Le Moulin à Papier: Part III

Continued from Part II

Sieve

The Dutch pile has been filled with the previously smashed paste inside the millstone grinder.

Dutch pile produces a very thick paste that must be diluted in a tank. The resulting product will be 1 – 3 percent paste concentrate and 97 – 99 percent paste solution. A sieve is used to separate the fibers. A sieve is used to separate the fibers from the water. Each sieve is crafted by professionals and is imported from England. The tightened brass wires keep them parallel to each other with thick embossed seams.  The sieve consists of a thin plain metal canvas to create a vellum paper. The paper-maker attaches a wire to the canvas. The wire’s pattern gives the pieces of information on the paper’s size and who created it ( eagle, bell…). The removable frame cover fits the sieve and gives the paper shape and thickness. There are frames to form special papers, envelopes, and other shapes.  The marks are called watermarks.

Sheets drying on the ropes

With the paste diluted, the fibers are mixed with a stick then the sieve is quickly plunged into the tank. As the water begins to drain off the sheet of paper is formed. The sheet is laid on a piece of woolen felt. One hundred sheets are called a ‘porse’. The more the past is diluted the thinner the page will be. Increase the paste for thickness.

When the sheets are piled without the felt it creates cardboard.

Drying: The sheets are lifted with a wooden stick and hung on ropes. The thicker the sheet of paper the longer the drying time. The other factor is the weather. It can vary from a few hours in the summer to several days in the winter. The sheets are lifted with a stick and brushed onto plain warm boards or on brick walls warmed by the fire in Japan. In

Drying garments, pages, and other creative projects

Brousses inspiration is taken from the Japanese method. The paper is laid on synthetic material and then compressed and hung on the dryer. When the drying is complete, the pages are unstuck. The paper is flatter and smoother. If a coarse-grained paper is desired the sheet is laid on a coarser-grained felt.

Once the paper has dried it has the consistency of blotting paper and must be waterproofed. The gluing is a process of applying a coating of gelatine. However, the process has changed and currently, the gelatine is added to the paper-paste.

Smoothing: Pages require smoothing once they come out of the dryer. They are not smooth or flat. Today they are compressed within a few hours on the hydraulic compressor.

Colored paper: A colored paper is made from cotton cloths. A white paper is made with lightened cellulose. Brown pages are created from plants or animal dung.

One of the dresses worn at the Paper Lovers Night!

Large sheets: The special sheets, 3.4 meters long by 2.2 meters wide were specially crafted here at Brousses. Six to eight people are required to handle the special sieve. There is also a special tank that is assembled for when it is required.

The dresses were created by the visual artist, Catherine Cappeau, and worn every 14^th August for a special musical event, Paper Lovers’ Night or in French Nuit des Papyvores.

Bisous,

Léa

All in a stunning setting! Make a day of it.

Advertisement

Le Moulin à Papier: Part II

…

Click on the photos to enlarge them.

Paper was invented in the 2nd century B.C. by the Chinese. In 400 A.D. the Japanese and the Koreans were utilizing blackberry bushes by taking the shoots, steaming them and peeling them, and left to soak in water until very soft and pliable. This is then boiled off in a mixture of ashes and water then laid out on smooth surfaces and beaten with sticks until a paste is obtained. This paste is diluted and then prepared to become a sheet of paper.

The monopoly to create paper was maintained by Asia for nine hundred years!

It was until 751 A.D. when Chinese prisoners in the battle of Tales gave up the secret to the world of Islam. As the knowledge to create a paper spread in the Arabic world it also spread to the Western world where the paste was created from flax and hemp utilizing rags or plants.

The vital component of paper paste is cellulose which is found in every plant.

Since the mid-nineteenth century, cellulose has been extracted from its plant/wood source by the use of chemical treatments. This method dissolves the plant’s flesh and what remains is the cellulose.

In nature, the cellulose is brown. By treating the past with chlorine, a white paper was achieved. A lesser quality paper is achieved by retaining some of the plant’s flesh and the texture is the type of newspaper.

Paper without chemicals is possible. A man named Tripot took out a patent to create paper from horse dung in 1841 after noting that animals such as deer, cattle, and antelopes did not digest cellulose. A factory in Paris turned out paper made from dung.  The mill here in Brousses has been making their handcrafted papers from elephant dung supplied by the African Reserve located in Sigean and the dung of horses.

Millstone beneath a paper gown

Up until the mid-1800s, paper paste had only been made from hemp, cotton, and flax rags. (ropes, cloth…).However, in the present at Brousses mill paper is made mostly of rags (cotton). Plates of cellulose are purchased from a provider in the Ariège region. This is necessary as currently, fabrics no longer contain either flax or hemp. The factory receives tons of flax and hemp plants every week which they extract the cellulose with chemicals, whiten and make paper or compact paste. This cellulose can be used just like a rag.

The color of the paper will depend on the color of the rag product. Blue paper is frequently made from blue jeans (cotton) and black from black cloth. Brousses mill never uses coloring agents.

Rags into the paper: Rags: old clothing or other materials are stripped of buttons, zippers and even the seams are cut. Then the rags are cut into strips and sorted by color and wear.

Then the rags are soaked in tanks

After a 2 – 6-week soak (fermentation) and impurities have been “burned” removed, the rags are set to become a paste. Then they are cut into very small pieces and lain on large plates.

Mallet Pile: Invented in Italy toward the end of the 13th century and the beginning of mechanization. A bucket wheel drives an axis which drives the mallets in three tanks. Eight to ten kilos of rags are thrown into the first tank. Over a period of 20 hours, the rags are smashed repeatedly by hammers which are covered with sharp nails. The rags are then transferred to a second tank where hammers with flat-headed nails refine the fibers that remain. In the third tank, leather-covered hammers refine the paste even further. While this machine accomplishes its task quite well, it is very noisy and time-consuming.

Dutch pile: Invented in 1670 in Holland the Dutch pile or Crushing cylinder. They were initially driven by bucket wheels then later switched to the turbine. Tanks were filled with 50 kilos of unfermented rags and 1,000 liters of water. The wooden cylinder attached with metal strips kneads the rags rubbing them against other strips of metal or “platen” which are at the bottom of the tank. Due to a clamping screw, the cylinder can be lowered onto the platen. The result is that the paper-maker is capable of crushing the fibers while refining the paste numerous times utilizing the same machine. This machine is still working in numerous paper mills today.

Millstone grinder: This is driven by electrical power. The granite millstones weigh 3.3 tons each. The heaviest lays on the bottom of the tank weigh 4 tons each. It takes the millstone grinder one and a half hours to crush 300 kilos of moistened fibers, which was to recycle old papers.

Dutch pile and millstone grinder: Paste circulates inside the Dutch pile and covers the cylinder. The paste is ready. The plug is removed and allows the paste to flow down into a lower tank then onto the paper machine where water is added to the paste. The Dutch pile has been filled with the previously smashed paste inside the millstone grinder.

Dutch pile produces a very thick past that must be diluted in a tank. The resulting product will be 1 – 3 percent paste concentrate and 97 – 99 percent paste solution. A sieve is used to separate the fibers. A sieve is used to separate the fibers from the water. Each sieve is crafted by professionals and is imported from England. The tightened brass wires keep them parallel to each other with thick embossed seams.  The sieve consists of a thin plain metal canvas to create a vellum paper. The paper-maker attaches a wire to the canvas. The wire’s pattern gives the pieces of information on the paper’s size and who created it ( eagle, bell…). The removable frame cover fits the sieve and gives the paper shape and thickness. There are frames to form special papers, envelopes, and other shapes.  The marks are called watermarks.

With the paste diluted, the fibers are mixed with a stick then the sieve is quickly plunged into the tank. As the water begins to drain off the sheet of paper is formed. The sheet is laid on a piece of woolen felt. One hundred sheets are called a ‘porse’. The more the past is diluted the thinner the page will be. Increase the paste for thickness.

When the sheets are piled without the felt it creates cardboard.

Drying: The sheets are lifted with a wooden stick and hung on ropes. The thicker the sheet the longer the drying time. The other factor is the weather. It can vary from a few hours in the summer to several days in the winter.

 

Bisous,

 

Léa

Paper garments

…

Le Moulin à Papier: Part I

Le Moulin à Papier: Entrance

The paper mill of Brousses is located in the Montagne Noir. The village and the mill are nearby Montolieu (village of books).

Once again with someone visiting, it was off and the paper mill was one we both had never seen. There is a tour and you can follow in French or English. I believe there may be printed tours in other languages but will leave their site information so that you may check should you be in the area.

Even without the paper mill, the trip is well worth making. The beauty is stunning and invites exploration, photography, and perhaps a picnic.

Upon entering the mill we had a wait of but a few minutes before setting off on the tour. Yet due to the lush setting, it is a surprise we got in at all. The paths and the river beckoned me to continue wandering.

The Bucket Wheel: This water engine drove the paper machine which stands in the current shop up until 1981 and has produced electricity until the 1950s. The bucket wheel and paddlewheel are both water engines.  – waterfalls down onto the bucket wheel to produce waterpower; this type of vertical wheel is primarily in the mountains. – the paddlewheel is driven by water running underneath and can be

The turbine

found mostly in the plains.

The turbine: Upstream, the watercourse of the river “La Dure” is diverted through a canal and brought into a pond right above the mill. Prior to 1920, there had been three-bucket wheels, one on each floor. In 1920, two wooden bucket wheels were replaced by the turbine, due to the damage obtained with the period of inactivity during World War One.  The structure of the turbine consists of a horizontal wheel inside a cylindrical tank; water drives this wheel, which drives a horizontal axis and driving the machines on the upper level.

Watermarks: A watermark is a tiny lightness in the paper, where the paper is actually thinner. To obtain this lightness, the paper-maker lays a wire on the paper canvas; the result is that the paper past is less thick where the wire was placed. The paper-maker can create his own watermark… his signature! The first paper-maker was named Polère; he settled in Brousses in 1694.

The region of Carcassonne was renowned for its woolen fabrics. Among the Royal Factories who would produce fabrics, two were on the river La Dure.  The paper-makers produced cardboard used for the presses and leaves used to wrap the fabrics.

Watermark Window

There were 617 water mills and hundreds of windmills spread out over the region. The river Dure was home to 67 waterwheels and 27 textile workshops. The village of Brousses alone was home to 12 watermills of which half were paper mills.

Today, the sole working paper mill in the region is Brousses. The Chaila family has been producing cardboards since 1820. They purchased the mill in 1877 and made paper from machines up until 1984. The seventh generation of the family made the decision to handcraft paper in 1994.

Watermarks were used to specify the size of the paper. Bell and grape were among the names to designate what are now standard sizes A4, A3, and others.

When the paper was held against a light source the network of lines could be seen. You were assured that this was laid paper. If the paper were

Papyrus

plain it was called vellum paper. An imperfection or stain was a defect and known as the papermaker’s tear. Normally, the paper is ecru-colored. However, paper-makers frequently add some blue when combining the paper paste with the intention of increasing the whiteness of the product. When this has been done you can see the increased whiteness of the paper when the light has been turned off and it produces a vast difference.

The watermark on banknotes is created by a metal plate that the printer engraves, heats up then presses against the paper canvas. This results in an accumulation of paste in the hollow parts and they turn darker in color. The flat parts which receive less of the paste will turn significantly lighter.

Papyrus: made from a water plant by the Egyptians around 3500 B.C. Stems from the plants were cut into long, thin, and wide strips; these were tightly woven together.

Parchment: From the second century B.C. Pergamon, Asia The hides of various animals such as goats, sheep calf’s were used as writing paper. For a thinner product the hide of a calf that was born dead or died within a few days. This higher quality hide was thinner and whiter.

…

Bisous,

Léa

Guide holding form alongside atub of paper past for dipping

Forms, paper paste and cloths for drying

…

…

Guide begins documentary beneath paper garments

Formed page will be placed on damp cloth to dry slowly

Building a dream

This can easily take your breath away and stimulate your imagination.

Lazy French Hiker

The postman’s dream

Somewhere in the middle of nowhere in the Drôme is a place called Hauterives, and in this place, in the 1800s, lived a postman called Ferdinand Cheval. In the daytime he delivered the letters by foot, and dreamed about an ideal, fairylike, beautiful palace. In the nighttime, he built it.

He had already been building his “palace, castle, a type of grotto” in his head for years when one day a weirdly shaped stone rolled into his path. He picked it up and put it in his pocket and everything started from there. For the next thirty-three years he constructed his Ideal Palace, collecting strange stones and sculpting his edifice.

“From a dream, I have brought out the queen of the world”

I visited this on a wandering cowboy day. I used to be a travelling sales rep, and I described it as being a “wandering drunk…

View original post 466 more words

Michel Braibant Museum/ Conservatory of Book Arts & Crafts

“Until I feared to lose it, I never loved to read. One does not love breathing.”  – Harper Lee

“A reader lives a thousand lives before he dies… the man who never reads lives but one.” – Georger R.R. Martin

“You don’t have to burn books to destroy a culture. Just get people to stop reading them.” – Ray Bradbury

 

Le musée

 

 

When my friend Yvonne pops over from London, we often find ourselves off to explore. This particular adventure was back to Montolieu – Village du Livre (Village of Books).

While I could spend endless days in the beautiful village of books, we had a limited amount of time this trip and the museum was the focus of this trip. If you would like to see more of the village, I recommend checking out my post of 12/12/2011. Or best of all, visit Montolieu yourself!

Located in Montagne Noir (Black Mountains) this small village (pop: 1,400) has 23 bookshops. Each Autumn, they host an ancient book festival. Naturally, as one might expect, such a village is popular with artists and there are a number of small galleries.

Le musée traces the history of print from Pictographs to the Alphabet, from Clay to Paper and the invention of Typography (1454), Linotype (1884), Monotype (1887), Stanhope Press (early 19th century) and so much more.

30,000 BCE: Pictographs are pictures and symbols and represent the first written forms. Concepts are represented by figures and scenes.

4,000 BCE: Ideograms/ideographs are a logographic writing system in which graphic symbols are used to represent words. They originated in Egypt and China where ideograms evolved into its current stylised script system.

1,300 BCE: The Phoenicians invent and disseminate the first alphabet. A limited number of letters that they allowed for the formation of sounds.

1,000 BCE: The Greeks adopt the Phoenician alphabet that they then adapt to their language by introducing vowels.

700 BCE: The Latin or Roman alphabet appears as an adaption of the Etruscan alphabet which had been borrowed from Greek colonists in Italy. Today, the Latin alphabet is the most widely used in the world.

The earliest materials for writing were stones, shells, wood and even tortoiseshells.

4,000BCE: Mesopotamian clay and the tool used was the “calame” or reed stylus.

3,000 BCE: Egyptian papyrus, a plant found along the banks of the Nile. The “calame” or stylus is made from a blend of soot and resin.

200 BCE: Parchment, is animal skin (goat, calf, sheep…) which has been specially prepared for writing. The writing tool of tis period is a goose feather quill. Ink is made from a compound of vegetable and mineral pigments with egg white as a binding agent.

105 CE: Paper was invented in China by Ts’ai Lun. It was made from vegetable fibre which was reduced to a paste. The process stayed a secret until 751 CE and later introduced in Europe by the Arabs.

Middle Ages: The majority of the population was illiterate and books were rare and precious objects. Therefore, the thoughts they contained were not widely known. In monasteries, monks copied and recopied  the manuscripts with each copy errors

compounded and diminished the original meaning of the text.

1454 Invention of Typography:

The German metal-worker/inventor, Johann Gutenberg combined lead, antimony and tin creating an alloy which could be used repeatedly. Gutenberg is generally credited with perfecting metal moveable type.

Linotype: Invented by Ottmar Mergenthaler in 1884 and

produced solid lines of text case from rows of matrices. The line-composing operation was accomplished by means of a keyboard similar to that of a typewriter. However, it was much faster than hand-set typesetting and permitted the wide circulation of printed material. It was primarily used for the composition of newspapers.

Monotype: Another type of hot metal composition which appeared in 1887.

Stanhope Press: This press appears at the beginning of the 19th century, and consists of a massive cast-iron frame. It replaces wood presses, but

impressions are still made page by page and inking remains manual.

Plate Press: This press appears in the middle of the 19th century and increases the speed at which printed matter can be produced. The carriage is flat and pedal-driven and rubber ink rollers. It is fed manually.

Heidelberg Press: Appears in the early 20th century. With its high speed cylinder press and an automatic feeding and placing device which pivoting racks pick

up the paper by the use of suction to the entire surface.

Nebiolo Cylinder Press: First appears in the 1940’s. The base is no longer vertical and fixed, but horizontal and mobile. Print form moves under the cylinder to which the paper is attached.

Lithography: Makes its appearance in the late 18th century  and gives birth to Offset in the 20th century. This method is based on the chemical repellence of oil and water.

Massicot: This cutting device was perfected by Claude Massicot and allows for clean cuts for reams of paper.

As you might easily imagine, there is much more to see in this museum than can be covered here in a single post.  If you plan to visit the south of France, a trip to Montolieu is well worth the visit.

Bisous,

Léa

Bookpress

Alphabet

Making art accessible to the masses

A black cat in Montmartre

If one is to be Le Chat Noir, this is the part of France to be. Alas, my Chat Noir is down on the Mediterranean with me and two sister felines (not black).

Equinoxio

In the old days, Montmartre was the end of some Metro lines. “Direction Montmartre”. Not any more. It’s actually hard to find the appropriate station to go to “Matha’s hill”. I recommend Lamarck-Caulaincourt. No stairs, just walk up from the back. (The first half of this post has just been wiped out by WP. Grrr. Start from scratch. Patience, patience.)

Le chat noir, the black cat, has become a symbol of Montmatre. Who doesn’t have this sketch on a mug? A cabaret, it was founded by Rodolphe Salis in 1881. It soon drew a crowd of artists and “bohemians”, establishing the reputation of the “hill” as a haven for artists, then and now.

Sleeping angel. Montmartre, 2018.

Urban strawberries. Strawberries? Seriously? Yes. Check the leaves. (Do not expect any kind of logic here. This is a Montmartre Pot-pourri)

Le théâtre du chat noir. To lure…

View original post 489 more words

Boris Vian

Another treasure from Pascale. Merci mon amie!

La Belle Époque 1871 – 1914… on the street where I live

Recently, I offered a post on the street where I live. As I went through some older photos, later, I found two that I had made off old postcards, on the same street more than a century ago. I thought perhaps some of you would enjoy seeing them.

If I am correct, my home should be just past that group of people seen exiting, or perhaps entering, a house mid-way on the left.  While the foot bridge has a set of steps in each direction, the other side is not visible from this view. It is the second set of steps that appear further back that exist today as you can see if you check out the post of 5 August 2018. Inbetween the sets of stairs, you can see the old pump which still exists, and works, though rarely used.   

If you look closely at the road, you can see some tracks for the old train that used to come through the village. A neighbor has just informed me that a small steam train ran from Portel des Corbières to Tuchan until the 1930’s. At different points it would connect and one could get into Narbonne which had a large number of trains that could take you to many destinations. 

Some of the houses have interesting patterns on their walls which have long been covered up by renderings. Those patterns would be consistent with the era  As you can see it is winter time as the trees are bare and the people at the top of the staircase appear to be bundled up against the cold weather.

From this second photo you can see there was an épicerie (grocery) just next to where the café was located at that point in time.  No doubt you could stop in and pick up a fresh baugette with ham and or cheese and a thick spread of butter and wash it down with a glass of wine or beer. That is not where it was when I moved here over a decade ago nor where it is now located at the other end of the village. You get a look at the foot bridge that is no longer there, What you don’t see is that there was attached an outdoor toilet, how appropriate across from where everyone is eating and drinking.  The café in this photo had been altered by its owners years later and for many years served as the village pharmacy. At some time after WWI, a number of balconies where added including the old pharmacy as you can compare if you look at the post referred to earlier. https://foundinfrance.wordpress.com/2018/08/05/on-the-street-where-i-live-a-challenge/

I can see, to the left, how high the wall along the river used to be. It has been lowered some years ago. As you can see, the wall is higher than most of the people near it. I am barely five feet tall myself and the wall now, in some areas, is little higher than my waist. Before you ask, nothing around here is level so we shall move on.  It appears to be Spring or possibly early Summer as the trees are quite filled out with leaves and some of the citizens are in shirt sleeves. As you can see, everyone is glad of the opportunity to socialize with their neighbors on a beautiful day as the sunlight filters through the trees. I find it fascinating that in these photos could be former owners of my own home.

Perhaps I can find more such photos and if so, I shall share them here on the blog.

 

Bisous,

Léa

L’Art Caché – quatre 2018

Being that this is my favorite art expo of the year, there is a sad parting. Alas, this is to be the last in the series of four posts from L’Art Caché in the charming village of Albas. 

Catherine Juge Thouroude has a number of pieces I enjoyed. Alas, there is neither an email address or website. Once again I shall direct any questions to the fabulous people who bring us this exhibition each year. Eurocultures: https://eurocultures.fr

There were several additional pieces that the artist delined to be photographed as they were a new variation she was working on. Perhaps at a future date I will find her exhibiting them when I can share the photos? 

Josiane Coste Coulondre is a textile artist. https://www.artmajeur.com/josianecostecoulondr

Josiane can also be contacted by email: jococoul@gmail.com

–

Patricia Maffli: Painter

I have just checked out her blog. https://patriciamaffli.wordpress.com/ and was thrilled to find much more than what she had brought with her. In addition, she shares her workplace with her sister  who sculpts. Perhaps it would be possible to visit them and create a post on the work of them both? 

This last photo is from Patricia’s newest collection. I do hope to see more of her work. I should enjoy being alone in a room with just her paintings and my laptop… there are many stories / poems just waiting to be written.

MERCI MILLE FOIS! My sincere thanks to all the talented artists who shared their work and to our friends at Eurocultures for giving us this opportunity each year. Also, I thank all the readers that take a moment to let me know that they enjoyed this  I am already looking forward to next years exposition. 

Bisous,

Léa

 

 

L’Art Caché trois – 2018

If the last two posts haven’t inspired you, perhaps you will find something here?

Antoine Bonnet creates in wood, stone and earth. Please visit his website and learn more.  http://www.antoine-bonnet.com/

Oana Damman is one local artist that I have had the pleasure of meeting a number of times over the years. She is inspired by the works of Van Gogh, Cézanne and Chagall. Please take a few moments and visit her website: oana-damman.com You won’t be disappointed.

Jacques Duault graciously allowed me to photograph his work. Alas, he himself does not care to be photographed. A position I respect and share. Please visit his site: http://jacquesduault.com/

Gerard Engels is hard at work and grateful for a small amount of shade as it is a very warm morning and the full summer heat is upon us. Alas, there is no website for monsieur Engels. He does offer an email address: gerard.engels@hotmail.com or you could direct questions about him or any of the artists by contacting the gracious hosts at Eurocultures.  https://eurocultures.fr/   You will also find a calendar for upcoming events and information should you want to be included in this event next year or any of their other projects. 

Albas is such a charming and tranquile village. However, when they put on an exhibition or other event they do themselves proud. Before signing off today, I will share a few more photos from my wandering about. 

Even the smallest village will have a foyer for indoor events and an outdoor space such as the one above. You don’t see it in this photo but there is a small, shed/kitchen to the left and to the right a large concrete circle often used for dancing under the stars, village feasts… 

 

There are still photos and artists to be shared. There will be one more in this series and I thank you for joining me.

 

Bisous,

Léa