segunda-feira, 24 de dezembro de 2012

Fio, grão, fibra


Há pessoas que não conseguem distinguir o grão de uma folha de papel. Suas dúvidas terminam aqui (a menos que vc não saiba inglês ou não conheça ninguém que saiba.) As fotos ajudam àqueles que não tem intimidade com a língua inglesa, e mantive as referências e os sitios de origem. Obviamente, o meu trabalho limitou-se a fuçar a rede, de cima para baixo e de leste a oeste. Este quase "how to" copiei, totalmente, do sitio  My Handbound Books, de Rhonda Miller. Rhonda, darling, se vc não gosta de ver seu lindo trabalho divulgado, post a comment e eu retiro o post, muito a contragosto.

Bookbinding 101 - Paper Grain

I've been calling my tutorials "bookbinding 101" so I really should have done this particular tutorial first. I spend a substantial amount of time worrying about paper grain direction when I'm making my books.

So, as far as I know, all machine-made papers have a grain direction. This applies to standard printer paper, cardstock, drawing paper, watercolour paper, etc, as well as binder's board or other boards. Basically every paper material that we use for making books – except handmade paper.

So the grain is a result of the way the fibers align during the paper making process. With handmade paper, the fibers are all over the place so there is no grain. But machine made paper will have the fibers all aligned in the same direction. Sometimes if you have some classic laid paper or other nice paper, you can see the lines. The lines that are really close together are along the grain – then the perpendicular lines that are spaced several inches apart are against the grain, I believe those lines show where the paper was laid...so, classic laid... I'm composing this from memory of my bookbinding classes with Joe Landry and Stephanie Dean-Moore, from 5-6 years ago, so hopefully my memory isn't too faulty.

I just scanned the web and found an article about paper grain by Richard P Grant, which looks very informative and much more detailed that my little description: http://www.hewit.com/sd10-pape.htm

It is important to be aware of the paper's grain direction so that your books close properly, and so they will open properly, and so the spine will keep its shape, and so the boards don't warp, etc, I'm sure there are many many more reasons.

The direction of the paper grain should always always always be parallel to the spine of the book.

So the first part of my tutorial will focus on how to determine the grain direction of a piece of paper. I've never met a paper that I couldn't figure out.

Test 1

I always start with this test and it usually works. Just lightly bend the paper over and push down a little bit on the curved fold – without actually making a crease. Then lightly fold it the other way and press on it. Whichever direction presents the least resistance when you press lightly on the curved fold, then that is the grain direction. In these photos, I’m using standard 8.5" x 11" printer paper. It is always grain long – so when I bend it the long way (photo on the right), it is very easy to bend and there is much less resistance compared to when I tried it the other way.


Test 2
If Test 1 doesn't tell you for sure, I will let the paper hang over the edge of the table. Place the paper at the edge of the table, about half on and half off. Look to see how much angle there is where the paper bends. Then turn the paper around and do it again. Whichever direction has the most bend to it, then that is the direction of the grain.

In this photo, the paper in the foreground is bending along the grain. The paper in the background is bending across the grain so it doesn’t flop over the edge of the table as much. This was difficult to photograph but sometimes the difference is quite dramatic so if you try it, it can be quite obvious which direction is along the grain.


Test 3
This test requires that you destroy the paper, but it is quite reliable. Simply try to tear the paper straight down the middle. If it tears in a relatively straight line, then the tear is parallel with the grain - shown here by the black arrow. If you get a curved tear, or it is just impossible to go straight when you rip the paper, then you are tearing across the grain.


Test 4
If all else fails, I lick the paper. Cut off a corner and note its orientation – so I mark the long and short direction on it usually. Then just lick it, and place it on the table. Because it is damp, it will curl. The valley of the curl will be parallel to the grain direction, shown here by the black arrow. The key with this test is to remember how this little corner fits back onto your larger sheet of paper, otherwise the test isn't very helpful!


I have created two book blocks that are the same size, but one has the paper grain intentionally going the wrong way.


I have bound both of these book blocks because I was hoping to show how much incredibly better the 'good grain' book functions. The pages just lay so nicely in comparison to the book with the bad grain. Oh, just look at the beautiful open-book-shape of the good-grain book here. Other book…not so beautiful.


One thing that I really like is the fanning of a book's pages. Having the grain direction going the wrong way just devastates this wonderful feature of a book – it is more likely to just spurt in chunks rather than perform a lovely fluttering fan.


I made a brief video of this fanning process to more effectively show the difference. So in this clip, the bad sputtering book is shown first, followed by the nicely flowing fanning book.



I haven't been doing many hardcover books lately so when it comes to paper grain, my primary concern is with the book block; however, the paper grain factor just grows and grows when a hard cover is introduced.

I am not working on any hardcover books right now so I don’t have photos for this next part, but let me try to explain why it is important to be aware of the grain direction when making a hardcover book, and how it can be very useful too.

Binder's board can be tested for grain direction by just trying to bend it, so you can feel which way bends easiest. Or if you have a really big sheet of board, laying it half on and half off the table and checking to see how much it bends over the edge of the table will work too (like test 2 described above).

The grain direction of the binder’s board needs to be parallel to the spine, just like the grain direction of the book block. It is important to make sure that the grain direction of your covering paper is also parallel to the spine.

Papers expand when they are wet, and they usually expand more across the grain. So if you spread paste onto a piece of decorative paper, it will be slightly larger after it absorbs the moisture of the paste. This expansion will be most noticeable across the grain. So when you put this wet paper onto the binder's board, then let the paper dry, the paper shrinks back to its original size…pulling the edges of the binder's board with it as it shrinks…causing the warp. Now if you apply past to another piece of decorative paper and adhere it to the other side of the binder's board and let it dry, when that second piece of paper shrinks back to its original size, it will pull the board in the opposite direction and make the whole thing flat again. No need to press while drying!

But this will only work if the board and both pieces of paper all have the grain directions parallel. Also, it will be most effective if the two pieces of decorative paper are the same kind of paper, so that they react the same and expand the same amount when damp. If the two pieces of paper are quite different in weight or density, then one piece might expand a lot more than the other thus not pulling the board back perfectly flat while drying.

If the papers are not the same, then the boards should be pressed while drying, but even pressing boards will not guarantee that they won’t warp now or at some point in the future.

Keep the grains parallel to the spine all the time, always. Your book will open better. The pages will fan nicely and lie open flat. The covers will dry flat. The spine will be stronger. The entire book unit will be more cohesive. The book will have a longer life.

I sure hope that this makes sense to anybody who is trying to learn about paper grain. Or for anybody that already knows about this stuff, please let me know if I haven’t presented it clearly.

Now, I have to go dismantle the bad-grain book block that I made for this post...

quinta-feira, 20 de dezembro de 2012

Bolsos para Capas Flexíveis

Uma boa ideia para os cadernos de capas flexíveis, principalmente para guardar pequenos comprovantes ou notas.

A ideia não é minha, copiei no Pininterest, do painel de Paula Beardell Krieg, Book Cover tutorial by Paula Beardell Krieg. Eu fiz com papel double face e ficou muito interessante!

terça-feira, 18 de dezembro de 2012

Sonho de consumo

Não tem jeito....época de Natal, o consumo dos atinge, de uma forma ou de outra. Esta maquineta de encadernação pode aparecer lá na oficina nova, quando quiser!!!

Mais informações, você pode obter em Eden Workshops... mas aviso: pode fazer mal a saúde mental!!!...rs...

terça-feira, 11 de dezembro de 2012

Formas de enlouquecer...



Há várias, mas entrar no sítio Abebooks, começar a ler sobre os livros, depois entrar na parte de "Limited Editions Club" e xeretar os 1900 e tantos resultados é de enlouquecer qualquer pessoa que acredita que o livro  serve para alguma coisa além de "dar sono", ou matar insetos, depende do enfoque...

Como sou fanático por poesia e ficção científica (é, não faz o menor sentido, mas é isso mesmo!), qualquer volume de poesia e/ou ficção científica do Clube das Edições Limitadas seria um presente interessante, mas o Walt Whitmann e o Ray Bradbury de alumínio provocariam uma certa comoção e gratidão eterna. Os relatórios de viagem do Richard Burton também não fariam feio embaixo da minha árvore de Natal....Tks...

Caso vc se sinta tentado a comprar algum dos exemplares à venda, por favor, prestem atenção às dicas do próprio sítio em relação à segurança da operação de compra.

segunda-feira, 10 de dezembro de 2012

Costura Japonesa

São tantas, né? Minha preocupação no momento....achei este esquema, muito bem feito e claro...espero que aproveitem! Copiei do sitio amphian.com, a quem agradeço muito.

Tortoise Shell Binding

Measure three-quarters of an inch from the spine of the book and mark four holes along this line, where the outer holes (red) are three-quarters of an inch from the edges of the book and the other two holes (magenta) divide the space between the outer holes into thirds. Then measure three-eighths of an inch from the spine of the book place one pair of holes a quarter of an inch to either side of the holes in the first row (blue). The distances can be calcuated below:

Height (green):
Stab Bound Measurements
Row Nearer to SpineRow Farther from Spine
3/8 Inches from Spine3/4 Inches from Spine
Inches from Top:Inches from Top:
Blue:Red:
Blue:
Blue:Magenta:
Blue:
Blue:Magenta:
Blue:
Blue:Red:
Blue:

Make sure the covers and pages are aligned and use the awl to punch the holes. After punching the holes, the book can be stitched. The amount of thread needed is approximately six times the height of the book. When in doubt, cut the thread long. While stitching, take care not to rip the holes, but pull the thread as taut as possible. Too much give in the binding will leave the pages unsupported. The following is the Tortoise Shell binding pattern:

A view of the book with the four holes punched three quarters of an inch and eight holes punched three eighths of an inch from the spine. The back cover is on top and the spine in the front.Step 1: Push the needle up through the spine through the pages near the back of the book and through the inner right hole in the row farther from the spine. Loop the needle and thread around the spine and back to the inner right hole. Leave a small tail inside the book to be used later to tie the knot.
Tortoise Shell Stab 0Tortoise Shell Stab 1
Step 2: Push the needle up through the inner right hole in the row farther from the spine and down through the hole to the right in the row closer to the spine.Step 3: Loop the needle and thread around the spine and back down through the same hole and up through the inner right hole in the row farther from the spine.
Tortoise Shell Stab 2Tortoise Shell Stab 3
Step 4: Push the needle down through the hole to the left in the row closer to the spine.Step 5: Loop the needle and thread around the spine and back down through the same hole.
Tortoise Shell Stab 4Tortoise Shell Stab 5
Step 6: Push the needle up through the inner right hole in the row farther from the spine and up through the inner left hole in the same row.Step 7: Loop the needle and thread around the spine and back down through the same hole.
Tortoise Shell Stab 6Tortoise Shell Stab 7
Step 8: Push the needle up through the hole to the right in the row closer to the spine. Loop the the needle and thread around the spine and back up through the same hole.Step 9: Push the needle down through the inner left hole in the row farther from the spine and up through the hole to the left in the row closer to the spine.
Tortoise Shell Stab 8Tortoise Shell Stab 9
Step 10: Loop the needle and thread around the spine and back up through the same hole.Step 11: Push the needle down through the inner left hole in the row farther from the spine and up through the outer left hole in the same row.
Tortoise Shell Stab 10Tortoise Shell Stab 11
Step 12: Loop the needle and thread around the spine and back up through the same hole.Step 13: Push the needle down through the hole to the right in the row closer to the spine. Loop the needle and thread around the spine and back down through the same hole.
Tortoise Shell Stab 12Tortoise Shell Stab 13
Step 14: Push the needle up through the outer left hole in the row farther from the spine and down through the hole to the left in the row closer to the spine.Step 15: Loop the needle and thread around the spine and back down through the same hole.
Tortoise Shell Stab 14Tortoise Shell Stab 15
Step 16: Push the needle up through the outer left hole in the row farther from the spine. Loop the needle and thread around the bottom of the book and back up through the same hole.Step 17: Push the needle up through the outer left hole in the row farther from the spine and down through the inner left hole in the same row.
Tortoise Shell Stab 16Tortoise Shell Stab 17
Step 18: Push the needle up through the inner right hole in the row farther from the spine and down through the outer right hole in the same row.Step 19: Loop the needle and thread around the spine and back down through the same hole.
Tortoise Shell Stab 18Tortoise Shell Stab 19
Step 20: Push the needle up through the hole to the right in the row closer to the spine. Loop the the needle and thread around the spine and back up through the same hole.Step 21: Push the needle down through the outer right hole in the row farther from the spine and up through the hole to the left in the row closer to the spine.
Tortoise Shell Stab 20Tortoise Shell Stab 21
Step 22: Loop the needle and thread around the spine and back up through the same hole.Step 23: Push the needle down through the inner right hole in the row farther from the spine. Loop the needle and thread around the top of the book and back down through the same hole.
Tortoise Shell Stab 22Tortoise Shell Stab 23
Step 24: Push the needle down through the outer right hole in the row farther from the spine and then up through the inner left hole in the same row.Step 25: Use the needle to tie a knot with the remaining thread and the tail left earlier. Pull the knot into the book through the inner right hole and trim off excess thread.
Tortoise Shell Stab 24Tortoise Shell Stab 25

sábado, 8 de dezembro de 2012

Olhando 2012, pensando em 2013!!


De novembro, o que há de melhor é que dezembro vem aí....já começo a pensar em como foi o ano que passou, o que quero para o próximo ano, se é que quero realmente alguma coisa.

2012 tem o crime imperdoável de nos ter tirado a Teresa, a Teresoca, a Tetê...preciso urgente de um Levandowski na minha vida para que as coisas boas que aconteceram no ano não sejam penalizadas tão fortemente pela perda de nossa melhor amiga.

Comprei minha sala, o atelier deve estar pronto em meados de janeiro, correndo tudo bem (isto significa que o pedreiro tem de beber um pouco menos e trabalhar mais, o marceneiro entregar as peças a tempo, não faltar material no revendedor que recebeu adiantado, a pedra da pia ser furada no lugar certo, e uma ou outra coisinha!!). Mas não se escutarão os passos arrastados de Teresa subindo as escadas, queixando-se do coração, que, cansado mas não traiçoeiro, resolveu descansar antes dela.....
.
Conseguimos arrancar  um dinheirinho bastante bom da United, pelo tratamento indecoroso que nos proporcionou quando tivemos um problema provocado apenas por ela em Nova Iorque. Demorou, a justiça brasileira não merece maiúsculas, mas nos indenizaram em uma quantidade suficiente para não nos importarmos mais de sermos chamados de mentirosos pelos advogados da United. Um caso típico de bem-feito!!Bastaria um email se desculpando, United!! Mas a Teresa não chegará em casa, furibunda e furiosa, reclamando da Tim, da Claro, do serviço público, dos transportes...e os táxis do Rio deixaram de ter um controle de qualidade muito competente...

Convivemos bastante com a Carolina, minha irmã, embora eu tenha certeza de que ela se rebelará contra o advérbio "bastante" (é advérbio mesmo?), fomos viajar com amigos, o que nos ensinou, de forma às vezes dolorosa, às vezes divertida, que nosso aproach em turismo é mesmo solitário. Somos eu e Alberto contra o mundo e vamos dando conta da batalha, sem ajuda...rs...Mas a Teresa não fará sua viagem, tão sonhada, à Europa e planejada nos mínimos detalhes!!Perde Paris, já que ficará sem os comentários saborosos da Tetê!! Recebemos os guias de volta e ficamos olhando para eles, sem a função que nos faria mais felizes. Paris , de agora em diante, tem mais este peso para carregar, mas também a alegria de ter a Teresoca para sempre por lá, onde estão (parte de ) suas cinzas.

Na verdade, foi um ano muito positivo, comprei minha sala para que o atelier que sempre sonhei possa tomar forma, acertei algumas pendências da vida e fui criando outras, para que tudo não exibisse a monotonia dos certinhos e regulados. Mas nos falta a Teresa para bagunçar os conceitos com as incoerências e inconstâncias que nos divertiam tanto.

Meus cursos de encadernação me levaram até a Prof Marisa Garcia de Souza (tem o "de" aí, Marisa?), uma professora cuidadosa, exigente, que provoca estímulos muito positivos no aprender da encadernação. Não tenho agradecimentos também por ela ter me apresentado a Estela Villela, outra professora cuidadosa e gentil, cheia da sabedoria de transmitir, o que não é pouco!! E à Gabriela, Rosa e Mônica, os agradecimentos que nunca serão suficientes para dizer da minha admiração e gratidão pela generosidade de terem partilhado seus conhecimentos comigo. Mas não teremos mais a Teresoca nos ensinando a beber Negroni, a comprar a melhor salada de frutas e o melhor pão, enfim, não teremos mais nossa "caga goma" favorita!!!


2012, então, fica nos devendo esta! Espero que 2013 seja tão bom quanto 2012, apesar desta desfeita, foi!! Aproveito os dias de muito para agradecer pelos dias de pouco, que sempre foi suficiente. E espero, do fundo do coração, que o consolo que procuramos pela falta que a Teresa nos faz esteja mais à mão do que conseguimos perceber, quatro meses depois de sua ida para as pradarias divinas...A vida segue, é claro, mas temos que admitir que, a partir de agosto, segue incompleta!!

Feliz 2013!!!

quinta-feira, 6 de dezembro de 2012

Revista Cadernos

Em formato apenas digital, tem muitas informações úteis. Pode ser muito divertida e instrutiva também.

Vejam em Revista Cadernos e aproveitem...

segunda-feira, 26 de novembro de 2012

Glossário do Papel

O link para o NY Central Art Supply consta aí ao lado (direito). Como é bom alguém fazer o trabalho que queríamos e teríamos de fazer. NO site, eles disponibilizam um glossário de termos relativos ao papel muito útil. Lógico que em inglês, ainda é a linguagem de negócios internacional (o mandarim vem aí, mas eu não chegarei a ver).
Agradeço muito ao pessoal do NYCAS por terem postado isto. Caso exista algum problema de copyright, coloquem um comentário que eu (muito a contragosto) retiro o post. Boa viagem!!

Abaca

The manila plant or abaca is cultivated in the Philippines, Asia and South America, where its long stalks and leaves are harvested for paper production. Manila fiber papers are very strong and are a natural light buff color. Also known asManila Hemp, it is not actually a hemp fiber, but is related to the banana.

Acid Free
Acidic on a pH scale ranges from 0.0 (most acidic) through 6.5 (almost neutral) with 7.0 as the center of the 14 point scale. The range between 6.5 to 8.5 is usually considered asNeutral pH. Technically then, the term Acid-Free can refer to anything with a pH of 6.0 through 14 (which is highly alkaline).


Alkali
Chemicals used in the cooking process to dissolve non-cellulose materials. These include caustic soda, soda ash, lime and wood ash in Asian techniques and calcium bisulphate and sodium sulphite in Western techniques.


Bast
A fiber derived from the inner bark or stems of plants, and includes linen, hemp, jute, ramie, gampi, mitsumata and mulberry.

Bleaching
A chemical process to whiten the natural hue of raw materials. The resulting paper is not as strong or permanent as the natural fiber. Cotton is naturally white which makes bleaching less common.

Buffering
The addition of an alkaline substance, usually calcium or magnesium carbonate, to help absorb acids and to stabilize the pH balance. Buffered papers typically have a pH toward the alkaline (8.5) to offset excess acidity.


Calendering
A pressing process which smooths or glazes the sheet during the finishing process.

Caliper
Measurement of thickness usually expressed in thousandths of an inch. One point or one mil equals one thousandth of an inch.

Cellullose
The main part of the cell wall of a plant and the basic substance of paper. Most plant material, with the exception of cotton, also contain varying amounts of other materials such as lignin, which must be removed before being used as paper pulp.

Couching
Refers to the process of removal, stacking or layering of the newly formed sheets. Different papermaking traditions couch in different ways, including onto felts made of various materials (wool, linen, silk, etc..) which can give unique qualities and surfaces to the finished sheets.


Cold Pressed (C.P.)
A surface between rough and smooth that is formed by running the sheets through cold, polished metal rollers or, in hand papermaking, re-pressing the wet sheets without intermediate felts to smooth out any very rough surfaces. Also called "NOT" as in "not hot pressed".

Cotton
A seed hair fiber that easily yields the pure cellulose essential for papermaking. Cotton fibers are long, strong and flexible and excellent for the production of fine papers. Papermakers use either cotton linters or cotton rag to produce papers.

Cotton Linters
The shorter fibers left behind after ginning the cotton. After they are washed and boiled, they are made into soft, blotter like sheets to be used in hand papermaking.

Cotton Rag
Made from the textile cotton fibers used in the manufacture of cotton thread. These fibers are longer and tougher than the linter fibers. To make the pulp used in papermaking, old cotton rags are broken down by papermakers.

Daphne
Known in Asia as the Nepal paper plant, it is a thin bast fiber with tapering ends and varying lengths native to Nepal and the Himalayas where it is used in hand papermaking. Nepalese Gampi.

Deckle
The removable part of a paper mould which establishes the sheet size and holds the pulp in place while the sheet is formed.

Deckle Edge
The rough, ragged, or wavy edges on all sides of handmade paper and two sides of mouldmade paper formed by small amounts of fiber trapped and thinned between the edges of the deckle and the mould during papermaking.

Dosa
Most commonly used sizing in Japanese papermaking made from animal glue and alum.

Esparto
The leaves of this tough, wiry North African grass produce a soft, elastic paper with an even texture. Esparto grass looks similar to hay; its fibers are short and tubular. It does not produce paper of great strength.

Felt Finish; Felt Side
Suface characteristics that result from the material used to couch and dry the sheets. The felt side is considered the front of the sheet.

Gampi
A bast fiber traditionally used in Japanese papermaking, with long, thin, shiny fibers of uniform thickness. Although gampi grows wild in much of the Far East, it has resisted cultivation and Japan now imports its fiber from China and Korea. This has resulted in a decline of its use in paper production.

Grain Direction
Term used to indicate the direction that most of the fibers are arranged in a finished sheet of paper. Handmade papers have little grain direction as the fibers are usually agitated in all directions and the papermaking process is slow. Machine made papers create specific grain direction from the rotation of the cylinder that contains the pulp and the speed by which the sheets are processed. Grain direction runs parallel to the natural deckles on a mouldmade sheet. A sheet folds with greater ease and is less likely to crack with the grain. Books should always be bound with the grain of the sheet parallel to the spine.

Grams/Meter2
Weight in grams of one square meter of paper. A good comparative measure that does not vary with paper size.

Handmade
Prepared pulp is placed in a basin (or vat) agitated to suspend it and then transferred onto a mould which creates the sheet. The type of fibers, how the pulp is transferred to the mould, the type of mould used, how the sheet is couched and dried varies greatly around the world and gives each style and type of paper its unique personality.

Hemp
A strong bast fiber similar to linen, but with a tendency to split during the beating process, producing a harder, coarser paper. One of the oldest paper fibers on record.

High Alpha Cellulose
The purest form of wood pulp that has been processed without acids and considered to have the same longevity as cotton.

Hollander Beater
A beating machine first introduced in Holland in 1680 which is used to efficiently crush and fibrillate the fibers of the raw material or rags to make pulp.

Hot Pressed (H.P.)
The smooth surface of a sheet of paper made by passing it through hot metal plates or rollers.

Kozo
A variety of mulberry plants with exceptionally tough, strong fibers, which grow wild in Japan and the Far East. Its long threads do not shrink or expand. The clkimate where the kozo is grown and harvested has a great effect on the qualities that the resulting sheets will possess. More than half of Asia's paper is made from kozo.

Laid
A type of screen covering for a mould consisting of a series of very fine vertical and horizontal wires constructed within the frame to allow for drainage. The surface of this screen leaves a laid line pattern in the surface of the paper. This laid pattern may vary widely.

Chain Laid
Refers to a paper in which the laid lines are more prominent and spaced further apart.

Lb./Ream

The weight of 500 sheets (one ream) of a paper of a given size. It is not a good comparative measure, as it varies depending on a paper's size.

Linen/Linen Flax

The fibers of the linen (or flax) plant are long and tubular with thicker walls than those of the cotton plant. In addition to the raw, unspun fibers, linen rags can also be used to make pulp for papermaking. Linen has an element within it that naturally repels water and thus acts as a sort of sizing. It yields a hard, strong paper, but it is likely to expand and contract erratically as moisture affects the sheet. Because of this, it is a difficult fiber for the papermaker to work with and is not as commonly used as cotton in today's papermaking.

Loft Drying
Damp sheets are pinned or draped onto lines and allowed to dry slowly and naturally by the movement of air around them. This was traditionally done in the lofts of the mill - thus the term. The temperature and speed of drying will affect the resulting sheet. Loft dried sheets are usually more" alive" with a characteristic wavy surface, and a remarkable "rattle" or crispness. The sheets can later be pressed or stretched to flatten. All of the finest watercolor papers were traditionally loft dried.

Mitsumata

A bast fiber shrub which mostly grows in Western Japan and other Far Eastern countries. The fibers are of uniform thickness with blunt ends. They are very flexible and elastic, and the resulting sheets have a softness to the touch and subtle shimmering surface. Difficult to harvest and process for papermaking, mitsumata is no longer commonly used.

Mould

A wooden frame fit with a laid or woven screen. With the removable deckle, it is used to form the wet pullp into a sheet of paper.

Mouldmade
Paper made with a cylinder-mould machine invented in the 19th century to speed up the hand papermaking process, yet to produce sheets with "handmade" qualities. The initial preparation of the pulp is similar to the handmade process, although pulpers and refiners are used instead of a beater. The cylinder machines, which take the place of the vatman, coucher, and layer, are covered with a metal screen that work at a low speed. The pulp adheres to the screen and as the cylinder revolves, a layer of wet fibers is placed onto a wet felt and through press rolls, which squeeze out the water. It is then dried against steam heated metal cylinders. Watermarks can be accurately carried by the screen and two deckled edges can be produced using this machine.

Neutral pH
The balance between acid and alkaline components. 7.0 is considered absolute neutral on a 14 point scale, where 0.0 is the most acidic and 13 is the most alkaline. The numbers below 7.0 contain more acid; above are more alkaline. Neutral pH then, refers to materials that are between the range of 6.5 - 8.5. Papers may acquire acidity by frequent handling or improper storage. Often, papers are buffered to reach correct pH and help maintain that range.

Rice Paper
A common misnomer used to mean Oriental paper, the term probably comes from a misunderstanding by Westerners of the similarities between the vast amounts of water used in both the manufacturing of paper and the cultivation of rice in the rice paddies. There are no papers made of rice, as the plant's short fibers would produce sheets of poor quality - atlthough rice starch was used as a sizing in some papermaking tradition.

Rough
The natural grainy surface of paper formed by the texture of the felts and/or dried without re-pressing.

Sizing
A solution of starch, gelatine, animal glue or synthetic materials added to the paper to make it more resistant to moisture and to control the level of absorption.


Internal Sizing
The solution is added to the wet pulp before forming the sheet. The most common internal sizing is rosin, from the resinous gums of pine trees, which is added to alum (aluminum sulphate). The alum helps the rosin adhere to the paper fibers and keeps it from dissolving in water. It also gives the paper a harder surface.

Tub Sizing
Papers are passed through a vat of solution, usually of gelatine, after their manufacture to increase resistance to moisture.

Su
The removable, flexible surface of a Japanese papermaking mould. It is usually made of bamboo strips, woven together with silk cords.

Sulphite Pulp
Chemical wood pulp obtained by cutting wood into small pieces and cooking it with calcium bisulphate or sodium sulphite to remove natural resins and break down the cellulose fibers, making them more suitable for papermaking. A process developed during the Industrial Revolution to speed the preparation of the pulp, sulphite pulp can contain acids that, if not neutralized, can continue to affect the fibers and cause discoloration and deterioration. However, most sulphite pulps today are neutralized and buffered and can produce high quality papers with excellent aging properties.

Vellum
A confusing term that has several meanings, vellum is actually animal skin that has been prepared on both sides and has an even, fine texture. Today, the term can also refer to papers that have a fine textured surface or a translucent material that resembles the thinner forms of animal skin once used for illumination, pounding gold leaf and tracing.

Waterleaf
A paper containing no sizing.

Watermark
A design or lettering that can be seen when the paper is held up to the light that may indicate its name, date, or identity. It is usually produced by carefully forming the wires of the laid or wove screen to vary the fiber density during the papermaking process. Photographic techniques have also been used to produce watermarks.

Wove
The mould screen made by weaving together wires in both directions and similar in appearance to woven fabric. Woven papers were first introduced by the Whatman Mill and are without any significant directional pattern on their surface.

Faltam termos? Claro, muitos....caso vc tenha algum que possa constar aqui, por favor, coloque um comentário que encaixo no glossário. Por favor, cite a fonte, se for o caso, e tenha em mente que vai ficar disponível para todos.


sexta-feira, 23 de novembro de 2012

Decoração

Eduardo Tarrico é um mestre da encadernação e sempre muito generoso. Esta pequena aula pequei do blog do Designer Bookbinders of America, onde é sempre possível encontrar alguma informação fundamental. Espero que aproveitem.

Caso haja algum problema de copyright, por favor, postem um comentário que eu retiro o post.


The Simple Edge Decoration - Eduardo Tarrico

Colorful, Decorated Edges, by DBOA Member Eduardo Tarrico
Welcome, everyone! In today's blog, DBOA member Eduardo Tarrico gives us a step-by-step process to creating a simple edge decoration for designer books. Though the process will be the same, Tarrico's technique can give you book a range of styles and feels: from the gilded edges of an antique leather-bound volume to a sleek black and even bright and colorful!

Step 1 - Cut the edges of the book. I prefer the plough, but you can also use a guillotine.



Step 2 - Sprinkle the cut edges with talc. This will prevent them from sticking to the leaves.


Step 3Put the book in the press, making sure that the book is well-squared and held in tightly with wood tables or cardboard on the sides. 



Step 4 - Using sandpaper of varying thickness, sand the edges of the book. Start with the thickest sandpaper and work your way to the thinnest, ensuring a clean and even edge. In these works I used: 120, 150, 180, 220, 400, 600, 800, 1200, and 1500 weight sandpaper.


Step 5 - When sanding the edges, wrap the paper around a thick eraser. The sandpaper should be thick enough to cover the entire thickness of the book's edges.
Step 6 - Always sand in one direction: from our forward position. Experience will best indicatewhen you should change the sandpaper, but multiple passes with each thickness is a good guide. Do not allow the sandpaper to overheat, do three or four passes, pause, and start again, otherwiseyou run the risk of the sheets sticking together.

Step 7 - Between passes, frequently clean off the dustThese particles can damage the paper if you are sanding on top of them. 



Step 8 - Check (using a magnifying glass is highly recommended!) during the sanding process that the edge of the paper is perfectly smooth. When working with the finest sandpaper, the paper should appear smooth and polished.


Step 9 - When the sanding stage is finished, the edge of the book should look like a mirror.



Step 10 - Apply a mixture of water and paste with a brush or cotton. The water acts as a mordantpaste.


Step 11 - Once the glue is dry, us a soft Japanese paper muffin to polish the cut.


Step 12 - Paint. In this case the edges were painted with an airbrush, but you can also work with a brush, cotton, sprays from a brush and a grill, etc. You can also use several different types of paint, such as acrylics, watercolors, and airbrush paints. 


The edge painted purple:


Step 13 Apply a little beeswax to a soft cloth and use this cloth to wax the edge of the book. The wax protects the paint and enhances shine.


Step 14 - Polish the edge with an agate hand tool, as seen below.



Step 15 - The book can now be removed from the press! The book will now be complete with a colorful, finished edge! Repeat these steps on the other two sides of the book fully-colored edges. Each side can be the same color, or you can mix it up. Try something new!


-Eduardo Tarrico, Designer Bookbinders of America