Beginning Materials List for 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. left hand nibs available in Mitchell and Speedball
2. Pen holder
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| Beginning Materials |
4. Paper. 9x12 Layout paper such as Borden and Riley cotton comp layout bond.
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" or the smaller version with clips to hold paper.
10. Prang watercolors or similar set (16 colors).
11. Rag to clean nibs and wipe spilled ink. 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. This needs to be a very good brush with a superior pointed tip you can't work with a crappy brush!
13. 2 dropper bottles. One for black ink and one for clean water.
Uncial and Gothic Materials List
Beginning Materials List for Chisel Point Calligraphy For Uncial you need Monoline nibs Speedball B nibs B1 and B5½ or markers thick point and thin point.
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."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, smaller size sheet is okay, 11x17 or 8.5 x 11
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, 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. Smaller for convenience if you want.
10. Prang watercolors or similar set (16 colors).
11. Rag to clean nibs and wipe spilled ink, 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. This needs to be a very good brush with a superior pointed tip you can't work with a crappy brush!
13. 2 dropper bottles. One for black ink and one for clean water.
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| Copperplate Materials |
Copperplate and Pointed Pen Materials List
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, Zebra G, Nikko G.(set of six of these nibs will do.) Optional: Mitchell nib with the elbow on the nib, Hunt 56, 101, 99. I have all these nibs for sale.
3. Black Ink - "Best" Japanese Ink (other bottled Japanese Inks) and
Yasutomo Vermillion sumi ink. (I have these inks)
Optional: Prang watercolors (16 colors) Chisel edged bristle brush or "bright" brush such as Grumbacher Eterna #2. Finetec, Art-ex or Yasutomo metallic gouache pallettes.(I have these for sale). Dr. PH Martin Bleed Proof White is the preferred white for writing on dark papers.
4. Gum Arabic- (Only a small amount is needed. I'll fill a little container for you for free)
5. 1 dropper bottle with water.
6. Cotton Comp layout paper 9x12 inches.
7. Ink well or "Dinky Dips".
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)
Later in semester you will write with Prang watercolors set (16) Gouache; one color, permanent white, lamp black. Chisel edged bristle brush such as Grumbacher Eterna #2. Plastic Palette, water jar.
For touch up and corrections:
12. Sakura Micro pigma pen .005.
13. Small paint brush like #00 pointed watercolor brush.
14. X-acto knife with #11 blade and #16 or #10 blade. (I have #16 for sale)
I have everything on this list for sale except the fine tipped brush
Materials list for Illumination and Gilding
1. Heavy weight Pergamenata paper in white or antique. It starts in big sheets that will have to be cut or torn down to 8 1/2 x11. You can get at least 6 small sheets from one big2. Sobo glue for gilding adhesive. You'll need about 1 oz.
3. A few small plastic containers with lids so we can share various paints and adhesives.
4. Gouache in a variety of colors. If you think about it in advance, pick a palette of colors that appeal to you. Example: Ultramarine Blue, Alizarine Crimson, Mistletoe Green (this is a very common color combination in old manuscripts). Or you can chose a muted palette: Sap green, Havanna Lake, Purple Lake.
5. White gouache; both Zinc and Permanent.
6. Black gouache.
7. Plastic palette that has 30 round wells. $1.99 each Dr. PH Martin is the brand.
8. Water container for clean water. (like dropper bottle)
9. Water container or more so you have 3 levels of clean to dirty water to rinse brush and pen.
10. Cloth to clean pens and brushes.
11. Practice paper (any kind)
12. Scraps of 90lb. watercolor paper, black paper sheets 8 1/2" x 11" (either cut or buy cut sheets). Many brands work well. We'll experiment with colors and gold on black paper.
13. Gold Stuff:
- If you have some gold materials, bring it and we'll see if we can use them. I will bring things and will see if Pen and Ink Art will supply a few materials.
- Patent gold leaf 23k
- Agate burnisher, or metal spoon tipped burnisher, glassine
- dedicated pair of scissors for gold, old silk scarf material
- If you have shell gold and other metal leaf, like aluminum, sunburst composites, etc.(only if you already have them)
14. Gum Sandarac ground and in a pounce pack.
15. Nibs to write text on manuscript page. Typical size nib is 1 1/2 mm Brause. Pen holder and brush to feed your pen. Pencil and ruler.
16. Text with approx. 50 words
17. Exemplars for style of calligraphy that you would like to write your text in, such as; uncial, half uncial, black letter styles, italic, carolingian, humanistic, square caps or rustics.
18. A small light board is sooo helpful here. I have a few that I'll bring for you to borrow.
19. Fine sable brush in size 00 and 1.
20. Illumination images you like
21. Unlined notebook for notes with good paper.
22. Camera
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| journaling materials |
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| canvas tool bag from Harbor Freight |
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 Winsor and Newton Cotman set with 12 colors. If a brush is not included bring a Winsor and Newton Series 707 size #3 sable brush, or a water brush with a good point such as the Pentel water brush. Also synthetic round watercolor brushes up to size 12, depending on the size of your journal. 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 or larger if you have a canvas tool bag. I like a 8 x 5.5 with black hard cover and spiral bound. It usually has paper suitable for sketching but will take watercolor. Canson, Strathmore, and Stillman & Birn journals. Bring what you have and we'll see what works best.
6. Pens and Markers: A waterproof fine tip black pen.
Zig Millenium black .01 pen or Micron Pigma
.01 or Faber-Castell PITT artist pen or similar tool.
A brush tip marker is great for writing and drawing like FUDE markers that are popular right now.
I like to have a Permanent marker ultra fine tip Sharpie.
7. A mechanical pencil that the lead can be retracted to keep a tip or regular pencil. 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 for drawing straight lines, mini grid ruler for measuring, gray brush marker for shadowing, binder clips for holding the book open, chapstick if your in the sun too much, calligraphy nib and holder, camera, shade hat.
10. For plein aire locations, bring a portable chair, such as a fold-out camping chair.
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| Yosemite squirrel |
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 MBM Canson Mi tientes (accordion books), Canson Ingres, 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
Cover Papers:
Canson Mi tientes, Heavy weight decorative papers (many styles in art stores), Paste papers on heavy weight paper, Marbled 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)
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
GLOSSARY OF PAPER TERMS thanks to Gary Wolin
From McManus and Morgan Paper store 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
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
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
Thanks, Gary Wolin
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