If not, the book will bubble or bend in the wrong direction, appearing warped and growing worse overtime.
Some materials, such as large sheets of the Arches paper used at the Center for Book Arts, are watermarked along the edge to show the grain direction.
If it does, there is at least one model -- namely, whatever model the compression scheme uses -- which would help an attacker decide between watermark noise and natural noise.
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The `or' in this provision of the Act of 1794 is ambiguous, with the result, it is sometimes maintained, either that some paper-makers misunderstood the requirement to use the current year or that it allowed them to continue using moulds dated `1794', thus saving themselves the bother of changing the date in their moulds at the beginning of the new year. Indeed, Thomas Balston notes of the Whatman mills, the largest and most highly regarded paper-making concern in the country, that
The watermark `J. Whatman, 1794' is found in so many books and letters of the period 1794-1800, and any other date is so rare, that it seems certain that it continued to be used for some years, a not uncommon procedure in paper making. . . . From that year  the correct date seems to have been employed.
While digital images are most often mentioned in the same breath as digital watermarking, we note that watermarks can be applied to other forms of digital data, for example, videos and music.
The range of textures in the Uno line is much less contrasted than in the Artistico. The Rough finish is noticeably less textured than the R finish in many other brands (compare, for example, to Arches, Whatman or Winsor & Newton). The tooth is extremely even, gappy but not very deep, and slightly lighter on the wire side; deckles are small, thin and irregular. Color is a medium white. The sizing is moderate; takes washes very well without exhausting the brush, with enhanced pigment texturing and a very slight banding of the cobalt pigment; and very gentle blossoming in the magenta areas. Resists came off cleanly without surface damage; scrubbing left no marks; the green did not lift completely and caused slight wicking at the edges of repainted areas. The Cold Pressed finish is again slightly less textured than the same finish in other brands. It has a subdued linen texture, similar to the wire side of the Artistico sheet, that is receptive to detail; the deckles are thin and very ragged. Color is a cool medium white. The sizing is slightly thin; the sheet took washes well without exhausting the brush, displayed the flocculation nicely but also caused banding in the cobalt pigment. The magenta blossomed slightly in the wash area. Resists came off with no damage; scrubbing left very faint streak marks easily masked by the ultramarine texture. The green lifted with effort but the scrubbing did not damage the paper or cause wicking when repainted. The Soft Pressed finish appears to be the CP texture run under a slightly higher pressure calendering; the wire sides of the SP and CP sheets are almost indistinguishable. I find little to choose between the two surfaces. The color is a cool grayed white. In most respects the paper behaves much like the CP finish, excepting that the magenta blossoms noticeably and the green only lifted with a lot of sluffing and visible damage to the surface, though repainted areas were discolored but did not wick at the edges. The Hot Pressed finish has a gentle eggshell texture, clean of fiber imperfections, with an irregular, ghostly blanket running across the felt side; the deckles are very thin, ragged, and characterful. Color is a bright medium white. The sizing is very good; there was little blotching or banding in the washes (for an HP sheet); but the magenta areas blossomed strongly. Resists lifted cleanly without damage. Scrubbing left visible marks; the green did not lift completely, caused sluffing, and left a noticeable discoloration under the repainted areas (but no wicking at the edges).
What follows is a series of illustrations of the disposition of dates (and other watermarks) in paper made in wove moulds between 1794 and the 1820s. All examples are identified by details of the publication and a note of the gathering/sheet in which the particular watermark is located, with, where appropriate, brief comments on the volumes in which the particular examples have been found and more general observations suggested by the particular examples (the location of the copy from which the example is drawn is recorded in a footnote).
As has already been noted, by the early 1790s much British paper was wove, and often enough without watermarks, thus lacking the traditional indicators of format. Hence the Act of 1794, in requiring the inclusion of a watermark, in the form, at a minimum, of a date, has provided the modern bibliographer with the means of undertaking the analysis of printed volumes, in particular the means of determining format. The Act had the effect of encouraging the migration of all watermarks (now increasingly paper-makers' names or initials) to the edges of the sheet, often accompanying the date. I am not aware, however, that there has been any systematic illustration of the form of watermarks in wove paper from around the turn of the century or their disposition within the sheet. But since a familiarity with the various patterns may be an aid in determining format (or in undertaking other forms of analysis), I have selected a number of examples from the period for illustration here. (It is likely that further patterns will be revealed with the use of a differently constructed sample.)
What this exercise has done is to show that the watermark evidence is sufficient of its own in determining format, that familiarity with the patterns of watermarking dated paper should enable the bibliographer to establish format independently of any other evidence—just as, of course, the patterns of watermaking pre-1794 wove paper may.