DOCSLIB.ORG

Price List (Washi Crafts)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Price List (Washi Crafts) Price List Jun 2015 Washi Crafts | Trading As Washi Papers | ABN 60 131 790 200 Price List Apr 2018 Ph: (02) 9684 1240 Fax: (02) 8569 1088 Mob: 0421 791 128 Address: PO Box 25 Ryde NSW 1680 Email: [email protected] Website: www.washi.com.au 1. Japanese Papers Item Code Description A Full Sheet A Half Sheet A4 Price Size Price Size Per Sheet Pack Size $1.35 25 CH* Chiyogami (Yuzen) $12.00 98x64 cm $6.00 49x64 cm $1.50 10 KK* Kamakura Wax Yuzen $13.00 98x64 cm $6.50 49x64 cm $1.50 10 KA* Katazome Papers $14.00 94x62 cm $7.00 47x62 cm $1.75 10 KZ* Kozo Papers $3.50 94x64 cm - - $0.50 25 SKZ* Kozo Silk Papers $4.50 94x64 cm - - $0.70 25 KS* Kozo Fibre Papers $4.00 47x64 cm - - $0.80 25 CHK* Kanji Papers $6.00 94x64 cm $3.00 47x62 cm $0.70 25 KKS 10 Wood Grain Papers (90 gsm) $8.00 94x64 cm $4.00 47x62 cm $0.80 25 KKS 11 Wood Grain Papers (180 gsm) $12.00 94x64 cm $6.00 47x62 cm $0.95 25 KKS 6603-6606 Wood Papers 90 gsm $4.50 65x56 cm - - $0.80 25 WA* Wa Lace Papers $3.50 76x54 cm - - $0.75 25 LA* Abaca Lace Papers $3.00 76x54 cm - - $0.70 25 TH* Thread Papers $5.00 94x64 cm - - $0.70 25 UN* Unryushi Light $1.75 94x64 cm - - $0.50 25 UNK* Kozo Unryushi $3.30 97x66 cm - - $0.65 25 UNK00 Kozo Unryushi Heavy 80 gsm $4.50 50x61 cm - - $0.90 25 UNY06 Unryushi Thick 42 gsm $4.20 97x64 cm - - $0.75 25 SUZ* Sogara Yuzen $50.00 95x62 cm - - - - RP M* Awagami Rice Papers $5.00 97x64 cm - - $0.80 25 Kinwashi Kinwashi Fine Fibre 70gsm $5.00 97x64 cm - - $0.80 25 Ogura Ogura Fine Fibre 70gsm $5.00 97x64 cm - - $0.80 25 Inbe Inbe Fine Fibre 70gsm $5.00 97x64 cm - - $0.80 25 Botan Botan Fine Fibre 53gsm $4.50 65x56 cm $0.80 25 Pure Silk Pure Silk 58gsm $4.50 50x66 cm $0.80 25 Rayon Rayon Unryu Fine Fibre 85gsm $4.50 65x56 cm $0.80 25 KU* Japanese Fine Print Paper $4.00 47x64 cm - - $0.80 25 2. Printable Papers Item Code Description A Full Sheet A4 47x64 cm Per Sheet Pack Size MP001-023 Shimmer Textured Papers - $0.50 25 MP310-317 Linen Papers - $0.50 25 MP592-599 Vellum Bubble Papers - $0.50 25 MP701-716 Lace Printable Papers - $0.50 25 MPS523-529 Shimmer Plain Papers - $0.25 25 MP901-902 Fine Lines Papers - $0.50 25 3. Indian Papers Item Code Description A Full Sheet A4 76x54 cm Per Sheet Pack Size CK* Crinkle Papers $3.00 $0.70 25 CKP* Crinkle Papers Pearlised $3.50 $0.80 25 PP* Printed Papers $4.00 $0.85 25 FK* Flocked Papers $4.00 $0.85 25 SG* | SGC* Chiffon Patterned $4.00 $0.85 25 SGP* Chiffon Plain $4.00 $0.85 25 EM* | EMP* Embossed & Embossed Pealised Papers $4.00 $0.85 25 SK* Silk Papers $4.00 $0.85 25 FF* Foiled Papers $5.00 $1.15 25 PE* Pebble Papers $4.00 $0.85 25 LR* Leatherite Papers $4.00 $0.85 25 4. Himalayan & Marble Papers Item Code Description A Full Sheet A4 70x50 cm Per Sheet Pack Size HN* Designer Handmade Printed Paper $3.50 $1.00 25 MA* Handmade Marble Papers $4.50 $1.25 25 LP* Handmade Lokta Plain $2.50 $0.60 25 WAX* Handmade Lokta Plain $5.00 $1.35 25 WAX Colour* WAX 45610 & WAX 45620 $5.50 $1.50 25 5. Wrapping Papers Item Code Description A Full Sheet 70x50 cm WPW* Wrapping Papers $1.75 The * sign is generic code for same item code category All Prices Exclude GST Freight cost is charged extra 1/4 Price List Jun 2015 Washi Crafts | Trading As Washi Papers | ABN 60 131 790 200 Price List Apr 2018 Ph: (02) 9684 1240 Fax: (02) 8569 1088 Mob: 0421 791 128 Address: PO Box 25 Ryde NSW 1680 Email: [email protected] Website: www.washi.com.au 6. Origami Packs Item Code Despriction Price Per Pack Item Code Despriction Price Per Pack Ori 100-17 Origami Gold 15x15cm $1.50 Ori 5101 Origami Airplane $3.80 Ori 100-18 Origami Silver 15x15cm $1.50 Ori 5104 Origami Boats $3.80 Ori 100-4B Origami Animals 15x15cm $1.50 Ori 7069 Origami Insects $3.80 Ori 5012 Origami Flowers 15x15cm $3.00 Ori 7071 Origami Spinning toy $3.80 Ori V200-2 Origami Grid 15x15cm $3.00 Ori 6001 Origami Dinosaur $3.80 Ori 6027 Origami hats 15x15cm $3.00 Ori G200-1 Origami Flash 15x15cm $3.00 Ori 6056 Origami Bells 15x15cm $3.00 Ori G200-8 Origami Arts 15x15cm $3.00 Ori D100-1 Origami 35 Colours 15x15cm $3.00 Ori P100-1 Origami Pearl Jr. 15x15cm $1.50 Ori D100-2 Origami Crane75x75mm $1.50 Ori 600-2 Origami Extra Large 35x35cm $6.50 Origami 01 Origami Yuzen 15x15cm $8.00 Ori 16101 Origami Kimono 16pcs 4 design $5.80 Origami 02 Origami Plain Mix 15x15cm $4.00 Ori C200-1 Origami Flowers Double 15x15cm $3.00 Origami 03 Origami Kozo Mix 15x15cm $4.00 Ori 31984 Origami Vehicles $3.00 Origami 04 Origami Baby Yuzen 7.5x7.5cm $2.60 Origami 05 Origami Indigo 15x15cm $4.00 Origami 06 Origami Wax 15x15cm $4.00 Origami 07 Origami Kinwashi 15x15cm $4.00 Origami 08 Origami Washi Paper 15x15cm $3.50 Origami 09 Pebble Paper Pack 15x15cm $4.00 Potlucks Potlucks (Offcuts Mixed Pack) $4.00 Ori 3203 Origami Education 15x15cm $3.00 Ori 90201 Origami Kids 15x15cm $3.00 Ori B100-10 Origami Doubles 15x15cm $3.00 Ori F100-13 Origami Foil 15x15cm $3.00 Ori K-18 Origami Cello 15x15cm $3.00 Ori K0922 Origami Round $4.00 7-1. Rice Paper Roll Item Code Description A Roll Price Size RP 12 Moon Palace 12" Width 42 gsm $4.35 12"*50' (15M) RP 15 Moon Palace 15" Width 42 gsm $5.00 15"*50' (15M) RP 18 Moon Palace 18" Width 42 gsm $6.25 18"*50' (15M) KMR 68 Japanese Mulberry Roll 40 gsm $52.00 68cm*9.2M 7-2. Transfer Papers Item Code Description A Full Sheet Price Size TP 20 Surfboard Transfer Papers 20 gsm $1.75 78x54 cm 8. Journals & Notepads Item Code Description Unit Price Item Code Description Unit Price JP 44 A4 Brown Blank Journals $2.95 JP 40 Yuzen Hardcover A4 Journals $13.50 JP 54 A5 Brown Blank Journals $2.80 JP 50 Yuzen Hardcover A5 Journals $6.20 JP 64 A6 Brown Blank Journals $2.65 JP 60 Yuzen Hardcover A6 Journals $4.90 JP 49 A4 Blank Paper White Journals $2.95 JP 65 Fabric Jacketed A6 Journals $9.50 JP 59 A5 Blank Paper White Journals $2.80 CI16N Colouring Journal 130x210mm 3pcs set $5.50 JP 69 A6 Blank Paper White Journals $2.65 CI64N Colouring Journal 90x140mm 3pcs set $3.95 JP 66 A6 Chess Print White Journals $2.65 JP 51A Blank A5 Paper Pad $1.75 The * sign is generic code for same item code category All Prices Exclude GST Freight cost is charged extra 2/4 Price List Jun 2015 Washi Crafts | Trading As Washi Papers | ABN 60 131 790 200 Price List Apr 2018 Ph: (02) 9684 1240 Fax: (02) 8569 1088 Mob: 0421 791 128 Address: PO Box 25 Ryde NSW 1680 Email: [email protected] Website: www.washi.com.au 9. Cellophane Bags (Re-Sealable) Item Code Description Bag of 100 pcs Price Bag Size Cello 11B Fit 11B size envelopes & cards $5.00 10x15.2 cm Cello 12 Fit 12"x12" size papers & cards $15.00 31x32 cm Cello 13 Fit 13x13cm size papers & cards $6.00 14x15.2 cm Cello 16 Fit 16x16cm size papers & cards $6.00 17x17 cm Cello A3 Fit A3 size papers & cards $15.00 30.5x43.1 cm Cello A4 Fit A4 size papers & cards $8.00 22.9x30 cm Cello A5 Fit A5 size papers & cards $5.00 16x24 cm Cello A6 Fit A6 size papers & cards $4.00 12.7x15.2 cm Cello C5 Fit C5 size papers & cards $7.00 17x23 cm Cello C6 Fit C6 size papers & cards $6.00 12x18 cm Cello DL Fit DL size papers & cards $6.00 12x22.9 cm 10. Unusual Papers Item Code Description A Full Sheet A Half Sheet A4 Price Size Price Size Per Sheet Pack Size PW* Paper Weave Boards $14.00 90x60 cm $7.00 60x45 cm $1.75 25 BL* Burlap Papres $12.00 90x60 cm $6.00 60x45 cm $1.35 25 DE* Mat Diamond Quilt Papers - - - - $0.70 50 DEP* Pearl Diamond Quilt Papers - - - - $0.85 50 HA* Abaca Hairy Papers $5.00 90x60 cm - - $0.80 25 CF* Corrugated Cards $3.50 76x54 cm - - $0.85 25 ART* Abaca Textured Papers $5.00 90x60 cm - - $0.80 25 HBC100 Handmade Card 350gsm 100pcs/Box $50.00 8.7x5.1cm HPC5 Handmade Card 350gsm 5pcs/pack $6.00 10x15cm 11. Canvas Papers/Cards Item Code Description A4 Per Sheet Pack Size CNV120* Canvas Paper 120gsm $0.60 25 CNV280* Canvas Paper 280gsm $0.90 25 12. Kraft Papers & Kraft Envelopes Item Code Description A4 Item Code Description Price Per Pack Per Sheet Pack Size Pack of 25pcs KP 280 Kraft Papers 280gsm $0.15 50 Kraft Envelope 100gsm KP 175 Kraft Papers 175gsm $0.12 50 ENV * Kraft Available in $5.00 16x16cm/ C6 / DL / 5"x7" KP 125 Kraft Papers 125gsm $0.10 50 ENV C5 Kraft 25 PCS Pack Envelope C5 Cream $6.75 13.
Load more

Recommended publications
  • The New York Botanical Garden
    Vol. XV DECEMBER, 1914 No. 180 JOURNAL The New York Botanical Garden EDITOR ARLOW BURDETTE STOUT Director of the Laboratories CONTENTS PAGE Index to Volumes I-XV »33 PUBLISHED FOR THE GARDEN AT 41 NORTH QUBKN STRHBT, LANCASTER, PA. THI NEW ERA PRINTING COMPANY OFFICERS 1914 PRESIDENT—W. GILMAN THOMPSON „ „ _ i ANDREW CARNEGIE VICE PRESIDENTS J FRANCIS LYNDE STETSON TREASURER—JAMES A. SCRYMSER SECRETARY—N. L. BRITTON BOARD OF- MANAGERS 1. ELECTED MANAGERS Term expires January, 1915 N. L. BRITTON W. J. MATHESON ANDREW CARNEGIE W GILMAN THOMPSON LEWIS RUTHERFORD MORRIS Term expire January. 1916 THOMAS H. HUBBARD FRANCIS LYNDE STETSON GEORGE W. PERKINS MVLES TIERNEY LOUIS C. TIFFANY Term expire* January, 1917 EDWARD D. ADAMS JAMES A. SCRYMSER ROBERT W. DE FOREST HENRY W. DE FOREST J. P. MORGAN DANIEL GUGGENHEIM 2. EX-OFFICIO MANAGERS THE MAYOR OP THE CITY OF NEW YORK HON. JOHN PURROY MITCHEL THE PRESIDENT OP THE DEPARTMENT OP PUBLIC PARES HON. GEORGE CABOT WARD 3. SCIENTIFIC DIRECTORS PROF. H. H. RUSBY. Chairman EUGENE P. BICKNELL PROF. WILLIAM J. GIES DR. NICHOLAS MURRAY BUTLER PROF. R. A. HARPER THOMAS W. CHURCHILL PROF. JAMES F. KEMP PROF. FREDERIC S. LEE GARDEN STAFF DR. N. L. BRITTON, Director-in-Chief (Development, Administration) DR. W. A. MURRILL, Assistant Director (Administration) DR. JOHN K. SMALL, Head Curator of the Museums (Flowering Plants) DR. P. A. RYDBERG, Curator (Flowering Plants) DR. MARSHALL A. HOWE, Curator (Flowerless Plants) DR. FRED J. SEAVER, Curator (Flowerless Plants) ROBERT S. WILLIAMS, Administrative Assistant PERCY WILSON, Associate Curator DR. FRANCIS W. PENNELL, Associate Curator GEORGE V.
    [Show full text]
  • Japanese Papermaking
    A Guide To Japanese Papermaking Making Japanese Paper in the Western World Donald Farnsworth 3rd Edition A Guide To Japanese Papermaking Making Japanese Paper in the Western World Donald Farnsworth 3rd edition ISBN: 978-0-9799164-8-9 © 1989, 1997, 2018 Donald S. Farnsworth English translations © 1948 Charles E. Hamilton MAGNOLIA EDITIONS 2527 Magnolia St, Oakland CA 94607 Published by Magnolia Editions, Inc. www.magnoliapaper.com Table of Contents Author’s Preface 1 (Kunisaki Jihei, 1798; trans. Charles E. Hamilton, 1948) Introduction 3 Equipment (contemporary) 8 Cooking 23 ACKNOWLEDGMENTS Bleaching 27 I. Sunlight Bleaching (ultraviolet light) 28 Japanese text by Kunisaki Jihei and woodcut illustrations by Seich- II. Hydrogen Peroxide Bleaching 29 uan Tōkei are reproduced from a 1925 edition of Kamisuki chōhōki III. Chlorine Bleaching 30 (A Handy Guide to Papermaking), first published in 1798. Beating 31 Charles E. Hamilton's translations are reproduced from the 1948 Pigmenting 37 English language edition of A Handy Guide to Papermaking pub- Dyeing 39 lished by the Book Arts Club, University of California, Berkeley. Formation Aid 45 With the 1948 edition now out of print and increasingly difficult Mixing Formation aid powder PMP 46 to find, I hope to honor Mr. Hamilton's efforts by bringing his thoughtful and savvy translations to a broader audience. His trans- Contemporary vat, wooden stirring comb... 48 lations appear italicized and circumscribed in the following text. Sheet Formation 51 I. Japanese: Su and Keta 54 I would like to acknowledge Mr. Fujimori-san of Awagami Paper II. Pouring Method 59 and his employees, Mr. Yoshida-san and his employees, for fur- thering my understanding of Japanese papermaking.
    [Show full text]
  • A Guide to Japanese Papermaking
    A Guide To Japanese Papermaking Making Japanese Paper in the Western World Donald Farnsworth 3rd Edition A Guide To Japanese Papermaking Making Japanese Paper in the Western World Donald Farnsworth 3rd edition ISBN: 978-0-9799164-8-9 © 1989, 1997, 2018 Donald S. Farnsworth English translations © 1948 Charles E. Hamilton MAGNOLIA EDITIONS 2527 Magnolia St, Oakland CA 94607 Published by Magnolia Editions, Inc. www.magnoliapaper.com Table of Contents Author’s Preface 1 (Kunisaki Jihei, 1798; trans. Charles E. Hamilton, 1948) Introduction 3 Equipment (contemporary) 8 Cooking 23 ACKNOWLEDGMENTS Bleaching 27 I. Sunlight Bleaching (ultraviolet light) 28 Japanese text by Kunisaki Jihei and woodcut illustrations by Seich- II. Hydrogen Peroxide Bleaching 29 uan Tōkei are reproduced from a 1925 edition of Kamisuki chōhōki III. Chlorine Bleaching 30 (A Handy Guide to Papermaking), first published in 1798. Beating 31 Charles E. Hamilton's translations are reproduced from the 1948 Pigmenting 37 English language edition of A Handy Guide to Papermaking pub- Dyeing 39 lished by the Book Arts Club, University of California, Berkeley. Formation Aid 45 With the 1948 edition now out of print and increasingly difficult Mixing Formation aid powder PMP 46 to find, I hope to honor Mr. Hamilton's efforts by bringing his thoughtful and savvy translations to a broader audience. His trans- Contemporary vat, wooden stirring comb... 48 lations appear italicized and circumscribed in the following text. Sheet Formation 51 I. Japanese: Su and Keta 54 I would like to acknowledge Mr. Fujimori-san of Awagami Paper II. Pouring Method 59 and his employees, Mr. Yoshida-san and his employees, for fur- thering my understanding of Japanese papermaking.
    [Show full text]
  • Handmade Paper: a Review of Its History, Craft, and Science
    REVIEW ARTICLE bioresources.com HANDMADE PAPER: A REVIEW OF ITS HISTORY, CRAFT, AND SCIENCE Martin A. Hubbe a* and Cindy Bowden b For over 2000 years the manual craft of papermaking has been practiced all over the world utilizing a variety of techniques. This review describes the evolution of hand papermaking and its cultural significance. Paper’s evolution has been shaped by the structure and chemical composition of the fibers. Almost every aspect of modern papermaking technology has been foreshadowed by traditional practices. Such practices were passed down for many generations within families of papermakers. The main sources of cellulosic fiber evolved as the ancient craft migrated from its birthplace in China to Korea and Japan, the Islamic world, and then to Europe and America. Though most paper made today comes from automated, continuous production systems, handmade paper has enjoyed a resurgence, both as a traditional craft and as an art-form. In addition, traditional papermaking methods can provide insights to help in modern applications involving cellulosic fibers. Keywords: Handmade paper; History; Handcraft; Science; Cellulosic fibers Contact information: a: Department of Forest Biomaterials; North Carolina State University; Campus Box 8005; Raleigh, NC 27695-8005 USA; b: Robert C. Williams American Museum of Papermaking, Inst. of Paper Science and Technology, Mail Code 0620, Georgia Tech., Atlanta, GA 30332-0620; *Corresponding author: [email protected] INTRODUCTION Whenever people engage their hands and minds to make paper, there is a continuing opportunity for evolution of the craft. Each maker adopts or selectively omits parts of the methods that have been passed down to them, sometimes inventing new techniques.
    [Show full text]
  • Cat Washi Eng 1708.Pdf
    As a producer of Kozo (Paper Mulberry) and Mitsumata (Paper Bush), the materials used in Japanese paper. Ikazaki have been a center of papermaking.The history of washi (Japanese rice paper) production in Ikazaki dates back thousands of years. And 350 years ago, the feudal Ozu realm began promoting paper production as an important revenue source. Unique hand-made Japanese paper was born blessed with the mountains that surround the town and the river that flows through it. Here, the knowledge and skills of papermaking have been transmitted for generations. we wish to create a new vision for the future – a vision that reflects our tradition of co-existence with nature through washi. Now we will announce brand new design Ikazaki Gildinf Washi Wallpaper. <Gabor Ulveczki(Gilding Master)> Born in Budapest, Hungary live in France, Gabor designs and creates wallpaper, art installations, and other interior d残or products. Working at the request of the Uchiko-cho Chamber of Commerce and Industry, he has provided technical assistance in the product development of wallcovering works using handmade washi with Gilding patterns since 2008and 2009. <Gilding> To gild patterns with five different colours metal leaves. Oxidised and colored metal leaves show marvellous colour and brightness on patterns. Art Director/ Designer Yoshiki UCHIDA Born in Japan 1974 2004 design company “ cosmos.inc” established D&AD silver prize, Pent awards silver prize, OneShowDesign bronze prize、 London international awards bronze prize、Red dot design award、NYADC prize etc. © Ikazaki SHACHU. Inc PREMEUM HANDCRAFT WALLPAPER IKAZAKI GILDING WASHI WALLPAPER Japanese hand crafted paper with nonwoven paper silver color and gold color leaf size 53cm×90cm © Ikazaki SHACHU.
    [Show full text]
  • No-Blender Pulp Painting
    Copyright © 2009, 2020 Dick Blick Art Materials All rights reserved 800-447-8192 DickBlick.com No-Blender Pulp Painting “Paint” with a pulp created from torn tissue paper and water Felting is an ancient fiber craft that transforms the fibers of wool (or wool yarn) into a dense cloth by bonding and shrinking the fibers together with heat, agitation and moisture. In Korea, a traditional papermaking technique called “Joomchi” uses a similar process with rice paper. Water and agitation cause the paper fibers to shrink and bond with one another, which can then be sculpted and formed into thick, textural artwork and surfaces. In the western art world, “Pulp Painting” is a paper art technique that involves the process of creating pulp, combining it with an adhesive and reforming it into a sheet of paper. This project is a simple, tidy way to create the look of pulp painting without the mess of a blender or even the use of adhesive. Non- bleeding tissue paper is combined with water and agitated (torn) so that the paper fibers separate and make a rough pulp. Pressing the paper onto an absorbent (canvas) surface causes the fibers to re- bond with one another and, when dry, form a thicker, stronger paper. GRADES K-12 Note: Instructions and materials are based upon a class size of 24 students. Adjust as needed. Preparation 1. Pulp paintings will need to be created on a smooth, absorbant surface such as unprimed canvas, denim or linen. For best Materials (required) results, secure the fabric temporarily to a piece of scrap corrugate card board with Blick Art Tissue, 20 color assortment staples or masking tape.
    [Show full text]
  • 2020 Catalog
    ASIAN ART SUPPLIES • FINE ART MATERIALS ORIGAMI • WRITING INSTRUMENTS 2020 Catalog WE PROMOTE CREATIVITY AND FUN American KUSA Corporation (KUSA), located in Southern California, is a member of the Kotobuki Group based in Kawagoe, Japan, a leading OEM manufacturer of writing instruments for over 50 years. Founded in 1986, KUSA has been a trusted name in OEM manufacturing for over 30 years. We've built our reputation on uncompromised quality and value. KUSA products represent innovative design and engineering, and we have created numerous design patents. Every product is the result of fine craftsmanship developed by our internal research and development teams, guaranteed to meet your satisfaction. Our products are manufactured in Japan and Korea with precision machinery, with each final piece inspected by hand for the highest quality assurance. By upholding these standards over the years, we have earned the trust of brand name labels sold across national retailers. Moving into 2020, we are excited to announce that Yasutomo, purveyors of Asian art supplies, fine art materials, origami, and writing instruments, has become a member of the Kotobuki Group. NEW YASUTOMO will focus on offering premium art and craft products from Japan as well as quality writing instruments. Our natural synergy drives this collaboration and shared beliefs in quality, craftsmanship and innovative design. Our combined efforts are focused on bringing art supply customers better value while increasing company-wide efforts toward long-term sustainability in our trade. Historically, KUSA has offered products for professionals and students alike on their paths to success, but as our company grows and evolves, we are expanding to serve artists, writers and creators of all types.
    [Show full text]
  • Research for Alternative Material and Its Effect on Seed Germination in Seed Tapes Products
    Research for alternative material and its effect on seed germination in seed tapes products Sam Mervyn Millington A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Masters of Philosophy Faculty of Environment and Technology Bristol Institute of Technology University of the West of England May 2018 Word Count: 16 640 Abstract ‘Seed tapes’ are a length of biodegradable tissue paper, acting as a carrier, containing seeds. The seed tape is unrolled into a shallow trench and covered with soil, ensuring that all seeds are planted at even intervals. Manufacturers in the seed tape industry aim to produce products with crop sizes that are as good as, or better than, loose seeds. However, little is known about the principal component that affects the crop size produced by seed tapes, the carrier material, and its influential properties. The focus of this report is to describe a series of experiments, used to test the suitability of alternative seed tape materials. The experiments analysed the performance of the seed tape products on a number of metrics; germination count, germination rate, penetration count and penetration rate; all are factors that influence the growth performance of the seed tapes. The fundamental performance indicator for consumers is crop size, which is measured by the penetration of seedlings through the seed tape material. The experiments analysed twelve different species and batches of seeds with a total of six thousand, two hundred seeds over the three phases of the experiments. The first phase of the experiment demonstrated that the crop size produced from loose seed is higher than the crop size produced from seed tape products.
    [Show full text]
  • 1 PAPER TYPES for PRINTMAKING Choosing the Right Paper for An
    VAF 253: Printmaking I Instructor: Micah Zavacky Spring 2019 Email: [email protected] PAPER TYPES FOR PRINTMAKING Choosing the right paper for an edition can be difficult, as many beautiful options exist in the world. In this handout, I am going to differentiate two main types of paper used for printmaking, and offer recommendations based on my printing experience. Generally, paper is distinguished by its country of origin, and can be classified as “Eastern” or “Western”. Eastern (Asia) Paper made from plant fibers, specifically in Japan (washi). “Rice paper”, “Japanese rice paper”, and “Japanese paper” are commonly used to refer to paper made in the East, despite a paper’s true country of origin. It is not correct to refer to all rice papers as Japanese, as not all rice papers are made in Japan. Rice paper is made from the rice paper plant. However, “rice paper” is often used as a catch-all term for Eastern papers, although many of these papers are not made from the rice paper plant. Paper made in Japan has a specific name, washi, which translates to, “Japanese paper”. > “Wa” meaning Japanese, and “shi” meaning paper. Traditionally, washi is made from the fibers of three plants: > gampi, mitzumata, and kozo (mulberry) (391) 1. Washi is made by hand in many Japanese villages, using one of the three plant fibers, above. At times, wood pulp is also added to provide additional absorbency and cushion. In contrast to Western paper, washi is made from plant fibers inside the bark of gampi, mitzumata, or kozo. Names of papers often refer to the towns or villages where the paper is made, and vary due to: > Percentage of plant fiber, where it’s from, did they grow it themselves, did they add pulp, did they add anything else? Western (European) Paper created in Europe or North America, specifically in France and Germany.
    [Show full text]
  • Lan Su Garden Plant Talks Edgeworthia Chrysantha​邊緣菊花
    Lan Su Garden Plant Talks 邊緣菊花 Edgeworthia chrysantha​ ​ ​(biānyuán júhuā) Elizabeth Cha Smith (March 15, 2018) “Had I been born Chinese, I would have been a calligrapher, not a painter.” - Pablo Picasso (1965) Edgeworthia in Lan Su In our garden, volunteers know ​Edgeworthia chrysantha​ as the “Chinese paper bush” or just “paper bush.” Starting in early January, we start to notice its button-like green buds in Bed #20S behind the gift shop, and by early February we see them turning into golden yellow flower heads dangling at the tips of ternate (three-pronged) branches that extend from naked base branches. Edgeworthia is also known as “yellow daphne” because these plants belong to the same family and have similar fragrances and flowers. The combination of edgeworthia’s small, delicate yellow flower clusters and their gentle fragrance is a delightful surprise for our visitors, and it is really nice to know that the blooming will continue for several more weeks while we are still in winter mode. Although the symbolic value of edgeworthia in Chinese culture is not clear to me, I did read about how its flowers, bark, and roots have been used in folk medicine for their anti-inflammatory and analgesic properties and to treat ocular diseases as well as insomnia and depression. Chasing a Paper Trail Because of edgeworthia’s most common name, “paper bush”, I was interested in learning more about how the Chinese and other cultures used it to make paper. Imagine my surprise when I read ​The Paper Trail​ (a highly regarded monograph on the history of paper) and found that the author, Alexander Monro, does not mention edgeworthia once in his almost 400 page book! Despite my difficulty in finding out more about whether or how Chinese used edgeworthia in paper-making, archeologists/historians have known for a long time that the Chinese first invented more primitive forms of paper during the second century BCE using hemp (European paper-making dates to the 16th century).
    [Show full text]
  • Things to Make and Do with Paper Ebook
    THINGS TO MAKE AND DO WITH PAPER PDF, EPUB, EBOOK Stephanie Turnbull,Amanda Gulliver | 34 pages | 01 Dec 2011 | Usborne Publishing Ltd | 9781409538943 | English | London, United Kingdom Things to Make and Do with Paper PDF Book Start with a punched circle as your base, embellishing as desired. Crafts For Kids. We love these cute monster corner bookmarks! Fringe each side of the feather with the precision scissors. Got it! Create an anchor for the medallion base—beads, small crystals, or stones thread on cord add a little extra weight beneath a medallion to keep it from flapping in the breeze—and finish the anchor with a handmade tassel. Make sure that you secure the thread to the back of each paper medallion properly. Thank you, I am going to start on at least on of these! Close View All 1 of Get the Origami Containers How-To. We love this project as wall art for a kids room, party decor, or as decor in a classroom! Set your machine on a straight stitch with a long length. These beautiful roses are made from paper! What a cute kids craft for Valentine's Day! Along with cutting and punching paper to a three-dimensional design, you can also use stamping, coloring, folding styles such as origami, dyeing , and other techniques to beautiful effect. Pinch, twist, and crinkle into desired shape. Paper lanterns are often associated with festivals, and they are very common in both China and Japan. Cover the wire with floral tape and apply glitter. To make paper Christmas ornaments you need one sheet of A4 paper or wrapping paper, glitter powder and ribbons.
    [Show full text]
  • Process Book Contents
    Kanin Process Book Contents 2 Biomimicry Case Studies 4 Product Research 5 Logo 9 Color Palette & Typography 10 Business System 12 Baybayin 14 Marketing Applications 16 Packaging 1 Biomimicry Case Studies What is Biomimicry? When researching examples of biomimicry, I wanted to focus on properties from nature Biomimicry is the conscious imitation that could contribute to potential package of models, systems, and elements from designs: structure, form, support, durability, nature for the purpose of creating human biodegradability, etc. For each case study, solutions. This approach brings together I also sketched patterns that were inspired two often disconnected areas: nature by the forms, textures, or properties from and technology, biology and innovation, each biomimicry case study example. life and design. Biomimicry is a way of seeking sustainable solutions. Case Study: Armadillo The armadillo is a small to medium-sized mammal native to the North and South American continents and is characterized for its armor - like shell. Their armor - like shell are composed of overlapping plates called dermal bone covered with leathery skin. While the armadillo’s underside exposes its soft skin, its leathery shell protects the armadillo from predators and spiky bushes. The three-banded armadillo is named for having only three overlapping dermal bones and is the only armadillo species to be able to roll its entire body into a ball for further protection. Biomimicry Applications: • Flexible plating on armor and packing • Protective casing in package design • Retractive ability of overlapping plates or materials • Ball-shape for decreasing surface area of materials 2 Case Study: Amazon Water Lily The Amazon Water Lily is native to the Amazon River basin, growing in shallow bodies of water such as bayous and oxbow lakes.
    [Show full text]