The very topic of Pressing is a much heated debate with a clear division for those who see it as a non-restorative technique and those who do and are seeking pro-disclosure. This journal entry is not intended as a rebuttal or definitive response to the "Pressing Debate", but intended to give unbiased insights on why the issue remains relevant to many collectors and to offer collectors a broader scope of understanding, education, knowledge, and awareness of our hobby.

The following text is quoted verbatim from the Official Overstreet Comic Book Grading Guide Third Edition (2006) by Robert M. Overstreet and Dr. Arnold T. Blumberg on the topic of Pressing where arguments are made from both camps:

"As alluded to in the beginning of this article, pressing is one of the most lively areas of debate in the comic book collecting community. Pressing can be a complicated procedure that includes fully disassembling a comic book, performing work on one or more of its constituents parts, and then reassembling it. Pressing can also be something that is done to a comic book as a whole. In each case, there are a variety of measures which can be taken and they produce a variety of results, some positive and some negative. Even stacking or storing comic books a certain way can produce some of the effects of pressing.

It can be a volatile issue.

In one camp, it is clearly accepted that pressing falls under the banner of restoration. In the other camp, advocates maintain that restoration requires the addition of something to the product being restored. Pressing, they say doesn't add anything.

Mark Zaid, a comic book dealer and attorney, was one of those pleading the case for pressing as restoration:

'Those who support the notion that pressing is not restoration typically argue that the technique fails to 'add' anything to the book. It is also typically argued that the process has been around for decades, and that its subtle, if not covert use, was widely known to the 'leaders' and 'experts' of the community.'

Another contributor, Brian Ketterer pointed out that many of those speaking out on the issue are not uniformly anti-pressing. They are, he suggests, pro-disclosure:

'For those against pressing, it is mostly about their right and ability to get information about the history of a book as they feel entitled to use that information about whether they want to purchase a given book.'

For others, though, it was very much about the definitions.

One respondent, John Foss, wrote, 'Restoration would include the restorative techniques mentioned in The Overstreet Comic Book Price Guide (staple replacement, pieces added, tear seals, color touch, etc.). In addition, I would expand upon the old definition of restoration to include pressing. Though not as invasive as the other forms of restoration, it is restoration nonetheless...'

CGC, since the company started grading comics, has never considered pressing (along with other factors addressed under 'Restoration' below) to be restoration and correspondingly does not list it aas such on the blue CGC 'Universal' label.

Retailer Todd McDevitt, sad, he would consider 'Any deliberate attempt to alter the condition of a comic' and would therefore include pressing as restoration.

Writing on the broader topic of restoration, archivist Tracey Heft of Eclipse Paper Conservation noted, 'No less an authority as the International Institute of Conservation (IIC) has defined restoration as 'any attempt to return an object to its original form and purpose, in the attempt to recreate an earlier known state or condition.'

Comic book dealer Doug Schmell, though, makes a strong statement the logic of the other side:

'Pressing is a non-violative means of 'removing' non color-breaking creases, surface impressions, dings, impacts, bends and folds; it does not 'add' anything to the structural integrity of the comic book as do the examples listed above for restoration. Pressing is not restoration in my opinion and should be strongly differentiated in nomenclature and status from the restoration means listed above. Pressing is a safe and non-evasive means of conserving the aesthetic appearance of a comic book without adding to its physical form.'

Terry O'Neill, a dealer, ventured his thoughts on the inclusion of pressing in restoration in a straightforward manner: 'I would not include pressing, but would include any kind of additions of ink, glue or paper,' he wrote.

Collector Howard Gerber summed it up simply enough: 'I have been collecting since 1963. This pressing debate seems kind of silly to me. If an expert can't tell a book has been pressed professionally how can one call it restoration?'

A number of those responding to our questions were adamant that since nothing was added during some forms of pressing then it should not be considered restoration.

It may be important to note that pressing is not a new issue, but its rise in significance can be linked to the higher prices being paid for comics today. Mark Wilson of PGC Mint, who has in the past restored a significant number of comics, did a good job of identifying the genesis of some of the concerns:

'Where it becomes obvious to the novice when the following scenario occurs: A book was professionally graded, scanned and logged in a file for all to view. It now has an identifiable history. A dealer or collector purchases this book and believes that the grade is way too strict because it was just stacked wrong prior to grading. The book is then removed from its holder and 'pressed' because it has a slight warble or spine roll. It is then resubmitted to a professional grading service to be graded once again. It is now assigned a slightly higher grade and then put back on the market for sale. The book is once again scanned and logged. Because of our incredible network through the CGC message Boards, other Boards, dealer websites, auction Houses, ebay, and (most importantly) better computers and quicker download time, we now have instant access to scans of books in a way that was impossible just five years ago. Now someone notices that the book had a slight grade change and wonders why. This will then create a 'stir' on the message boards and the controversy begins. Opinions fly like bats in the night.'

Wilson also offered another observation: 'Can proper pressing improve the grade of a book? Yes. Can it lower the grade of a book? Yes.' He also said that complaints are rarely heard when a book is pressed, resubmitted and then comes back with the exact same grade or a lower grade assigned.

Staking out something of a middle ground, longtime dealer Gary Colabuono offered the following:

'If it can be determined that a book has been pressed -- then it deserves a 'restored' label because the obvious, detected work can be considered no different than detected color touch or tear sealing.

If it can't be determined that a book has been pressed -- then the book must get a 'universal' non-restored grade since every means of detecting restoration will have been utilized and none found.'

Collector-historian-dealer Richard Olson also moves in that direction:

"Grading is looking for defects -- a perfect press might remove a defect but if it is truly undetectable, I don't see a problem. At the same time, if the pressing leaves any signs, then it is no difference than any other type of restoration.'

This new definition was added to this year's Guide:

Pressing -- A term used to describe a variety of processes or procedures, professional and amateur, under which an issue is pressed to eliminate wrinkles, bends, dimples and/or other perceived defects and thus improve its appearance. Some types of pressing involve disassembling the book and per