The Project Gutenberg eBook ofPractical 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: Practical BookbindingAuthor: Paul AdamTranslator: Thomas E. MawRelease date: March 31, 2012 [eBook #39318]Language: EnglishCredits: Produced by Chris Curnow, Hazel Batey and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)*** START OF THE PROJECT GUTENBERG EBOOK PRACTICAL 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: Practical BookbindingAuthor: Paul AdamTranslator: Thomas E. MawRelease date: March 31, 2012 [eBook #39318]Language: EnglishCredits: Produced by Chris Curnow, Hazel Batey and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)
Title: Practical Bookbinding
Author: Paul AdamTranslator: Thomas E. Maw
Author: Paul Adam
Translator: Thomas E. Maw
Release date: March 31, 2012 [eBook #39318]
Language: English
Credits: Produced by Chris Curnow, Hazel Batey and the OnlineDistributed Proofreading Team at http://www.pgdp.net (Thisfile was produced from images generously made availableby The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK PRACTICAL BOOKBINDING ***
Logo
PRACTICAL BOOKBINDING
BY
PAUL ADAM,
Director of the Düsseldorf Technical School of Artistic and Practical Bookbinding.
TRANSLATED FROM THE GERMAN BY
THOS. E. MAW,
LIBRARIAN KING'S LYNN PUBLIC LIBRARY.
WITH 127 ILLUSTRATIONS.
LONDON
SCOTT, GREENWOOD & CO.
19 LUDGATE HILL, E.C.
NEW YORK
D. VAN NOSTRAND CO.
23 MURRAY STREET
1903
(The sole right of translation into English rests with Scott, Greenwood & Co.)
Page.Metric and British Systems Comparedvi.Prefacevii.Introductory Remarks on Working Methods and Materials1A.—Materials for Sewing and Pasting1B.—Materials for Covering the Book4C.—Materials for Decorating and Finishing7D.—Tools9PART I.Forwarding.ChapterI.—General Preparatory Work13ChapterII.—Sewing40ChapterIII.—Forwarding: Cutting, Rounding, and Backing54ChapterIV.—Forwarding: Decoration, of Edges and Headbanding62ChapterV.—Boarding85PART II.Finishing.The Book Cover93ChapterVI.—Making the Cover95ChapterVII.—Work with the Blocking Press103ChapterVIII.—Treatment of Sewn Books, Fastening in Covers, and Finishing Off119ChapterIX.—Hand Finishing129ChapterX.—Account Books157ChapterXI.—School Books, Mounting Maps, Drawings, &c.169Conclusion177Index180
Page.Fig. 1Glue-pot for heating by petroleum.3Figs. 2 & 3Holding whilst folding.15Fig. 4Lifting into the Press.19Fig. 5Open sheets laid out for gathering.20Fig. 6Sections fanned out for drawing out.22Fig. 7Sections fanned out for pasting.23Fig. 8Suggestions for mounting on guards.25Figs. 9-13Suggestions for folding plates and maps.26Fig. 14Collating.28Fig. 15Rolling machine.31Fig. 16Sewing frame.33Fig. 17Arrangement on the sewing frame.33Fig. 18Arrangement of threads in holländering.35Fig. 19Small stapling machine for single sheets.35Fig. 20Arrangement of staples in brochures.35Fig. 21Arrangement of threads in old style of sewing.41Fig. 22Arrangement of threads with double cords.41Fig. 23Divisions for sawing-in.42Fig. 24Machine for sawing-in.43Fig. 25Suggestions for single and double end papers.45Fig. 26Suggestion for double end paper with tear-off.45Fig. 27Overcast end paper.46Fig. 28Loops for attaching to frame hooks.47Fig. 29Loops for taking frame keys.47Fig. 30Suggestion for sewing on four cords.48Fig. 31Suggestion for sewing on six cords.48Fig. 32Suggestion for sewing two-sheets-on.50Fig. 33Thread-sewing machine.53Fig. 34Wire-sewing machine.53Fig. 35Rotary guillotine.54Fig. 36Lever guillotine.55Fig. 37Top edge arranged for when trimming three edges.56Fig. 38Rounding the book.57Fig. 39Rounding machine.58Fig. 40Backing machine for small shops.59Fig. 41Backing machine for large shops.59Fig. 42Backed book arranged for trimming.60Fig. 43Marbling outfit.66Fig. 44Suggestion for sprinkling colour.68Fig. 45Comb marbling.69Fig. 46Suggestion for curl marbling.69Fig. 47Bouquet or peacock marbling.70Fig. 48Eye marbling.70Figs. 49 & 50Arrangement of flat and rounded edges.74Fig. 51Top edge arranged for gilding.80Fig. 52Headband shears.82Fig. 53Headband working.83Fig. 54Board-cutting machine.86Fig. 55Spring back.87Fig. 56Boarded book.88Fig. 57Section of edge rule.89Fig. 58English style of lacing boards.90Fig. 59View of the most general styles of binding, showing the divisions of the work. (Table)94Fig. 60Corners cut for turning in.96Fig. 61Corners: Right and wrong.96Fig. 62Paring with Offenbach or Berlin knife.97Fig. 63Paring with French knife.99Fig. 64Blocking press.105Fig. 65Appliances used in blocking backs.107Fig. 66Colour roller.115Fig. 67Stuck-on gauges.118Fig. 68Turning in the head.121Figs. 69 & 70The head: good and bad.122Fig. 71The pasted-down book.125Fig. 72Treatment of tear-off.128Figs. 73 & 74Simple line designs.131Fig. 75Half-calf extra tooled in blind.133Fig. 76Leather binding with simple design in blind.134Fig. 77Simple gold tooling on sides.135Fig. 78Tooled cover.136Fig. 79Specimen of tooling done in the Düsseldorf Technical School.137Fig. 80Leather binding by Oswald Kob, Bozen.138Fig. 81Cover with laurel motive done in the Düsseldorf Technical School.139Fig. 82Leather binding with fern motive done in the Düsseldorf Technical School.143Fig. 83Simple gold tooling on squares.144Fig. 84Design in gold for squares. Tools by F. Clement, Leipzig.145Figs. 85 & 86Two designs in gold for squares.145Figs. 87, 88, & 89Three simple backs. T, d, B = Title; N, T = Sub Title.147Fig. 90Type-holder with centre position.148Figs. 91, 92, 93, & 94Four backs tooled in the Düsseldorf Technical School.149Fig. 95Group of backs tooled in Carlsruhe Technical school.150Figs. 96 & 97Two richly decorated insides done in the Düsseldorf Technical School.150Figs. 98, 99, 100 & 101Four richly tooled backs151Fig. 102Rich half-calf extra binding.152Figs. 103 & 104Tooling on heads.153Figs. 105, 106, & 107Tooling on the edges of the boards.154Fig. 108Motive executed in the Düsseldorf TechnicalSchool.154Fig. 109Case to protect book.155Fig. 110Cut-out case.155Fig. 111Book cover.155Fig. 112Cover in case form.155Figs. 113 & 114End papers for account books.158Fig. 115Boards cut out at head.160Fig. 116Suggestion for account book back. _K_Pared edge; _T_Part to be pasted.161Fig. 117Suggestion for account book back.162Fig. 118Boarded account book.163Fig. 119To show where turn-in is to be cut.164Fig. 120Hand numbering machine.165Fig. 121Suggestion for back of guard book.166Fig. 122Pattern for dust flaps. (Leinwand = Linen hinge.)167Fig. 123Eyeleting machine.172Figs. 124 to 127Showing stages of pinning down for stretching.173
Metres.Decimetres.CentimetresMillimeters.Inches.·001·01·11·039·002·02·22·079·003·03·33·118·004·04·44·157·005·05·55·197·006·06·66·236·007·07·77·276·008·08·88·315·009·09·99·354·01·1110·394·02·2220·787·03·33301·181·04·44401·575·05·55501·968·06·66602·362·07·77702·756·08·88803·150·09·99903·543·11101003·94·22202007·87·333030011·81·444040015·75·555050019·69·666060023·62·777070027·56·888080031·50·999090035·43110100100039·37
1 gramme = 15·44 grains.
28-1/3 grammes = 1 oz. avoird.
1 kilogramme = 1000 grammes = 2·20 lb. avoird.
1 metre = 100 centimetres = 39·37 inches. Roughly speaking, 1 metre = a yard and a tenth. 1 centimetre = two-fifths of an inch. 1 kilometre = 1000 metres = five-eighths of a mile.
1 cubic metre = 1000 litres = 35·32 cubic feet.
1 litre = 1000 cubic centimetres = ·2202 gall.
1 calorie = 3·96 British thermal units.
C.F.C.F.C.F.C.F.C.F.-25-13541257765149105221-20-4846·4308670158110230-171·41050359575167115239-1551253·64010480176120248-101415594511385185125257-5231762·650122901941302660321864·45513195203135275133·8206860140100212140284
To Convert:—
Degrees C. to Degrees F., multiply by 9, divide by 5, then add 32.Degrees F. to Degrees C., first subtract 32, then multiply by 5 and divide by 9.
Nowadays the bookbinder does not bind only those books given to him for this purpose as was the case in former years, for present conditions necessitate his undertaking many kinds of work which have little or nothing to do with the binding of books, particularly such as are connected with the making or finishing of printed matter and paper goods, or where pasting, gumming, and glueing are required, which, in their turn, are connected with paper and cardboard.
On the other hand, some branches of the bookbinder's craft have now become quite distinct, and have developed into special industries, and have so enlarged and extended that even their particular methods of working and technical terms have quite changed. Cardboard goods, leather goods, photo albums, maps, and even account-books are treated by particular firms as specialities.
As we must now keep within clearly defined limits, we shall treat here only the work of bookbinding proper as far as it is concerned with the making of the book for publisher, bookseller, and buyer, and also the making of account-books, whilst the other work given to the binder, commonly called "fancy goods," must be excluded.Editions de luxe,charters, illuminated addresses, &c., are likewise excluded, as they are quite apart from the ordinary work of the bookbinder, belonging solely to artistic bookbinding. When any such work is required the intelligent worker will not be at a loss; besides, he will derive ample assistance from the illustrations for this class of work.
The parts of this little book have been so arranged as to correspond to our present-day division of work: preparatory work, forwarding, covering, and finishing. In England and France the various processes have for a long time been similarly termed, and although in Germany we could not follow their lead without any deviation, because our method of work and division of labour are so different, yet the basis of this arrangement has been used in this book.
Every text-book has some drawback, the greatest of these being that a practical demonstration on the subject is more helpful than the most detailed written description, and yet even in the latter a text-book is limited. For the rest, I have tried to be as brief and clear as ever possible and to avoid faults which I have discovered in my former writings of a similar kind.
Paul Adam.
Düsseldorf, Germany, 1898.
The bookbinder works with quite a large variety of materials which are mostly what we might call "half-made," that is to say, such materials as have already undergone some hand or machine process in order to make them fit for the work of the bookbinder. This is not the place to go into details as to the source of all these materials or the manner of their production: that may be seen in special treatises.
We separate into various groups the materials we use.
The bookbinder himself prepares his paste from wheaten flour and boiling water. Put in a shallow vessel, by preference a stone or enamelled metal wash-basin, the quantity of flour required for about eight days, pour in as much water as will make a mixture by soaking and stirring of the consistency of honey. Add to it boiling water, first slowly, then quicker, stirring all the time. It does not do to add the water too quickly, as that is likely to make the paste knotty or lumpy, because it cannot be stirred quickly enough and the gluten develops unequally. If added too slowly, the starch is not heated quickly enough and does not thickensufficiently or not quickly enough, and the paste turns out too thin.
Good paste, when cold, should not be stiff like pudding, but should be easily worked with a brush. In order to prevent a skin forming on the top whilst cooling, pour over the paste as much cold water as will cover the surface immediately after the mixing with the boiling water; this water is afterwards poured off.
In summer when the paste is made, and whilst still hot, add a few drops of turpentine and mix well; this preserves the paste and keeps off insects. The addition of alum to the paste tends to make it watery, besides having no preservative properties.
If required, paste may be thinned by adding a little warm water. Potato flour is often used fraudulently for making paste, but this should only be taken when it is possible to use it up quickly, and not for books, but only for fancy goods, as this flour does not possess great adhesive power and is unsuitable for leather.
Glue is made from the well-known cake glue. The best English glue, although the dearest, is the cheapest to use. Good glue whilst soaking in water should still retain a certain degree of stickiness, must not be greasy, and should have no disagreeable smell. Glue if weighed before soaking and afterwards dried and again weighed should give no perceptible loss in weight. Good glue should not have a disagreeable taste, and above all should not betray the presence of salt.
To obtain the proper consistency in glue for bookbinding, a quantity of the cakes is taken and sufficient water poured over it to cover well. The next day the gelatinous mass is taken out of the water and dissolved in the glue-pot by placing the softened glue in a pot standing in an outer vessel containing boiling water. Glue should never be boilednor placed directly on the fire, as that causes the loss of the best part of its adhesive property.
Glue and paste are generally worked with a brush. For paste a large hollow brush is used; this holds a large quantity of paste and covers a large surface. For glue a closer brush with a metal fastening is used, because here the hairs cannot be secured with pitch owing to the brush being constantly exposed to heat. On the paste brush there must be neither ring nor anything else of iron, as this used in paste would cause rust, and rust would give iron stains to light-coloured leathers. For the same reason no enamelled vessel should be used for paste after the enamel has once been chipped or worn.
Laying the glue or paste on a material is called glueing or pasting. A zinc-plate is the most serviceable pasting-board, as the paste is easily washed off. Glue can be scraped or soaked off and used again. Pasting-boards of mill-board or paper are hardly to be recommended, as their use entails a considerable loss of material.
Of other adhesive substances, dextrine, gum, gelatine, and isinglass are used for certain purposes. The two former are always used cold, the two latter warm. The former are dissolved in cold water; gelatine and isinglass are soaked exactly like glue, the water poured off, and then melted in the glue-pot.
Dextrine and gum are used by the bookbinder almost exclusively for pasting larger surfaces, and for laying on these substances a broad thin brush fastened with a metal strip is used.