 |
| Saran Wrap Method materials |
Materials needed:
* Saran Wrap or similar plastic wrap (whatever you use at
home)
* Watercolors, gouache, colored ink, including metallic;
acrylic inks also OK
* Large brush, at least 1-inch, or sponge brush. Doesn’t
have to be a good brush, painter’s brush (e.g. synthetic wash brush http://www.dickblick.com/items/06263-1001/
or flat brush http://www.dickblick.com/items/05158-1001/)
* 2 water containers (clean/dirty)
* Spray bottle
* Newspaper (to lay out papers to dry)
* Extra paper for more practice – should be cover weight
absorbent paper with some texture for best results. (Sundance paper from Kelly
Paper works well)
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| Beginning Materials |
Calligraphy West
Helen Gershen, Proprietor Call first (310) 837-3604 Located at 3101 Federal Avenue,
Los Angeles, CA 90066
Beginning Material List Chisel Point Calligraphy Don't substitute materials
1. Nibs. Brause 5mm, 4mm, 3mm, 2 1/2mm, 1 1/2mm, 1mm. OR Speedball; C0, C1, C2, C3, C4,C5. OR Mitchell; 0, 1, 2, 3, 4, 5. You only need one set, not all brands. You need large to small sizes.
2. Pen holder. Brause nib holder with flat side, Or other round ferrule pen holder.
3. Black Ink. Higgins Eternal, Or Calli, Or Japanese or Chinese sumi inks.
4. Paper. Bienfang 22x17 grid paper in 8x8 squares per inch.
5. Ink Well. "inky dink"
6. 18"x 2" C-thru grid ruler.
7. Xacto knife with blades #11 and #16. (11 comes with the knife, I have 16's you can buy)
8. Eraser (Staedtler Mars white plastic), Scissors, Pencil, Pencil sharpener, or Pen for notes, Notebook to take notes, Folder to put handouts into. I like a spiral bound sketchbook for notes 9"x12" or smaller.
The pencil can be #2 or HB or I like 2H pencil to draw lines. You can use a mechanical pencil or a Staedtler lead holder with 2H lead and Staedtler lead pointer.
9. Drawing Board 20"x 22" with clips to hold paper.
10. Prang watercolors or similar set (16 colors).
11. Rag to clean nibs and wipe spilled ink. Terry cloth or cotton or t-shirt material. Washcloth size.
12. Brush chisel point bristle brush about 1/4" wide or less. This is to feed ink into your pen. Also, a synthetic pointed brush #1 and #01 or #001.
13. 2 dropper bottles. one for black ink and one for clean water.
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Uncial and Gothic Materials List
Beginning Material List
Chisel Point Calligraphy
1. Nibs. Speedball B0 and B5 1/2 or 6 And Brause 5mm, 4mm, 3mm, 2 1/2mm, 1 1/2mm, 1mm. OR Speedball; C0, C1, C2, C3, C4, C5. OR Mitchell; 0, 1, 2, 3, 4, 5. You only need one set, not all brands. You need large to small sizes.
2. Pen holder. Brause nib holder with flat side (I prefer this) , Or other round ferrule pen holder.
3. Black Ink. Higgins Eternal, or Calli, or “Best” Japanese, Moon Palace, or other bottled Japanese sumi ink and Vermillion ink. (Calligraphy West and I have these for sale in dropper bottles)
4. Paper. Bienfang 22x17 grid paper in 8x8 squares per inch. Or other 8x8 grid paper
5. Ink Well. "inky dink"
6. Ruler 18"x 2" C-thru grid ruler.
7. Xacto knife with blades #11 and #16. (11 comes with the knife, I have 16's you can buy)
8. Eraser (Staedtler Mars white plastic), Scissors, Pencil, Pencil sharpener, or Pen for notes, Notebook to take notes, Folder to put handouts into. I like a spiral bound sketchbook for notes 9"x12" or smaller.
The pencil can be #2 or HB or I like 2H pencil to draw lines. You can use a mechanical pencil or a Staedtler lead holder with 2H lead and Staedtler lead pointer.
9. Drawing Board 20"x 22" with clips to hold paper.
10. Prang watercolors or similar set (16 colors).
11. Rag to clean nibs and wipe spilled ink. Terry cloth or cotton or t-shirt material. Washcloth size.
12. Brush chisel point bristle brush about 1/4" wide or less. This is to feed ink into your pen. Also, a synthetic pointed brush #1 and #01 or #001 if we are going to do illumination.
13. 2 dropper bottles. one for black ink and one for clean water
1. Nibs. Speedball B0 and B5 1/2 or 6 And Brause 5mm, 4mm, 3mm, 2 1/2mm, 1 1/2mm, 1mm. OR Speedball; C0, C1, C2, C3, C4, C5. OR Mitchell; 0, 1, 2, 3, 4, 5. You only need one set, not all brands. You need large to small sizes.
2. Pen holder. Brause nib holder with flat side (I prefer this) , Or other round ferrule pen holder.
3. Black Ink. Higgins Eternal, or Calli, or “Best” Japanese, Moon Palace, or other bottled Japanese sumi ink and Vermillion ink. (Calligraphy West and I have these for sale in dropper bottles)
4. Paper. Bienfang 22x17 grid paper in 8x8 squares per inch. Or other 8x8 grid paper
5. Ink Well. "inky dink"
6. Ruler 18"x 2" C-thru grid ruler.
7. Xacto knife with blades #11 and #16. (11 comes with the knife, I have 16's you can buy)
8. Eraser (Staedtler Mars white plastic), Scissors, Pencil, Pencil sharpener, or Pen for notes, Notebook to take notes, Folder to put handouts into. I like a spiral bound sketchbook for notes 9"x12" or smaller.
The pencil can be #2 or HB or I like 2H pencil to draw lines. You can use a mechanical pencil or a Staedtler lead holder with 2H lead and Staedtler lead pointer.
9. Drawing Board 20"x 22" with clips to hold paper.
10. Prang watercolors or similar set (16 colors).
11. Rag to clean nibs and wipe spilled ink. Terry cloth or cotton or t-shirt material. Washcloth size.
12. Brush chisel point bristle brush about 1/4" wide or less. This is to feed ink into your pen. Also, a synthetic pointed brush #1 and #01 or #001 if we are going to do illumination.
13. 2 dropper bottles. one for black ink and one for clean water
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| Copperplate Materials |
1. Copperplate oblique pen holder- Speedball (left handers may want a plain round ferrule holder).
2. Set of pointed flexible nibs. Recommended: Gillot 404, 303, 1068, Brause 66EF, Steno nib, Hiro 40 and 41. (set of six of these nibs will do.) Optional: Mitchell nib with the elbow on the nib, Hunt 56, 101, 99, Nikko G, Nikko Rose.
3. Black Ink- "Best" Japanese Ink (other bottled Japanese Inks) and Yasutomo Vermillion sumi. Optional: Pearlescent inks, Prang watercolors (16 colors) Optional: for colored ink; Pelikan 4001 red ink and powder gum arabic. (Calligraphy West and I sell dropper bottles with "Best", Vermillion and gum arabic.) Chisel edged bristle brush such as Grumbacher Eterna #2.
4. Gum Arabic-I have dropper bottles for sale with a small amount, this is more economical.
5. 2 Eye dropper bottles- I put my ink in one and water in the other. The droppers are much more convenient than the bottle.
6. Cotton Comp layout paper 9x12 inches.
7. Ink well or “Inky Dinks”.
8. Rag to wipe your nib.
9. Ruler- C-Thru 18 inch ruler. (need later)
10. Masking tape.
11. 2 H pencil and sharpener (pointer) and white plastic eraser (I prefer Staedtler Mars). (need later)
For intermediate students: Ask me before you get these supplies
Gouache; one color, zinc white, jet black. Chisel edged bristle brush such as Grumbacher Eterna #2. Plastic Palette, water jar, water dropper.
Some good papers, such as Arches 90# hot press, Arches text wove, Arches text laid, German Ingres, Canson Ingres, Canson MiTeintes, Strathmore charcoal, Pergamenata. A T-square and drafting 2 H pencil with sharpener (pointer) see list of papers below
A pair of dividers for lining.
For reproduction
12. Sakura Micro pigma pen .005.
13. Non- repro blue ball point pen or felt tip fine tip marker.
14. Non - repro blue grid paper. There is also copperplate pads with the slant lines already printed.
15. Adhesive wax stick for paste up.
16. Pro-White or Bleed proof white and a small paint brush like #00 pointed watercolor brush.
17. X-acto knife with #11 blade and #16 or #10 blade. (I have #16 for sale)
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| Journaling supplies |
Journaling Materials
1. Fanny pack (Optional)2. Small watercolor set that is meant for outdoor painting. There are many brands, some are as cheap as $16. They generally come with a pointed watercolor brush. I use a Windsor and Newton Cotman set with 12 colors. If a brush is not included bring a Windsor and Newton Series 707 size #3 sable brush. You HAVE to have a good watercolor brush. It makes all the difference in the world.
3. Small jar 1 oz. size, something like a little honey jar or jelly jar from a restaurant. This needs to be water-tight. Put into a small zip lock bag till you know for sure if it’s water-tight.
4. Small container with water (1oz.) optional. Like a little dropper bottle.
5. Journal that will fit into fanny pack I like a 3.5 x 5.5 with black hard cover and spiral bound. It usually has paper suitable for sketching but will take watercolor. Canson and Strathmore make journals. Bring what you have and we’ll see what works best.
6. A waterproof fine tip black pen. I use Zig Millenium black .01 pen or Micron Pigma .01 or similar tool.
7. A mechanical pencil that the lead can be retracted to keep a tip. It can be HB or 2H lead and eraser.
8. Small blunt tip scissors
9. Glue stick and a small rag. (cotton), optional items; small triangle, mini grid ruler, gray brush marker, chapstick, calligraphy nib and holder, camera.
Bookbinding Materials
1. Paper: Choose papers in colors that are harmonious and check the grain of the paper so you can fold it "with" the grain.
End papers: lighter weight such as Japanese papers, kozo, rice paper, interesting printed papers, even some wrapping papers work.
Cover papers: Heavier paper such as Canson Mi tientes, check the grain.
2. Metal Ruler at least 24" long.
3. Craft knife such as X-Acto with #11 blade, or the snap off blade kind of knife.
4. Sewing needles, bookbinding needles or tapestry needles.
5. Sewing thread: waxed linen thread or embroidery thread.
6. Cutting mat: at least 16" or more would be best. I have very large ones so you need a smaller one to cut your personal papers. 12x18 works well.
7.We have some sewing cradles and mat cutters that we will share with the class. Bring your wood work board if you have one. (You would have bought it from Dick Pio). Text block press if you have one.
8. Notebook: for notes. Book of poetry or words that you want to add to your books. (If you want to add words)
9. Foamcore board for slipcase box. We can buy some to share also. Wait to see the right one.
10. Elmers glue or other white PVA glue. A glue stick. Gluing brush. 1" wide synthetic brush.
11. Bone folder
12. Wax for your thread.
13. At least 2 bricks or weights. (wrapped in newspaper and wax paper, parchment or craft paper.)
| PAPER
FOR BOOKS & BROADSIDES (take this list to the art store) Buy more than enough paper so you have enough for model (dummy) and mistakes. |
BOOKS
Arches text wove
Arches text laid,
Arches text laid,
Arches MBM
Canson Mi tientes (accordion books), Canson Ingres
German Ingres
Fabriano Ingres
Strathmore charcoal paper
German Ingres
Fabriano Ingres
Strathmore charcoal paper
Decorative
papers for end papers
Japanese papers; mulberry, kozo, unryu
Marbled papers
Florentine papers
Wrapping papers
Paste papers on lightweight paper
Marbled papers
Florentine papers
Wrapping papers
Paste papers on lightweight paper
Cover
Papers
Canson Mi tientes
Heavy weight decorative papers (many styles in art stores)
Paste papers on heavy weight paper
Marbed papers on heavy weight paper
BROADSIDES (artwork to be framed for the wall)
Heavy weight decorative papers (many styles in art stores)
Paste papers on heavy weight paper
Marbed papers on heavy weight paper
BROADSIDES (artwork to be framed for the wall)
Canson Mi tienties (heavy and textured) colors
Canson Ingres (colors)
German Ingres (colors)
Fabriano Ingres (colors)
Niddegan (brownish)
Frankfurt (off white)
Strathmore charcoal paper (colors)
Canson Ingres (colors)
German Ingres (colors)
Fabriano Ingres (colors)
Niddegan (brownish)
Frankfurt (off white)
Strathmore charcoal paper (colors)
The following watercolor papers are white or off
white:
90 lb Hot Press
90 lb Cold Press
140 lb Hot and Cold Press
Arches text wove
Arches text laid
Rives BFK
Somerset
90 lb Hot Press
90 lb Cold Press
140 lb Hot and Cold Press
Arches text wove
Arches text laid
Rives BFK
Somerset
GLOSSARY OF PAPER TERMS From McManus and Morgan
Gary Wolin http://www.mcmanusmorgan.com
Acid Free
(Neutral pH) Papers that are without acid in the pulp. Acid free paper has a pH of 7.0. If prepared properly, papers made from any fiber can be acid free
Buffering
The neutralizing of acids in paper by adding an alkaline substance (usually calcium carbonate or magnesium carbonate) into the paper pulp. The buffer acts as a protection from the acid in the paper or from pollution in the environment.
Calcium Carbonate
An alkaline chemical used as a buffering in papers and boards.
Caliper
The thickness of a paper measured under specified conditions. Usually expressed in thousandths of an inch (mils). One point or mil equals one thousandth of an inch. For example, a 15-point sheet is 15 thousandths of an inch thick or .015”.
Cellulose
The chief constituent of the cell walls of all plants. All plants contain tissue that, when properly processed, will yield cellulose. Cotton in its raw state contains about 91% and is the purest form of natural cellulose. Other sources for papermaking include hemp (77%), softwoods and hardwoods (57% to 65%), and kozo (66% to 77 %).
Chain Lines
The lines visible on laid paper, parallel with the grain direction, usually about one inch apart.
Cold Pressed
A paper surface with slight texture produced by pressing the finished sheet between cold cylinders.
Colorfast
(Lightfast) A color that is resistant to the action of external agents, such as light, acids, and alkalis. Paper color that is resistant to change from aging or from exposure to light, heat, or other adverse conditions. Non-fading over long exposure to daylight. Lightfast and sunfast are variations of the term. Cotton Linters
Fibers that adhere to cottonseed after ginning. Used as raw material cottonseed after ginning. Used as raw material to produce pulp for cotton fibre content papers.
Cylinder Machine
A papermaking machine in which a wire covered cylinder rotates partly submerged in a vat containing dilute paper stock. The sheet is formed on the outside of the wire as the water drains throughout. The paper is lifted from the wire by an endless felt. Also referred to as a mould machine or cylinder mould machine“Mouldmade” paper is made on a cylinder machine.
Deckle Edge
The feathery edge which is the result of the natural run-off of wet pulp when making handmade and mouldmade paper, or the result of sheets being torn while wet. The edge is simulated in machine made papers by “cutting” them with a stream of water when still wet.
Dimensional Stability
The degree to which a paper will maintain its size and shape when subjected to changes in moisture content and relative humidity. Very important in maintaining registration in printing.
Dye
Colored soluble substance that imparts a more or less permanent color to another material by staining or by chemical reaction with substrate.
Felt Finish
Surface characteristics of paper formed at the wet end of a paper machine, using woven wool or synthetic felts with distinctive patterns to create a duplicate texture in the finish sheets. Also called felt marks, genuine felt finish or felt marked finish.
Felt Side
The top side of the paper and side usually recommended for best printing results.
Formation
The arrangement of fibers in a sheet of paper, which can be seen by holding a sheet of paper to a light source. The formation of the sheet is determined by composition of the fibers, fiber length, machine speed and shake, amount of filler and other factors. Formation can run from“tight” or “close” to “wild” and is a major factor in determining how the sheet will perform, affecting factors like levelness, strength, and dimensional stability.
GSM
(Grams per square meter) The gram weight of a hypothetical square meter of a particular type of paper, a good comparative measure because it does not vary with sheet size.
Grain Direction
The direction in which a majority of the fibers lie in a finished sheet of paper. Determined by their alignment parallel with the movement of the paper as it travels through the paper machine. Papers fold easily “with” the grain direction.
Handmade Paper
Paper made by hand using a mould-a frame which is covered with a flat rigid screen (Western) or flexible screen (Oriental). In both cases, the mould is covered by a flat frame called a deckle to contain the run-off of wet pulp, dipped into a vat of wet pulp, shaken to distribute the fibers evenly and drained of its excess water. The wet mat of fibers remaining is the newly formed sheet, which is then dried against blankets & may be hot pressed, cold pressed, or air-dried.
Hot Pressed
A paper surface that is smooth, produced by pressing a finished sheet through hot cylinders.High Alpha Cellulose
A very pure form of wood pulp which is considered to have the same longevity as cotton or other plant fibers.
Laid Papers
Papers with a “grid” pattern in the sheet, resulting from the pulp resting against wires on the papermaking mould screen. “Laid” lines are closely spaced while“chain” lines are farther apart & run parallel with the grain direction of the sheet, important when folding papers, especially to bookbinders.
Lignin
A component of the cell walls of plants that occurs naturally, along with cellulose. Lignin is largely responsible for the strength and rigidity of plants, but its presence in paper is believed to contribute to chemical degradation. To a large extent, Lignin can be removed during manufacture.
Machinemade Paper
Paper made on a very rapid running machine called a “Fourdrinier”, producing consistent quantities of sheets or rolls.
Mouldmade Paper
Paper made by a slowly rotating machine called a cylinder-mould that simulates the hand-papermaking process. Fibers become more randomly intertwined than in machinemade papers, producing a stronger, more flexible sheet or roll.
Opacity
Opacity determines the amount of “show through” of printed matter on the reverse side of the paper and the sheet’s hiding power of printing or any dark material on an adjacent sheet. As basis weights are reduced, it becomes increasingly difficult and costly to maintain sufficient opacity. The higher the opacity reading, the more opaque the sheet.
Recycled Paper
Paper made from pre and post consumer waste. Used paper is cooked in chemicals, de-inked, and reduced back to pulp, which is then used to manufacture new paper.
Rice Paper
A common misnomer used to describe Oriental papers. There are no papers made from rice, although rice starch was traditionally used to size papers made of Kozo (mulberry plant), Gampi, or Mitsumata.
Pigment
A finely powdered coloring material used in paints and inks. Pigments are used in paper to alter physical properties as well as to add color and improve brightness and opacity. A pigment is insoluable in the liquid vehicle with which it is mixed, imparting its color effect by being spread over a surface.
Ply
A single layer of paper. A term used when several sheets of paper are laminated together to form a board.
Pulp
Any cellulose plant fiber (cotton, linen, wood, Japanese plants) cleaned and beaten into a wet mixture used to form sheets of paper.
pH
In chemistry, pH is a measure of the concentration of hydrogen ions in a solution, which is a measure of acidity or alkalinity. The pH scale runs from 0 to 14 and each number indicates a ten-fold increase. Seven is pH neutral: numbers below 7 indicate increasing acidity, with 1 being most acid. Numbers above 7 indicate increasing alkalinity with 14 being the most alkaline. Paper with a pH below 5 is considered highly acidic. Buffered papers typically have a pH between 8.5 and 9.5.
Porosity
The porosity is an indication of the openness of the paper, as measured by resistance to the passage of air through the sheet. Two types of instruments are generally used to measure porosity-Gurley and Sheffield . The Gurley instrument measures the seconds required for a given volume of air to pass through a single sheet and is generally used for porous papers. A high reading indicates a less porous (or more dense) paper. Sheffield porosity measures the flow rate of air through a single sheet and is generally used for non-porous or dense sheets. A high Sheffield reading indicates a more open paper. A typical Gurley porosity test for 50 lb. smooth offset would be 10-20 seconds. Sheffield readings of 60 lb. coated paper would be 10-20 units of air flow.
Rough
A heavily textured paper surface produced by placing wet sheets of paper against textured blankets or air-drying (or both).
Size or Sizing
The process by which gelatin rosin, starch or other synthetic substance is added to paper to provide resistance to the absorption of moisture and eliminating ink feathering and bleed through. Sizing added to the beater or vat of pulp is known as internal sizing. After the sheet is formed, it may be either “surface sized”-painted or brushed on the surface, or “tub sized”- immersed in a bath.
Sulphite
Sulphite pulp is produced from the wood of coniferous trees. Wood chips are cooked in calcium bisulphate or sodium sulphite, and bleached, producing fairly long strong fibers. Since the end of the 1860’s, until recent years, it has been the most widely used pulp in America . In fact, the term “sulphite” has become generic and is still accurately used to describe any paper made from wood in distinction from papers made from cotton or other fibers. Sulphite pulp is available in a range of grades up to pure alpha cellulose.
Tear
The test is valuable to the papermaker in determining the uniformity of refining the length of formation of fibers. Tear strength can be important to the printer or converter, especially when bags, maps, children’s books, etc., are involved. Determines average force in grams required to tear a single sheet after the tear has started. An Elmendorf tearing tester, employing a falling pendulum, is used with the test made in both machine and cross directions.
Tensile Strength
A test more important to the mill and pressure sensitive label converters than to the printer. Tensile strength is related to burst and tearing strength and the combination of the two tests is often used as an indication of the inherent tensile strength. Some degree of stretch is usually desirable in paper and reflects a certain degree of elasticity which tends to minimize breaks and ruptures. (This stretch should not be confused with the stretch and shrink normally resulting from a change in moisture content).
Vellum
A paper surface that is finely textural. Vellum is also used to designate heavy weight, translucent drawing, or drafting papers.
Watermark
The translucent design or name easily visible when a sheet is held to the light. A design is sewn onto the papermaking screen with raised wire. When the sheet is formed, the pulp settles in a thinner layer over the wire design.
Waterleaf
A paper with no sizing. Very absorbent.i.e. Blotting Paper.
Wove Paper
Papers which show no fine“laid” lines running through the sheet when held to the light.
Please let me know how I can help you with any of your paper needs. Thanks, Gary Wolin
http://www.mcmanusmorgan.com
