LaTeSt On PaPeR

PAPER PROFILE

SPREADING THE WORD ABOUT SUSTAINABILITY

Domtar's new environmental brochure presents a colorful overview of thecompany's commitments and serves as an information tool for end-userswho seek to put their sustainability commitment on paper.Since its launch in April 2005, the line of Domtar

EarthChoice papershas become a benchmark for environmentally and socially responsiblepaper products.Its success lies on the product line's ability to respond in practicalterms to the needs of the business world -- including corporations,designers and printers.Giving Wings to Sustainability addresses Domtar's stance on today'smost pressing environmental issues and answers some of the keyquestions about the popular Domtar EarthChoice line.

What are thefunctional, corporate, environmental and social benefits of thisexclusive line of paper? What has inspired leading environmental groupsto support this line?Leadership in action through FSC certification While there are variousforestry certifications in the marketplace, only the standards set bythe Forest Stewardship Council, an independent international nonprofitorganization, are widely endorsed and supported by environmentalgroups.

Domtar manages close to 17 million acres of directly owned andlicensed forestlands, as well as an additional 7 million acres on acooperative basis. Well over half of these forest acres have alreadybeen certified by the FSC.Click here for the complete article.

http://clicks.aweber.com/z/ct/?8Wa95pSslV5fDYVlx9Ku.QTo download your free copy of Domtar's new environmental guidebook,visit http://clicks.aweber.com/z/ct/?fbtxpHHVd8ED6yy6khpeFA orcall 1-888-EChoice to learn more about Domtar EarthChoice

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WHAT'S NEW IN PAPER

Our PaperSpecs database is constantly revised to reflect the changingindustry. This week, the following paper lines have been updated oradded:AddedDomtar - Domtar Opaque Plainfield, Domtar Rampart Opaque, Domtar Vista OpaqueUpdatedNewPage - Sterling Ultra Gloss, Dull and MatteAppleton Coated - Utopia Two Digital MeadWestvaco - Tango

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PAPER NEWS

NEENAH'S CLASSIC COLUMNS SAMPLER

Neenah Paper has reinvented CLASSIC COLUMNS Writing, Text and Coverwith bold new colors and a totally new "XL Finish" (extra largepattern) available in Solar White, Epic Black and Red Pepper.Designers love to create on paper that has intriguing texture withluxurious color and the CLASSIC COLUMNS line, with its premium surface,has enough touch, look and feel to create design impact.

RequestNeenah's new Paper Sampler and use a Wine Tag, Gift Tag, Bookmark,Letterhead, Announcement and more.

For more information on Neenah Paper's CLASSIC COLUMNS 2006 swatchbookor promotion, call 1-800-558-5061 and press "5" or go tohttp://clicks.aweber.com/z/ct/?Wwva8.GpJtCrpUDvDmVTVQ.

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PRINT PRODUCTION AND TRAFFIC AWARDS

The Advertising Production Association of Los Angeles held its 28thAnnual Achievement Awards Banquet on June 2, 2006 to honorwell-respected members of the Graphic Arts industry.

Sally Toth of Kodak was noted for her extraordinary accomplishments andwas given this year's President's Award by the current president, EvaQuan. Nan Faessler from Kirk, Nationwide Papers, xpedx took home theIndustry Spirit Award, recognized for her tireless cheerleading forboth the print industry and the APALA. The APALA organization conductseducational seminars, tours and speaker presentations to promote theinterests of the Print Production, Traffic Management and DigitalStudio communities in Los Angeles.

For information on APALA events or membership, contact VeronicaThompson at 818-558-7182, or e-mail vero@apala.org. More information isavailable at their Web site at http://clicks.aweber.com/z/ct/?b9Nw4KhYPYWpyTjRlxAu6A.

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XEROX GOES TO HOW

The graphic designers at the HOW Design Conference on June 12-15 in LasVegas got a chance to see the quality and impact digital color printingcan bring to their work, compliments of Xerox.

Each participant took home one of nine 14" x 20" commemorative posters,which were the winners of a national contest jointly sponsored by Xeroxand Adobe Systems commemorating the 2006 conference. The posters wereprinted on Xerox Digital Color Elite Gloss 110-pound paper and printedon a Xerox iGen3 110 Digital Production Press by a Xerox PremierPartner, ColorCentric Corporation in Rochester, N.Y.

Anyone interested in a PDF showing all nine posters can contact NeilFagenbaum at 585-422-4456 or e-mail neil.fagenbaum@xerox.com.

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ICOGRADA DESIGN WEEK

July 9-15, 2006 Seattle, WA

For the first time, Icograda Design Week will be based in the U.S. andwill address how designers can contribute to a healthy world economywhile being mindful of the cultural, environmental and political impactof design.

Icograda Design Week will present an international forum to discuss therole of design amidst incredible change in the world. Attendees willjoin discussions of important issues affecting global design, connectwith the international design community and find out how to prepare forglobalization.

Register before April 10 to take advantage of their Early Bird rates.For more information, go to http://clicks.aweber.com/z/ct/?in51h1I3rI2ZWIntG17Cpg.

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PAPER TIPS

WHERE HAS ALL THE DATA GONE

By Frank Romano

Variable data printing is useless without the data. That's why we callit Variable "Data" Printing.

All the great design in the world will not substitute for bad lists andirrelevant data.

All of the great direct marketing verbiage will not make up for a lousydatabase. Great paper? Great printing? Forget it, unless you know youraudience. Thus, most VDP is simply name and address.

I have had it with personalizations that say "Frank, ..." on thepostcards and self-mailers I receive. "Frank comma" is not verypersonal. In fact, it is personalization for dummies.

It is getting as tiresome as the early days of inkjet when your namewas in 64 point jagged type or the 1990s, during the "You May Be aWinner" era.

Great data for great marketing According to a survey by ExperianMarketing Services, 75 percent of businesses globally think they losemoney through missed business opportunities because they cannot profilecustomer and prospect data quickly and effectively due to data qualityissues. In the U.S., 77 percent of companies admit that shortcomings indata quality hurt their bottom lines. The main problem stems fromduplicated data and incorrectly addressed mail.

Click here for the complete article.http://clicks.aweber.com/z/ct/?QBa_miIIdGMhfsHjfCxJzQ

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IMAGINE HUNDREDS OF SWATCHBOOKS IN ONE PLACE

Fast, comprehensive, up-to-date.

That's PaperSpecs. The only independent online swatchbook. Choose froma wide range of criteria and find the perfect stock for your project.Discover thousands of great papers at http://clicks.aweber.com/z/ct/?YHSvQvmALktiNX3vBfuo3Q

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ABOUT YOUR SUBSCRIPTION

Lorna, you are getting this newsletter because you orsomeone at your office subscribed to it.We are proud to comply with all e-mail and antispam regulations. If youwant to unsubscribe or change your information, just scroll down to theend of this newsletter and use the provided link.

Please do not reply to this e-mail. We do not monitor this account. Ifyou would like to get in touch (we love that), simply drop us a line atinfo@paperspecs.comOther creative professionals are welcome to receive these updates.

Justtell them to visit http://clicks.aweber.com/z/ct/?YHSvQvmALktiNX3vBfuo3Q

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PaperSpecs - 127a Coleridge Ave - Palo Alto CA 94301

To unsubscribe or change subscriber options visit:http://www.aweber.com/z/r/?TAyMTOyMtMysnKzMHMyM

PhOtO sTaMpS... cOoL eH?

i am sure you'll be fascinated to check this fresh stuff Paper.com bids.
uhmm, to a certain extent personalized 'Stamping' is cool.. isn't it lorna?

create photo stamp

aRt!St BoOk

Make an Artist Book

Pictures have long been used in books to either add information or to make the text more attractive. Thus, it's not surprising that artists have been involved with book-making for centuries. While some artists work as book illustrators, other artists are more interested in making us look at "the book" in new ways. These artists create special books which are often thought of as works of art in themselves. In this project, you will get to make your own "artist book" and look at some special books by other artists.

Materials You Need: A grocery bag, scissors, glue stick, stickers, ink stamps, old postage stamps, felt-tip markers, colored papers, and magazines with lots of pictures.

Getting Started: To begin you need to make the pages of your book. There are many ways to construct an one-of-a-kind book. Here are instructions for making a book out of a paper bag. Elsewhere on the web, you can find instructions for making a concertina book or a book using a Japanese binding technique.

The Project: Books are special places for telling stories, expressing feelings and sharing ideas. You can write and draw in your book. You can cut shapes from colored paper or pictures from old magazines and glue them in your book. You can cut and fold the pages of your book. You can also paste stickers and stamp shapes in your book. Whatever you choose to do, you need to first have an idea or story you want to share with others.

Once you've made the pages of your book, try one of these ideas for making your book unique:

• Tell others about an adventure you've had.
• Make an "I am Book" that shows others special things about you.
• Describe, in pictures and words, a recent trip you've taken with your family.
• Illustrate a story about your favorite hero.
• Make up a story about something that might have happened many years ago.
• Share your ideas about how to make the world a better place.
• Imagine that aliens land in your back yard one night. Tell the story of your "close encounter."
• Make up your own story to share with others.

Remember that, as a "book artist," each page of your book should be interesting to look at as well as interesting to read. Think about how you can make your book special by arranging the pictures and text on each page.

Once you have finished your book, share it with others.

Want to Do More? Check out the work of these two artists who will make you think about books in new ways: Meg Belichick uses materials like wire, glass, mudflaps and brake shoes to make an unique sculptural book; while Susan Rotolo uses a wooden box, various papers, ink, rayon, and linen to create her book. See if there are any book artists who work in your community. Perhaps you can visit their studios or invite them to your classroom.

Other Web sites worth visiting include Book and Paper Arts for Kids which has listings of related book arts resources for kids and Susan Kapuscinski's Bookmaking Projects. Also, visit the @rt library for books on book-making.

sOmE iNgReDiEnTs Of ScRaPbOoKiNg

"SCRAPBOOKING PAPER"

Scrapbooking Paper

Paper is the most classic scrapbooking supply you will choose. Paper comes in many styles, sizes, weights and designs and can be overwhelming especially to the beginning scrapbooker. Additionally paper can be used in so many different ways – the actual page to scrap on, mats, backgrounds and borders, punching, die cutting and more! We will begin “at the beginning” and work through a variety of types of paper and its typical uses in the art of scrapbooking.

General Guidelines

No matter what you are using the paper for, it is imperative that you use acid free paper. Acid is a byproduct of the process of making paper and while it has always been removed from high quality paper, it is not always removed from less high quality paper such as construction paper. Many everyday items – newspapers, cards, copy paper, etc. are likely not acid free. The acid causes not only the paper itself to fade and deteriorate, but the acid will also cause the photos and other items on the page to do so as well. Scrapbooking paper manufacturered specifically for the scrapbooking industry is generally acid free. If you are in doubt just ask before you purchase it! It is also best to use lignin free paper. Lignin is a chemical naturally found in wood so it can be found in paper as well. It too can cause some of the same problems as acid, however, it is generally thought that lignin will react over a very long period of time – 100 years for example. However, most scrapbooking paper is lignin free and since paper is so often the basis of the page, it is a good idea to make sure your paper is both acid and lignin free.

Scrapbook Sheets

Scrapbookers that choose albums that come with actual scrapbooking sheets (such as the Westrim Crafts Strap-hinge Albums ) do not need to specifially choose paper to scrap their photographs on since they will simply use the sheets that come with the album. However, if one chooses an album that uses top loading page protectors some typically come with the sheets and some do not. Only one sheet is included in each double-sided protector and not everyone wishes to scrapbook on one page back to back. Therefore, some scrapbookers choose cardstock to actual form the basis of their scrapbook page. One advantage of this system is that you can choose colored or textured cardstock for the background instead of always starting with a white page. Plus if you like to use a lot of paper in your scrapbook, your album will be less thick if you are not placing background paper on a scrapbook page. However, many scrapbookers prefer to use the strap-hinge system and there is no doubt that the scrapbook pages are generally heavier than cardstock and give the album page more support.

Scrapbooking Cardstock

Cardstock is a scrapbooking supply basic! Do not confuse cardstock with construction paper. Construction paper is not high enough quality to use in your scrapbook and will fade in a very short period of time. Cardstock can be used a variety of way for backgrounds and is also used extensively for matting photographs. It is a very simple enhancement to cut a piece of color coordinated cardstock approximately ¼” larger than your photo and put the photo on top of the colored cardstock. Cardstock is available in an unlimited number of colors. Traditional cardstock is not usually textured and is readily available in either 8 1/2 X 11 or 8 1/2 X 11 sizes. The newest scrapbooking album size – 8 x 8 – has created a new line of 8 x 8 cardstock as well. This cardstock works best for punching out shapes with a scrapbooking craft punch since it is not as thick as the textured cardstock.

One of the newest trends in scrapbooking cardstock is textured paper. Typically it has a lighter or white inside which makes tearing it produce a unique look for scrapbooking and making greeting cards or other craft projects. Bazzill Basics line of textured 12 x 12 cardstock is awesome. It is often found in monochromatic packages which give the scrapbooker a full color line of this heavy, high quality paper. Additionally Die Cuts with a View has a full line of textured paper with matching scrapbooking embellishments for a complete look.

Printed Papers

Printed scrapbooking paper is a must have for any scrapbooker’s supplies. It is available in almost any theme imaginable. While most scrapbooking paper is 12 x 12, there are also great 8 ½ x 11 printed papers. The Great Papers line from Rainbow World is a particularly nice line of 8 ½ x 11 printed paper usually available for a very reasonable prince. Printed scrapbook paper can be used as the background for the scrapbook page. Matting pictures with solid cardstock on a printed background page is a classic look. Using the printed paper as the mat on a solid background can be effective as well.

One of the newest looks is photo real scrapbooking paper. From the ocean to seashells to grass to popcorn, there is a photo real paper for everyone! This paper can be very effective – especially in a double page layout perhaps using the photo real scrapbooking paper cut in half or torn on one side of both layouts.

Most printed papers are lighter weight which makes them easy to use as backgrounds on top of a scrapbook page or solid cardstock. However, several companies offer cardstock weight printed paper. Paper Loft has an especially nice line of printed cardstock papers as well as a photo real line.

Scrapbook Tips...

wOuLd YoU kNoW...

Which is the strongest and most durable paper?
Currency note paper is strongest and most durable grade of paper.
And there are currency paper used as dummy though..

PaPeR MoDeLs

Just like plastic, metal and wood, paper is a great way to create models and toys. Paper models typically cost less and you don't have to worry about painting or toxic glues.

see link >> this one is cool!!

ThIs OnE iS aLaRmInG!!

Paper Maker Sued By Residents Over Gases

A giant paper maker has been sued for allegedly polluting the environment.

One hundred and eighty residents of Webuye Division in Bungoma District want the PanPaper Mills be kicked out of the area over the alleged crime. In a suit filed at a Nairobi court through their lawyer, Mr Wanyonyi Chebukati, yesterday, area residents claimed that continued production by PanPaper was unlawful.

They said that since its inception, PanPaper been producing offensive and poisonous matter. As a result, they argued, the company had made them suffer several illnesses that had affected their ability to work or engage in any meaningful economic activity." Among the illnesses they claimed they had suffered as result include general irritation of the eyes and the respiratory tract, inflamed membranes and cancer of the respiratory tract. Other problems they claimed they faced include irreversible damage of the brain, liver complications and impotence in men.

The residents further claimed that due to the company's failure to comply with the National Environmental and Management Act, they were exposed to heavy doses of hazardous gases such as hydrogen, sulphur dioxide, carbon monoxide and chlorine. They further claimed that the paper maker had failed to provide adequate information on dangerous materials such as mercury, phenols and chlorine. "The effect of this on human and animal life in River Nzoia is enormous," said the residents.

They also want the company to provide alternative settlement for the locals and other people living within a radius of two kilometres from the factory.

source..

HoUsE oF wAx . . . OhH sOrRy HoUsE oF pApEr , I mEaN

Ever heard of the movie "House Of Wax"? wow!! that justly amazed me, because the whole thing in the movie was WAX!! arghh!! Oh well, Paper won't be late though, just wondering how many tons of papers was used to build this masterpiece?? uhhmm??...

In 1922 and through the Depression, Elis F. Stenman decided to experiment with old newspapers. A mechanical engineer and amateur inventor, Elis built the summer house in Pigeon Cove, MA to prove that paper makes good insulation. He created a building block material purely out of newspaper. He glued layers of newspaper together and then subjected it to 2 tons of pressure. These paper logs were cut and then varnished and stapled or nailed together. Stenman and his family built the two-room summer home AND all the furniture in it entirely of newspapers in a 20-year project. With donations of papers from friends and neighbors, approximately 100,000 newspapers were used. Now THAT’s recycling!

The only wood used in the house was for the frame, floor and roof. The walls are made of with 215 layers of newspaper and are one inch thick. They are protected by a large overhanging roof (covered with tar and shingles). Originally, Stenman planned to cover the outside of the walls with clapboard but just didn’t get around to it. He was curious to see what would happen to the paper.

The house itself was done in 1924 and Stenman began living in it during the summers and building the furniture inside. The furniture is usable and quite heavy. It is entirely made of paper except the piano (simply covered with paper) and the radio (covered with news of Herbert Hoover’s presidential campaign in 1928). The grandfather clock was made from daily newspapers from each of the capitals of the 48 states (no Alaska or Hawaii in the 1930s). The bookcase near the bed was made from foreign newspapers. One desk was made with Christian Science Monitors. Another desk with newspaper reports of Lindbergh's solo flight across the Atlantic in 1927. (In the postcard view above, there appears to be a portrait of Lindbergh hanging above it.) There are also octagonal tables, chairs and a fireplace (made of paper except for the chimney!). Mrs. Stenman made all the drapery of paper (using the comics for color).

The house was wired for electricity and had running water but no bathroom. An non-paper outhouse is nearby. A porch was added in the early 1930s and it helps to protect the House’s walls. Word got around about the Paper House and it became a local attraction in the 1930s. But it did not become a full-fledged museum or charge admission until Stenman died in 1942.

To maintain the building, the walls are re-varnished from time to time. But the interior is left as is so you can still read the papers. The current owners (Stenman’s grandniece) live next door (in a regular house), give tours and care for the Paper House.

tHe BeSt PaPeR aIrPlAnE

By: Michael O'Reilly


During the summer of 1950, on the outskirts of Harrisburg Pennsylvania U.S.A., my sister's boyfriend "Skip" was sitting on the glider on the front porch of our house. He said to me - "Hey Mike... bring me a sheet of paper." I answered why? and he responded with his make believe impatience "Just bring it!" I obeyed and he said that he was going to build the best paper airplane in the world.

I was eight years old at the time and my meager knowledge of paper airplanes was the traditional flying wedge that spiraled into tight loops and fell head first to the ground. When he started folding the paper, I knew this was something different, something special. He never explained how he did it but every move, every fold, every detail was burned into my memory. After he finished, we walked the porch handrail and he gently tossed it horizontally towards the street.

It glided like no paper airplane I have ever seen before, it was acting like a REAL airplane. It gently curved into the slight breeze and began to rise vertically without moving forward. The craft then began to lower as if it were a helicopter and gently came to rest on the asphalt below. Over the years, I have shown many eight year old children this paper plane. I don't know if they will remember but I hope they pass the knowledge on.

Assembly Instructions - How to build it

tHe ToUcH oF hAnD mAdE pApEr

Handmade paper is traditionally made with various vegetable fibers or cotton rags, but to use these materials involves boiling and using caustic chemicals to break down the fibers. A much easier method uses recycled paper and can be just as much fun and employ just as much creativity. A simple mould and deckle can be made from two small embroidery hoops, keeping the cost well within the normal crafter's range

You will need the following to complete this first Project

1. 2 small embroidery hoops, either round or oval
2. A small bit of window screening or curtain screening (fine mesh net)
3. Paper to recycle
> unprinted computer paper
> typing paper
> copy paper
tissue paper (results in a much finer paper but should be mixed with heavier paper for strength)

> cardstock scraps or heavier paper (results in a heavier handmade paper)
> **Note** avoid newspaper, printed papers or slick coated papers

4. A blender or food processor
5. A small platic tub (large enough to easily emmerse the embroidery hoops)
6. White felt or Handi-Wipes cut into pieces slightly larger than the hoops
7. LOTS of newspaper
8. A small amount of liquid starch (for sizing)
9. A few heavy books

Making the Mould & Deckle

Cut a small piece of screening at least two inches larger around than your hoops. Separate the two parts of one of the hoops and stretch the screen over the inner one tightly, securing it with the outer hoop as you would a piece of material for embroidering. This frame now becomes the mould and the uncovered hoop becomes the deckle.

see representation

Preparing the couching cushion

The couching cushion should be prepared prior to the papermaking process. Couching is the traditional term for transferring paper onto the surface upon which it will dry. Using the non screen covered deckle, trace the inside of the shape onto several thicknesses of newspaper and cut out a thick pad. Set these to the side on a flat surface, placing several thicknesses of regular sized newspaper beneath the couching pad. The pad may be dampened to allow it to lie flat and should be covered with a dampened sheet of felt material or Handi-Wipe. Depending on how many sheets of paper you wish to make, several couching pads can be made ahead of time. Each pad will hold up to 10 sheets of paper, depending on the thickness of the paper you create.

Preparing the Pulp

Tear, never cut, the paper to be recycled into pieces about the size of a large postage stamp. Paper pieces and pulp may be prepared ahead of time and stored in jars or other covered containers.

Fill the blender or food processor no more than 3/4 full of water and put in no more than 35 pieces of torn paper for every 4 cups of water. Attach the cover and begin the pulping process, by turning the blender on. Generally, lightweight papers need to be processed for 25-35 seconds, tissue for 60 seconds, and card weight for 70-90 seconds. Paper can be soaked overnight to speed the fiber breakdown and requires less blending time.

When the first batch of pulp is prepared, pour it into the tub and continue processing paper and adding it to the tub until the tub is half to two-thirds full. Stir the pulp gently with your hand or a clean spoon to distribute the fibers evenly in the water. If left undisturbed, they will settle quickly to the bottom.

Now is the time to add the liquid starch for sizing. Sizing is desirable to avoid inks from soaking into the paper fibers. If the paper is going to be used for writing on or stamping, it is advisable to add some type of sizing. Stir 2 teaspoons of liquid starch into the pulp.

Creating the Paper

Fit the deckle (open hoop) over the mould (netted hoop), so that the netting is sandwiched in between. see representation

Hold the mould and deckle firmly together and over the far side of the tub, making sure that the deckle is facing you. see representation

Then, with smooth movements, lower the edge of the mould and deckle vertically into the pulp on the far side of the tub. Pull the mould and deckle toward you, while at the same time, bringing them to a horizontal position under the pulp, with the deckle on top of the mould. Lift the mould and deckle straight up out of the pulp, making sure to keep them horizontal. Hold them a few inches above the surface of the pulp and allow the excess water to drain off, at the same time shaking gently to allow the fibers to settle evenly. Rest the edge of the mould on the nearside corner of the tub and gently lift off the deckle, making sure to support the mould. This should be done quickly, taking care not to drag the deckle into the pulp on top of the mould. Also, try to avoid dripping water from the deckle onto the mould. The paper is now ready for couching.

Couching the finish Paper

Couching the paper can be a little tricky, but like with most things, you will improve with practice. Carefully hold the mould in a semi vertical position on the near side of the couching cushion. see representation

In as fluid a movement as possible, lower the sides of the mould so that the paper is face first on the cushion. Press firmly. see representation

Gently lift the nearer end of the mould, pressing the further edge firmly into the cloth. If the paper does not release, gently shake the mould or use a palette knife to remove it.

see representation

Several sheets of paper can be stacked on the mound, making sure to cover each one with a section of dampened felt before the next one is added. After all the pulp has been used, press firmly on the mound, squeezing out as much water as possible. The newspaper pad beneath the couching cushion may have to be changed several times. Placing dry newspaper underneath and on top, weight the stack of papers with a few heavy books and allow to dry. The sheets of newly made paper may also be allowed to dry singly, but will have to be either ironed or weighted when dry.

Varying the Size of the Paper

Several sizes of handmade paper can be created in the same manner by using inexpensive wooden picture frames instead of embroidery hoops. Be sure to purchase two frames the same size as each other, one for the mould and one for the deckle. It is advisable to use the sturdier window screening for any moulds larger than small embroidery hoops, since the more pliable window netting with stretch and sag within a bigger framework. Attach the screening to the mould with small tacks or staples, remembering to stretch it as tightly as you can. Small strips of plastic may be helpful underneath the tacks or staples to help hold the screening firmly in place. It is also necessary to remember that you will need a tub big enough to completely emmerse the mould and deckle in a horizontal position. Cat litter pans work well as do the large plastic containers made by Rubbermaid.

Coloring & texturizing the paper

There are several different ways to produce pretty colored papers. Powdered paint and liquid paints will both tint the pulp before the sheets are formed. Food coloring can be used, as well as waterbased inks. Tearing up small bits of colored paper and adding them to the recycled paper when making the pulp will give a pale tint to the sheets. Also, you may wish to include natural plant dyes, such as those made from tea or herbs.

Texture, both visual and tactile can be added in many ways. Snip small pieces of embroidery thread and either include it in the pulp or sprinkle it across the newly formed sheets before couching. Dried flower petals, either whole if they are small, or crumbled into the pulp will make a pretty paper. In fact, almost any plant material will work well, such as grasses, grass seeds, bits of fern, etc. But don't stop there. Try sprinkling bits of paper confetti, or even the mylar kind. Try a sprinkle of glitter in the pulp. Yarn fibers, bits of raffia, tiny bits of torn or cut tissue paper, tea leaves, dried herbs, burlap fibers, and a handful of crumples dried leaves...all these and more can give your handmade paper a special individuality. Experiment, try lots of things.

You can also learn with a little practice to make impressions or "castings" with still damp, newly formed sheets. Look for patterns around you, or make your own. Laying a still damp sheet face down on a piece of burlap and then covering it with a board and a few books atop that, will produce a sheet of paper with a surface texture of the burlap. Couching a sheet of damp paper over a bowl and folding the sides and smoothing them, then letting it dry in place will produce a "paper bowel". Use your imagination here to create all sorts of things with your own handmade paper.

bEsT pApEr FoR iNkJeT pRiNtEr - PhOtOgRaPhY

Finding the Best Paper

Paper Preference

Playing Safe
Using only the inks and papers recommended by the printer manufacturer is a safe choice, but not always the best course to adopt. It is a policy that makes it easy to get satisfactory prints, but will not provide the best prints your printer can produce.

Saving Money
There are several good reasons to use other materials. Firstly you may simply want to save money. There are cheaper inks and papers that can produce results similar in quality to those from your printer manufacturer. So long as you buy from reputable sources - especially the printing specialists - you can get inks and paper at lower cost that can print as well. However you will need to be prepared to spend some time testing and adjusting your printer settings to get similar results.

Cheap papers are suitable for normal printing for pictures to share with friends and family, and also have their use for proofing pictures you intend to print for sale or display on more expensive materials.

However, some of the very cheap materials I've tried have printed so poorly that I would not want to show the pictures to anyone, and they would be little use as a proofing medium. Always check by testing small quantities before buying large supplies.

Choices Of Surfaces
You may not like the particular paper surfaces that are provided for your printer. Although the range provided by, for example Epson, is large enough to be confusing, the papers included in it actually only cover a fairly small range of what is available. Using papers from independent makers gives you a much wider choice, including many different textured papers and shinier gloss finishes as well as some unusual materials including some non-paper surfaces including fabric and plastic films. You may prefer to print on a paper with a less bright white or even a noticeable cream tone.

Choice Of Weight
The traditional measurement of paper thickness is by the weight, now usually given in grams per square meter. Normal typing paper is around 80 gsm, and typical inkjet papers range from 120-310 gsm. The feel of a sheet of paper - how flexible it is - is more important than either the thickness or weight. For prints that have a similar feel to normal photographic prints, you probably need a weight of around 250 gsm.

Many inkjet papers feel relatively flimsy, and fold and crease easily. We are used to the plastic coating on RC print papers that considerably increases their resistance to careless handling.
Some of the more expensive fine-art papers are over 300gsm, and this can cause problems with the paper feed in some printers. Models that have a significantly curved path for the paper through the machine are particularly unlikely to be able to use such heavyweight papers.

However, you can seldom believe what the printer manual says about paper weights; I've used paper double the maximum weight specified with some printers without problems.
For some purposes, especially where the paper is to be mounted on a suitable backing to protect it, thin papers may be better. They are also likely to be cheaper.

Archival Qualities
Three factors - paper, ink and paper coating - interact to determine print lifetimes, as well as the environmental factors including storage and display conditions. Good papers are likely to lead to longer lifetimes, and as with most other media, this generally means acid-free materials.

Cheaper paper generally will not last well, breaking down over time to give acidic materials that will attack the image. Acid-free papers usually perform better. It is possible to add materials to papers and card to mop up any acidity that is produced - giving what are known as 'buffered' materials, such as Crane's 'Museo' paper.

The best papers are generally made from 100% cotton rag rather than wood pulp, and these tend to be expensive - at least a dollar for an A4 sheet and often rather more.