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The EMA Guide to Envelopes and Mailing
The EMA Guide to Envelopes & Mailing 1 Table of Contents I. History of the Envelope An Overview of Envelope Beginnings II. Introduction to the Envelope Envelope Construction and Types III. Standard Sizes and How They Originated The Beginning of Size Standardization IV. Envelope Construction, Seams and Flaps 1. Seam Construction 2. Glues and Flaps V. Selecting the Right Materials 1. Paper & Other Substrates 2. Window Film 3. Gums/Adhesives 4. Inks 5. Envelope Storage 6. Envelope Materials and the Environment 7. The Paper Industry and the Environment VI. Talking with an Envelope Manufacturer How to Get the Best Finished Product VII. Working with the Postal Service Finding the Information You Need VIII. Final Thoughts IX. Glossary of Terms 2 Forward – The EMA Guide to Envelopes & Mailing The envelope is only a folded piece of paper yet it is an important part of our national communications system. The power of the envelope is the power to touch someone else in a very personal way. The envelope has been used to convey important messages of national interest or just to say “hello.” It may contain a greeting card sent to a friend or relative, a bill or other important notice. The envelope never bothers you during the dinner hour nor does it shout at you in the middle of a television program. The envelope is a silent messenger – a very personal way to tell someone you care or get them interested in your product or service. Many people purchase envelopes over the counter and have never stopped to think about everything that goes into the production of an envelope. -
Triangle Accordion Books Part 2
“Part Two: Assembling the book” Time from start to finish = 1 hour You will need the following materials: • Heavy paper, which will be cut into three 4 5/8” X 20” strips, the best option is to cut these strips from one large 22” X 30” sheet of watercolor paper (this will be used for the inner “accordion” of the book) • 2 pieces of chipboard or thick cardboard, 6x6 inches each • Painted paper or scrapbooking paper at least 6x6 inches in size • Pencil • Ruler • Glue (regular white glue or glue sticks) • Clean scrap paper, computer paper or newsprint is good • X-acto Knife or scissors • Cutting matt (or a piece of scrap cardboard to protect your work surface) Brief description: The next part of our process is to measure, cut and assemble your book. This part is made up of several smaller steps within each major step and requires precise measurement and patience. For Part Two, I suggest making a cup of your favorite tea and putting on some relaxing music in the background. While, this may be the most challenging step for some, if you follow the instructions closely and don’t rush, you should come out of it with a fully assembled book ready for creative alteration and decoration! For those new to bookmaking here are a few helpful hints: • Measure! Measure! Measure!: Nothing is more disappointing than assembling several pieces only to find at the final step that they don’t quite fit, especially when you’re out of materials to try again! During this process, we will be measuring out strips of paper, then folding, cutting and gluing them together at specific points. -
Final Paper Products Recovered Materials Advisory Notice Response to Public Comments
FINAL PAPER PRODUCTS RECOVERED MATERIALS ADVISORY NOTICE Response to Public Comments Office of Solid Waste U.S. Environmental Protection Agency April 1996 CONTENTS I. Introduction . 1 A. The Draft Paper Products Recovered Materials Advisory Notice . 1 B. Overview of the RCRA Requirements . 1 C. Overview of the Executive Order Provisions for Paper . 3 II. Applicability . 5 A. Background. 5 B. Comments and Agency Response. 5 III. EPA's Objectives . 7 A. Background. 7 B. Comments and Agency Response. 7 IV. EPA's Approach to Recommendations. 11 A. Background . 11 B. Comments and Agency Response . 11 V. EPA's Methodology . 14 A. Background . 14 B. Comments and Agency Response . 14 VI. Recommendations for Printing and Writing Papers. 15 A. Background . 15 B. Comments and Agency Response . 19 VII. Recommendations for Newsprint . 27 A. Background . 27 B. Comments and Agency Response . 27 VIII. Recommendations for Tissue Products. 31 A. Background . 31 B. Comments and Agency Response . 32 IX. Recommendations for Paperboard and Packaging Products . 36 A. Background . 36 B. Comments and Agency Response . 38 X. Recommendations for Miscellaneous Paper Products. 45 A. Background . 45 B. Comments and Agency Response . 45 XI. Recommendations for Measurement. 46 A. Background . 46 B. Comments and Agency Response . 46 XII. Recommendations for Specifications. 48 A. Background . 48 B. Comments and Agency Response . 48 XIII. Recommendations for Recyclability. 49 A. Background . 49 B. Comments and Agency Response . 49 XIV. Definitions . 51 A. Background . 51 B. Comments and Agency Response . 51 XV. Certification and Verification . 54 A. Background . 55 B. Comments and Agency Response . 55 XVI. Sawdust as Recovered Fiber. -
FINDING AID to the RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20Th Century
FINDING AID TO THE RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20th Century Purdue University Libraries Virginia Kelly Karnes Archives and Special Collections Research Center 504 West State Street West Lafayette, Indiana 47907-2058 (765) 494-2839 http://www.lib.purdue.edu/spcol © 2013 Purdue University Libraries. All rights reserved. Processed by: Kristin Leaman, August 27, 2013 Descriptive Summary Title Rare Book Leaves collection Collection Identifier MSP 137 Date Span 1440 – late 19th/early 20th Century Abstract The Rare Book Leaves collection contains leaves from Buddhist scriptures, Golden Legend, Sidonia the Sorceress, Nuremberg Chronicle, Codex de Tortis, and an illustrated version of Wordsworth’s poem Daffodils. The collection demonstrates a variety of printing styles and paper. This particular collection is an excellent teaching tool for many classes in the humanities. Extent 0.5 cubic feet (1 flat box) Finding Aid Author Kristin Leaman, 2013 Languages English, Latin, Chinese Repository Virginia Kelly Karnes Archives and Special Collections Research Center, Purdue University Libraries Administrative Information Location Information: ASC Access Restrictions: Collection is open for research. Acquisition It is very possible Eleanore Cammack ordered these Information: rare book leaves from Dawson’s Book Shop. Cammack served as a librarian in the Purdue Libraries. She was originally hired as an order assistant in 1929. By 1955, she had become the head of the library's Order Department with a rank of assistant professor. Accession Number: 20100114 Preferred Citation: MSP 137, Rare Book Leaves collection, Archives and Special Collections, Purdue University Libraries Copyright Notice: Purdue Libraries 7/7/2014 2 Related Materials MSP 136, Medieval Manuscript Leaves collection Information: Collection of Tycho Brahe engravings Collection of British Indentures Palm Leaf Book Original Leaves from Famous Books Eight Centuries 1240 A.D.-1923 A.D. -
William Blake PART I
126 Of the fifty-three more-or-less complete copies of Blake's writings in private hands, only one has moved to a public collection: VICTORIA UNIVERSITY IN THE UNIVERSITY OF TORONTO. This is Songs of Innocence and of Experience (i), a posthumous copy watermarked with fragments of J WHATMAN | 1831, lacking ten of fifty-four prints. A curious feature of copy i is that one print (pl. 23) is watercoloured (see Illus. 1A), perhaps by Catherine Blake (d. 18 October 1831 [BR (2) 546]) or Frederick Tatham who printed the posthumous copies of Blake's works in Illuminated Printing. The colouring is distinct from the colour-printed copy of the same etching in VICTORIA UNIVERSITY IN THE UNIVERSITY OF TORONTO. The public appearance of Songs (i) has permitted the correction of minor errors in the account of it in Blake Books. COPIES UNTRACED America (S), Book of Thel (S), Descriptive Catalogue (V), Europe (N), First Book of Urizen (K), For Children (F), Poetical Sketches (Q), Songs of Innocence and of Experience (CC, q), "To the Public", Visions (S) are untraced. Six of these ten untraced copies in Illuminated Printing - - America (S), Book of Thel (S), Europe (N), First Book of Urizen (K), For Children (F), and Visions (S) -- have not been recorded since they were sold for the Flaxman family in 1862. Some or all the untraced copies may have been destroyed. Division I: William Blake PART I 126 127 ORIGINAL EDITIONS, FACSIMILES,93 REPRINTS, AND TRANSLATIONS Section A: Original Editions TABLE OF COLLECTIONS ADDENDA Biblioteca La Solana ILLUMINATED WORK: For Children: The Gates of Paradise, pl. -
Print Definitions
Publishing & Distribution DEPARTMENT OF ADMINISTRATIVE SERVICES Print Definitions Accordion fold: To fold into Bond Paper: Variety of paper pleats resembling the bellows usually with high cotton fiber of an accordion: to make a fan content. by accordion-folding a sheet Break for color: Also known of paper. as color break or color Against the grain: The separation. Separate the parts arrangement, direction, or to be printed in different pattern of the fibrous tissue in colors. wood/paper. Brightness: The attribute of Alteration: A change; light-source colors by which modification or adjustment. emitted light is ordered Banding: A thin strip of flexible continuously from light to dark material used to encircle and in correlation with its intensity. bind one object or to hold a The brilliance or reflectance of number of objects together. paper. Bind: To fasten or secure. Carbonless: Pressure sensitive writing paper that does not Bindery: A place where books use carbon; paper that makes are bound or printed materials multiple copies without are finished. intervening layers. Bleed: To permit (printed Camera-ready copy: Print illustrations or ornamentation) ready art, hard copy paper to run off the page or sheet. originals. Blind embossing: To emboss Cast coated: Coated paper or impress (the cover or spine with a high gloss reflective of a book) without using ink or finish. foil. A-Cam | Page 1 Coated paper: Clay coated Cover paper: A heavy printing printing paper with a smooth paper used to cover books. finish. Crash number: Numbering Coil Binding: A method of paper by pressing an image binding books by threading on the first sheet which is wire or plastic coils into transferred to all parts of the punched holes. -
THE REVISION of EU ECOLABEL CRITERIA for Converted Paper Products
THE REVISION OF EU ECOLABEL CRITERIA for Converted Paper Products Draft Preliminary Report Malgorzata Kowalska, Antonios Konstantas, Oliver Wolf Marzia Traverso, Rose Nangah Mankaa, Sabrina Neugebauer November 2018 EUR xxxxx xx 1 This publication is a Science for Policy report by the Joint Research Centre, the European Commission’s in-house science service. It aims to provide evidence-based scientific support to the European policy-making process. The scientific output expressed does not imply a policy position of the European Commission. Neither the European Commission nor any person acting on behalf of the Commission is responsible for the use which might be made of this publication. Contact information Name: Address: E-mail: Tel.: JRC Science Hub https://ec.europa.eu/jrc JRCxxxxx EUR xxxxx xx PDF ISBN xxx-xx-xx-xxxxx-x ISSN xxxx-xxxx doi:xx.xxxx/xxxxxx XX-NA-xxxxx-EN-N Print ISBN xxx-xx-xx-xxxxx-x ISSN xxxx-xxxx doi:xx.xxxxx/xxxxxx XX-NA-xxxxx-EN-C © European Union, 20xx Reproduction is authorised provided the source is acknowledged. How to cite: Authors; title; EUR; doi All images © European Union 20xx, except: 2 Table of contents ABSTRACT ............................................................................................................ 3 Executive summary ............................................................................................... 3 1. Introduction ...................................................................................................... 4 2. Task 1: Scope and definition analysis .................................................................. -
Paper & Envelopes
PAPER & ENVELOPES Pitney Bowes Is The Envelope Expert! Our Team Of Specialists Will Manage Pitney Bowes Reduce Costs– We leverage the buying Envelope power of over 1 million of our customers Specialist Team to bring you low prices. Pre-Printing – We can economically deliver pre-printed envelopes to your office, from one to six colors to help make your envelopes stand out. Autoship Program – We can set up recurring shipping schedules so you won’t have to face the risk of running out of envelopes again. Custom Design – We can custom design envelopes for your specific application, and products are guaranteed to perform in your equipment. Free Inventory Management – We can maintain your envelope inventory off-site and have them delivered when you need them. Call us at 1-800-243-7824 and press “3” for a low price quote. JAVA ROASTERS Specifically designed for your 123 Main St. Northbrook, IL 00976 Pitney Bowes equipment Custom Envelopes Custom printing with your logo, Your Message Here address or messaging Custom Printing Envelopes tailored to your New Menu Enclosed exact specifications Up to 6 Colors Natural Health Warehouse Sale! Free off-site inventory Time Pet 1198 Post Avenue, Springfield, FL 07634 Supply June 30th management of large orders PO BOX 2, Westford, MA 17755 Free Prescription Competitively priced Seminar on Saturday! NORTHSIDE PARTNERS INC. 122 West Teton Drive Highland, CA 11223 Your Logo Here 32 CUSTOM ENVELOPES PAPER & ENVELOPES All Your Envelope And Paper Needs. We Also Carry A Complete Range of Standard Envelopes No. 63⁄4 Regular No. 10 Regular 10x13 Catalog envelope Open side, diagonal seam envelope features fully Open end, Catalog style envelope. -
Paper Grades
720 PAPERMAKING / Paper Grades Further Reading Biermann CJ (1996) Handbook of Pulping and Papermak- ing. San Diego: Academic Press. Borch J, Lyne MB, Mark RE, and Habeger Jr, CC (eds) (2002) Handbook of Physical Testing of Paper, vol. 2, 2nd edn. New York: Marcel Dekker. Britt KW (1975) Handbook of Pulp and Paper Technology. New York: Van Nostrand Reinhold. Clark Jd’A (1985) Pulp Technology and Treatment for Paper, 2nd edn. San Francisco: Miller Freeman. Dieson M (1998) Papermaking Science and Technology. Atlanta, GA: Tappi Press. Gavelin G (1998) Paper Machine Design and Operation. Vancouver, BC: Angus Wilde. Hunter D (1978) Papermaking: The History and Techni- que of an Ancient Craft. New York: Dover Publications. Karlsson M (2000) Papermaking, Part 2, Drying. Atlanta, GA: Tappi Press. Kline JE (1991) Paper and Paperboard: Manufacturing and Converting Fundamentals. San Francisco: Miller Freeman. Kojio M (1999) Papermaking: Finishing. Atlanta, GA: Tappi Press. Levlin J-E and So¨ derhelm L (1999) Pulp and Paper Testing. Atlanta, GA: Tappi Press. Mark RE, Habeger Jr, CC, Borch J, and Lyne MB (eds) (2002) Handbook of Physical Testing of Paper, vol. 1, 2nd edn. New York: Marcel Dekker. Patrick KL (1999) Primer of Pulping and Paper Making: Technologies and Production Practices. San Francisco, CA: Miller Freeman Books. Figure 20 Calender of the pilot papermachine at SUNY Paulapuro H (2000) Papermaking Part 1: Stock Prepara- College of Environmental Science and Forestry. The sheet tion and Wet End. Atlanta, GA: Tappi Press. passes through multiple nips to smooth the surface of the sheet. Savolainen A (1998) Paper and Paperboard Converting: Papermaking Science and Technology. -
DRAFT UGANDA STANDARD First Edition 2015-Mm-Dd
DUS DEAS 857 DRAFT UGANDA STANDARD First Edition 2015-mm-dd Specification for carbon paper STANDARD UGANDA DRAFT Reference number DUS DEAS 857: 2015 © UNBS 2015 DUS DEAS 857:2015 Compliance with this standard does not, of itself confer immunity from legal obligations A Uganda Standard does not purport to include all necessary provisions of a contract. Users are responsible for its correct application STANDARD UGANDA © UNBS 2015 All rights reserved. Unless otherwise specified, no part of this publication may be reproduced or utilised in any form or by any means, electronicDRAFT or mechanical, including photocopying and microfilm, without prior written permission from UNBS. Requests for permission to reproduce this document should be addressed to The Executive Director Uganda National Bureau of Standards P.O. Box 6329 Kampala Uganda Tel: 256 41 505 995 Fax: 256 41 286 123 E-mail: [email protected] Web: www.unbs.go.ug ii © UNBS 2015 - All rights reserved DUS DEAS 857:2015 National foreword Uganda National Bureau of Standards (UNBS) is a parastatal under the Ministry of Trade, Industry and Cooperatives established under Cap 327, of the Laws of Uganda, as amended. UNBS is mandated to co- ordinate the elaboration of standards and is (a) a member of International Organisation for Standardisation (ISO) and (b) a contact point for the WHO/FAO Codex Alimentarius Commission on Food Standards, and (c) the National Enquiry Point on TBT Agreement of the World Trade Organisation (WTO). The work of preparing Uganda Standards is carried out through Technical Committees. A Technical Committee is established to deliberate on standards in a given field or area and consists of representatives of consumers, traders, academicians, manufacturers, government and other stakeholders. -
Crystal Reports
Unknown American View of Hudson from the West, ca. 1800–1815 Watercolor and pen and black ink on cream wove paper 24.5 x 34.6 cm. (9 5/8 x 13 5/8 in.) Princeton University Art Museum. Gift of Edward Duff Balken, Class of 1897 (x1958-44) Unknown American Figures in a Garden, ca. 1830 Pen and black ink, watercolor and gouache on beige wove paper 47.3 x 60.3 cm. (18 5/8 x 23 3/4 in.) frame: 51 × 64.6 × 3.5 cm (20 1/16 × 25 7/16 × 1 3/8 in.) Princeton University Art Museum. Gift of Edward Duff Balken, Class of 1897 (x1958-45) Unknown American The Milkmaid, ca. 1840 – 1850 Watercolor on wove paper 27.9 x 22.9 cm (11 x 9 in.) Princeton University Art Museum. Gift of Edward Duff Balken, Class of 1897 (x1958-49) John James Audubon, American, 1785–1851 Yellow-throated Vireo, 1827 Watercolor over graphite on cream wove paper mat: 48.7 × 36.2 cm (19 3/16 × 14 1/4 in.) Graphic Arts Collection, Rare Books and Special Collections, Princeton University Library. Gift of John S. Williams, Class of 1924. Milton Avery, American, 1893–1965 Harbor View with Shipwrecked Hull, 1927 Gouache on black wove paper 45.7 x 30.2 cm. (18 x 11 7/8 in.) Princeton University Art Museum. Bequest of Edward T. Cone, Class of 1939, Professor of Music 1946-1985 (2005-102) Robert Frederick Blum, American, 1857–1903 Chinese street scene, after 1890 Watercolor and gouache over graphite on cream wove paper 22.8 x 15.3 cm. -
The Exciting History of Carbon Paper!
The Exciting History of Carbon Paper! What Is It? Carbon paper is thin paper coated with a mixture of wax and pigment, that is used between two sheets of ordinary paper to make one or more copies of an original document. When Was It Invented And Why? The exact origin of carbon paper is somewhat uncertain. The first documented use of the term "carbonated paper" was in 1806, when an Englishman, named Ralph Wedgwood, issued a patent for his "Stylographic Writer." However, Pellegrino Turri had invented a typewriting machine in Italy by at least 1808, and since "black paper" was essential for the operation of his machine, he must have perfected his form of carbon paper at virtually the same time as Wedgwood, if not before (Adler, 1973). Interestingly, both men invented their "carbon paper" as a means to an end; they were both trying to help blind people write through the use of a machine, and the "black paper" was really just a substitute for ink. In its original form Wedgwood's "Stylographic Writer" was intended to help the blind write through the use of a metal stylus instead of a quill. A piece of paper soaked in printer's ink and dried, was then placed between two sheets of writing paper in order to transfer a copy onto the bottom sheet. Horizontal metal wires on the writing-board acted as feeler-guides for the stylus and presumably helped the blind to write. [Although invented in 1803, the steel pen only became common around the middle of the nineteenth century; the quill was still in use at the end of the century, and remained the symbol of the handwriting age.