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