Paper Grades

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NEWS PRINT Ÿ Substance - 45 GSM and 48.8 GSM Ÿ Quality - Normal Brightness and Hi-Brightness Ÿ Packing - In Reams and In Reels Ÿ Usage - Newspapers, Note Books etc UNCOATED GRADS Uncoated Woodfree Ÿ Substance - 50 GSM to 120 GSM Ÿ Quality - Both 100 % Virgin pulp and Recycled grade Ÿ Packing - In Reams (Both palletized and unpalletised) and In Reels Ÿ Usage - Books, Note Books, Stationary etc Photocopy Paper Ÿ Substance - 70 GSM, 75 GSM and 80 GSM Ÿ Quality - 100% Virgin Pulp, 90% Brightness, A3 and A4 sizes Ÿ Packing - In Cartons (Both palletized and unpalletised) Ÿ Usage - Photocopying Briefcard/Bristol Board/Manilla Board Ÿ Substance - 110 GSM to 300 GSM Ÿ Quality - One side Machine Glazed, 2 side Machine Glazed Ÿ Packing - In Reams (palletized and unpalletised) and in Reels Ÿ Usage - Covers, Cards etc Bank Paper and Manifold paper Ÿ Substance - 28 GSM to 80 GSM Ÿ Quality - 100% Virgin Pulp, Recycled grade Ÿ Packing - In Reams (Palletised and Unpalletised), bulk packed and in Reels NCR (Carbonless Paper) Ÿ Substance - 50 GSM to 55 GSM Ÿ Quality - CB, CF and CFB Ÿ Packing - In Reams and In Reels COATED GRADES Coated Woodfree (Art Paper and Board) Ÿ Substance - 80 GSM to 400 GSM Ÿ Quality - Gloss and Matt Ÿ Packing - In Reams and in Reels Ÿ Usage - Magazines, Covers, Brochures, Leaﬂets, Calendars etc One Side Coated Paper (Label Paper) Ÿ Substance - 70 GSM, 80 GSM and 90 GSM Ÿ Packing - In Reams and in Reels Ÿ Usage - Labels etc HYGIENIC TISSUE Facial Tissue Ÿ Substance - 13GSM to 15 GSM Ÿ Ply - 2 Ply Ÿ Color - White and Light Color Toilet Tissue Ÿ Substance - 15 GSM to 20 GSM Ÿ Ply - 2 Ply Ÿ Color - White and Light Color Napkin Tissue Ÿ Substance - 16 GSM to 24 GSM Ÿ Ply - 1 to 2 Ply Ÿ Color - White and Light Color Towel Tissue Ÿ Substance - 18 GSM to 45 GSM Ÿ Ply - 1 to 2 Ply Ÿ Color - White and Light Color PACKAGING (COATED GRADES) Duplex Boards Ÿ Substance - 230 GSM to 500 GSM Ÿ Quality - Grey Back, White Back and Kraft back Ÿ Packing - In Reams (Palletised and unpalletised), Bulk Packed and in Reels Ÿ Usage - Packaging boxes PACKAGING (BROWN GRADES) Ÿ Kraft Liner - 110 GSM to 450 GSM Ÿ Test Liner - 125 GSM to 250 GSM Ÿ Medium Fluting - 105 GSM to 185 GSM Ÿ White Top Liner - 125 GSM to 200 GSM MG GRADES OF PAPER Ÿ Mg Bleached Tissue from 17 Gsm Onward both White and colors Ÿ Mg Sulphite Paper from 25 Gsm onward Ÿ Sandwich Paper 18 gsm upto 22 Gsm Ÿ Food Grade Tissue both white and colors Ÿ Packaging tissues & Interleaving Tissue SPECIALITY PAPER Ÿ Embossed Paper - All types of designs are available Ÿ Thermal paper - Both Fax grade and POS grade Ÿ Bible Paper - From 30 GSM to 50 GSM Ÿ Metallised Label Paper - Used for Beer bottles and similar applications Ÿ Wet Strength Label Paper - Used for Beer bottles and similar applications Ÿ Self Adhesive Paper - Used for Stickers Ÿ Glassine Paper from 23 Gsm upto 80 Gsm Ÿ Greaseproof Paper from 23 Gsm upto 80 Gsm.

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A3 Paper Size: ISO Paper Size 297 X 420Mm Used for Small Poster Or Small News Paper
A3 Paper size: ISO paper size 297 x 420mm used for small poster or small news paper. A4 Paper size: ISO paper size 210 x 297mm used for Letterhead. Accordion fold: Bindery term, two or more parallel folds which open like an accordion. Acetate: a transparent sheet placed over artwork allowing the artist to write instructions or indicate where second colour is to be placed. Acid Resist: An acid-proof protective coating applied to metal plates prior to etching. Against the grain: At right angles to direction of paper grain. Alteration: Change in copy of specifications after production has begun. Aqueous Coating: Coating in a water base and applied like ink by a printing press to protect and enhance the printing underneath. Artboard: Alternate term for mechanical art. Ascender: any part of a lower case letter extending above the x-height. For example, the upper half of the vertical in the letters b or h. Authors corrections: changes made to the copy by the author after typesetting but not including those made as a result of errors in keying in the copy. Back up: Printing the second side of a sheet already printed on one side. Backslant: Letters that slant the opposite way from italic characters. Banding: Method of packaging printed pieces of paper using rubber or paper bands. Basis weight: Weight in pounds of a ream of paper cut to the basic size for its grade. Bind: To fasten sheets or signatures with wire, thread, glue. or by other means. Bindery: The finishing department of a print shop or firm specializing in finishing printed products.
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1 Handmade Paper - Infinitely Variable and Generally Not Suitable for Coloured Pencil Work
PAPER There are three main types of artist paper manufacture: 1 Handmade paper - infinitely variable and generally not suitable for coloured pencil work 2 Mould made paper – much more consistent and some makes are excellent for coloured pencil 3 Machine made (Fourdrinier) paper - still more consistent and therefore good for coloured pencil. Mould Made paper – Mould made paper is made by a machine comprising a cylindrical mould and a stainless steel vat. The cylinder is placed in the vat, a very dilute mixture of pulp and water is pumped into the vat and this mixture forms a fibrous web on the cylinder mould. This fibrous web is then pressed variously to form the different surfaces available and described below. Many artists favour mould made watercolour papers as they are more consistent in their durability than handmade papers but still have excellent surface textures. Machine made (Fourdrinier) papers – This process uses a flat machine that comprises of a forming section (where a slurry of fibres is filtered out on a continuous loop to form thin ‘sheets’ of the wet mixture), the press section (where the sheets are then pressed to remove as much of the water content as possible), the drying section (where the sheets are then snaked through a number of heated cylinders to remove more of the moisture) and the calendar section (where the paper is smoothed into flat sheets). This is the most consistent method but less sensitive for texture and quality. QUALITY Paper is made from either cotton pulp or a mixture of cotton and cellulose pulp (chemically created from wood) 100% cotton paper is generally considered the best quality and essential for museum work.
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USE of NONWOOD PLANT FIBERS for PULP and PAPER INDUSTRY in ASIA: POTENTIAL in CHINA by Mudit Chandra Dr
USE OF NONWOOD PLANT FIBERS FOR PULP AND PAPER INDUSTRY IN ASIA: POTENTIAL IN CHINA By Mudit Chandra Degree Paper Submitted to the Faculty of Virginia Polytechnic Institute and State University in Partial Fulfillment of the Requirements for the Degree of MASTER OF FORESTRY IN WOOD SCIENCE AND FOREST PRODUCTS APPROVED: A. L. Hammett, Chairman J. D. Dolan C. D. West August, 1998 Blacksburg, Virginia USE OF NONWOOD PLANT FIBERS FOR PULP AND PAPER INDUSTRY IN ASIA: POTENTIAL IN CHINA by Mudit Chandra Dr. A. L. Hammett, Chairman Department of Wood Science and Forest Products (ABSTRACT) The pulp and paper industry around the world has been growing rapidly. As a result there has been a huge demand for pulp and paper making raw material. Recent years have seen a spurt in use of nonwood fibers being used as a raw material for this purpose. Although some of the nonwood fibers used for papermaking are used because of their fine paper making qualities, majority of nonwood fibers is used to overcome the shortage of wood fibers. As a result their use is more widespread in countries with shortage of wood. The use of nonwood fibers in pulp and paper industry is fraught with problems. Right from supply of raw material to the properties of finished paper, majority of nonwood raw material has proven to be economically inferior to wood. But over the last few years, technological breakthrough in almost all the fields of papermaking have made nonwood more competitive with wood as a raw material for papermaking. Although till recently, use of nonwood fibers for pulp and paper making was concentrated in countries with limited wood supply, it is now showing an increasing trend even in countries with adequate wood supply due to environmental considerations.
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Art Starts with the Right P Watercolor
ART STARTS WITH THE RIGHT P WATERCOLOR Lightweight Watercolor Paper Fluid CP Fluid HP Watercolor Paper Travel Series WC 200gsm 30sht 228gsm 146gsm 15sht 15sht 300gsm Field Series WC 15sht Fluid 100 CP Fluid 100 HP Fluid 100 CP 300lb 300gsm 300gsm 640gsm 300gsm 15sht 15sht 10sht 24sht WATERCOLOR 100% COTTON PAPER 22X30 SHEETS FABRIANO CANSON W INSOR STRATHMORE F L U I D 10 0 ARCHES ARTISTICO HERITAGE PROFESSIONAL GEMINI ● There is a wide 140LB/300GSM $8.66 $ 11. 2 5 $ 10 . 7 5 $ 12 . 0 0 $9.25 $9.79 range of paper and 300LB/640GSM $ 17 . 4 9 $25.80 $24.50 $27.50 $21.30 $21.59 formats available. ● The different papers are typically BLOCKS differentiated by: 140LB/300GSM 15 SHEET 20 SHEET 20 SHEET 20 SHEET 20 SHEET ● W EIGHT 6 X 12 $19.59 ● FIBERS USED ● SURFACE TEXTURE 9 X 12 $26.99 $55.90 $56.95 $64.00 $46.10 ● PRODUCTION METHOD 12 X 16 $4 5.89 8 0 . 9 5 ( 12 X 18 ) $95.00 $67.35 16 X 2 0 $64.29 $119.95 80.95 (14X20) $123.00 300LB/640GSM 10 SHEET 10 SHEET 9 X 12 $35.19 $55.00 12 X 16 $62.19 $80.05 WATERCOLOR ALPHA CELLULOSE PAPER 22X30 SHEETS BIENFANG FABRIANO CANSON WATERCOLOR FLUID STUDIO MONTVAL STRATHMORE 400 140/300GSM $2.0 0 $3.96 $4.05 $3.80 $3.35 BLOCKS 140LB/300GSM 15 SHEET 15 SHEET 15 SHEET 4X6 $6.09 $10.05 6X8 $9.19 9 X 12 $ 15 . 7 9 $ 18 .
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STP60-B-EB/Jul. 1963
STP60-B-EB/Jul. 1963 INDEX A Blotting paper, 1, 11 Absorbency, 51, 52 Boards, 28 Acidity (see also pH Value) types, 29 determination of, 59 uses, 29 of bond papers, 20 Bogus bristol, 22 Adhesives in paper, 70 Bond inks, 47 Aging, accelerated test for, 82 Bond papers, 18, 41 Air permeability, 61 Bonding strength, surface, I10 Alkalinity (see also pH Value), 59 Book inks, 47 Alpha-cellulose, 62, 76 Book papers, 40, 121 Aniline sulfate stain for groundwood, 78 Boxboards, 34 Antique finish, 41 Bright fiber stain, 77 Apparent density, 121, 122 Brightness, 4, 73, 101 Asbestos paper, 39 Bristol board, 35 Ash content Bristols, 21, 42 determination of, 63 Brush surface analyzer, 113 examination of, 63 Buffer action, 60 of bond papers, 20 Building boards, 36 related to other properties, 64 Building papers, 23, 36 significance of, 63 Bursting strength, 68 Asphalt impregnated papers, 24, 90 determination of, 69 ASTM methods, vii of bond papers, 19 Automotive panel boards, 37 of envelope papers, 28 significance of, 69 B C Bag papers, 17 "C" stain for fibers, 77 Basis weight Calender cuts, 86 paper, 65 Caliper (see also Thickness) paperboard, 67 bond paper, 19 wedding bristols, 22 paperboard, 33 Beach puncture test, 103 Capacitor paper, thickness of, 121 Beating of fibers, 1, 76 Cardboard, 35 Bekk smoothness tester, 113 Cards, thickness of, 121 Bending board, 34 Casein, 71, 97 Bending chip, 80 Castor oil test, 88 Ben&sen smoothness tester, 113 Cellulose, 2, 62, 92, 100 Beta-cellulose, 62 Chapman smoothness tester, 113 Binders board, 36 Chipboard, 33
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5.5 Storage Enclosures for Photographic Materials
PRESERVATION LEAFLET PHOTOGRAPHS 5.5 Storage Enclosures for Photographic Materials NEDCC Staff peroxide can remain in the paper and be very damaging to all NEDCC photographs. Andover, MA With these concerns in mind, any paper product used for storage of photographs and negatives should be lignin-free and INTRODUCTION acid-free. Papers properly described as lignin-free are produced Because storage enclosures for from cotton or linen (which contain no lignin) or from wood photographic prints and fibers that have had the lignin chemically removed. Enclosures negatives are available in a constructed of paper in the neutral pH range (6.5–7.5) have no variety of materials and alkaline buffer. Buffered paper enclosures (pH 7.5–9.5) contain formats (paper or plastic, an alkaline material (such as calcium carbonate) that neutralizes folders, sleeves, or envelopes), acids as they form. Unbuffered paper enclosures are choosing the proper enclosure recommended for storage of color images, cyanotypes, and requires an understanding of albumen prints due to their sensitivity to alkalinity. the alternatives. This leaflet reviews the various options available and discusses the Although the word is not easily quantifiable, the word advantages, disadvantages, and special precautions of each “archival”—when used on its own—implies long-term storage option. and a chemically stable material. If a catalogue or product states that something is archival without any other information, it is Regardless of material or format, all enclosures used to house wise to ask why the product is described in that way. photographs should meet the specifications provided by the International Organization for Standardization (ISO).
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Introduction to Bagasse Products
Developments in pulp and paper manufacture from sugarcane bagasse Symposium and Workshop May 3 - 4, 2007 QUT, Gardens Point Campus, Brisbane Introduction to Bagasse Products Robert (Bob) W. Hurter, MBA, P. Eng. President HurterConsult Incorporated 4 – 5330 Canotek Road Ottawa, Ontario, Canada K1J 9C1 Email: [email protected] Web site: www.HurterConsult.com 1 Bagasse Pulps Short fiber pulp similar to hardwoods - generally considered a hardwood substitute. Typically, mixed with a portion of long fiber softwood pulp. Amount of bagasse pulp used depends on availability and cost of woodpulp, and paper or board properties desired. 2 Straw Pulps Bleached straw market pulp mills common in Europe up to the late 1960's. Used as a specialty pulp added in amounts of 10 - 20% to printing and writing papers, offset papers, banknote papers, drawing papers, waxing papers, bristol board and greaseproof papers. Used to improve formation, see-through and smoothness, and to impart stiffness and rattle. 3 Bagasse Pulps Also can be used as an additive to woodpulp papers to impart certain properties to the paper. But, virtually all bagasse pulp mills are integrated with paper mills and are located in regions where wood is either unavailable or woodpulp is expensive. 4 Bagasse Pulps Objective is not to improve certain paper properties but to use as little woodpulp as possible. Often sacrifice quality where necessary. Adjusting paper quality to suit regional requirements and the limitations of the raw materials available is a sound approach.
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Paper Glossary
PAPER GLOSSARY A Abrasion Resistance Alcohol/Alcohol Substitutes The level at which paper can withstand continuous scuffing or Liquids added to the fountain solution of a printing press to rubbing. reduce the surface tension of water. Absorption Aluminum Plate The properties within paper that cause it to absorb liquids A metal press plate used for moderate to long runs in offset (inks, water, etc.) which come in contact with it. lithography to carry the image. Announcement Cards Accordion Fold Cards of paper with matching envelopes generally used for A binding term describing a method of folding paper. When social stationery, announcements, weddings, greetings, etc. unfolded it looks like the folds of an accordion. Antique Finish Acetate Proof A paper finish, usually used in book and cover papers, that has A transparent, acetate printing proof used to reproduce a tactile surface. Usually used in natural white or creamwhite anticipated print colors on a transparent acetate sheet. Also colors. called color overleaf proof. Apron Acid Free Extra space at the binding edge of a foldout, usually on Paper made in a neutral pH system, usually buffered with a French fold, which allows folding and tipping without calcium carbonate. This increases the longevity of the paper. interfering with the copy Acidity Archival Degree of acid found in a given paper substance measured by Acid free or neutral paper that includes a minimum of 2% pH level. From 0 to 7 is classified acid as opposed to 7 to 14, calcium carbonate to increase the longevity of the paper. which is classified alkaline. Artificial Parchment Against the Grain Paper produced with poorly formed formation.
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Sound Is Music to My Ears
Sound is Music to my Ears “Give me 5!”….a phrase you have likely used many times to get the students’ attention…but why don’t they hear you?! Perhaps one student is sharpening a pencil, at the same time that another is washing their hands and simultaneously, there are groups of students chatting. All these sounds combine together and this causes the sound level to go up. Your voice is just one of many sounds their ears have to hear. What can you do to help them understand that all the extra noise makes you lose your voice when you strain to be heard? Well, let’s introduce the science behind it! Background Information Sound is a form of energy which is created when an object vibrates. When we hear sounds, it is because a vibrating object creates a disturbance in the air around us that cause the surrounding air molecules to vibrate. These air molecules contact and transfer energy to adjacent air molecules. This process creates waves that move in an outward direction. Sound waves are analogous to water waves, where when a rock is dropped into a body of water, the water waves move outwards from the rock. When the sound waves reach our ears, the air molecules in our ears vibrate which causes parts of our ears to vibrate and this allows us to hear the sound. Objects may vibrate in any state of matter: solid, liquid or gas. Although, sound waves we hear travel most commonly through gas (air), sound waves travel better in liquids and solids.
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X-4802-1 48.02
48.02 48.02 - Uncoated paper and paperboard, of a kind used for writing, printing or other graphic purposes, and non perforated punch-cards and punch tape paper, in rolls or rectangular (including square) sheets, of any size, other than paper of heading 48.01 or 48.03; hand-made paper and paperboard (+). 4802.10 - Hand-made paper and paperboard 4802.20 - Paper and paperboard of a kind used as a base for photo-sensitive, heat-sensitive or electro-sensitive paper or paperboard 4802.40 - Wallpaper base - Other paper and paperboard, not containing fibres obtained by a mechanical or chemi-mechanical process or of which not more than 10 % by weight of the total fibre content consists of such fibres : 4802.54 - - Weighing less than 40 g/m² 4802.55 - - Weighing 40 g/m² or more but not more than 150 g/m², in rolls 4802.56 - - Weighing 40 g/m² or more but not more than 150 g/m², in sheets with one side not exceeding 435 mm and the other side not exceeding 297 mm in the unfolded state 4802.57 - - Other, weighing 40 g/m² or more but not more than 150 g/m² 4802.58 - - Weighing more than 150 g/m² - Other paper and paperboard, of which more than 10 % by weight of the total fibre content consists of fibres obtained by a mechanical or chemi- mechanical process : 4802.61 - - In rolls 4802.62 - - In sheets with one side not exceeding 435 mm and the other side not exceeding 297 mm in the unfolded state 4802.69 - - Other Uncoated paper and paperboard, of a kind used for writing, printing or other graphic purposes, and non perforated punch-cards and punch tape paper of this heading are defined in Note 5 to this Chapter.
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Hurterconsult 1
HurterConsult 1 Nonwood Plant Fiber Uses in Papermaking By Robert W. Hurter, P.Eng., MBA, President, HurterConsult Incorporated. Extracted from "Agricultural Residues", TAPPI 1997 Nonwood Fibers Short Course Notes, updated and expanded August 2001. Generally, nonwood plant fiber pulps can be grouped into two broad categories: • common nonwoods or hardwood substitutes such as cereal straws, sugarcane bagasse, bamboo (shorter fiber species), reeds and grasses, esparto, kenaf (whole stalk or core fiber), corn stalks, sorghum stalks etc. • specialty nonwoods or softwood substitutes such as cotton staple and linters; flax, hemp and kenaf bast fibers; sisal; abaca; bamboo (longer fiber species); hesperaloe etc. As with wood, there are differing chemical and physical properties within the two groups depending on the nonwood fiber raw material (see Nonwood Plant Fiber Characteristics). The current uses of nonwood pulps include virtually every grade of paper produced including: • printing and writing papers • linerboard • corrugating medium •newsprint • tissue • specialty papers Typically, common nonwood pulps or hardwood substitutes are produced in integrated pulp and paper mills, and softwood kraft or sulfite pulp is added to provide the strength requirements to the paper. However, specialty nonwood pulp may be used instead of softwood kraft or sulfite pulp thus producing a 100% nonwood paper. And, in some cases, wastepaper pulp may be blended in the furnish. The nonwood portion of the furnish typically varies from 20 to 90% and can be even up to 100% depending on the paper grade and required quality. The possible combinations are endless and can be adjusted to meet market requirements. Furthermore, it is possible to add small quantities (up to 20 - 30%) of common nonwood pulps to primarily woodpulp-based papers without impairing paper properties or paper machine runnability.
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Bienfang® Paper
BIENFANG® FINE ART PAPER BIENFANG® PAPER 1 5 SKETCHBOOK BRISTOL BOARD This Sketchbook features 75 sheets of premium white, acid-free DRAWING PAPER PAD paper and a durable polypropylene cover for superior protection Premium quality and economically priced, acid-free bristol of sketches. The 70lb (114gsm) fine surface paper is ideal for use available in 20 sheet, glue-bound pads. Choose from two with graphite, colored pencil, charcoal, pen & ink, soft pastel and surfaces; vellum or smooth. Vellum surface is excellent for graphic work using pencil, crayon, colored pencils, charcoal, oil pastel. Wire bound construction provides the ultimate working pastel, oil pastel and light washes. Not recommended for most surface for sketching anywhere. watercolor techniques.Smooth surface is excellent for drawing WEIGHT: 70lb (114gsm) SURFACE: Fine Tooth with pencil, pen & ink and markers. MEDIA: Graphite Pencil, Colored Pencil, Charcoal, Pen & Ink, Soft Pastel, WEIGHT: 146lb (238gsm) SURFACE: Smooth/Vellum Oil Pastel MEDIA: Vellum - Graphite Pencil, Crayon, Colored Pencils, Charcoal, Pastel, Oil Pastel, Light Washes SIZE SHEETS Smooth - Graphite Pencil, Colored Pencil, #234500 6" x 9" 75 Pen & Ink, Marker #234501 9" x 12" 75 VELLUM SIZE SHEETS 2 #R210121 9" x 12" 20 SKETCH PAPER PAD #R210130 11" x 14" 20 Sketch pad featuring 100 sheets #R210140 14" x 17" 20 of light-weight (50lb), acid-free 1 SMOOTH SIZE SHEETS paper that is suitable for use with #R211121 9" x 12" 20 graphite, colored pencil, charcoal, #R211130 11" x 14" 20 pastel, oil pastel and pen & ink. #R211140 14" x 17" 20 5 The wire-bound construction provides the perfect working 6 surface for sketching anywhere MIXED MEDIA PAPER PAD and is ideal for experimentation, The Bienfang® Mixed Media practicing techniques, or quick Pad is an excellent choice for studies in the classroom or studio.
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