Materials List

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 
Beginning Materials
3. Ink.    Japanese or Chinese sumi inks. Yasutomo Vermillion sumi, "Best" black sumi ink, Moon Palace. One black and one vermillion is enough.
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.

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 big
2. 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

journaling materials

canvas tool bag from Harbor Freight 
Journaling Materials

1. Fanny pack (Optional). If not a fanny pack, a canvas tool bag to hold your supplies (available from Harbor Freight online for around $11ºº). Include a 9"x12" cardboard (such as the back of a Cotton Comp pad) for your canvas bag to create a table.
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.
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.

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
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
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.
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”.
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.
  (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.
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.
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.
(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.
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  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.
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.
 A  single  layer  of  paper.  A  term  used  when  several  sheets  of  paper  are  laminated  together  to  form  a  board.
Any  cellulose  plant  fiber  (cotton,  linen,  wood,  Japanese  plants)  cleaned  and  beaten  into  a  wet  mixture  used  to  form  sheets  of  paper.
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.
  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. 
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  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.
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).
A  paper  surface  that  is  finely  textural.  Vellum  is  also  used  to  designate  heavy  weight,  translucent  drawing,  or  drafting  papers.
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.
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

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