Bristol board

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Illustration of human botfly larva drawn in pen and ink on Bristol board Dermatobia hominis dorsal larva.jpg
Illustration of human botfly larva drawn in pen and ink on Bristol board
French-made Bristol paper packaging Bristol001.jpg
French-made Bristol paper packaging

Bristol board (also referred to as Bristol paper or super white paper) is an uncoated, machine-finished paperboard. It is not named after the city of Bristol in the southwest of England but rather after Frederick Hervey, 4th Earl of Bristol, a prolific art collector. [1] Common sizes include 22+12 in × 28+12 in (572 mm × 724 mm) and its bulk thickness is 0.006 inches (0.15 mm) or higher [2] and A4, A3, A2 and A1. [3] [4] Bristol board may be rated by the number of plies it contains, basis weight, or, in Europe, by its grammage of 220 to 250 g/m2. It is normally white, but is also made in different colours.

Applications

Bristol paper is used for printing documents, brochures, promotional materials and envelopes. It is often used for water color painting. It is also used for paperback book or catalog covers, file folders, tags, and tickets. Another use is for scale models; some students use this kind of paper for the walls in their scale models. One-ply Bristol is thin enough to be translucent, and two and three ply bristol are the most popular thicknesses.

Bristol board is commonly used for technical drawing, illustration projects, comic book art, and other two-dimensional art forms. It provides two working surfaces, front and back. This quality separates it from illustration board, which has only a front working surface.

The surface texture is either plate or vellum. Plate finish is as smooth as glass[ citation needed ], and is very good for pen and ink. Vellum (or kid) finish is a medium texture more appropriate to friction-based media, such as crayon, chalks, or charcoal. A third finish, engravers or wedding, may be used for formal engraved wedding invitations.

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<span class="mw-page-title-main">Printmaking</span> Process of creating artworks by printing, normally on paper

Printmaking is the process of creating artworks by printing, normally on paper, but also on fabric, wood, metal, and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine ; however, there is some cross-over between traditional and digital printmaking, including risograph.

<span class="mw-page-title-main">Engraving</span> Incising designs by cutting into a surface

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<span class="mw-page-title-main">Plywood</span> Manufactured wood panel made from thin sheets of wood veneer

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<span class="mw-page-title-main">Monotyping</span>

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Letterpress printing is a technique of relief printing for producing many copies by repeated direct impression of an inked, raised surface against individual sheets of paper or a continuous roll of paper. A worker composes and locks movable type into the "bed" or "chase" of a press, inks it, and presses paper against it to transfer the ink from the type, which creates an impression on the paper.

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<span class="mw-page-title-main">Flocking (texture)</span> Artistic technique

Flocking is the process of depositing many small fiber particles onto a surface. It can also refer to the texture produced by the process, or to any material used primarily for its flocked surface. Flocking of an article can be performed for the purpose of increasing its value. It can also be performed for functional reasons including insulation, slip-or-grip friction, retention of a liquid film, and low reflectivity.

<span class="mw-page-title-main">Foamcore</span> Board of paper-faced rigid foam

Foamcore, foam board, or paper-faced foam board is a lightweight and easily cut material used for mounting of photographic prints, as backing for picture framing, for making scale models, and in painting. It consists of a board of polystyrene foam clad with an outer facing of paper on either side, typically white clay-coated paper or brown kraft paper.

<span class="mw-page-title-main">Line engraving</span> Engraved images printed on paper

Line engraving is a term for engraved images printed on paper to be used as prints or illustrations. The term is mainly used in connection with 18th- or 19th-century commercial illustrations for magazines and books or reproductions of paintings. It is not a technical term in printmaking, and can cover a variety of techniques, giving similar results.

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<span class="mw-page-title-main">Architectural drawing</span> Technical drawing of a building (or building project)

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Chromoxylography was a colour woodblock printing process, popular from the mid-19th to the early-20th century, commonly used to produce illustrations in children's books, serial pulp magazines, and cover art for yellow-back and penny dreadfuls. The art of relief engraving and chromoxylography was perfected by engravers and printers in the 19th century, most notably in Victorian London by engraver and printer Edmund Evans who was particularly good with the process, producing a wide range of hues and tones through color mixing. Chromoxylography was a complicated technique, requiring intricate engraving and printing for the best results. Less expensive products, such as covers for pulp magazines, had to be produced with few colours, often only two or three, whereas more intricate and expensive books and reproductions of paintings used as many as a dozen or more colors. For each colour used, a separate woodblock had to be carved of the image being reproduced.

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References

  1. "Bristol Board - CAMEO" . Retrieved 4 December 2020.
  2. About.com: Desktop Publishing Archived 2009-02-01 at the Wayback Machine .
  3. Daler Rowney Archived August 31, 2009, at the Wayback Machine
  4. Goldline pads included in product listings