the archive, or sent to the archive repository if the archive has been deposited before a publication appeared
3. restrictions on public access to sensitive material must be identified and discussed prior to archive deposition
4. it is often informative to keep copies of draft reports or publications in the archive, and the archive repository should be consulted to determine whether this is required and which drafts are appropriate. The first draft is often the most relevant. Version control is as relevant here as it is with digital records, and it must be possible to identify each different draft. Do not submit unannotated duplicates with the archive
5. reports and publication text are normally written directly onto a computer, thus becoming part of the digital documentary archive. File naming protocols and version control must be exercised to ensure that different drafts can be identified, see Section 4.2.6
6. all original drawings and photographs prepared for a report or publication must be submitted with the archive, refer to Selection and retention#423 and 4.2.4
7. copies of all born-digital material created for a report or publication must be submitted with the archive, refer to Section 4.2.6