The Project Gutenberg eBook ofLibrary BookbindingThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Library BookbindingAuthor: Arthur Low BaileyRelease date: December 22, 2011 [eBook #38387]Most recently updated: January 8, 2021Language: EnglishCredits: Produced by Hazel Batey and the Online DistributedProofreading Team at https://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)*** START OF THE PROJECT GUTENBERG EBOOK LIBRARY BOOKBINDING ***
This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
Title: Library BookbindingAuthor: Arthur Low BaileyRelease date: December 22, 2011 [eBook #38387]Most recently updated: January 8, 2021Language: EnglishCredits: Produced by Hazel Batey and the Online DistributedProofreading Team at https://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)
Title: Library Bookbinding
Author: Arthur Low Bailey
Author: Arthur Low Bailey
Release date: December 22, 2011 [eBook #38387]Most recently updated: January 8, 2021
Language: English
Credits: Produced by Hazel Batey and the Online DistributedProofreading Team at https://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK LIBRARY BOOKBINDING ***
LIBRARY BOOKBINDING
Library Bookbindingby Arthur L. BaileyLibrarian Wilmington(Delaware)Institute Free LibraryTHE H. W. WILSON COMPANYWhite Plains, N. Y., and New York City1916
by Arthur L. Bailey
Librarian Wilmington(Delaware)Institute Free Library
THE H. W. WILSON COMPANYWhite Plains, N. Y., and New York City1916
Published May, 1916
Copyright, 1916ByThe H. W. Wilson Company
It has been the purpose of the writer in these chapters on library bookbinding to set forth as clearly as possible the best information relating to processes, materials, routine and various other lesser matters pertaining to bookbinding which must be taken into consideration by librarians, or by assistants in charge of binding departments. Although much of this information exists elsewhere in printed form, it is scattered through various books and articles. In some respects, therefore, this book is a gathering together of scattered material. It is hoped, however, that there is enough new material to make the book of interest to those who deal daily with binding problems, and that the book as a whole may help to solve some of the questions relating to binding in libraries both large and small.
Most books on binding and all books on library binding have devoted some space to paper, its composition, manufacture, finish and use. As the subject is so fully dealt with elsewhere it has not been included here. Those who are interested will find full information in the technical books on paper, in Mr. Dana's "Notes on book binding for libraries," and in Messrs. Coutts and Stephen's "Manual of library binding." There is also an excellent article on wood pulppaper in the Scientific American of October 4, 1913.
Nor has it seemed desirable to include chapters on commercial binding nor on historical bindings. Both of these subjects are treated adequately in Coutts and Stephen's "Manual." The present writer has limited his discussion to matters dealing directly with the binding of books for libraries.
In one or two cases the same subject has been treated in two different chapters because the subject matter belonged in both places, and in neither case would the discussion be complete without it.
A. L. B.
December 9, 1915.
Chapter I.Introduction3II.Selection of a binder9III.Processes13IV.Materials51V.Specifications87VI.Binding before purchase and reinforcing103VII.Cost115VIII.Preparing for the bindery125IX.Binding records and routine149X.Repairing, recasing, recovering etc.165XI.Magazine binders199XII.Pamphlets205XIII.Bindery in the library building209Appendix A.Specifications of the U. S. Bureau of Standards for book cloths217B.Reading list on binding221C.List of technical terms225Index245
An examination of the annual reports of libraries in the United States shows that from four to eight per cent of the total income is spent for binding; the amounts ranging from $2,000 to over $40,000 a year for this one item. It must be admitted that these are large sums and that a knowledge of binding materials and processes is necessary in order to spend this money wisely. In many libraries the appropriation for books includes binding and periodicals. It is evident, therefore, that every dollar saved on binding can be devoted to the purchase of books. And what librarian does not desire more money for new books?
In spite of the importance of the subject a great deal of ignorance has prevailed in years past, and far too many librarians of the present day fail to realize that here is one place where money can be easily wasted. Possibly one reason for the ignorance about binding is that, except in a minor degree, it does not directly affect the public, for librarians are quick to make changes which will increase the interest of the public in the library. Another reason is that experiments are necessary; and since it takes time to draw conclusions from experiments, definiterules have not been formulated.
In fact, experiments are still being tried. But while in the past they were along the line of making books stronger, the experiments of the present are rather along the line of adapting different methods to different books, according to the paper on which they are printed, or according to the kind of use they will receive. It is reasonably safe to say that present methods of the best library binders make a book as strong as it is possible to make it. Progress no longer lies along the line of strength.
In order to administer a binding department wisely, the librarian or assistant in charge of binding must know materials, processes, and books; and especially must he know how books should be bound to meet the use they are to receive. For example, fiction that is very popular should be bound differently from fiction which must be kept on the shelves, but which is not popular; it is easily apparent that McCutcheon's "Graustark" should be bound differently from Henry James' "Golden bowl." Heavy reference books constantly consulted should be bound differently from reference books used only occasionally, while it may be wise to bind magazines differently from either. A librarian of a reference library will adopt methods differing from those which are used in public libraries. A good working knowledge of materials and processes can be easily obtained. The saving of expense comes in applying them to use.
A recent advertisement of a binder stated thathis books were rebound more times than the books of any other binder. This statement is a sad commentary on the serviceability of his books and calls to mind a practice of twenty years ago which is too prevalent even at the present time. At that time it was the recognized custom to bind as cheaply as possible books which circulated rapidly and wore out quickly. Those who favor this custom fail to realize that in the case of books which are constantly used the actual cost of binding does not depend on the initial cost per volume, but on the ratio of cost to circulation. This is a point first brought out by Mr. J. C. Dana in his "Notes on bookbinding for libraries," and one on which it is impossible to lay too much emphasis. A book which costs 35c. to bind and which circulates 35 times has cost one cent for each time it has been issued after rebinding; while a book which has cost 50c. to bind and has been issued 100 times (a fair average for a 50c. binding) costs one half cent for each time it has been issued. Obviously the 50c. binding is much cheaper. It is probable that the 35c. book must either be rebound at an additional expense of 35c. or else a new copy must be purchased at a cost of $1, while the 50c. binding may carry the book to a point where it can be discarded absolutely. Certainly it should never be rebound again. It is important, therefore, that the librarian who does not know what his binding is costing per issue should keep statistics of circulation for a sufficient length of time to obtain general averages which will be fairly accurate.
While a very strong binding is necessary forfiction and juvenile books in public libraries, it is probable that on many books of a serious character some of the strengthening processes which must be used on fiction and juveniles may be omitted. It should be noted that while this is true of public libraries, the reverse would probably be true in college and reference libraries where a much larger proportion of serious books should be bound as strongly as possible.
There are three general kinds of binding:
(a) Commercial, or edition binding.
(b) Artistic binding.
(c) Library binding.
Commercial binding is that in which practically all books come from the publishers. For the most part it is the product of machinery from beginning to end, and the material used is generally poor. Apparently the sole object in view of most publishers is to turn out a book that will attract the eye. Strength is not an element for which they strive. From their point of view they cannot be severely blamed for making strength a secondary consideration. By far the largest part of their product is sold to individuals, and the strength of the binding is adequate for the amount of use that these books will receive. From the library point of view, however, publishers' bindings are entirely inadequate. One cannot expect, of course, that the publisher will put a popular novel into a binding strong enough to meet the demands of library use. On the other hand, one cannot blame librarians for being exasperated when heavy books of travel, history, or biography part from their covers when they havebeen in the hands of less than ten readers.
The distinguishing characteristics of commercial binding, and at the same time its greatest weaknesses, are the machine sewing and the insecure way in which the book is fastened into the cover. Very little extra expense either in material, care, or workmanship, would make most books outside of fiction sufficiently strong to withstand all the wear that they will receive. Unfortunately the publishers fail to realize this, and books by the thousands come from the binderies covered on the back with the coarsest kind of super which does not even extend to the head or tail of the book. A stouter cloth, carefully applied, running the entire length of the back would cost very little more per volume, but would strengthen it materially.
While practically all commercial binding is lacking in strength, this is due almost wholly to trade conditions, for commercial binding can be made exceedingly strong. One has only to turn to the 1912 edition of the Century Dictionary or to the United States Catalog, which are practically machine bound throughout, to realize this fact. However, until librarians are united in their demands for stronger bindings, we can expect to see the present poor work turned out in as large quantities as ever.
There is another kind of binding which is, if possible, even more unsuitable for libraries. This is artistic binding which is done exclusively for individuals, beauty of appearance being the chief object in view. It differs from commercial binding in being all hand work instead of machine work. Since handwork is used and the main object in view is beauty, it follows, of course, that such books are much stronger than those bound by publishers. But the strength of these books is in many cases not proof against the wear that they would receive in libraries. No special methods of sewing or strengthening the first and last sections are used. Practically all artistic books are bound in leather and frequently in full leather. Whenever the leather used is anything other than good morocco, it is an element of weakness rather than strength. In addition to these objections, artistic bindings are usually so expensive as to be beyond the reach of any library.
In library binding the main consideration is strength. Not only is beauty a secondary consideration, it is scarcely taken into consideration at all. For it must be confessed that library bindings are seldom attractive. No library can afford to pay for ornamentation of backs and sides of books. Library binding is all hand work. Although machine binding can be made exceedingly strong, machines cannot be used on library binding, because the books vary so much in size and lettering. The main reason why commercial binding can be done by machinery is because a large number of books are bound exactly alike. In library binding it seldom happens that more than two volumes, the same in size and lettering, are bound at the same time. Library binding also differs from other bindings in that the use the book is to receive is made the basis of selection of materials and methods.
Since library binding differs widely from other kinds of binding, it follows naturally that it is best to have this work done by men who understand its special requirements. Unfortunately, there are comparatively few binders who make a specialty of this kind of work. Librarians of most of the smaller libraries are forced by local prejudice to give their work to the local binder or to the nearest outside binder in order to save the expense of transportation. If the work is sent to the local binder, it must be sent to one who is doing other kinds of binding and to whom the library work is, in a way, a minor consideration. He would object if the work were sent out of town, but the total amount of the library work is small compared with his other work. Such binders usually have one way for binding all books (except those which come under the head of blank-book work) and the library books go through the regular process of being sewed on twine and put into covers with no special reinforcements. The materials used are not the best and the workmanship is generally poor. Local binders, realizing that the funds are usually inadequate for the needs of the library, frequently do this work at a price which at first sight seems cheap. When, however, the poor service which the bindings give is taken into considerationthe price is really very high. Many of these binders have been in business for years; and although they may be good workmen and do honest work, they are very sure that they know more about binding than any librarian, and it is with difficulty that they can be prevailed upon to adopt suggestions.
It is only fair, of course, that a library which is supported either in whole or in part by public funds should, when possible, have its work done by residents of the town. For this reason, therefore, the librarian should learn in just what ways good library binding differs from other binding. All the good materials and processes, and all the various methods of strengthening a book should be studied carefully so that the binder can be told exactly how the work should be done. The binder will probably rebel, but perhaps he can be converted and the effort is worth while.
If the binder fails to grasp the ideas of the librarian, or refuses to carry them out, the work should be sent out of town to a good binder, for deference to local prejudice does not require that the efficiency of the library be impaired. When work is sent out of town the librarian is somewhat at a disadvantage, for no examination of the work can be made while the books are in process. That the binder chosen should do honest work goes without saying. The work of a dishonest or incompetent binder always shows in the poor service which the books give, but inasmuch as dishonest work is generally covered up, it takes time to discover it.Therefore, great care must be taken to select a good binder in the first place. Librarians who are in doubt should consult the librarians of large libraries, or apply to the Binding committee of the American Library Association for the names of reliable binders.
While librarians should be able to give suggestions to binders who are not accustomed to library binding, and failing that should exercise good judgment in selecting a binder at a distance, they should not expect the impossible. The writer has seen books sent to binders which were in such bad condition that no binder could bind them satisfactorily. Some librarians expect too much of a binder; others do not realize that they are not demanding all that they should receive.
Having selected a competent binder the librarian should not insist that unimportant details be done according to his own ideas. If the binder understands that he may have the work only so long as he follows the specifications faithfully, one may safely leave the details to him.
It should further be borne in mind that good binding is seldom obtained at low prices. A library book well bound requires good material, good workmanship and special reinforcements which take time. Since the largest part of the cost of a book is due to the labor spent on it, it follows that low prices can prevail only in those localities where the cost of labor is below the standard.
Since workmanship has as much to do with good binding as specifications it is not wise to submitspecifications to different binders for bids. It is better to ask binders to submit samples of their work with specifications of the way in which the books are bound. If, however, it seems wise to ask for bids, it is far from wise to choose the lowest bidder unless absolutely assured that the workmanship and material will be satisfactory.
The processes of bookbinding have been so fully covered in the books of Messrs. Cockerell, Zaehnsdorf, Crane, and others, that the need of further material of a similar character is not readily apparent. The only excuse the writer has to offer for discussing the matter of processes at any length is that there seems to exist nowhere any description of the processes that are used in the best library binderies. Mr. Dana in his "Notes on bookbinding for libraries" touches only certain points of the processes here and there. Mr. Stephen in Coutts and Stephen's "Manual of library binding" has a chapter on hand bookbinding, but confines himself closely to the general processes that have been in vogue for years; the modifications used in library binding are not touched upon. In other words the works of Cockerell, Zaehnsdorf, Crane and others are too full, while descriptions in books devoted to library binding are not full enough.
It is the purpose of this chapter to cover somewhat in detail the main processes as they are carried out in the best library binderies. Explanations of the technical terms used will be found in the list of technical terms at the end of the book.
Without discussing the composition of paper it isnecessary to state that the paper of a book has a very important effect upon its binding. Its thickness, tensile strength, firmness, toughness, strength after being sawed or perforated for sewing, and strength after folding, all have an effect on its durability. Especial emphasis must be laid upon strength after folding, for it must be remembered that it is through the fold that the book is sewed. If a crease or a fold in a piece of paper weakens that piece of paper, it will be impossible to make a strong book by sewing in the ordinary way. If a fold has very little effect upon the strength of the paper ordinary sewing may be satisfactory. The folding of paper in 95 per cent of fiction and juvenile books weakens it at the fold over 50 per cent. In a good piece of paper the fold weakens it not over 5 per cent.
The problem of paper is a modern one, due to the use of wood pulp and other short-fibred materials in paper manufacture. All binders complain bitterly of the impossibility of binding it properly. The librarian, however, should know the way in which it can be bound to give the maximum amount of service and should not allow a binder to blame the paper for faults which are due to his ignorance or to poor workmanship.
While the customs of library binders vary somewhat according to the prejudices of the different men, the following description covers the binding processes carried out at most binderies.
1. Taking Apart
After the books have been checked with the statement of the librarian to see that the correct number has been received, each one is taken apart carefully and all old threads, glue, paste, etc., removed from the back. If the book is in a regular machine sewed publisher's cover it will be comparatively easy to remove old threads and glue from the back. If in an old hand sewed one, it may be a little more difficult.
The book is first removed from the cover. The first signature is then turned back and threads cut with a sharp knife. Generally this will loosen the signature so that it can be separated easily from the rest of the volume. If it is still held by glue and there is danger of injuring the back of the signature, a bone folder is used. If the book had a tight back and the leather, back-lining paper and glue form a very firm back not easily separated in the manner described, the glue may be softened with paste or warm water, with care necessary to prevent the dampness from penetrating the book.
2. Collation
The book should then be collated. The best library binders make themselves responsible for page collation but they do not bother to see that all plates, illustrations, maps, etc., which may be called for by the table of contents, are in proper place. In the case of periodicals they do not always discover the fact that certain parts, not included in the main paging, are missing. Their collation is that of main paging only. Periodicals must, therefore, have titlepage, table of contents and index in their proper places. Books with two or more main pagings or many unpaged illustrations must be collated at the library. (See Preparing for the bindery,p. 125.)
3. Knocking Down
(a) Backs of signatures are then pounded down so that they may be as nearly as possible the same thickness as the front of the signatures. Care must be taken to have a clean hammer and to let it fall evenly on the paper. If the backs are not properly pounded down there is likely to be too much swell in the back of the book when it is finally sewed. In all the first processes of binding the question of undue swelling of the back must be taken into consideration.
(b) If the book must be overcast when it comes to be sewed, the back is not only pounded down at this stage, but it is also put under the knife and entirely cut off, leaving single leaves instead of folded sections. If it is not pounded it cannot be cut properly. The success of overcasting depends largely on the amount of margin at the back, so that care must be taken not to cut more than is absolutely necessary.
4. Mending
Leaves are mended with thin tough paper. The librarian should not, however, expect binders to mend books which have a large number of torn leaves without making an extra charge.
5. Gluing
Books which are to be overcast and which have had the backs cut off are slightly glued to hold the leaves together. A sufficient number can then be taken off and handled as a section without coming apart.
6. Fly Leaves Guarded
Fly-leaves, made of kraft or manila paper running about 60 pounds to the ream, which have previously been guarded with cloth are added to the book. In guarding, a strip of cloth is pasted around the back of the folded fly-leaf covering about one quarter of an inch on each side. When the book is sewed the needle passes through the cloth as well as the paper. Different binders use different materials for guarding fly-leaves, end papers and signatures. It must, however, be a cloth of close weave, strong, and light in weight. The English cloth called jaconet, used by some binders, is probably as satisfactory as any.
This is one part of library binding which differs radically from the custom in ordinary hand work. Old-fashioned binders, unless properly instructed, will simply fold a piece of paper, and tip it on to the first and last signatures with paste, thus forming an element of weakness instead of strength. When the fly-leaves are guarded and properly sewed they become an integral part of the book and no tipping is necessary.
7. Sections Guarded
At this point it is also necessary to guard the first and last signatures of books which are to be sewedin the regular way. Overcast books do not need such guards.
Guarding of first and last signatures is another of the distinctive features of library binding. In the case of books bound in the regular fashion the sewing invariably first gives way at the first and last signatures. Guarding with jaconet prevents the threads which lie in the middle of the signatures from pulling through the paper. This method is essential if it is supposed that the book will be much used. It is not essential for books which will be used only occasionally.
8. Illustrations Guarded
Illustrations are guarded with a thin, tough paper, not with cloth. The guard folds around an adjoining signature and is sewed through.
9. Sawing
If the book is not to be overcast, it is screwed tightly into the backing-press and sawed to make the grooves in which the bands or twines are laid when the book is sewed. Grooves for three bands must be made for books eight inches high, four for twelve-inch books and five for fifteen-inch books. For fiction two bands are used. There must also be two additional grooves, much shallower than the others, about one half inch from the head and tail of the book for the kettlestitch.
After the grooves for kettlestitch have been sawed the two grooves for bands will divide the rest of the back into three equal parts. For fine work it is necessaryto measure the book carefully and mark with a pencil; but in most library work measurement by the eye alone is sufficient. In sawing, care must be taken not to saw too deeply, since too deep a cut allows the signature to play back and forth and is plainly visible inside.
There are some good library binders who overcast books in the modern way, and yet who sew on bands. Such binders will at this point saw all books. There are also some good library binders who use no bands when overcasting and who sew all other books on tapes. These binders omit sawing.
10. End Papers Added
At this point it is best to add end papers. These are always guarded on the outside of the fold and sometimes on the inside. They should be made of good, strong paper somewhat heavier than that used for fly-leaves. Some binders have special papers made to order with a design which serves as a trade mark. End papers, in the same way as fly-leaves, are prepared with guards in quantity and simply need to be trimmed to the size of the book. They are not added at the same time as fly-leaves because they must not be sawed. If this is done the holes show through after the end paper is pasted down.
11. Sewing
Regular or Bench Sewing.When the signatures are ready for sewing, twines (or "bands" as they are commonly called) are stretched taut on the sewingbench and adjusted so that they will fit into the saw-cuts in signatures. (Fig. 1.)
Figure 1.—Sewing bench showing bands adjusted.Figure 1.—Sewing bench showing bands adjusted.
Figure 2.—Sewing on sunken cords. Based on illustration in Report of the Committee on Bookbinding. Edited for Society of Arts, London, 1905.Figure 2.—Sewing on sunken cords. Based on illustration in Report of the Committee on Bookbinding. Edited for Society of Arts, London, 1905.
The book is placed back of the sewing bench with the fore-edge toward the sewer and with the first section on top. The first section (i. e. the end paper) to be sewed is then turned over, opened in the middle by the left hand, and placed on the sewing bench. The sewer, as she faces toward the right, with the right hand passes the needle from the outside through the sawcut for the kettlestitch, where it is taken by the left hand along the inside of the section and passed out on the near side of the first band, then in again on the far side of the first band, along the inside of the section to the second band, where the process is repeated; and so on, bringing the needle out in the far kettlestitch. (Fig. 2.) The thread ispulled tight at each stitch and about two inches of thread is allowed to hang from the first kettlestitch. In some few cases it may be advisable to bring the needle out on the far side of the band and in againon the near side, thus entirely encircling the band with the thread. The next section (i. e. the fly-leaves) is then laid on and the process repeated, except that the sewing proceeds from the far end to the near end. When the thread is brought out of the kettle stitch of the second section the end of the thread left projecting from the first section is securely tied to it, and the sewer proceeds with the third section. This will be the first signature of the book. On reaching the last sawcut at the far end in the third section the needle is put between the second and first sections carrying the thread down in such a way as to form a buttonhole stitch. (Fig. 3.)
Figure 3.—Kettle stitch.Figure 3.—Kettle stitch.
All other signatures are sewed in the same way, the last section sewed being securely fastened to the others. It is possible to sew a number of books one after another without removing them from the sewing-bench. If the back swells unduly the sections can be pounded down with a piece of wood, care being taken not to drive them inward. The sewing should be neither too loose nor too tight. If too loose a firm, compact book cannot be made; if too tight the threads may break in the process of backing. Bandsare allowed to project about an inch on each side of the book.
Formerly it was the practice of some binders to sew in a way technically called "two-on." This simply means that the sewer when reaching the middle of the signature, passes the needle into the corresponding sawcut of the signature above and sews through to the other end. This always leaves an end of a signature unsewed. This way of sewing is permissible on books which have a large number of thin signatures, in order to prevent the thread from unduly swelling the back. It is never permissible on other books.
The foregoing account gives a very brief description of ordinary sewing. It is easily understood when once seen. Librarians who have charge of binding should keep the process thoroughly in mind for it is the most important single process in the making of a book. Such sewing will be used on a large number of books which have to be rebound, but a still larger number, practically all fiction and juvenile books, should be sewed in a different manner; that is, with some kind of an overcast stitch.
Overcasting.The modern overcasting stitch resembles in principle the old-fashioned whipstitching, but differs radically in actual performance. It is exceedingly strong, while the old-fashioned whipstitching is not. It has been objected that modern overcasting takes away much of the flexibility of a book and that books once sewed in this way can never be rebound. It is true that an oversewed book is notas flexible as one sewed through the signatures, yet most of them are more flexible than one might suppose. It is also true that the book can never be rebound, but if the overcasting is properly done, the sewing will last until the book is discarded. It is for this reason that it is used on practically all fiction and juvenile books.
According to the old-fashioned method of whipstitching it was the custom to cut off the backs of signatures, glue them slightly, take a few leaves and sew them over and over making five or six stitches to a section, as shown in Figure 4. The next section was then sewed in the same way, but it was not joined in any way to the section beneath except by the kettlestitch and occasionally by a little paste. When sewed in this way the leaves inside of each arbitrary section would open only as far back as the threads of the stitches, while between the sections thebook would open to the back of the section. If paste had been used the strain of opening tended to pull the leaves apart. If the book was subjected to hard wear the thread cut into the paper.
Figure 4.—Old-fashioned whipstitching. Each section is sewed separately.Figure 4.—Old-fashioned whipstitching. Each section is sewed separately.
Today every progressive library binder has a special method of overcasting and each claims that his method is the best. Librarians, however, can see many points of resemblance between them, and few points of difference. In actual wearing qualities the sewing of one seems as good as that of another. When properly done the sewing prescribed by all of the methods is still in good condition when the books have to be withdrawn from circulation.
In overcasting, as in old-fashioned whipstitching, the sewer selects a certain number of sheets for sewing. Bands are placed on the sewing-bench as in regular sewing, though some binders claim that it is not necessary to sew either on bands or tapes. The sections are first perforated by a machine to facilitate the work of the sewer and to insure that all stitches shall be equidistant from the back of the book. So far as is known no machine for this purpose is on the market. It is certain, however, that the best binders have machines for this purpose. They have either designed their own machines or have adapted those made for other purposes. If the book is printed on thick, spongy paper it will increase flexibility if the paper is creased along the line of perforation.
Figure 5.—One kind of modern overcast stitch. There are others equally good. Note that each stitch extends through two sections.Figure 5.—One kind of modern overcast stitch. There are others equally good. Note that each stitch extends through two sections.
It is difficult to give a description of modern overcasting which can be easily understood by oneunfamiliar with sewing processes. The reader will be helped by looking closely at Figure 5 while reading the following description, but one can understand it best by seeing it done or by tearing a book apart and examining the sewing.
The first section of the book is sewed over and over in the same way as in the old-fashioned method of whipstitching, except that a great many more stitches are taken. The second section, when placed on the first, is also sewed over and over but a certain number of stitches are also made which connect the second section with the first. In the same way the third section is sewed to the second and so on through the book, so that when the book is finally sewed it is tight and compact; its weakness lies in the paper itself, not in the sewing. Some binders add three kettlestitches at the end of the book instead of one,believing that when all kettlestitches are placed in one sawcut the swell at the head and tail of the book is too great.
Figure 6.—From "About Public Library Books and Their Binding" by Cedric Chivers.Figure 6.—From "About Public Library Books and Their Binding" by Cedric Chivers.
Figure 7.—Sewing on tapes. Sawcuts made only for kettle stitches. Based on illustration in Report of the Committee on Leather for Bookbinding. Edited for Society of Arts, London, 1905.Figure 7.—Sewing on tapes. Sawcuts made only for kettle stitches. Based on illustration in Report of the Committee on Leather for Bookbinding. Edited for Society of Arts, London, 1905.
Overcasting is the most expensive way of sewing a book, so that it is advantageous to binders to place as large a number of leaves as possible in a section. The more careful binders, however, regulate the number of leaves in a section according to the kind of paper in the book. A larger number of leaves can be taken in books printed on thin paper than in thoseprinted on thick, spongy or heavy papers.
Figure 8.—Stitching.Figure 8.—Stitching.
In deciding how a book ought to be sewed one must consider: (a) The use the book is to receive. If it will not receive hard usage sew through the signatures; otherwise overcast. (b) Paper on whichthe book is printed. Poor paper should be oversewed. (Fig. 6.)
Tapes.When it does not seem necessary to overcast it may be advantageous to sew on tapes instead of bands. This method eliminates saw-cuts since the narrow tapes are simply laid against the back of the book and the needle passed around them, as indicated in Figure 7. Sewing on tapes makes a book much more flexible than it can be made any other way except by sewing on raised bands. Music should always be sewed in this way. Until recently it was supposed that tapes added strength, but it is certain that they do not if the book is properly bound in other respects. If used at all, tapes should be narrow. Wide ones take up a great deal of surface and when glue is applied this surface remains untouched, unless the sewer has sewed through them instead of around them.
Stitching.Stitching is the process of sewing loose leaves lengthwise on a sewing machine, after which the stitched sections are sewed in the regular way on bands. (Fig. 8.) The objection made to old-fashioned whipstitching, that between the sections the book opens all the way to the back while inside the section it opens only as far as the threads, is equally applicable to a stitched book. Any one who has read a book sewed in this way will remember how difficult it was to hold in the hands. Stitching makes a stronger book than the old-fashioned whipstitching but cannot compare in strength with the modern overcasting. In some few cases it may be used advantageously on the first and last signatures of abook, but its use on the entire book cannot be too strongly condemned.
It may be inferred by what has been said about sewing that it is a comparatively simple matter to sew books properly. It is right at this point, however, that the librarian and the binder who does not understand the requirements of library work will come into conflict. The binder will insist that all books must be sewed on bands. When the backs of sections are very badly worn he will agree to whipstitch, but will use the old method. The librarian will insist not only that nine-tenths of fiction and juvenile books must be overcast, but that a special kind of overcasting must be used. The binders who make a specialty of library work do all this as a matter of course. At least one binder tests the thickness, tensile strength and other qualities of the paper and sews each book in the way that experience has shown to be the best.
After the book is sewed it goes to the forwarder who has charge of the book during all processes which the book passes through between sewing and finishing. Forwarding includes trimming, gluing, rounding, backing, putting on back-lining, making the case (or lacing-in, see page 42), casing-in, pressing.
12. Fly Leaves Pasted
The end papers and fly-leaves which lie together are pasted together, making one thick fly-leaf. When it is remembered that both end papers and fly-leavesare guarded with cloth, it will be seen that pasting the two together adds materially to the strength of the book.
13. Bands Frayed
The bands which project about an inch and a half on each side of the book are frayed out at the end and pasted to the end papers. The fraying is done so that they will paste down flat, and the pasting so that they will be out of the way during succeeding processes.
14. Trimming
The book is squared up by tapping on a flat surface, and trimmed at the head, fore-edge and tail. As little as possible must be trimmed, but binders find that if less than an eighth of an inch is cut the cutting machine does not work well. Trimming makes the edges even and what is more important in rebound books, removes much dirt.
15. Sprinkling
At this point edges are sprinkled. This process is not essential either for strength or beauty, but it helps to keep the book from becoming soiled, or at least from showing dirt. It cannot be expected on cheap work. The process was formerly done by hand, using a brush and shaking the coloring matter on the book. It can now be done with a machine operated by hand which sprays the coloring matter on the book. Occasionally the top of the book is burnished with an agate or blood stone.
Occasionally also it may be desirable to gild thetop of a book which is being rebound. When this occurs it is not a process to which the librarian need give much attention, except to be sure that good gold is used.
16. Gluing
The back of the book is then slightly glued. The glue must be very hot and quite thin, and must be thoroughly worked into the back. By placing books in a pile a number can be done at a time.
17. Rounding
As soon as the glue has stiffened but before it is hard the book is rounded. This must be done by experts and is a process which must be seen to be understood. The book is placed on the table with the fore edge toward the workman who then hammers the part of the back lying uppermost in such a way as to force the upper part of the book toward the workman. The book is then turned over and the process repeated. After a few operations like this the back of the book becomes rounded and the fore edge concave.
18. Backing
The book is then placed in a backing press allowing about an eighth of an inch to project, and screwed very tight. With a backing hammer the rounding process is continued and the sides of the book forced down over the edge of the press to form a projection against which the edge of the board for the side rests, forming the joint. In hammering, the workman begins at the proper distance from the center of theback so that he can force the backs of the other signatures over on each side toward the edge. (Fig. 9.)