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- To: BOOK_ARTS-L@xxxxxxxxxxxxxxxx
- Subject: YES paste
- From: Stephanie Watkins <swatkins@xxxxxxxxxxxxxxxxxxxx>
- Date: Thu, 20 Mar 1997 15:03:29 -0600
- Message-id: <199703202114.NAA20112@SUL-Server-2.Stanford.EDU>
- Sender: "The Book Arts: binding, typography, collecting" <BOOK_ARTS-L@xxxxxxxxxxxxxxxx>
At 12:01 PM 3/19/97 -0800, I wrote:
>>YES PASTE: A combination paste. I have had to undo the adhesive (because
of the damage it had caused) too often and the generation I had to deal with
also appeared to have a protein component (applied possibly late 70's or
early 80's). It does discolor (turns dark brown over time).
April Abbot then asked:
>When you speak of damage caused by YES Paste, what exactly do you mean?
The use of YES paste I encountered was on stationery-type and fine art
papers that had been mounted (to another paper or cloth) or repaired in the
past. The paste was turning a deep dark brown (in perhaps as little as
10-20 years) and was often unevenly applied. The papers were becoming
unevenly brittle and surface appearance was mottled as a result. Also, the
uneven application was causing some of the papers to expand and contract
differentially, causing blind and internal tears to the paper support. The
fact that the paste was so tenacious compounded the problem, as ease of
reversibility is always desired in conservation treatments.
Reversibility may not be an issue with creative persons when creating, but
the prospect of eventual severe "browning" and discoloration of paper and
cloth might be undesirable. As others have mentioned on the list, there are
multiple qualities and factors to consider when choosing an adhesive. Use
adhesives that fit your personal parameters and needs.
As I and others have mentioned before, if you are interested in more pro-con
technical discussions of issues, try "CoOL which is Conservation-On-Line at: