Statutory instruments: certain statutory instruments are required by law to be laid before Parliament.

A perforation gauge very soon enables the collector to tell the correct description of the perforation of any particular stamp. Successive spaces of two centimetres are divided by dots which exactly fit the holes on the side of the stamp whose perforation you are measuring. The three methods of printing

Chalk-surfaced paperor coated paper belongs to the latter class, as any attempt at cleaning brings away the preparation with which the paper is coated, at once altering the appearance of the stamp. A test for chalk-surfaced paper is to touch slightly the surface of the stamp with the edge of a silver coin.

Produced to exacting standards since 1888,Conqueror is recognised as the superior choice for brand identity and corporate communications. The unique touch and appearance have become the benchmark for quality and the range is well-known for its distinctive watermark.last day cancellation-Refers either to the last day of a postmark's use or the cancel made on the last day of a post office's operation. Line Pairs (LP): Most coil stamp rolls prior to 1891 feature a line of ink (known as a " joint line") printed between two stamps at various intervals, caused by two or more curved plates around the printing cylinder.

Left) Eighteenth-century illustration of a beating engine, from Diderot and d’Alembert’s Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, vol. 5, Paris, 1767. (Right) A kitchen blender achieves roughly the same effect, breaking up old used paper soaked in water to create a pulp. (Image credits: Left “ Papermaking. Plate VIII” The Encyclopedia of Diderot & d’Alembert Collaborative Translation Project. Translated by Abigail Wendler Bainbridge. Ann Arbor: Michigan Publishing, University of Michigan Library, 2013. CC BY-NC-ND 3.0. Right Hannah Wills) One of the two basic types of paper used in stamp printing. wove paper by the presence of thin, parallel lines visible when the paper is held to light. The lines are usually a few millimeters apart. See also Batonne. In attempting to replicate the craft of eighteenth-century papermaking, I really only approximated the process, making substitutions for equipment and improvising a number of techniques, particularly when it came to removing my delicate wet sheets of paper from the mould. I think the biggest lesson I learnt was to have a greater appreciation of the material, and just how many skills and processes went into crafting each sheet of paper in the eighteenth century. Characteristics of individual sheets such as colour, texture and markings had not caught my attention in the archives previously, but I now find them fascinating for what they can reveal about the nature of the fibres used, the construction of the paper mould, and the processes followed by each individual papermaker. Thus one catalogue will describe the colour of a certain stamp by one name, while another will give a totally different description. Description in print is not of great assistance, but the Colour Guide is as helpful as anything at present available to the collector, as it shows 100 different standard colours or shades, and names them in a way that comes near to meeting general acceptance.

Paper

Lithographed stampsare printed from an absolutely flat surface so that the ink of the design lies smoothly on the surface of the stamp, the characteristics of stamps printed by this method being a flat, smooth appearance. A wove paperhas an even texture without any particular distinguishing features, as a very large portion of the existing postage stamps are printed on paper belonging to this class. A paper distinguished by parallel lines or watermarks a few millimeters apart, as if ribbed, from parallel wires in the grid the paper pulp is "laid" on. Using the best pulp in the market, combining ECF wood-free fibres and 15% cotton linters, a unique blend creates a subtle and soft touch that defines Conqueror. Thanks to its pristine sheet formation, Conqueror prints perfectly from the first sheet to the last sheet, enabling you to easily achieve excellent print results. The differences were a result of the manufacturing processes. During production, the wires in the paper-making moulds ran in parallel for laid paper (producing the ridges), but were woven into a fine mesh for wove paper (giving the uniform surface). Until the mid-eighteenth century, all paper was laid. According to Wikipedia, about 99% of paper made today is wove, made on a paper machine with a wove wire base. The picture below shows a laid paper on top of a wove paper.

Seriously? You're asking a stationery lover that? That's like asking a parent which is their favourite child (while the children are there). The characteristics of the ink used in printing the design are not likely to trouble the ordinary collector, but its colour is important. The colours in which stamps are printed often cause confusion to collectors, chiefly because there is no recognised system of naming them, even if we could be sure that any two collectors see the same colour alike. Laying a paper in the House of Commons involves sending an electronic copy of it to the Journal Office.There is the paperon which it is printed, the design, by which we usually mean the pictorial part of the stamp, the inscriptions, or lettering and figures of value, the inkwith which the design is printed, varying in colour, the gum, and the means of separation i.e. the perforation. The term "shade" also requires explanation. A stamp is printed with the fixed intention that, so far as is possible, every copy of it shall be in exactly the same colour and in the same depth of that colour. But printer's ink is curiously wayward stuff. The type of paper is just one of the many features used in, you guessed it, descriptive bibliographies so that scholars and book collectors will know which edition and printing of a book they have. In the case of The House of Mirth, knowing that Figure 1 has “laid paper” helps to determine that it is the first or second printing of the first edition. Figure 2 is on wove paper, and, since according to Garrison “Starting with the third Scribners printing, wove paper was used instead of laid” (80), I know that Figure 2 is from a third or later printing. By researching watermarks and closely inspecting irregularities in chain and laid lines in paper, we can make assumptions about where and when paper might have originated. This in turn can help authenticate historical documents and works of art. Because industrialization of paper making is a relatively new technology, the paper used for printed objects, both books and prints, normally shows consistency. Paper was bought in reams and was most likely used right away rather than stored, since the material was considered valuable. The prestige (and price) of high-quality paper even led some producers to forge watermarks and claim the fame of other paper mills! The texture of the surface is the primary concern for art papers. Several factors influence the texture of a paper: