Paper Making

Fibre dimensions are of great significance due to their strong relationship with the strength properties of wood and paper. The fibre characteristics of three selected plant species (Verbenaceae family Duranta erecta and Lantana camara, Lamiaceae familyVitex doniana ) were determined and their pulp and paper making potentials were compared with that of Gmelina arborea. The mean fibre lengths of the species were found to be short since they were less than 1.6mm. Gmelina arborea has the highest slenderness ratio with a mean value of 29.8241±1.0928 and the highest coefficient of flexibility (0.8584±0.0109). The Runkel ratio was highest in Duranta erecta recording an average of 0.6507±0.0638. However, the derived fibre values: slenderness ratio, coefficient flexibility and Runkel ratio of the species studied were considered to be good paper making potentials, therefore, making Duranta erecta, Lantana camara, and Vitex doniana a suitable substitute for Gmelina arborea in the papermaking ...

The fourth known pre-Columbian Maya codex, the only one discovered in the twentieth century, was found by looters in the mid-1960s. First exhibited in New York in 1971, what has come to be known as the  Grolier Codex is half of a 20-page, 104-year divinatory hybrid-style Mesoamerican Venus Almanac, probably the physically oldest surviving pre-Columbian book, and with new radiocarbon dates that place it in the thirteenth century CE. It is likely to be the oldest surviving book on paper from the Americas as well as the only ancient Maya codex now residing in Mexico. Although most Mayanists have accepted it as authentic, based in part on the author’s 40 years of research, it remains an unacknowledged Mexican national treasure, as it has never been officially recognized. Mesoamerican Venus Almanacs were widely used in pre-Columbian Mesoamerica to regulate practices of sacred warfare, the goal of which was to obtain captives for sacrifice, their blood shed to invoke the personified forces of rain and fertility. The  Codex offers unique images of 10 of the 20 manifestations of Venus, greatly enriching our knowledge of these traditions. The present study offers a brief history of accounts of the discovery of the Codex and allegedly associated artifacts; presents a documented photographic history; outlines the author’s comprehensive program of research, including several new scientific discoveries; and offers a new Latinized name that recognizes that the Codex Mayano-Mexicanus is an authentic ancient book deriving from the Maya culture and now properly residing in Mexico.


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This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

1- In this study, semi-chemical pulps from palm fronds and banana leaves were produced.
2- The strength properties of the produced semi-chemical pulp are comparable to the chemical bagasse pulp.
3- It was found that the tensile index of new pulp was 33.65 N.m/g compared to 50.90 N.m/g for bagasse pulp, tear index was 10.35 mN.m2/g compared to 5.74 mN.m2/g for bagasse pulp, burst factor was 17.14 compared to 36.40 for bagasse pulp.
4- Optimizing pulp of palm fronds and banana leaves can produce better pulp with high strength then can substitute part of the imported wood pulp.

Reproduction of documents is an important service of providing exact copies of information and helps to preserve the original documents. The module is therefore intended to introduce learners to reprographic methods and the equipment used in the reproduction of information. Learners will acquire skills to operate reprographic machines and care for their conservation.

The birth of a Topographical Office in Naples in 1781 led to the a series of activities useful for the construction of the Map of the Kingdom of Naples. Mechanicians, instruments makers, copper suppliers, professors of engraving and lettering. The Map of the Kingdom gave rise to new professions and new productions that lasted and grew up to the end of the Bourbon Kingdom in Naples.

Printmaking gives artists the chance to experiment with a variety of supports after completing their image. In this essay Amy Hughes describes the importance of handmade papers used by Jasper Johns (b. 1930) during his early years as a printmaker at Universal Limited Art Editions. His prints reveal the crucial collaboration between the artist, printmaker, and papermaker. The National Gallery is the major repository of Johns's trial and working proofs, with more than 1,700 prints (1960–2001) held in its Jasper Johns Archive. These proofs offer a unique opportunity to study Johns's thought process during the conception and production of an edition. Johns created numerous editions using custom-made papers by Western and Japanese papermakers. Observations drawn from close examination of proofs in the Jasper Johns Archive are supplemented by archival research and interviews with master printers and papermakers who worked with Johns, including Bill Goldston, John Lund, Jeff Goodman, and Fred Siegenthaler. Watermark imaging techniques and fiber analysis are used to support technical details described during these interviews. The National Gallery of Art Paper Sample Collection was also consulted as a resource for further material and archival investigations, since several examples of papers used by Johns are housed in that collection.

Karya seni lukis akan menjadi lebih menarik dengan olahan idea dan medium yang digunakan bagi menampakkan kreativiti hasil karyanya. Dalam kajian ini, penggunaan ‘pandanus amaryllfolious’ sebagai satu bahantara medium alternatif untuk menghasilkan kertas yang digunakan dalam penghasilan karya seni lukis terutamanya yang melibatkan
penggunaan bahan cat air. Penggunaan bahan semulajadi sebagai bahantara adalah merupakan satu nilai tambah yang bersifat estetik kepada hasil kertas yang dihasilkan malah turut akan memberi kesan kelainan pada karya lukisan kelak. Aroma yang tersendiri hasil dari
tindak balas semulajadi serta sifat daun pandan yang anti serangga perosak seperti lipas memberi kesan positif kepada hasil kertas kerana ia akan terselamat dari digigit serangga dan dapat bertahan lama serta bersifat awet. Seni seringkali dikaitkan dengan keindahan dan
kecantikan dan ia boleh menimbulkan pelbagai rasa, taksiran, fikiran dan persoalan. Dengan terhasilnya kajian penggunaan kertas dari ‘pandanus amaryllfolious’ ini akan memberi satu daya penarik untuk penghasilan karya seni di masa hadapan. Tujuan utama penghasilan karya
seni melalui penggunaan bahan semulajadi ini dapat memberi manfaat untuk orang ramai agar berifikiran lebih krearif dan kritis dalam pencarian bahan alternatif. Kajian ini dilakukan melalui beberapa eksperimentasi campuran untuk menghasilkan kertas yang sesuai untuk dijadikan bahantara dalam penghasilan karya seni. Setiap aktiviti eksperimentasi ini direkod dan dianalisis untuk melihat kebolehannya dijadikan sebagai kertas. Kajian ini dapat memberi satu keunikan dari sudut estetik penghasilan karya seni dalam dimensi baharu.

The paper is dedicated to the effect of military transformation in the country on the emergence and development of
paper manufacturing in St. Petersburg in the first quarter of the 18th century. The research focused on two paper mills, Duderhoff
and New St. Peterburg. The material under examination was their work between 1709 and 1730

Exhibition brochure on the subject of handmade decorative papers, produced from the 16th until the 19th centuries, from the personal collection of the Dutch art dealers Theo and Frans Laurentius. Published to accompagny an exhibition in Museum Meermanno in The Hague in 2008.

Spiral fabrics are an endless construction comprising a plurality of helical formed loops of monofilament yarns. The joining pin yarn passes through the loops to join adjacent coils to form a mesh. The monofilaments to make spiral fabrics could be round or rectangular ones for different applications.

Fibre dimensions are of great significance due to their strong relationship with the strength properties of wood and paper. The fibre characteristics of three selected plant species (Verbenaceae family-Duranta erecta and Lantana camara, Lamiaceae family-Vitex doniana) were determined and their pulp and paper making potentials were compared with that of Gmelina arborea. The mean fibre lengths of the species were found to be short since they were less than 1.6mm. Gmelina arborea has the highest slenderness ratio with a mean value of 29.8241±1.0928 and the highest coefficient of flexibility (0.8584±0.0109). The Runkel ratio was highest in Duranta erecta recording an average of 0.6507±0.0638. However, the derived fibre values: slenderness ratio, coefficient flexibility and Runkel ratio of the species studied were considered to be good paper making potentials, therefore, making Duranta erecta, Lantana camara, and Vitex doniana a suitable substitute for Gmelina arborea in the papermaking industries.

The photographs in this booklet were taken by Danish artist, Jane Balsgaard during two journeys to Japan in 1993 and 1998 to create and exhibit her installations. During excursions to buy paper supplies from the papermakers at Fukui, she visited this workshop. Through Balsgaard's camera lens, we too are taken inside and see the scenes that fascinated her: the fibres, tubs, sieves, work benches and opaque water of the papermaking process. We also see the landscape, we glance and people eating lunch by the roadside the paper screens that allow sunlight to flood into dark interiors.

ر بررسی‌های تاریخ هنر کتاب‌آرایی،قرآن معروف به «قرآن بایسنغری» یکی از شاخص‌ترین و بزرگترین نمونه‌های قرآن‌نگاری ایران به حساب می‌آید. در همین زمینه و با وجود پژوهش‌های فراوانی که در خصوص پیشینه، نحوه استنساخ، شناسایی کاتب یا کاتبان احتمالی و سرگذشت این مصحف از عهد تیموری تا امروز انجام شده، پژوهشی جامع درباره مجموعه اوراق و سطور پراکنده باقیمانده از این مصحف (در داخل و خارج از ایران)، به همراه تصاویر و خوانش متن آنها تاکنون منتشر نشده است.

در همین راستا و با هدف شناخت و ارائه فهرستی دقیق از این اوراق و معرفی مجموعه‌هایی که در حال حاضر این آثار در آنها نگهداری می‌گردند، گردآوری اطلاعات این پژوهش را به روش توصیفی -کتابخانه‌ای انجام گرفته و بررسی برخی قطعات از نزدیک توسط نگارنده صورت گرفته است.با توجه به یافت‌های این پژوهش، تعداد اوراق پراکنده قرآن بایسنغری در مجموعه‌های ایران و جهان بیش از تعدادی است که تاکنون از سوی پژوهشگران معرفی و منتشر شده است.  بدیهی است که یافتن قطعات گمشده این مصحف و بررسی‌‌های بیشتر، می‌تواند چشم‌اندازهای تازه‌ای درباره سرگذشت، ویژگی‌های ساختاری و هنری (سبک خوشنویسی) این نسخه منحصربفرد پیش روی پژوهشگران این عرصه قرار دهد.

The 1983 manuscript published in "Calendars in Mesoamerica and Peru: Native American computations of time". Aveni, Anthony F. & Brotherston, Gordon, eds., BAR International Series 174, Oxford from the 1982 manuscript presented both at the 44th International Congress of Americanists, Manchester, England in 1982 and the American Astronomical Society in Boston, January 1983.  This research article is the only scholarly study that provides an independent proof that the Grolier Codex must be a genuine pre-Columbian codex – because it contains key iconographic and other data that could not have been known to a potential fabricator in the mid-1960s when the Codex was found.  One of four known ancient Maya books, the Grolier Codex depicts different manifestations of the planet Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. The author also demonstrates his discovery that the previously labeled pages 10 and 11 of the Codex are actually two parts of the same page "10".

This 1983 version of the manuscript has publisher introduced typographical errors. Please see the original 1982 manuscript (click "LINK" on this paper listing) for the complete version or follow the link below: 

http://www.academia.edu/7908428/The_Grolier_Codex_A_Preliminary_Report_on_the_Content_and_Authenticity_of_a_Thirteenth-Century_Maya_Venus_Almanac_1982_

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Grolier Codex.

Basic weave structure for dryer fabrics is 1, 1.5 and 2 layer fabrics. Round and rectangular shape monofilament yarns are used for dryer fabrics. Rectangular monofilaments provide good contact with the paper sheet and improve aerodynamic properties of the fabric surface and cleanliness.

This  paper  thinks  with  Braidotti’s  nomadic  ethics  through  the 
process  of  making paper  to  consider  the  ethical  marks  and  cuts  of  doing  qualitative  research.  Through  the process  of  making  paper,  cutting,  soaking,  blending,  pressing,  and  drying  the  debris  of  my dissertation,  I  consider  questions  of  representation,  ethics,  and  responsibility  in  qualitative research. Simultaneously, I consider the relations and interactions made possible through an art installation where the handmade paper was displayed as part of my dissertation defense. I  contemplate  my  interactions  and  conversations  with  the  participants  that  attended  the installation and how these encounters led to new considerations of ethics and representation through research methodology and art.

One of four known ancient Maya books, the Grolier Codex (Codice Maya de Mexico, CMM) depicts different manifestations of the planet Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. This article is an excerpt of pages 98-99 from the March 1990 National Geographic Magazine article "America's Ancient Skywatchers" by John B. Carlson with a numbered photographic arrangement of the Grolier Codex depicting the author's discovery that Codex pages 10 and 11 are actually two parts of the same "page 10".  Carlson clarifies the identities of Venus deities depicted in the Grolier Codex from a comparison of images from the Cacaxtla murals and links the images of the Grolier Codex with ancient Maya astronomically timed ritual warfare and sacrifice. (Grolier Codex photographs: Enrico Ferorelli; Mural photograph: Bob Sacha)

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

GROLIER CODEX Comparative Study Guide (1983): Grolier pages 1-9 and reconstructed page 10/11 with Maya Dresden Codex Venus Almanac page numbers 48/1 – 50/2 with Venus Station and Directional Associations; Names (on Dresden Rows 17 & 22) of the associated Venus Impersonators; and Initial (1983) interpretations of the Grolier Codex scenes and  iconographic interpretations. Over the three decades since 1983, some of the glyphic and iconographic interpretations have changed, as discussed in the presentation. The details are in press.

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This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

Catatan Tahunan (CATAHU) Komisi Nasional Anti Kekerasan Terhadap Perempuan (Komnas Perempuan) mencatat kasus-kasus kekerasan terhadap perempuan yang diterima oleh berbagai lembaga masyarakat maupun institusi pemerintah yang tersebar di hampir semua Provinsi di Indonesia, serta pengaduan langsung yang diterima oleh Komnas Perempuan melalui Unit Pengaduan Rujukan (UPR) maupun melalui email resmi Komnas Perempuan, dalam kurun waktu satu tahun ke belakang. Tahun 2020 Komnas perempuan mengirimkan 672 lembar formulir kepada lembaga mitra Komnas Perempuan di seluruh Indonesia dengan tingkat respon pengembalian mencapai 35%, yaitu 239 formulir.