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Re: [BKARTS] Papers for Paste Paper



Thanks!! I've done newsprint sorts of things with the kids I teach but have really been stumped about nice paper sources. This is great!

Kathy


On Jan 31, 2007, at 5:07 PM, Ann Kronenberg wrote:


Kathy--

Many people use Mohawk Superfine (available from any
paper or bookbinding supplier) for paste paper.

I personally like bristol paper as my "standard" paper
for making paste papers (many manufacturers make
bristol papers). It comes in several thicknesses, so
that I can choose the weight according to what I'm
using the finished paper for. 1-ply or 2-ply is fine
for covering boards and boxes. The edges of 1-ply tend
to curl when it drys so that 2-ply which dries flatter
is easier to measure and cut. It also comes in
different surfaces, in 100% cotton, sulphite pulp,
sulphur-free, etc., and is available at any art
supplier as well as paper and bookbinding suppliers.

I also love to use Rives Lightweight or Heavyweight,
but many good quality printmaking papers will work
well.

The surface texture and absorbancy of the paper
influences the way the combs glide over the paper and
the look of the finished paper. You should start by
buying a few sheets of each of several different
papers and experiment to see what papers you like to
use. Since you mention that you have watercolor paper,
try lightweight watercolor paper. I have also heard of
people using Asian papers (aka rice paper or mullberry
paper) for making paste paper.

The way you know that a paper is inappropriate for
paste paper is if little balls of pulp form on the
surface of the paper (like the "pills" on an old
sweater or cotton shirt) or it tears when you pull the
comb across the paper. However, I've even successfully
used newsprint to make paste-paper giftwrapping paper.

Ann

--- Kathleen Garness <kmgfinearts@xxxxxxxxxxx> wrote:

But doesn't gelatin degrade over time, too? I have
purchased
watercolor paper - Arches, 160lb 100% rag - and have
had the gelatin
sizing degrade after a few years of non-use, when I
went back to
stretch and paint on them. I've always wondered why
they did that...

I'd be very interested to learn  more about using
gelatin (in spite
of my experiences with my Arches paper, and since
there might be more
in the sizing that can degrade besides the gelatin)
as an adhesive...

Also, I'm looking for a good source for paper for
paste papers. I
took a class in it a couple of years ago and would
like to give it
another try. My teacher, Barb Korbel, said that not
all papers were
really suitable to it.  They needed to have a fine,
tight grain and
not fall apart when wet through and worked with the
combs. I was
thinking that paper used for marbled endpapers might
be suitable?
Where would one find those?

Thanks,

Kathy


On Jan 30, 2007, at 7:04 PM, Peter D. Verheyen wrote:

In terms of "animal glue," I would say "it
depends." If you buy the
really dark, medicinal smelling loaves or pearls
you're likely to
invite trouble. Made fresh from food grade gelatin
(that is what
hide glue really is) and not allowed to burn in
the pot due to
extensive and prolonged overheating (the process
which renders it
acidic) it is actually an excellent and sound
adhesive having great
tack and flexibility (provided you don't blop it
on too thickly).
It is also reversible in water and was
traditionally used as a
sizing agent in paper, papers which have survived
the ages quite
well. As with most things in this field of ours,
it's as much the
(mis)application of materials and technique that
cause problems in
the long term as anything else.

p.

I wouldn't include Animal Glue in "archival".
It's a protein glue
and is both water-soluble and thermoplastic, but
it is acidic and
breaks down itself and all materials it's in
direct contact with
in time. It's also prone to acid burn paper when
used on turn-ins
and such. There are no really great PVA's that
I've used that are
completely reversible. PVA is thermoplastic, but
it's a nuisance
to deal with in conservation. Great for the quick
grab, though.
Wheat Paste and other cellulose starches (like
rice) are
completely reversible and archival and stable.
Brian Maloney
Bookbinder & Conservator
Toronto


__________________________________

Peter D. Verheyen
Bookbinder & Conservator, PA - AIC
<verheyen@xxxxxxxxxxxxxxx>
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         The Bonefolder, Vol. 3, No. 1, Fall 2006 Now Online at
                 <http://www.philobiblon.com/bonefolder>

Guild of Book Workers' 100th Anniversary Exhibition Online - Catalog Available
<http://palimpsest.stanford.edu/byorg/gbw/gallery/100anniversary/>


             For all your subscription questions, go to the
                      Book_Arts-L FAQ and Archive.
          See <http://www.philobiblon.com> for full information
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Every Day Is a New Beginning


"The friendships we develop determine the quality of our own souls" Joan Chittister, OSB

***********************************************
The Bonefolder, Vol. 3, No. 1, Fall 2006 Now Online at
<http://www.philobiblon.com/bonefolder>
Guild of Book Workers' 100th Anniversary Exhibition Online - Catalog Available
<http://palimpsest.stanford.edu/byorg/gbw/gallery/100anniversary/>
For all your subscription questions, go to the
Book_Arts-L FAQ and Archive.
See <http://www.philobiblon.com> for full information
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