TUTORIAL // PASTE PAPERS

September 7, 2020 by Erin Fletcher

Making paste papers is a really fun and messy activity. In this video for North Bennet
Street School, Colin Urbina and I discuss the set-up and share a few techniques for
making this decorative paper at home. Even though this video is geared towards kids,
this technique is great for any age group. You can find more online content created
for NBSS here. If you are looking for even more instructional content, I have a
growing list of tutorials and I also teach live workshops in-person and online. Check
out my list of Upcoming Workshops.

SUPPLIES:
– paste/paint mixture (see recipe below)
– various tools for decorating (combs, rubber stamps, foam brushes, sponges,
anything that will make a mark)
– brushes for painting on paste/paint mixture (paint brush or foam brush)
– container of water and sponge or spray bottle
– paper
– tarp or trash bag

PASTE/PAINT MIXTURE RECIPE:

– 1 part all-purpose flour
– 4 parts water
Mix the flour and water together and whisk over a double boiler for about 6 minutes
or until it turns to the consistency of cream of wheat.

Once paste has completely cooled, add a dollop of paint (tempera or acrylic). If color
is too thin, add another dollop until you achieve the right amount of pigment.

site video
Erin Fletcher handmade paste paper

Paste papers have been used since the 16th century as decorative endpapers and
cover papers, which are produced by pressing or sliding objects into a wet

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paste/paint mixture that has been spread on paper. This style of decoration
continues to be used today. Here are some great contemporary paste paper makers.

Hook Pottery Paper | Colophon Book Arts Supply Claire Maziarcyzk | Talas

Deena Schnitman Madeleine Durham

紙を水で潤かす(ふやかす)かっ！？ってくらい水につけておく
耐水・平らな板などの上に引き上げた紙の水気とシワ、空気をスクレーパーなどで押し出す
全体にペースト＆ペイントミクスチュアをでかいハケで満遍なく塗り広げる
櫛や篦、刷毛(クシ・ヘラ(スクレーパー)・ハケ)などで模様を描いてもよき
よく乾かしたら、表面に蜜蝋(Beeswax固形)で被膜をつけて耐水(撥水)性にする

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Overview | How to Create a Case Binding | Bookbinding

Today, I’m giving you an overview of the case binding method. This method is used in
bookbinding to create strong, flexible books intended to last for generations.
The case binding itself dates back to the middle ages when books were a symbol of wealth
and status. These books were often encased in wood covers for protection. Hundreds of
years later, during the Industrial Revolution, the case binding method was standardized as
a way to quickly produce books that could tolerate heavy use and transfer. This continues
to be true today.

The case binding method has evolved through many innovations and improvements to get
where it is today. Modern bookbinders use this method to create books bound in all sorts
of materials (cloth, leathers, wood, papers and more) to express the content of the book
and the artist themselves.

Every bookbinder should be familiar with this method, so let’s dig in!

This method is easily recognized for 4 reasons:

1. The case and the text block are created separately,
2. Completely covered and reinforced spine,
3. Does not lay flat, but the spine is flexible,
4. Expansive finishing options and coverings

Whatis a case binding?

● Bookbinding Method or Technique: Case binding (casebinding)
● Minimum Skill Level: Intermediate
● Characteristics: book block and case created separately, flat or semi-rounded
spine, hard covers
● Great for: journals, manuscripts, dissertations, binding artwork, manuals
● Bad for: any book that needs to lay open flat

Case bindings are everywhere, from journals and photo albums to recipe books and novels.

At its simplest, a case binding is just a hard cover book where groups of pages are sewn
together and bound between pieces of book board covered in a protective material.

Take a look around your own home. Do you see any case bindings? Grab one and open it
up. It could be very helpful as we go through the structures.

While I’ll be covering some steps of book assembly, this is not an in-depth tutorial. This
article is intended as an overview only.

I’ve broken the entire process down into three detailed tutorials if you’d like to make one
yourself.

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Characteristics of a case binding
Coptic bindings are have an exposed spine with chain link stitching and multiple sections.
The covers are usually hard, but may also be soft or protected with leather. Like a
Pamphlet binding, the book block is traditionally flush with the head, tail and fore edge.
This makes it an easy book for beginners and intermediate book artists who may not know
how (or have the equipment to) trim these three edges. The covers are sewn directly to
the first and last signatures, so there is zero adhesive required (unless you’d like to cover
the boards first). A straight needle can be used to sew these bindings, but most people
find curved needles easier to use.
Case bindings have a closed spine with sewn text blocks and multiple sections/signatures.
The case and text block are created separately and joined together at the end (called
“casing in”). The covers are hard and the text block usually sits inside the covers by about
2-3mm from the top, bottom and fore edges. The book’s spine may be rounded or flat with
headbands at the head and tail. Many different materials can be used on these books. The
most popular are paper and cloth.
The 7 “building blocks” of a case binding
Case bindings have what I call “7 building blocks”:
The case and text block
When brought together, these 7 building blocks form two primary structures:
1. Casing (or, case)
2. Text block (or, book block)
Case
The casing is created by covering the spine and boards in a single sheet (or combination)
of paper, cloth or leather. The paper or cloth is glued to the book board and pressed under
weight until dry.

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I quickly created this case to demonstrate the combination of covering materials. I’m
using linen book cloth over the spine and decorative paper over the covers.
Text block
The text block (or book block) is created by sewing groups of paper that have been folded
(called sections or signatures) together. Once pressed to remove the air, they may or may
not be sewn onto supports. Supports are typically linen tapes or cord (twisted twine).
Once sewn, the signatures go through a process of reinforcement along the spine (gluing,
adding additional supports) until they’re held firmly in place.

Preparing the text block for casing in

At this point, endpapers may be attached to the text block using glue along the spine edge
or directly to the top sheet. Some binding methods require these to be sewn in with the
signatures beforehand. Either way works and is up to your preference.
Next, head and tail bands may be attached to the text block using glue or hand-sewn
methods (not covered here). These are totally optional, but should go in before the book
is cased.
Once the head and tail bands are secure, an additional support (usually called a super or
mull) is glued in place around the back of the text block for additional reinforcement.

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This is the top-down side view of the text block; the linen tapes are concealed under the
mull
Before the text block can be glued to the case, it is first placed inside the case to ensure
adequate coverage. I call this “fitting the text block.”

Securing the text block to the case

The text block is secured to the case by gluing the endpapers to the front and back covers.
Newsprint and a glue barrier (usually wax paper, parchment or mylar) are inserted
between the endpapers and first/last page of the book to prevent moisture from seeping
into the text block.
The completed book is then placed under weight (usually a book press) to dry overnight or
up to 3 weeks depending on the project.
Finished book
Voila! The book is now complete!

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Handmade Book Tip: Create Visual Balance on the Book Spine
Years ago, I received a handmade book tip that I think of every time I make a case binding:
choose the right spine strip.
No one wants an ugly book, but we all know they exist. Professional looking handmade
books are structurally sound and uniform in appearance, but achieving this requires
juggling lots of variables. The spine strip is one overlooked variable that makes a huge
difference in the appearance of a book. Since the spine sits perpendicular to the cover, it
should compliment (not deter from) the design.
Today, I’ll show you how to choose the right spine strip so you can achieve the glory of a
visually balanced book.
What is a spine strip?
It might seem simplistic, but let’s break it down:
● The spine of a book is the area where the pages are bound together
● The spine strip is a piece of card that helps to define, protect and provide
flexibility for the spine
● A book case is created by gluing the spine strip and cover boards to a material like
paper, book cloth or leather
Spine strip missteps
Before jumping in, let’s review a few of my ugly books. Remember, everything I discuss on
this blog is usually related to my own missteps or failures. While I might create a
Frankenstein now and then, I don’t give up. And you shouldn’t either.
Exhibit A: crappy spine strips.
We will refer to the photo below. I made all three of these books while practicing the
basics.
Notice how wide the spine strip is on the first two books (blue and cream) vs. the last
book (pink). All three books are using a spine strip with the same book board thickness as
the covers, but with different widths. This creates two problems: 1) the strip dwarfs the
poor headbands and 2) the eye is drawn to (and lingers on) the spine instead of the entire
book
If the eye is constantly drawn to one area, there’s a balance issue. Unless the area is a
feature-forward design element, the eye should not focus on it exclusively. Observers
should gaze over the entire book from head to tail and feel like they can’t, for some
reason, get enough of it.

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Spine strip material
A thick or sturdy card stock (220gsm, 100# or higher) is good for the spine strip, but
thinner book board (0.5-0.7mm) can also be used. If you’re short on these supplies, the
cardboard from a cereal box is a great substitute.
A good spine strip can be shaped with pressure, but remains firm.
Spine strip thickness
Now that we know what a spine strip is and the material used to make one, let’s talk
about weight. The weight of the spine strip can dramatically change the visual balance of
a book.
Spine strips in professional looking handmade books are created with thinner cardstock
than the covers. As an example, if you have a 2mm cover board thickness, consider using a
card of 0.7-0.8mm. For a 3mm cover board, 0.9-1.3mm would work well. The ratio isn’t
exact, but it’s safe to say the spine strip should be about 1/2 to 2/3 the thickness of the
cover boards.

(left to right) 110# card, 0.4mm card, 0.5mm card, 0.80mm book board
A few spine strip examples
I’m using two different spine strip weights in the following photo. The book on the far left
has a spine strip that is the same thickness as the cover boards. See how it has that “boxy”
shape? Now, look at the middle and far right books. Both strips are of a thinner materials
and I’ve curved the middle book’s strip slightly to give it a different look.
The middle and far right books allow your eye to move on to the covers. This is because
the strips contrast, but don’t steal the show. They blend right in with the book, creating a
comforting flow.

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Bonus handmade book tip
Before listening to any handmade book tips, make sure you’re comfortable with the basics
and bookbinding method itself.
Finally, “boxy” spines aren’t always horrible. Variables like cover material, headband and
spine treatments can be adjusted to make up for a wonky spine strip. For some artists,
imbalance itself can be a statement. Take these tips into consideration, but be sure to
follow your own path.

HANDMADE BOOK TIP: CREATE VISUAL BALANCE ON THE BOOK SPINE

Case Binding, Techniques
Years ago, I received a handmade book tip that I think of every time I make a case binding:
choose the right spine strip.
No one wants an ugly book, but we all know they exist. Professional looking handmade
books are structurally sound and uniform in appearance, but achieving this requires
juggling lots of variables. The spine strip is one overlooked variable that makes a huge
difference in the appearance of a book. Since the spine sits perpendicular to the cover, it
should compliment (not deter from) the design.
Today, I’ll show you how to choose the right spine strip so you can achieve the glory of a
visually balanced book.
WHAT IS A SPINE STRIP?
It might seem simplistic, but let’s break it down:
● The spine of a book is the area where the pages are bound together
● The spine strip is a piece of card that helps to define, protect and provide
flexibility for the spine
● A book case is created by gluing the spine strip and cover boards to a material like
paper, book cloth or leather
SPINE STRIP MISSTEPS
Before jumping in, let’s review a few of my ugly books. Remember, everything I discuss on
this blog is usually related to my own missteps or failures. While I might create a
Frankenstein now and then, I don’t give up. And you shouldn’t either.
Exhibit A: crappy spine strips.
We will refer to the photo below. I made all three of these books while practicing the
basics.
Notice how wide the spine strip is on the first two books (blue and cream) vs. the last
book (pink). All three books are using a spine strip with the same book board thickness as
the covers, but with different widths. This creates two problems: 1) the strip dwarfs the

7
poor headbands and 2) the eye is drawn to (and lingers on) the spine instead of the entire
book
If the eye is constantly drawn to one area, there’s a balance issue. Unless the area is a
feature-forward design element, the eye should not focus on it exclusively. Observers
should gaze over the entire book from head to tail and feel like they can’t, for some
reason, get enough of it.

SPINE STRIP MATERIAL

A thick or sturdy card stock (220gsm, 100# or higher) is good for the spine strip, but
thinner book board (0.5-0.7mm) can also be used. If you’re short on these supplies, the
cardboard from a cereal box is a great substitute.
A good spine strip can be shaped with pressure, but remains firm.
SPINE STRIP THICKNESS
Now that we know what a spine strip is and the material used to make one, let’s talk
about weight. The weight of the spine strip can dramatically change the visual balance of
a book.
Spine strips in professional looking handmade books are created with thinner cardstock
than the covers. As an example, if you have a 2mm cover board thickness, consider using a
card of 0.7-0.8mm. For a 3mm cover board, 0.9-1.3mm would work well. The ratio isn’t
exact, but it’s safe to say the spine strip should be about 1/2 to 2/3 the thickness of the
cover boards.

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(left to right) 110# card, 0.4mm card, 0.5mm card, 0.80mm book board
A FEW SPINE STRIP EXAMPLES
I’m using two different spine strip weights in the following photo. The book on the far left
has a spine strip that is the same thickness as the cover boards. See how it has that “boxy”
shape? Now, look at the middle and far right books. Both strips are of a thinner materials
and I’ve curved the middle book’s strip slightly to give it a different look.
The middle and far right books allow your eye to move on to the covers. This is because
the strips contrast, but don’t steal the show. They blend right in with the book, creating a
comforting flow.

9
BONUS HANDMADE BOOK TIP
Before listening to any handmade book tips, make sure you’re comfortable with the basics
and bookbinding method itself.
Finally, “boxy” spines aren’t always horrible. Variables like cover material, headband and
spine treatments can be adjusted to make up for a wonky spine strip. For some artists,
imbalance itself can be a statement. Take these tips into consideration, but be sure to
follow your own path.
Have fun!
● 5 Important Life Events You Should Record in a Journal

● 2 Easy Ways to Create & Fold Signatures for Bookbinding

HOW TO CREATE A CASEBINDING (PART I)

Case Binding, Tutorials
The casebinding method improves upon the original vellum bindings, enabling books to
survive hundreds (even thousands) of years. While the steps to create one are not
complicated, there are several. Since I’m also making my holiday collection of books right
now, I thought it might be fun to bring you along and show you how each one is created.
To simplify the process, I’ve broken this casebinding tutorial into three main parts:
1. Creating the Text Block (Part I) <– you are here
2. Creating the Case (Part II)
3. Casing in the Text Block (Part III)
Bookbinding Tutorial: Casebinding (Part I)
Measurements: 6-3/4″h x 5.25″w x 1/2″d
Cost Level: $$
Skill Level: Intermediate
Total Time: (Part I) 90+ minutes

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CASEBINDING TUTORIAL MATERIALS:
Paper
● 27 single sheets of 70lb text weight paper, cut to size 6-1/2″h x 10-1/2″w
● 2 sheets of 140-160 g/sm for endpapers (90-100lb), any color or design, cut to size
6-1/2″h x 10-1/2″w
● 2 pieces of manufactured end bands, any color or design, cut 1/2″ wide
● 1 string of waxed linen thread, 4-5x the height of the book (can also use unwaxed)
● 1 piece of mull (can use linen cloth, strong tissue paper, Tyvek, Unryu, or other),
cut to 6″h x 2-1/2″w
● PVA adhesive
● Optional: beeswax, if your thread is unwaxed at start
Tools
● Bone folder
● Tapered awl
● Paste brush (foam, bristle or use your fingertip)
● Binding needle (with an eye opening at least 1 size bigger than your thread)
● Olfa knife
● Ruler
● Scissors
● Pencil
BOOKBINDING TERMS TO KNOW
We’ll be using some bookbinding words and phrases throughout this tutorial, so I’m calling
them out here for added clarity. You may already know what these mean, so feel free to
skip over this and start the tutorial.
If you’re brand new to book making, be sure to check out my Bookbinding Tools & Supplies
Quick Start Guide, which includes a more robust list of bookbinding terms and definitions
that might be helpful for this casebinding tutorial.
● Awl – a tool used in bookbinding to pierce paper, creating an opening through which
thread can be sewn. For most books, a light-duty tapered awl works well.
● Endpapers – in casebindings, these are papers at the start and end of the book,
usually decorative, which are pasted down into the case (cover) in order to hold
the text block in place while allowing it to open.
● Endsheets – in casebindings, these are the papers at the start and end of the book
which provide a pause or introduction before the text begins. They are never glued
to the cover (those are called endpapers). Artistic book makers like to think of
these as the “curtains that rise” before the real show begins.
● End bands – elements placed at the head and tail of a book, usually to reinforce the
spine. Today, end bands may be hand-sewn or manufactured and serve more of a
decorative purpose.
● Mull – material used to cover the spine, providing added reinforcement. A mull is
typically made of starched linen material.
● PVA – a water-based adhesive (poly vinyl acetate) that is non-toxic, acid-free, dries
clear and remains flexible.
● Sewing station – a specific place on the spine of a signature where a hole is
pierced, enabling the needle and thread to pass through during the sewing process.
● Text block – also called a book block, these are pages of a book that have been
sewn or glued together into a single unit. Later, this text block is adhered to the
exterior case via the end sheets.
STEPS:
Part 1 – Prepare the Text Block
Fold the paper
1. First, determine grain direction.
2. Once grain direction is determined, create the signatures. Use 5 sheets per
signature, 25 total.

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 3. Fold the remaining two pieces of paper individually. These will serve as the intro
and outro sheets.
4. Next, fold each of the end papers in half, using a bone folder to crease each fold.
5. Stack the signatures, intro/outro sheets and end papers together. Place all under a
heavy book for at least 20 minutes to force out excess air. Obtain better results by
leaving the signatures under weight for a day or more (I do this, but you can skip if
this is your first time).

Pierce the sewing stations

1. Remove the signatures from under weight.
2. Open each signature and, using a ruler, measure out each sewing station on the
fold from left to right at the following distances (each number equals the sewing
station number):
1. 1/2″
2. 2″
3. 2-3/4″
4. 3-3/4″
5. 4-1/2″
6. 6″
3. Tip: create a template like mine to easily mark sewing stations on each signature.
4. Using a tapered light-duty awl, gently pierce each sewing station from inside the
signature to the outside.
5. Repeat for each signature.

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Sew the signatures together
1. Cut a length of waxed linen thread approximately 4-5 times the height of the book
(e.g: since our book is 6-1/2″ high, we will need between 26 and 32 inches of
thread). If you’re using linen thread like me, you’ll need to wax it before moving
on.
2. Thread the needle:
1. Move one end of the thread through the eye of the binding needle.
2. Pull the thread until it can reach the tip of the needle, then poke the
needle through the middle of the thread.
3. Move the thread back down the shaft of the needle.
4. Once it reaches the eye, pull the long section of thread until a knot forms
at the base of the eye of the needle. You’re ready to sew.
3. Stack the signatures so all of the spines face the same direction, holes lined up.
4. Start with the top signature. We will call this signature #1.
5. Pass the needle into station #6 from outside to inside, leaving about 2″ of thread
outside the signature. We’ll tie this off later.
6. Next, move inside the signature to station #5. Pass the needle through station #5.
You are now outside the signature.
7. Continue on to station #4, moving the needle from outside to inside this time.
8. Repeat this process with the 3rd, 2nd and 1st sewing stations.
9. Once the final station is reached (station #1), you will be outside the signature.
10. Move the needle into station #2 from outside to inside. You’ll notice the gap
between the two stations has been filled on both the inside and outside of the
signature. This is exactly what we’re trying to do.
11. Continue to the right, moving in and out of sewing stations until you reach the final
station (#6). You will be outside the signature.
12. Move the needle into station #6. You are now inside the signature.

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 13. Once inside, loop the needle through the thread next to station #6 and tie a knot.
14. Remember that excess 2″ of thread sitting outside the signature? Pull on that to
help tighten the knot inside.
15. Return the needle through station #6 from inside to outside. Gently pull until the
knot pops through the hole.
16. Grab the next signature and stack it on top of the one you’ve just sewn through,
lining up the edges so they’re square.
17. Move the needle through station #6 of the second signature, from outside to inside.
18. Move the needle through station #5 from inside to outside this time.

Passing into the first station

Be sure to leave a “tail” of 2″ of thread outside

Video Technique: how the first signature is started:

Continue along, sewing through each station, until you reach the last.

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At the last station, turn around and sew back along the signature. This will fill in the gaps
in/outside of the signature.

At the very last station, you will be inside the signature. Pass the needle behind the
thread.

This will create a loop, as shown.

While the loop is open, pass the needle through it.

Pull tightly until the knot is secure.

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Move the needle back through the station from inside to outside.
Pull the knot until it pops outside the signature. Be gentle so it does not unwind.
Create the Kettle stitch
1. Once outside, loop the needle around the thread of station #5 of the first
signature.
2. Now, re-enter station #5 of the second signature from outside to inside.
3. Once inside, move the needle through station #4 from inside to outside.
4. Once outside, repeat step #1. This time, you’ll be looping the needle below and
around station #4 of the previous signature.
5. Repeat this process until you’ve reached the end.
6. Add a third signature.
7. Drop back across the spine. Take the needle behind the threads connecting the two
previous signatures.
8. Now, enter station #1 of the third signature from outside to inside.
9. Once inside, pass the needle through station #2.
10. Now outside, pass the needle behind the threads connecting the two previous
signatures.
11. Re-enter station #2.
12. Repeat the process until you reach the end. At the end, you should be outside the
signature.
13. Drop back across the spine. Take the needle behind the threads connecting the two
previous signatures.
14. Now, enter station #1 of the fourth signature from outside to inside.
15. Repeat this process until all signatures are sewn.
16. Once you’ve reached the final sewing station on the final signature, create another
kettle stitch to secure the second to last signature to the one below it.
17. Now, add one final kettle stitch by slipping the needle between the fourth and final
signatures. Pass the needle through the loop to create a knot. Pull tightly to
secure.
18. Clip the two external strings so there is only about 1/4″ left of each.
At this point, you’ve created the first stage of the text block. Congrats!
Next, we’ll add the end papers and end sheets, then apply glue to the entire spine.
Finally, we’ll add the endbands and mull before letting the text block rest for several
hours to fully cure.
Video Technique: how the first and second signatures are secured together
Video Technique: how the third signature is added
Notice, after looping down around the first signature, we skip the second and go straight
into the third signature.
Secure each signature to the previous by looping the needle behind the previous
signature’s threads, then back through the current signature’s sewing station.

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The remaining signatures are held in place by looping the needle behind the threads
securing the previous two signatures together.
Video Technique: how to secure each signature to the previous
Tip in the end papers
1. Apply plain white endsheets first. To do this, apply a small amount of glue along
the crease on one side of each sheet, no more than 1/8″ wide.
2. Turn the sheet over so the glue side is facing down, and then apply the endsheet to
the text block. Use care to line up the crease of the endsheet to the spine,
pressing gently to allow the glue to adhere.
3. Repeat this with the other plain white end sheet, but do so on the reverse of the
text block.
4. Repeat this again with the endpapers, applying one to each side of the text block.
These will lay on top of the plain white end papers.
5. The order should look like this when moving from left to right:
1. decorative endpaper #1 >> plain white endsheet #1 >> sewn signatures >>
plain white endsheet #2 >> decorative endpaper #2

Apply a small amount of glue to the very edge of the blank endsheet.

Paste the blank sheet to the text block. Repeat this process for both endsheets, one on
each side of the text block.

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Repeat process for the endpapers, one on each side of the text block (layered on top of
the white endsheets).

Reinforce the spine

Now that the end papers and sheets are in place, it’s time to apply glue to the entire
spine. To do this, lay the book on its side with the spine slightly over the edge of a work
table. Lay a weight of some kind on top to hold the block in place, careful not to cover up
the spine area.
1. Using a paste brush, apply a layer of PVA to the entire spine. Allow to dry for 15
minutes.
2. Apply another layer of PVA and allow to dry 15-25 minutes.
Add the endbands
1. If possible, stand the text block up. You can do this with clamps or, if you’re feeling
fancy, a laying press.
2. For pre-made endbands, measure the material against the spine to gauge width.
3. Adhere one of the 1/2″ end bands to each end of the text block.
4. Allow to dry for 15-20 minutes.
Add the mull
1. Grab a piece of mull 6″h by 2-1/2″ wide.
2. Apply one more layer of fresh PVA over 6″ of the spine (in about 1/4″ from each
end). It’s okay to put PVA over the end band material.
3. Position the mull so it is 1/4″ in on each end, sitting square in the center of the
spine. 1 inch of mull should drape over on each side of the spine.
4. Press down on the spine with your fingertips, working the mull into the layer of
PVA.
5. Tip: use a firm bristle paste brush to stipple the mull down into each crevice of the
spine. This ensures a tight seal and fit.
6. Allow the entire block to dry overnight.
Video Technique: reinforcing the spine with PVA, endbands and mull
CASEBINDING TUTORIAL PART I: COMPLETE
Congratulations, you’ve created the text block! This is the most important part of our
book, because it holds the text or words we plan to write. It’s the “working” side of a
casebinding, the piece that should have the most flexibility and support.
Since we’re making a small book, I chose not to worry you about additional spine
reinforcements like linen tapes or twine, even though I use linen tapes in my books. You
can work your way up to these in the future.

● Make a Quick & Easy Punch Template for 3 Linen Tapes

● How to Make a Hardcover Coptic Stitch Journal, size A6
● How to Make an Adorable Coupon Book for Couples
● How to Sew the Chain Stitch Bookbinding Pattern
● Every Bookbinder Should Know How to Sew a Kettle Stitch
● Internet down? Make sure you have a copy of Handmade Books at Home by Chanel
Ly

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 ● How to Make an A6 Softcover French Link Stitch Journal
● How to Make a Peachy French Link Stitch Journal
● Think your book is toxic? Here’s how to quickly tell.

HOW TO CREATE A CASEBINDING (PART II)

Case Binding, Tutorials
Welcome to How to Create a Casebinding (Part II)! If you’re here, that means you’ve
already completed Part I. If not, head back over to Part I and complete the text block
before starting this tutorial. The text block defines the dimensions of our case, so it’s
important to get this done before diving into case making.
To simplify the end-to-end process, I’ve broken this casebinding tutorial into three main
parts:
1. Creating the Text Block (Part I)
2. Creating the Case (Part II) <— you are here.
3. Casing in the Text Block (Part III)
Bookbinding Tutorial: Casebinding (Part II)
Measurements: Case (6-3/4″h x 11″w), Final Book (6-3/4″h x 5″w x 1/2″d)
Cost Level: $$
Skill Level: Intermediate
Total Time: (Part II) 60+ minutes
CASE = ART
Creating the case for your book is such an exciting (and rewarding) experience. This is
where you can really let your inner artist shine. Choose covering materials that speak to
you. While I’m using a sheet of fabric I’ve converted into book cloth, you may want to use
fine papers, synthetic leather, straight up book cloth or up-cycled canvas. The possibilities
are literally endless. No matter what you choose, the steps are nearly the same. Just
know, materials like leather may require some extra steps that won’t be covered here.
Okay, let’s get started!
CASEBINDING TUTORIAL MATERIALS:
● 2 pieces of Davey book board, cut to size 6-3/4″h x 5″w
● a sheet thick or heavyweight cardstock (240-270gsm), cut to size 6-3/4″h x 1/2″w
● a piece of book covering material (book cloth, paper, fabric, etc.) cut to size 9″h x
15″w
● a sheet of wax paper, cut into two pieces size 9″h x 6″w
● a piece of newsprint or lightweight paper to absorb moisture, cut into two pieces
size 9″h x 6″w
● Several pieces of waste paper
● PVA adhesive
Tools
● Book press or 2-3 heavy books (roughly 9×6 in size)
● Bone folder
● Paste brush
● Olfa knife
● Ruler
● Scissors
● Pencil
BOOKBINDING TERMS TO KNOW
We’ll be using some bookbinding words and phrases throughout this tutorial, so I’m calling
them out here for added clarity. You may already know what these mean, so feel free to
skip over this and start the tutorial.

19
If you’re brand new to book making, be sure to check out my Bookbinding Tools & Supplies
Quick Start Guide, which includes a more robust list of bookbinding terms and definitions
that might be helpful for this casebinding tutorial.
1. Correct Order of Turn-ins – a process of folding material edges over cover board
during the case creation process. This order creates a corner fold that faces away
from the outer edge, reducing the possibility of edge fraying or shelf wear.
STEPS:
Part II – Create the Case
Measure & Cut the Spine Stiffener
1. Measure the width of the text block spine at three points: top (head), bottom (tail)
and center. The widest measurement is the one you’ll work with.
2. Cut a piece of thick card stock (usually 110lb is perfect) that is 6-3/4″h x SPINE
WIDTH.
Prepare the covering material
1. Lay out your covering material on a work table face down.
2. Lay the left book board down on the material and roughly center it inside the first
half of the sheet. You want at least 1/2″ of excess material around the edges (top,
bottom and left side).
3. Using a pencil, trace the outline of the board.
4. Leaving the board in place, measure the area for the spine directly to the right
using the following formula: Width of text block spine at the widest point + 2 x
board thickness.
1. Example: if your spine is 1/2″ wide and each board is 1/8″ thick, the
numbers would look like this:
1/2 + 2(1/8) = 3/4″.
5. From the right edge of the board, measure over 3/4″ from the top and bottom
points.
6. Place the second board on the material, lining up the top and bottom corners of
the left side of the board with the marks you’ve just made on the paper.
7. Using a pencil, trace around the edges of the board on all sides.
8. Measure out 1/2″ from all sides to confirm you have enough excess material to
wrap the boards.
9. Cut away any excess material beyond the 1/2″ that is required.

Paste Down the Boards

20
1. Starting with the left cover board, apply an even layer of PVA starting at the
board’s center, working your way out to each edge.
2. Once the board is covered in PVA, line it up glue side down with the trace marks
you’ve created on the covering material.
3. Press the board firmly at the center with your fingertips and smooth it outward to
remove excess air.
4. Carefully flip the material over and repeat this process with a bone folder, using
care not to mar the material.
5. Flip the material back over.
6. To determine the placement of the spine stiffener, measure to the right (from the
right edge of the board you’ve just pasted down) one cover board’s width. In our
case, this is 1/8″. Make a mark at the top and bottom.
7. Apply PVA to the back of the spine stiffener, but don’t use too much. A thin layer of
paste is perfect.
8. Line up the spine stiffener with the top and bottom marks you’ve make on the
material, PVA side down. Press firmly into the place. You’ll have some wiggle room
to slide the stiffener around before the PVA sets. Since our spine stiffener is 1/2″
wide, we should have 1/8″ on each side between the stiffener and the cover
boards.
9. Pick up the second cover board and apply PVA to the back as you’ve done
previously.
10. Line up the top and bottom edges of the second board with the outline you’ve
already created. Press the board into place PVA side down.
11. Repeat the smoothing procedure in steps #3 and #4.
12. Place a sheet of waste paper between the material and the table to absorb excess
water. Lay a heavy book over each cover board (or both of them at the same time
if your book is big enough) and let dry for 15 minutes.

21
Measure & Cut the Corners
1. Remove the large book (or books) and set aside.
2. Measure a distance from each corner that is 1.5 x the cover board’s width. In our
case, the cover boards are 1/8″, so we would measure 1.5 x 1/8″ = 3/16″.
3. Make a mark at the position.
4. Turn the ruler so it is moving through the mark at a diagonal, connecting both
edges of the material.
5. Repeat this process with each corner.
6. Using a scissors, cut away the excess material around each corner.
Video technique: measuring & cutting the case corners:
Correct Order of Turn-ins
It’s time to fold the material around the boards. In bookbinding, this is called “turning in”
the edges. There is an order to this that helps protect each corner from fray and wear
over time, called the “correct order of turn ins.” It asserts that one should always turn in
the head and tail first followed by the foredges.
We’ll be working with PVA in this step, so I always recommend having a dampened towel
on hand to wipe off your fingers and the bone folder.
1. Turn in the head. To do this, lay a sheet of waste paper under the edge. Apply a
layer of PVA adhesive to the entire edge, starting at the center and working your
way outward.
2. Once the PVA is applied, turn the edge over onto the board and use your thumb to
move the material tightly into place.
3. Once the material is where it needs to be, use a bone folder to smooth out excess
air and PVA. To do this, you’ll slide the bone folder along the edge from center
outward. PVA will spill out, so swipe it off with a fingertip, the bone folder or a
towel.
4. Repeat this process with the tail.
5. Turn the case 90 degrees and place a piece of waste paper under the first forege. It
doesn’t matter which foredge you start with.
6. Repeat step #1.
7. To turn in the corners, use the tip of a bone folder to push the outer edge in
against the cover board at a slight angle. Repeat on both sides before turning the
full edge over.
8. Repeat steps #2 and #3.

22
 9. Repeat this process for the second foredge.
10. Once complete, place a sheet of newsprint under the case and another sheet
between the top of the case and 2-3 heavy books. Make sure the weight is
distributed evenly across both boards. Press overnight.

Turn in the head and tail first.

Turn in the foredges last.

23
Use the tip of the bone folder to fold edges in before turning foredge.

All finished!
CASEBINDING TUTORIAL PART II: COMPLETE
Congratulations, you’ve created the case for your book!
This is a pretty big deal, because the case protects the most important part of the book
(the text) from the elements. A strong case will allow the owner and recipient to handle
the book on a daily basis. From pulling the book in and out of a back pack to taking it on
and off the shelf, there are plenty of instances where it could be damaged (corners
crushed, edges frayed, spine misshapen). Your newly minted case will give this book the
best possible start in the world, which is all a book parent could hope for. ?

● How to Create a Casebinding (Part I)

●
● How to Create a Casebinding (Part III)

24
 ● How to Make a Ledger Size Lined Paper Template (11×17)
● How to Make a Handy DIY Notepad in 15 Minutes or Less
● Easy Way to Estimate Thread Thickness for Bookbinding
● How to Create a Wrapped Pamphlet using Handmade Paper
● How to Sew the Chain Stitch Bookbinding Pattern
● Every Bookbinder Should Know How to Sew a Kettle Stitch

Casebinding Tutorial | Bookbinding How-to Casing in the Text Block

Bookbinding Tutorial: Casebinding (Part III)
Measurements: Case (6-3/4″h x 11″w), Final Book (6-3/4″h x 5″w x 1/2″d)
Cost Level: $$
Skill Level: Intermediate
Total Time: (Part III) 30+ minutes
It’s time to finish your book ?
All the work you’ve done so far is about to pay off! In this final tutorial, we’re bringing the
finished text block and case together. This process is called “casing in.” Casing in a text
block can be nerve wracking, but don’t worry. I’ve included a video to demonstrate how
this is done. Please read through all the instructions and watch the videos before diving in
yourself.
Before we start, I just want to say one thing: it’s okay if your book isn’t perfect. I’ve
rarely seen a handmade casebinding with 100% perfect endpapers unless it was a fine

what make them perfect

Okay, let’s get started!
❤️
binding completed by a very experienced bookbinder. Remember, our imperfect books are

Tools
● Book press or 2-3 heavy books (roughly 9×6 in size or larger)
● a manual clamp, if possible
● Paste brush
● Olfa knife
● Ruler
● Scissors
● Pencil
Bookbinding Terms to Know
We’ll be using some bookbinding words and phrases throughout this tutorial, so I’m calling
them out here for added clarity. You may already know what these mean, so feel free to
skip over this and start the tutorial.
If you’re brand new to book making, be sure to check out my Bookbinding Tools & Supplies
Quick Start Guide, which includes a more robust list of bookbinding terms and definitions
that might be helpful for this casebinding tutorial.
1. Casing in – the process of covering a finished text block with a hard cover case by
pasting the text block’s endpapers into the front and back covers of the case.
2. Head – the top edge of a book.
3. Tail – the bottom edge of a book.
4. Foredge – the outer vertical edge of the pages of a book.
5. Methyl Cellulose – a chemical compound derived from cellulose. It dissolves in cold
water, forming a clear viscous solution or gel. In bookbinding, we add this to our
PVA adhesive to increase drying time. A longer drying time gives you more room to
reposition pieces before they solidify.
Steps:
Part III – Case in the text block
Fit the text block to the case

25
 1. Place the text block inside the case to simulate what it will look like when
complete. Fit the block so it is roughly 1/8″ from the head and tail of the case.
2. You’ll likely notice the text block’s foredge either meets or slightly exceeds the
foredge of the case. We’ll need to trim this back. Lay the book on the table, using
care to keep the text block in the same place.
3. Carefully open the cover. Try not to move the text block.
4. In general, we want slightly more room on the foredge than we do on the head and
tail. If we have 1/8″ space between the head/tail of the text block and the
head/tail of the case, then 1/8-1/4″ is sufficient on the foredge. With the book
open, use a ruler to measure roughly 1/4″ in from the edge of the case. I’ve
included a few photos to show you how I do this with a 1/4″ straight rule.

Place the text block inside the case, roughly 1/8″ from head and tail
Trim the foredge
1. With the cut line in place, remove the text block from the case. Set the case aside.
2. Lay the text block on a self healing mat and square up the edges.
3. If you have a manual clamp, clamp the book in place near the spine so it will not
move while cutting.
4. Using a ruler (preferrably with a non-skid backing such as cork) and Olfa knife,
slowly cut away the excess foredge from head to tail. Do not move too quickly, as
the blade may mark the paper.
5. After each stroke, remove the extra paper and resume cutting.
Video technique: trimming the foredge
In this video, I’m trimming the foredge of a simple pamphlet, but the technique is exactly
the same when working with a larger text block.
Case in the text block
Note: You might notice I’m working with two different books in this tutorial. My camera
ran out of battery on the first go-round, so I had to film the casing in process using a
second similar book. Both books are the exact same size, so there is no difference in
approach or technique.
1. With the foredge trimmed, it’s time for the final step: casing in the text block!
Place the text block inside the case, positioning so there is roughly 1/8″ from head
and tail and 1/8-1/4″ from the foredge (depending on how much was trimmed).
2. Lay the book on the table and open the cover, careful not to move the text block.
3. Gather two sheets of wax paper, newsprint and waste paper. Set the newsprint and
wax paper aside. Bring forward the waste paper.
4. Open the endpaper and place a sheet of waste paper inside, snug up against the
spine.
5. If you have a clamp, use it to hold the waste paper sheet and text block in place. If
not, use care not to move either while gluing.
6. Using a paste brush, apply glue under the mull first. Lay the mull down onto the
glue and add more glue on top.
7. Apply glue to the rest of the surface, but be careful not to add too much. You want
a nice, even layer.
8. The endpaper will begin absorbing glue, curling at the edges. Move quickly, but use
care not to tear the paper.
9. With the glue applied, remove the clamp and waste paper.
10. Place your dominant hand under the wet endpaper, allowing it to lay across the
back of your hand. Press down to hold the book in place.

26
 11. Using your other hand, bring the cover up. Align the cover spine to the text block
spine, pressing down at the hinge location.
12. Carefully lay the cover down on top of the wet endpaper and press lightly.
13. Quickly turn the book over and open it up to the now-glued endpaper. If the
endpaper is slightly off, this is the time to correct it. Carefully lift the paper away
and reposition. Your ability to do this will depend on 1) the endpaper thickness.
Thinner endpapers may tear, so use caution, and 2) the type of PVA. Standard PVA
will dry quickly, while Jade 403 PVA is thicker with more wiggle room. Tip: Adding
Methyl Cellulose to your PVA will add more drying time, giving you room to move
the sheet around.
14. Once the endpaper is in place, use your finger tips and/or a bone folder to smooth
out air bubbles and wrinkles. Place a sheet of wax paper between the bone folder
and endpaper to further protect the paper from tears while smoothing.
15. Insert a sheet of newsprint.
16. Insert a sheet of wax paper between the text block and the newsprint. This is very
important as it will prevent moisture from absorbing into the rest of the text.
17. Before flipping the book over, hold it in your hands and gently squeeze along the
spine. This helps to press out air bubbles and adhere the mull to the cover, creating
a stronger bond.
18. Lay the book on the table and open the final side. A clamp is no longer necessary,
as the other side is already held in place with PVA.
19. Insert your sheet of waste paper and repeat the gluing process.
20. Once the cover is down on this side, squeeze the spine once more from top to
bottom.
21. Insert the wax paper and newsprint.
22. Lay the book on a solid surface and place heavy books over top to press. Leave the
book under weight overnight.
Video technique: gluing the first endpaper into place
Casebinding Tutorial Part III: COMPLETE
Congratulations, you’ve created a beautiful book using the casebinding bookbinding
method! Now that you know the steps, it’s important to take them and make them your
own. You’ve seen how I do it, but what does it look like for you? What feels most
comfortable? I encourage you to make another – and maybe another – until you’re feeling
good about the process!
Good luck to you!

27
Absolutely! Bookbinding is a fascinating and intricate craft that combines art, precision, and
sometimes, historical techniques. Here's an overview to help you understand it better:

### What is Bookbinding?

Bookbinding is the process of physically assembling a book from an ordered stack of paper sheets. It
involves various steps including folding, sewing, gluing, and covering, resulting in a finished book.

### Types of Bookbinding

1. **Saddle Stitching**: This is the simplest and most common method, often used for booklets,
brochures, and magazines. It involves stapling the pages together through the fold line of the
sheets.

2. **Perfect Binding**: Commonly used for softcover books, this method involves gluing the pages
together at the spine with a strong adhesive. The other three sides are then trimmed to create a
clean, "perfect" edge.

3. **Hardcover Binding**: Also known as case binding, this method uses a hard outer cover. The
pages are sewn together in sections and then glued into the hard cover.

4. **Spiral Binding**: This involves punching holes along the edge of the pages and then inserting a
metal or plastic spiral through the holes. It allows the book to lie flat when open.

5. **Coptic Binding**: An ancient technique that involves sewing sections of the book together with
a chain-like stitch across the spine. This method allows the book to lie completely flat when open.

### Steps in Bookbinding

1. **Folding**: Sheets of paper are folded into sections called signatures.

2. **Sewing**: The signatures are sewn together, either by hand or using a sewing machine.
Different stitching techniques can be used, such as kettle stitch or Coptic stitch.

3. **Gluing**: After sewing, the spine of the book block (the stack of signatures) is glued to provide
additional strength.

4. **Trimming**: The edges of the book block are trimmed to ensure all pages are even.

5. **Covering**: The book block is then attached to a cover, which can be made of cloth, leather, or
paper. For hardcovers, the cover is often made separately and then attached.

6. **Finishing**: This includes adding any decorative elements, endpapers, headbands, and other
details that complete the book.

### Tools and Materials

- **Paper**: The quality and type of paper can vary depending on the purpose of the book.
- **Thread**: Strong thread is used for sewing the signatures together.
- **Glue**: Special bookbinding glue is used to secure the spine and cover.
- **Bone Folder**: A tool used to make sharp creases in paper and to smooth out folds.
- **Press**: Used to apply pressure and ensure that the glue adheres properly.

1
### Artistic Elements

Bookbinding can also be a form of art. Artists and craftsmen may use various decorative techniques
such as:

- **Marbling**: Creating intricate patterns on the edges of the pages.

- **Tooling**: Impressing designs onto the cover using heated tools.
- **Gilding**: Applying gold leaf to the edges of the pages or the cover.

### Modern vs. Traditional

While modern bookbinding often uses machines for mass production, traditional bookbinding is a
meticulous handcraft that requires skill and patience. Many bookbinders today blend both methods
to create unique, high-quality books.

### Conclusion

Bookbinding is not just a means of assembling books; it's a craft that combines functionality with
artistry. Whether you're interested in making your own books or simply appreciating the intricacies
of this craft, understanding the basics of bookbinding can deepen your appreciation for the beauty
and complexity of books.

Sure! Let's dive deeper into some specific aspects of bookbinding to enrich your understanding.

### Historical Context

Bookbinding has a rich history that dates back thousands of years. Here are some key points:

- **Ancient Egypt**: The earliest known forms of bookbinding were found in Egypt, where papyrus
scrolls were used.
- **Medieval Europe**: During the Middle Ages, monks in monasteries were the primary bookbinders,
producing beautifully illuminated manuscripts.
- **The Renaissance**: This period saw the advent of the printing press, which revolutionized book
production and binding techniques.
- **Industrial Revolution**: The 19th century introduced machines and new materials, making books
more affordable and widely available.

### Advanced Techniques

1. **Edge Decoration**: Enhancing the edges of the pages can add a unique touch. Techniques
include:
- **Gilding**: Applying gold or other metallic foils.
- **Marbling**: Creating colorful, intricate patterns.
- **Staining**: Using dyes to color the edges.

2. **Endbands**: These are small decorative bands at the top and bottom of the spine. They can be:
- **Hand-sewn**: For a traditional, artisan look.
- **Machine-made**: For a more uniform appearance.

3. **Embossing and Debossing**:

2
 - **Embossing**: Creating a raised pattern on the cover.
- **Debossing**: Creating an indented pattern.

4. **Inlays and Onlays**: Adding different materials to the cover for decoration:
- **Inlays**: Setting materials flush with the cover.
- **Onlays**: Adding materials on top of the cover.

### Conservation and Restoration

Bookbinding isn't just about creating new books; it's also about preserving old ones. Conservation
and restoration involve:

- **Cleaning**: Removing dirt and contaminants.

- **Repairing**: Fixing torn pages, sewing loose sections, and mending the spine.
- **Rebinding**: Replacing the cover while retaining as much of the original material as possible.

### Eco-Friendly Bookbinding

With growing environmental awareness, many bookbinders are adopting sustainable practices:

- **Recycled Materials**: Using recycled paper and covers.

- **Natural Adhesives**: Opting for non-toxic, plant-based glues.
- **Minimal Waste**: Designing processes to minimize material waste.

### Bookbinding Communities

There are vibrant communities of bookbinders around the world who share their knowledge,
techniques, and passion. You can find:

- **Workshops and Classes**: Many artisans offer hands-on training.

- **Online Forums and Groups**: Places like Reddit, Facebook, and specialized forums where
enthusiasts discuss techniques and share tips.
- **Guilds and Associations**: Organizations that promote the craft, such as the Guild of Book
Workers.

### Getting Started

If you're interested in trying bookbinding yourself, here's a basic list of what you'll need:

1. **Basic Tools**:
- **Bone Folder**: For creasing and folding paper.
- **Awl**: For making holes in the paper for sewing.
- **Thread and Needle**: For stitching the signatures.
- **Glue**: PVA glue is commonly used.
- **Cutting Tools**: Scissors and a craft knife.

2. **Materials**:
- **Paper**: Choose the type and weight based on your project.
- **Cover Material**: Options include cloth, leather, and decorative paper.
- **Board**: For hardcover books, you'll need sturdy board for the cover.

3. **Learning Resources**:

3
 - **Books and Manuals**: Many detailed guides are available.
- **Online Tutorials**: Platforms like YouTube have numerous instructional videos.
- **Workshops**: Local art centers often offer classes.

### Conclusion

Bookbinding is a multifaceted craft that spans cultures and centuries, blending functionality with
creativity. Whether you're admiring a beautifully bound volume or crafting one yourself, the art of
bookbinding offers endless possibilities for exploration and expression.

>> What are some advanced techniques in bookbinding?

Certainly! Advanced bookbinding techniques elevate the craft from functional to truly artisanal.
Here are some advanced techniques that experienced bookbinders often use:

### 1. **Edge Decoration**

- **Gilding**: Applying gold leaf or other metallic foils to the edges of the pages for a luxurious
finish.
- **Marbling**: Creating intricate, colorful patterns on the edges using special inks and
techniques.
- **Staining**: Coloring the edges with dyes to create a uniform or gradient effect.

### 2. **Endbands**
- **Hand-sewn Endbands**: Adding decorative bands at the head and tail of the spine, typically
using silk or cotton threads.
- **Beaded Endbands**: Incorporating beads into the endbands for an added decorative element.

### 3. **Embossing and Debossing**

- **Embossing**: Creating raised patterns or designs on the cover by pressing from the underside.
- **Debossing**: Creating indented patterns or designs by pressing from the top side.

### 4. **Inlays and Onlays**

- **Inlays**: Setting different materials flush with the cover to create intricate designs.
- **Onlays**: Adding layers of material on top of the cover, often in different colors or textures, to
create raised designs.

### 5. **Pop-Up and Movable Books**

- **Pop-Up Mechanisms**: Creating three-dimensional structures that pop up when the book is
opened.
- **Movable Parts**: Incorporating flaps, wheels, and other interactive elements into the pages.

### 6. **Coptic Binding**

- **Exposed Spine**: This technique leaves the spine exposed, showing intricate, braided stitching.
It allows the book to lie completely flat when open.

### 7. **Long-Stitch Binding**

- **Visible Sewing**: Uses long stitches that are visible along the spine, often in decorative
patterns.

### 8. **Secret Belgian Binding**

4
 - **Complex Structure**: Combines elements of Coptic and Japanese stab binding, resulting in a
book that lies flat and has a unique, intricate spine.

### 9. **Leather Paring and Tooling**

- **Paring**: Thinning leather to make it more pliable for covering books.
- **Tooling**: Impressing designs into the leather using heated tools, often combined with gilding.

### 10. **Fore-Edge Painting**

- **Hidden Art**: Painting a scene or design on the edges of the pages that is only visible when the
book is fanned open.

### 11. **Drum Leaf Binding**

- **Flat Pages**: Ideal for art books, this technique allows for full, uninterrupted spreads without
a visible spine.

### 12. **Hollow Spine Binding**

- **Flexible Spine**: Creates a hollow tube around the spine, allowing for greater flexibility and
ease of opening.

### 13. **Japanese Stab Binding**

- **Decorative Stitches**: Uses external stitching to bind the book, often with intricate and
decorative patterns.

### 14. **Vellum Binding**

- **Traditional Material**: Using vellum, a type of parchment made from calf skin, for a durable
and historical binding.

### 15. **Complex Structure Books**

- **Accordion Books**: Pages folded in a zigzag pattern, often combined with other binding
techniques.
- **Tunnel Books**: Layered pages with cutouts creating a tunnel-like view through the book.

### 16. **Custom Box Making**

- **Protective Cases**: Creating clamshell or slipcase boxes to protect and complement the book.

### 17. **Restoration Techniques**

- **Paper Repair**: Using Japanese tissue and wheat paste to repair torn pages.
- **Rebinding**: Replacing old, damaged bindings while preserving as much of the original material
as possible.

### Conclusion

Mastering these advanced techniques requires practice, precision, and often specialized tools. They
enable bookbinders to create truly unique and bespoke works of art, each with its own character
and story. Whether you’re looking to enhance your craft or simply appreciate the artistry involved,
these techniques represent the pinnacle of bookbinding expertise.

Certainly! Advanced bookbinding techniques elevate the craft from functional to truly artisanal.
Here are some advanced techniques that experienced bookbinders often use:

### 1. **Edge Decoration**

5
 - **Gilding**: Applying gold leaf or other metallic foils to the edges of the pages for a luxurious
finish.
- **Marbling**: Creating intricate, colorful patterns on the edges using special inks and
techniques.
- **Staining**: Coloring the edges with dyes to create a uniform or gradient effect.

### 2. **Endbands**
- **Hand-sewn Endbands**: Adding decorative bands at the head and tail of the spine, typically
using silk or cotton threads.
- **Beaded Endbands**: Incorporating beads into the endbands for an added decorative element.

### 3. **Embossing and Debossing**

- **Embossing**: Creating raised patterns or designs on the cover by pressing from the underside.
- **Debossing**: Creating indented patterns or designs by pressing from the top side.

### 4. **Inlays and Onlays**

- **Inlays**: Setting different materials flush with the cover to create intricate designs.
- **Onlays**: Adding layers of material on top of the cover, often in different colors or textures, to
create raised designs.

### 5. **Pop-Up and Movable Books**

- **Pop-Up Mechanisms**: Creating three-dimensional structures that pop up when the book is
opened.
- **Movable Parts**: Incorporating flaps, wheels, and other interactive elements into the pages.

### 6. **Coptic Binding**

- **Exposed Spine**: This technique leaves the spine exposed, showing intricate, braided stitching.
It allows the book to lie completely flat when open.

### 7. **Long-Stitch Binding**

- **Visible Sewing**: Uses long stitches that are visible along the spine, often in decorative
patterns.

### 8. **Secret Belgian Binding**

- **Complex Structure**: Combines elements of Coptic and Japanese stab binding, resulting in a
book that lies flat and has a unique, intricate spine.

### 9. **Leather Paring and Tooling**

- **Paring**: Thinning leather to make it more pliable for covering books.
- **Tooling**: Impressing designs into the leather using heated tools, often combined with gilding.

### 10. **Fore-Edge Painting**

- **Hidden Art**: Painting a scene or design on the edges of the pages that is only visible when the
book is fanned open.

### 11. **Drum Leaf Binding**

- **Flat Pages**: Ideal for art books, this technique allows for full, uninterrupted spreads without
a visible spine.

### 12. **Hollow Spine Binding**

- **Flexible Spine**: Creates a hollow tube around the spine, allowing for greater flexibility and
ease of opening.

6
### 13. **Japanese Stab Binding**
- **Decorative Stitches**: Uses external stitching to bind the book, often with intricate and
decorative patterns.

### 14. **Vellum Binding**

- **Traditional Material**: Using vellum, a type of parchment made from calf skin, for a durable
and historical binding.

### 15. **Complex Structure Books**

- **Accordion Books**: Pages folded in a zigzag pattern, often combined with other binding
techniques.
- **Tunnel Books**: Layered pages with cutouts creating a tunnel-like view through the book.

### 16. **Custom Box Making**

- **Protective Cases**: Creating clamshell or slipcase boxes to protect and complement the book.

### 17. **Restoration Techniques**

- **Paper Repair**: Using Japanese tissue and wheat paste to repair torn pages.
- **Rebinding**: Replacing old, damaged bindings while preserving as much of the original material
as possible.

### Conclusion

Mastering these advanced techniques requires practice, precision, and often specialized tools. They
enable bookbinders to create truly unique and bespoke works of art, each with its own character
and story. Whether you’re looking to enhance your craft or simply appreciate the artistry involved,
these techniques represent the pinnacle of bookbinding expertise.

7
To make A4-sized paper from waste pieces of paper and give it an antique or vintage look,
you will need the following materials and tools:

Materials:
1. Waste paper (such as old newspapers, magazines, or scrap paper)
2. Water
3. White glue or wheat paste
4. Tea bags or coffee grounds (for staining)

Tools:
1. Blender or food processor
2. Large basin or container
3. Fine mesh screen or window screen
4. Wooden frame (slightly larger than A4 size)
5. Sponge or cloth
6. Iron (optional)

Here are the steps to make A4-sized antique or vintage paper:

1. Tear the waste paper into small pieces and soak them in water overnight. This will help
soften the paper fibers.

2. Drain the water from the soaked paper and transfer it to a blender or food processor. Add
some water and blend until you get a pulp-like consistency.

3. Fill a large basin or container with water. Add the paper pulp to the water and mix well to
distribute it evenly.

4. Place the wooden frame on top of the fine mesh screen or window screen. Make sure the
screen is slightly larger than the A4 size.

5. Submerge the frame with the screen into the container of water and pulp mixture. Gently
shake the frame from side to side to allow the pulp to spread evenly across the screen.

6. Lift the frame out of the water, allowing the excess water to drain off. Place the frame on a
flat surface and use a sponge or cloth to press out any remaining water.

7. Carefully remove the frame from the screen, leaving the wet paper on the screen. You can
gently shape the edges to achieve the desired A4 size.

8. Let the paper dry naturally or use an iron on a low heat setting to speed up the drying
process. If using an iron, place a cloth over the paper to protect it.

9. Once the paper is dry, you can give it an antique or vintage look by staining it with tea
bags or coffee grounds. Brew a strong cup of tea or coffee and dip a sponge or cloth into the
liquid. Dab the sponge or cloth onto the paper, creating uneven stains and discolorations.
Allow the paper to dry again.

1
10. Your A4-sized antique or vintage paper is now ready to use!

Remember to handle the wet paper carefully to avoid tearing, and make sure to protect your
work surface from water and stains. Enjoy creating your unique antique or vintage paper!

古紙から A4 サイズの紙を作り、アンティークまたはヴィンテージ風に仕上げるには、次の材料と
道具が必要です:

材料:
1. 古紙 (古い新聞、雑誌、スクラップ ペーパーなど)
2. 水
3. 白い糊または小麦粉のペースト
4. ティーバッグまたはコーヒーの粉 (着色用)

道具:
1. ミキサーまたはフード プロセッサー
2. 大きな容器または容器
3. 目の細かい網戸または窓用網戸
4. 木枠 (A4 サイズより少し大きいもの)
5. スポンジまたは布
6. アイロン (オプション)

A4 サイズのアンティークまたはヴィンテージ ペーパーを作る手順は次のとおりです:

1. 古紙を細かく裂き、一晩水に浸します。こうすると、紙の繊維が柔らかくなります。

2. 浸した紙から水を切って、ミキサーまたはフード プロセッサーに移します。水を加えて、パルプ
のような粘稠度になるまでブレンドします。

3. 大きな容器または容器に水を入れます。 紙パルプを水に加え、よく混ぜて均一に分散させま
す。

4. 木製のフレームを細かいメッシュのスクリーンまたは窓のスクリーンの上に置きます。スクリー
ンが A4 サイズより少し大きいことを確認します。

5. スクリーン付きのフレームを水とパルプの混合物の容器に沈めます。フレームを左右に軽く
振って、パルプがスクリーン全体に均等に広がるようにします。

6. フレームを水から持ち上げて余分な水を流します。フレームを平らな面に置き、スポンジまた
は布を使用して残りの水を押し出します。

7. フレームをスクリーンから慎重に取り外し、濡れた紙をスクリーンに残します。エッジを優しく形
作り、希望の A4 サイズにすることができます。

8. 紙を自然乾燥させるか、低温設定のアイロンを使用して乾燥プロセスをスピードアップします。
アイロンを使用する場合は、紙を保護するために布を紙の上に置きます。

2
9. 紙が乾いたら、ティーバッグやコーヒーの粉で染色してアンティークまたはヴィンテージの外観
にすることができます。 濃いお茶かコーヒーを淹れて、スポンジか布をその液体に浸します。ス
ポンジか布を紙に軽く押し当てて、不均一な染みや変色を作ります。紙を再び乾かします。

10. A4 サイズのアンティークまたはヴィンテージ ペーパーが使用できるようになりました。

濡れた紙は破れないように慎重に扱い、作業台を水や染みから保護してください。ユニークなア
ンティークまたはヴィンテージ ペーパーの作成をお楽しみください。

To achieve the desired A4 size for the paper, you can follow these steps:

1. After spreading the paper pulp evenly on the screen, use a wooden frame that is slightly
larger than the A4 size. Place the frame on top of the screen, aligning it with the edges.

2. Gently press down on the frame to shape the wet paper and create straight edges. You
can use your fingers or a sponge to carefully move the pulp towards the edges of the frame,
ensuring that it fills the entire area within the frame.

3. If necessary, use a ruler or straight edge to guide you in shaping the edges to match the
A4 dimensions. Press the ruler against the wet paper and carefully trim or move the excess
pulp towards the edges to create a neat, rectangular shape.

4. Once you are satisfied with the shape and size, lift the frame out of the water, allowing the
excess water to drain off. Place the frame on a flat surface and use a sponge or cloth to
press out any remaining water.

5. Continue with the remaining steps of the paper-making process, such as drying and
staining, as mentioned in the previous response.

By carefully shaping the wet paper within the wooden frame using your fingers, a sponge, or
a ruler, you can achieve the desired A4 size for the paper.

紙を希望の A4 サイズにするには、次の手順に従います。

1. 紙パルプをスクリーンに均等に広げた後、A4 サイズより少し大きい木製のフレームを使用しま
す。フレームをスクリーンの上に置き、端に合わせます。

2. フレームを軽く押し下げて、濡れた紙の形を整え、まっすぐな端を作ります。指またはスポンジ
を使用して、パルプをフレームの端に向かって慎重に動かし、フレーム内の領域全体を埋めるよ
うにします。

3. 必要に応じて、定規または直定規を使用して、A4 の寸法に合わせて端の形を整えます。定規
を濡れた紙に押し当て、余分なパルプを慎重に切り取るか、端に向かって動かして、きれいな長
方形の形を作ります。

3
4. 形とサイズに満足したら、フレームを水から持ち上げて余分な水を排出します。フレームを平ら
な面に置き、スポンジまたは布を使用して残りの水を押し出します。

5. 前回の回答で述べたように、乾燥や染色などの紙作りの残りの手順を続けます。

指、スポンジ、定規を使用して、木製の枠内で湿った紙を慎重に形作ると、紙を希望の A4 サイ
ズにすることができます。

To make wooden frames and a piece of mesh screen together for paper-making, you can
follow these steps:

1. Start by cutting four pieces of wood to the desired length and width for your frame. The
length and width should be slightly larger than the A4 size you want to achieve. Make sure
the four pieces are of equal length.

2. Lay the four pieces of wood on a flat surface to form a rectangle, with the shorter pieces
overlapping the longer pieces at the corners. Use clamps or small nails to hold the corners
together temporarily.

3. Drill pilot holes through the overlapping corners of the wood pieces. This will help prevent
the wood from splitting when you secure the corners together.

4. Once the pilot holes are drilled, remove the clamps or nails and apply a generous amount
of wood glue to the overlapping corners.

5. Realign the corners and firmly press them together, ensuring that the edges are flush. Use
clamps to hold the corners together while the glue dries. Allow the glue to dry completely
according to the manufacturer's instructions.

6. Once the wooden frame is dry and sturdy, you can attach the mesh screen. Cut a piece of
mesh screen slightly larger than the size of the frame.

7. Apply a thin, even layer of PVA (polyvinyl acetate) or wheat paste adhesive to the inner
edges of the wooden frame.

8. Carefully place the mesh screen over the frame, ensuring that it covers the entire opening.
Press the screen firmly onto the adhesive, smoothing out any wrinkles or bubbles.

9. Allow the adhesive to dry completely before using the frame for paper-making.

PVA or wheat paste adhesive is used to secure the mesh screen to the wooden frame. It
creates a strong bond and helps prevent the screen from detaching during the paper-making
process. These adhesives work by forming a film of polymer when they dry, providing a
strong and durable bond.

4
To use PVA or wheat paste adhesive, follow the instructions provided by the manufacturer.
Generally, you will apply a thin, even layer of the adhesive to the surface where you want to
attach the mesh screen. Use a brush or a spreader to ensure even coverage. Then, press
the screen onto the adhesive and allow it to dry completely before using the frame.

Using PVA or wheat paste adhesive helps ensure that the mesh screen remains securely
attached to the wooden frame, providing a stable surface for paper-making.

製紙用の木製フレームとメッシュスクリーンを一緒に作るには、次の手順に従います。

1. まず、フレームの長さと幅に合わせて木材 4 枚を切ります。長さと幅は、希望する A4 サイズ

より少し大きめにしてください。4 枚の長さが同じになるようにします。

2. 4 枚の木材を平らな面に置き、長方形にします。短い木材が長い木材と角で重なるようにしま
す。クランプまたは小さな釘を使用して、角を一時的に固定します。

3. 木材の重なり合う角に下穴を開けます。こうすることで、角を固定するときに木材が割れるのを
防ぐことができます。

4. 下穴を開けたら、クランプまたは釘を外し、重なり合う角に木工用接着剤をたっぷり塗ります。

5. 角の位置を合わせ直し、しっかりと押し付けて、端が平らになるようにします。接着剤が乾くま
で、クランプを使用して角を固定します。 メーカーの指示に従って、接着剤が完全に乾くまで待ち
ます。

6. 木枠が乾いて丈夫になったら、メッシュ スクリーンを取り付けます。フレームのサイズより少し
大きめのメッシュ スクリーンを切り取ります。

7. 木枠の内側の縁に、PVA (ポリ酢酸ビニル) または小麦ペースト接着剤を薄く均一に塗りま

す。

8. メッシュ スクリーンを慎重にフレームの上に置き、開口部全体を覆うようにします。スクリーン
を接着剤にしっかりと押し付け、しわや気泡があれば伸ばします。

9. 接着剤が完全に乾いてから、フレームを製紙に使用します。

PVA または小麦ペースト接着剤は、メッシュ スクリーンを木枠に固定するために使用されます。

強力な接着力を生み出し、製紙工程中にスクリーンが剥がれるのを防ぎます。これらの接着剤
は、乾燥するとポリマーの膜を形成することで機能し、強力で耐久性のある接着力を提供しま
す。

PVA または小麦ペースト接着剤を使用するには、メーカーの指示に従ってください。通常、メッ
シュ スクリーンを取り付ける表面に、接着剤を薄く均一に塗ります。 ブラシまたはスプレッダーを
使用して、均一に塗布します。次に、スクリーンを接着剤に押し付け、フレームを使用する前に完
全に乾燥させます。

5
PVA または小麦粉ペースト接着剤を使用すると、メッシュスクリーンが木製のフレームにしっかり
と固定され、紙を作るための安定した表面が得られます。

The most commonly used adhesive to secure the mesh screen to the wooden frame for
paper-making is PVA (polyvinyl acetate) glue. PVA glue is a popular choice due to its strong
adhesive properties, ease of use, and ability to create a durable bond. It is a water-based
adhesive that dries clear and remains flexible once dry. PVA glue is readily available in craft
stores and is suitable for various paper-making projects.

製紙用のメッシュ スクリーンを木製のフレームに固定するのに最もよく使用される接着剤は、
PVA (ポリ酢酸ビニル) 接着剤です。PVA 接着剤は、強力な接着特性、使いやすさ、耐久性のあ
る接着力により、人気のある選択肢です。これは水性接着剤で、乾燥すると透明になり、乾燥後
は柔軟性を保ちます。PVA 接着剤は手芸店で簡単に入手でき、さまざまな製紙プロジェクトに適
しています。

6
German Case (Bradel) Binding - Peter D. Verheyen |
By Peter D. Verheyen © Originally published 2002, re-written with new illustrations 2006
Published in Skin Deep, Volume 22 - Fall 2006

Introduction:
The case (Bradel) binding is the most common, general purpose binding structure in use by
binders in Germany. What sets it apart from other case bindings is that the cover boards
and spine stiffener are joined together with a strip of sturdy paper before covering. This
allows the covers to be fit precisely to the textblock, especially at the joint and
fore-edge. For this reason the structure is also very well suited to beginners. Books using
this structure are generally covered in full cloth, paper, or a combination of the two. The
structure is not well-suited to leather binding and has been modified for use with vellum.
If you're looking for an attractive textblock to bind, consider downloading my translation
of Ernst Collin's Der Pressbengel (as The Bone Folder). It's all laid out in PDF to print
double-sided for binding in signatures (5 signatures of 16 pages each). Click here to
download, and for more go to the Pressbengel Project blog.

Adhesives:
Adhesives which are used in the process of this binding style include wheat paste, 50:50
PVA/methylcellulose (or PVA/paste) mixture and straight PVA. Use of synthetic adhesives is
for ease of use. Gelatin (hide glue) can be substituted for PVA.

Paste is used initially for pasting up the spine, for working the leather, and occasionally
adhering the sides. This is because it extends the “open time” and provides “slip.”
50:50 mixtures may be used for putting down the sides, and for applying counter linings
and fill. They may also be used for casing-in.

Straight PVA is used for assembling the case and may be used for applying counter linings
and fill. It may also be used for casing-in.
The choice of adhesive will depend on such factors as climate, controlling warping, and
the materials being used.

Textblock Preparation:

Endsheets:
The endsheets are generally one of two varieties. The first is a single-folio of paper,
decorative or plain, which is very narrowly (2-3mm) tipped onto the first and last
signatures. The other is a double-folio endsheet signature that is sewn along with the text
signatures. A variation of the latter is adding a tipped-on folio to the double-folio. In both
cases, add either a guard of medium weight Japanese paper or thin cloth.

The Japanese paper guard is pasted out and wrapped around the first and last signatures
so that the paper wraps around the signature on the textblock side by 2-3mm.

If using a guard of thin cloth, tip this to the textblock side of the first and last signatures
and then wrap around the signature. The remainder will be glued down during casing in.

Sewing:
Thread should be selected so that swell appropriate to the board thickness is created. To
see the effect of swell, wrap different thicknesses of thread around a pencil as many
times as the book has signatures. Some of that swell will be absorbed by the paper and by

1
rounding. The remainder will create the swell that is managed by backing and the board
thickness.

The book can be sewn using a linked stitch (unsupported), on ramie or linen tapes, or
frayed out cords. The latter are cords that are untwisted, laid neatly next to each other,
and sewn in the same manner as tapes. Sewing holes should be pre-punched using a jig for
consistency with the kettle stitch 1cm in from edges and the appropriate number of
sewing stations for the size of the book. Generally, three sewing supports are used, with
more used on larger books.

Even a small textblock can be rounded and backed. When making a square-backed
textblock, backing is still important. To begin, paste or glue up the spine, making sure that
the adhesive is not too thick and is worked between the signatures. This step will ensure a
solid textblock. If the textblock was sewn on ramie tapes or frayed-out cords, separate out
the fibers, paste out, and fan out onto the endsheet. If the textblock was sewn on cloth
tapes, they can be pasted down now or during casing in.

Rounding and Backing:

If a rounded spine is desired, round the textblock by first gently massaging into shape, and
working the spine from both directions with a backing hammer with the blows beginning
below the center and then working towards the shoulder. During rounding, place the
thumb along the fore-edge and fan the hand out across the textblock to help pull the book
into shape and prevent it from “bouncing” while using the hammer. Flip the book over and
repeat from the other side. Repeat as needed. Blows should be gentle, yet firm.

To back the book, mark a distance twice the board thickness from the shoulder. Board
thickness will be determined by the size of the book and amount of swell, with the
thickness of the board equal to the height of the shoulder after the book has been backed.
This structure is ideal for smaller, delicate, books. Board thicknesses can range from 40 -
60 pt.

Place the book in a job backer, or between boards and in backing press, with the edge of
the backing cheeks or boards lined up the marks made earlier. With the backing hammer,
backing tool, folder, and/or fingers, work the spine of the book so that the shoulder
creates a 45° angle to the textblock.

While the book is still in the backing press, line the spine between tapes, and tape and
kettle stitch with thin cloth or paper. Do not line between kettle stitch and book edge.
PVA can be used as an adhesive for this.

2
Edge Decoration:
Edges can be decorated by burnishing, coloring, graphite, or gilt. John Mitchell’s A
Craftsman’s Guide to Edge Decoration is an excellent guide to this topic. Most traditional
binding manuals will also have chapters on this topic.

Endbands:
Endbands can be hand-sewn or made by wrapping a thread of the appropriate thickness
with paper, cloth, or leather. Scraps of old marbled or paste papers can be especially
attractive. The height of the endbands should be slightly lower than squares. The stuck-on
endbands should not extend beyond the kettle stitch.

Most traditional binding manuals will also have chapters describing simpler sewn
endbands. If the endbands are sewn, apply a cloth lining over the threads from the edge
to the kettle stitch. After the endbands have been applied a paper spine lining can be
applied along the length of the spine slighly overlapping the endbands.

Making the Case:

Boards:
The board thickness is determined at the time of backing and equals the depth of the
shoulder so that the shoulder and boards create a flat surface.

Cut boards to size so that the height of the boards equals the height of the textblock plus
the endbands. If we want to be perfect, this would equal the height of the textblock plus
2 board thicknesses. The width of the boards should be the width of the textblock plus 1
cm. This may seem very large now, but once the case is assembled and rounded (but
before covering) it will be trimmed to the proper width so that we have even squares all
around.

Measuring the Spine:

To measure the width of the spine, pull a strip of paper across the widest part of the
spine, usually the tapes or headbands, and mark exactly at the shoulder on both sides.

Double check at the other end to make sure the spine is not uneven. If there is a
difference choose the larger of the two.

3
Cut a spine stiffener out of card-weight paper (10pt) to that width and slightly longer than
your boards, grain running parallel to the spine. For smaller square backed books, I use the
same thickness of card for the spine stiffener as for rounded books. This thickness may be
increased on larger books.

Cut a connecting strip of 80lb paper to a width of spine stiffener + 6cm, and slightly
longer. Apply PVA to spine strip and center on connecting strip. Rub down with folder, turn
over, and accentuate edge of spine strip with folder.

Assembling the Case:

The groove between the board and spine stiffener will be between 5-7mm in width
dependent on the thickness of the covering materials. If you use paper it can be slightly
narrower; if you use thick cloth it will have to be wider. Initially, it is a good idea to mark
this distance with dividers, but within a short time you should be able to measure this
distance by eye. You will also want to have a narrow strip of waste board handy to line up
your boards with along the top edge.

Arrange your two boards and spine strip in a step-like manner with the spine piece on top,
paper side up (card side down). Brush adhesive on all three, flip spine piece around and
brush on some more. Align your first board with your marks on the spine piece, then using
your piece of waste board as a guide put down the other board and rub the paper down.

The boards must be parallel to the spine strip and level with each other.

Next, cut the spine stiffener and connecting strip to the height of the boards with scissors.

Fitting the Case:

Fit the case by first sharpening the joints of the case with a bonefolder.

If appropriate, round by rolling the case gently, but firmly, in the ball of the hand over the
edge of the bench. It is important to round the spine evenly so that it matches the round
of your book. If overly rounded, the spine can be flattened by rubbing down with a folder
or fingers.

Fit the cover to the book, marking the top of your case and book on the spine and spine
stiffener. Using a knife or sharp pencil mark the fore-edge square. This will help give you
an even square on all three sides of the paste-down even if the book is not quite square.
The top and bottom edges are always parallel. Trim off the excess of the fore-edge.

Covering:
Cloth and paper are the materials of choice for covering. When vellum is used, the case
construction is modified to reduce the chances of warpage. See the bibliography for a full
description of the technique. It is not recommended for use with leather, as described.

4
The directions for covering that follow are for a “full” binding but can easily be adapted
for a ¼ binding.

Select your covering material and cut to size allowing for 1.5cm turn-ins all around. This
may seem very tight, but is more than adequate. For covering the case I like to use a
50/50 mixture of PVA and "thicker" methylcellulose because of its longer working time.
Glue out the entire piece of material and allow it to expand. Then, with the cover facing
down (inside of boards facing you), put down the first board making sure the turn-ins are
even on all three sides.

Next, flip over onto a new piece of wastepaper using your arm to support the glued-out
material. Smooth the covering material down on the first board, work the covering
material into the joint carefully making sure it adheres to the edge of the board, continue
smoothing across the spine (rubbing down along the edges), and back up the board, then
smooth out across the other board. Smooth out the material with your folder, but put a
piece of clean paper on top of the cover first to prevent marking it with the folder. Lift
the cover, discard your wastepaper, and lay it on your clean bench, covering side down.

Cut the corners, leaving 1.5 board thicknesses. Then, turn-in your top and bottom edges
first, beginning at the spine, then pinch the corners and turn in your fore-edges.

The image below shows what will happen if you do not work the material into the joints
well. The result will be that the fore-edge of your case will be shortened and the joint as
well, leading to problems in opening the cover.

When dry, trim out the inside of your case so that your turn-ins are even, being careful not
to cut through at the spine.

Any stamping on the spine should be done at this point. If applying a label, do this after
casing-in.

Casing-In:
Re-round and shape the case so that it fits well around the textblock. Case-in using
brass-edged boards, rods, or a bone folder to rub in the joint (be careful not to tear your
material). Use the first two if you have a press. If you don’t, use your folder.

5
Before placing the book in the press, insert a piece of card known as a “fence” between
the pastedown and your flyleaf. This will help absorb some of the moisture and prevent
the turn-ins from impressing themselves onto the flyleaves. Place the book in the press,
giving a good hard nip for about 20 seconds or so, then take out, change the cards and let
dry under weight.

Completing:
When dry, set the joints by opening the book cover to 90 degrees and, supporting it with
the hands, push the board downward to set the joint. This will help the book open nicely
without causing the flyleaves to pull upwards.

Selected Bibliography:
German Case and Bradel Binding (English):
Denninger, Johann C. The “Temporary” Binding of Alexis Pierre Bradel. London: Designer
Bookbinders, The New Bookbinder, Vol. 16, 1996.
Roberts, Dr. Brian A. Herstellung der Einbanddecke (German-style case construction).
Toronto: Canadian Bookbinders and Book Artists Guild, Canadian Bookbinders and Book
Artists Guild Newsletter, Vol. 10, No. 2, Summer 1992.
Young, Laura S. Bookbinding & Conservation by Hand: A Working Guide. New Castle, DE:
Oak Knoll Press, 1995.
Zeier, Franz. Books, Boxes, and Portfolios. New York, NY : Design Press, 1990.
German Case and Bradel Binding (German):
Buge, Siegfried. Pappband, Ein Brevier für Buchbinder und Bücherfreunde. N.P. Hans
Christians Verlag n.d
Henningsen, Thorwald. Das Handbuch für den Buchbinder. Stuttgart: Max Hettler Verlag.
Lüers, Heinrich. Das Fachwissen des Buchbinders. Stuttgart: Max Hettler Verlag, 1943.
Moessner, Gustav. Die Täglichen Buchbinder Arbeiten. Stuttgart: Max Hettler Verlag, 1969.
Wiese, Fritz. Der Bucheinband. Hannover: Schlütersche Verlagsanstalt und Druckerei,
1983.
Zahn, Gerhard. Grundwissen Für Buchbinder. Itzehoe: Verlag Beruf + Schule, 1990.
Endbands / Edge Decoration:
Greenfield, Jane and Hille, Jenny. Headbands: How to work them. New Castle, DE: Oak
Knoll Books, 1990.
Mitchell, John. A Craftsman’s Guide to Edge Decoration. Sussex, UK: Standing Press Ltd.,
1993.
Variations:
Verheyen, Peter D. The Edelpappband, or “Millimeter” Binding. The Bonefolder: an
e-journal for the bookbinder and book artist. Vol. 1, No. 2, Spring 2005.
Verheyen, Peter D. Vellum on Boards. The Book Arts Web.
Contributor's Note:
Peter D. Verheyen began his involvement in the book arts while a work-study student in
the conservation lab at the Johns Hopkins University Library. Interned in the conservation
lab of the Germanisches Nationalmuseum in Nuremberg, Germany, 1984 and 1986. Formal
apprenticeship in hand bookbinding at the Kunstbuchbinderei Klein in Gelsenkirchen,
Germany, passing examinations in 1987. Studied at the Professional School for Book
Restoration at the Centro del bel Libro in Ascona, Switzerland in 1987. Mellon intern in
book conservation at the Folger Shakespeare Library, 1988. Worked in Chicago with Heinke
Pensky-Adam at Monastery Hill Bindery and as assistant conservator to William Minter. In
1991 he began work as assistant conservator at the Yale University Library. In 1993 he
became rare book conservator at the Cornell University Library, before establishing the
rare book conservation lab at the Syracuse University Library. He is a past Exhibitions and
Publicity Chair for the Guild of Book Workers. His bindings have been exhibited widely with
the Guild, its regional chapters, and in invitational and solo exhibitions. In 1994 he
founded Book_Arts-L, a listserv for all the book arts, and shortly thereafter this site, the

6
Book Arts Web. He is also publisher of the Bonefolder: an e-journal for the bookbinder and
book artist, , an online journal he founded with colleagues in 2004.
The Book Arts Web © 1995-
Contact the Book Arts Web
PURL: http://purl.oclc.org/NET/bookartsweb
Last Modified: Sunday, 18-Sep-2022 10:18:34 EDT
URL: http://www.philobiblon.com /casebd.shtml

7
Bookbinding is a fascinating craft, and there are several case book patterns that you can try.
Here are some common types of case bindings and their construction instructions:

1. Flat Back Case Binding:

- Fold and sew the pages into signatures.
- Prepare the book cover boards.
- Attach the book cover boards to the spine of the signatures.
- Glue the spine and attach the book cloth or paper covering.

2. Rounded Back Case Binding:

- Follow the same steps as the flat back case binding, but shape the spine to create a
rounded effect before attaching the book cover boards.

3. Quarter Binding:
- Use a different material for the spine (such as leather) and a different material for the rest
of the cover (such as book cloth or paper).
- Attach the spine material to the book cover boards and the rest of the cover material.

4. Half Binding:
- Similar to quarter binding, but the spine material covers half of the book cover boards,
while the other half is covered by a different material.

5. Full Leather Binding:

- Prepare the book cover boards.
- Cut and shape the leather to cover the boards.
- Attach the leather to the boards using adhesive and folding techniques.
- Decorate the spine and cover with embossing or other decorative elements.

These are just a few examples of case book patterns in bookbinding. Each pattern can be
customized further with different materials, decorations, and techniques. Remember to
experiment and have fun with your bookbinding projects!

Certainly! Here are a few more case book patterns in bookbinding:

6. Bradel Binding:
- Fold and sew the pages into signatures.
- Prepare the book cover boards.
- Attach the book cover boards to the spine of the signatures using a flexible adhesive,
allowing the book to open flat.
- Cover the spine and the rest of the cover with book cloth or paper.

7. Coptic Binding:
- Create individual sections of folded pages.
- Sew the sections together using a Coptic stitch, which is a decorative exposed binding.
- Attach the book cover boards to the stitched sections using adhesive or by sewing them
directly.

8. Japanese Stab Binding:

 - Fold the pages into sections.
- Make evenly spaced holes along the spine edge of each section.
- Use a decorative binding stitch to sew the sections together, leaving the spine exposed.
- Create a separate cover for the front and back using book cloth, paper, or other
materials.

9. Long Stitch Binding:

- Fold the pages into sections.
- Make evenly spaced holes along the spine edge of each section.
- Use a long stitch to sew the sections directly onto the cover boards, creating a visible
stitching pattern.

10. Secret Belgian Binding:

- Fold the pages into sections.
- Create notches along the spine edge of each section.
- Thread a cord through the notches to create a binding structure that allows the book to
open flat.
- Attach the cover boards to the cord, securing the sections and creating a neat closure.

Remember that these are just a few examples, and there are countless variations and
combinations you can explore in bookbinding. Each pattern offers its own unique aesthetic
and functionality, allowing you to create beautiful and personalized books. Happy
bookbinding!
Durable Friendship Shawl - free crochet shawl pattern by Wilmade
Posted on
24 September 2018
Today I have a new free crochet shawl pattern to share with you: the Durable Friendship
Shawl. This shawl is pretty simple and beginner-friendly: all you need to know is how to
make double crochet stitches, chains and puff stitches. A good project for beginners who
want to give their first shawl a try!
Get the free pattern below or purchase the ad-free PDF version of this pattern on Etsy and
Ravelry. The PDF is designed for printing and this way you can support me!

About the design

More than a year ago, my mom made her very first crochet shawl. It was a very simple
design, but the elegant border made it pop out. Back then my mom just winged it without
writing patterns. We did not have any experience with writing a crochet shawl pattern, so
we decided to not share the pattern.
She got many comments and likes on social media and people kept asking for the pattern,
even recently, one year after posting the picture. She decided to make a similar shawl
with a few changes to make it easier for beginners. So here you go! The long-waited
beginner-friendly shawl designed by my amazing mom!

About the yarn

The yarn that I used for this design is called Durable Forest, a luxurious yarn with acryl,
merino wool and silk from the Dutch yarn brand Durable. Durable Forest is available in 12
autumn colors – including the beautiful brown color I used. It’s fine / sport weight yarn
which comes in balls of 50g. I used a total of 5 balls for this shawl.
This yarn is not international available yet, but you can use any other fine and light weight
yarn. Some American yarn alternatives which I think will turn out great are:
● Lionbrand Coboo, 50% cotton, 50% bamboo – has an excellent drape and stitch
definition. Perfect for shawls.
● LB Collection® Baby Alpaca Yarn, which has natural undyed shades of soft baby
alpaca. It’s an affordable luxury fiber.
● LB Collection® Cotton Jeans® Yarn, 100% cotton DK weight yarn that looks and
feels like denim. I just love the color tones!

1
Materials
– 5x Durable Forest (total 250g/900m, sport weight) – or use American alternatives such as
Lionbrand Coboo / Baby Alpaca Yarn / Cotton Jeans® Yarn
– Crochet hook 4mm (US G/6 hook)

Dimensions
This shawl is a large (over-sized) shawl. For reference, model is 1.63m/5’4″. You can
adjust the length/width of this shawl by adding or removing rows of the pattern repeat.
When following the pattern – with the same yarn – the measurement will be as following.

Height: 84cm / 33″

Width: 180cm / 70″

Gauge
20 stitches (10 DC & 10 CH) equal 10 cm / 4”
10 rows equal 10 cm / 4”
Gauge is not really important as this shawl will still fit if gauge is different.

Stitches & abbreviations (US terms)

– st: stitch
– ch: chain
– sc: single crochet
– dc: double crochet
– puff: puff stitch
– picot: ch 2, sc in first ch (only used for border)

* *: repeat what is between the asterisks as many times as directed

( ) within instructions: work a group of stitches all in the same stitch

( ) at end of a row: amount of stitches you should have at the end of that row

Notes
– This pattern is written in US terminology
– Pattern is worked top-down
– We turn our work at the end of every row
– The first 3 chains at the start of every row count as 1 dc
– The last stitches of a row are made in the third chain of the previous row
– The amount of stitches mentioned at the end of a row only includes the double crochet
stitches and not the chains (the first 3 chains at the start of a row count as 1 double
crochet).

2
Crochet shawl pattern

Chain 6, slip stitch in the first stitch to close the round

Row 1:
ch 4,
*1 dc in the ring, ch 1* repeat 2 more times,
1dc in the ring, ch 2, 1dc in the ring (this creates the center ch-2 space),
*ch 1, 1 dc in the ring* repeat 3 more times, turn (10)

Row 2:
ch 4, 1dc in the first stitch,
*ch 1, skip 1, 1dc in next st* repeat to center ch-2 space,
ch 1, (1dc, ch 2, 1dc) in center ch-2 space,
*ch 1, skip 1, 1dc in next st* repeat to end,
(ch 1, 1dc, ch 1, 1dc) in last stitch, turn (14)

Row 3:
ch 4, 1dc in the first stitch,
*ch 1, skip 1, 1dc in next st* repeat to center ch-2 space,
ch 1, (1dc, ch 2, 1dc) in center ch-2 space,
*ch 1, skip 1, 1dc in next st* repeat to end,
(ch 1, 1dc, ch 1, 1dc) in last stitch, turn (18)

Time to repeat!

Row 4 – 11 (8 rows): repeat row 3 (22, 26, 30, 34, 38, 42, 46, 50)

Row 12:
ch 4, 1dc in first st,
*ch 1, 1 puff in the next ch-1 space* repeat to center ch-2 space,
(ch 2, 1 puff, ch 2) in center ch-2 space,
*1 puff in the next ch-1 space, ch 1* repeat to end
(1 dc, ch 1, 1dc) in last stitch, turn (49 puffs and 4dc)

Row 13:
ch 4, 1dc in first stitch, ch 1,
*1dc in the next ch-1 space, ch 1* repeat to center puff stitch,
(1dc, ch 2, 1dc) in the center puff stitch,
*ch 1, 1dc in the next ch-1 space* repeat to end,
ch 1, (1dc, ch 1, 1dc) in last stitch, turn (58)

Row 14 – 56:
Repeat rows 3 until 13 4 more times. In the last repeat, do not repeat row 13, because we
will make the border right after the puff stitch row.

Border

The border starts after a puff stitch row.

Row 57:
Ch 4, 1sc in the second ch-1 space,
*ch 4, 1sc in the next ch-1 space (between the puff stitches)* repeat to center ch-2 space,
ch 4, 1sc in the center puff, ch 4,

3
*1sc in the next ch-1 space (between the puff stitches), ch 4* repeat to end (work to
ch-space after last puff stitch),
1sc last stitch, turn (228)

Row 58:
ch 1, *1sc in next ch-4 space, 5dc in next ch-4 space, 1sc in next ch-4 space, ch 6* repeat
to end,
5dc in next ch-4 space, 1sc in last ch-4 space, turn (76 dc-groups)

Row 59:
*ch 3, 1sc in 3rd DC of the 5-dc group from the previous row, ch 3, (3dc, picot, 3dc) in
next ch-6 space* repeat to end, ch 3, 1sc in last sc (75 dc-groups)

picot: ch 2, sc in first ch
Stitch count

Below you can find an overview of the amount of stitches you should have.

Note: row 12/23/34/45/56 are the rows with puff stitches. The table below shows the
amount of puff stitches + 4 double crochet stitches. For example row 23 = 93 puff stitches
+ 4 dc = 97 stitches.

4
How to Crochet the Cluster Stitch Pattern
Crocheting the Cluster Stitch is a delightful way to add texture and depth to your projects.
Whether you’re creating cozy blankets, scarves, or even dishcloths, this stitch pattern is
versatile and visually appealing.
This crochet stitch has been on my to do list for a while now. I have had the yarn picked
out and sitting in my yarn storage for over a year. Do you have crochet projects just
waiting to be started? I do. My planned list is so long.
I am making a blanket pattern using worsted weight yarn in three different colors. And I
am keeping things simple by carrying the yarn up the sides. As soon as this is done, it will
be posted for you to make your own personal use.

Easy Crochet Stitch

This is one of those patterns where once you get past the first few rows, you barely have
to worry about stitch counts. In one row you are working in the chain stitches between the
single crochet stitch. The other row, you are working in the chain stitches between the
double crochet cluster stitch.
It’s relatively easy to work the cluster stitch as it is like a puff stitch and bobble stitch
consisting of double crochet stitches. This one is like working a three double crochet
together.

Reversible Crochet Pattern

This is a lovely stitch with lots of beautiful texture and it looks just as nice on the wrong
side. A plus with this pattern is that it’s reversible.
Finishing Crochet Projects vs Starting Crochet Projects
I know some crocheters have a hard time finishing. For me, it’s having so many things
planned that I can’t get to them all. As a crochet designer, it takes time to write up the

1
free patterns for you folks. However, I love sharing the joy to get from crocheting with
others, so I don’t mind.
Today, I’m finally getting around to learning the cluster stitch and crocheting a blanket
with the three yarn colors I have been saving. I love learning new stitches.
I think this would look really pretty for a baby blanket. We might need to make more in
different colors.

Let’s dive into the steps for crocheting the Cluster Stitch:

Directions: How to Crochet the Cluster Stitch

Skill level
Confident Beginner
You should be able to crochet the single crochet, chain stitch, and double crochet.
Size
For the sample shown in the video, I used 12 chain stitches.
Use any even number of stitches for your foundation chain. The foundation chain length
will determine the width of your project.
Gauge
This will depend on the yarn and crochet hook you choose for your project.

Abbreviations
CH = Chain
Cluster Stitch (DC3Tog) = Cluster Stitch or Double Crochet Three Together
DC = Double Crochet
SK = Skip
SP = Space
ST = Stitch
STs = Stitches
[ ] = Repeat Between

2
Materials Needed
● Yarn (any type) and a corresponding crochet hook. For the tutorial, I used a
medium weight yarn Caron Simply Soft with a Size I 5.5 mm Hook. Note, the yarn
calls for a Size 5.0 mm Crochet Hook. However, you may use any hook and yarn
combination you choose.
● Scissors
● Tapestry Needle

Pattern Notes
Pattern starts with an even number of stitches.
Written in US crochet terms.
Rows 2 and 3 stitches are worked in the chain spaces.
Chain 1 turning chain does not count as a stitch.
Chain 3 turning chains count as a double crochet.
Don’t forget to check out the free video tutorial linked below!

Special Stitches
Cluster Stitch or Double Crochet Three Together (DC3Tog) in the same stitch.
1. Step 1. Yarn over, insert hook into next stitch and pull up a loop. There will be
three loops on the crochet hook. Yarn over, pull through two loops on the hook.
There should now be just two loops left on the hook.
2. Step 2. Yarn over and insert the hook into the same stitch and pull up a loop. There
will be four loops on the hook. Yarn over, pull through two loops. There should now
be just three loops on the hook.
3. Step 3. Repeat the steps one more time. Yarn over and insert the hook into the
same stitch and pull up a loop. There will be five loops on the hook. Yarn over, pull
through two loops. There should now be just four loops on the hook.
4. Final Step. Lastly yarn over and pull through the remaining four loops.

3
Instructions
● Begin
To begin, make a slip knot and then chain your desired number of chains. Even Number of
Stitches. The sample in the video is 12 chain stitches.

Row 1
SC in the second CH ST from the hook. [CH 1, SK a ST, 1 SC in the next ST]. Repeat across
between [ ] until you reach the last 2 STs. Then work a CH 1, SK 1, SC in the final ST. Turn

4
Row 2
CH 3 (Counts as DC). Work a Cluster Stitch (DC3Tog) in the first CH SP. CH 1. [Work a
Cluster Stitch (DC3Tog) in the next CH SP, CH 1]. Repeat across between [ ]. When you
reach the last CH SP, do not work a chain 1 after the last cluster. End with a 1 DC into the
last ST. Turn.

Row 3
CH 1 (Does not count as a ST). SC in the same ST. [CH 1, SK cluster, 1 SC in the next CH 1
SP] Repeat between [ ] across to the last CH SP. End with a CH 1 and SC in the final ST.
Turn

5
Repeat Rows 2 and 3
Continue to repeat rows 2 and 3 until your desired length.

● Finishing
Cut the yarn leaving about a 10-to-12-inch length. Pull yarn through the last stitch. Using a
tapestry needle. Weave the yarn back and forth through the stitches at least 3-5 times.
Cut off the excess yarn.

Video Tutorial:
If you prefer visual guidance, check out this video tutorial.
Carrying the yarn up the side using different colors video.

https://patternprincess.com/how-to-crochet-the-cluster-stitch-pattern/

6
UNIT 12 BINDING PROCESS
Structure

12.0 Objectives
12.1 Introduction
12.2 Binding Process
12.2.1 Preparation of Material for Binding
12.2.2 Sewing
12.2.3 Forwarding: Cutting and Trimming
12.2.4 Rounding and Backing
12.2.5 Marbling, Gilding, Colouring of Edges
12.2.6 Fixing Head-bands
12.2.7 Cutting and Attaching Boards, Gluing
12.2.8 Covering

12.2.9 Finishing; Lettering and Ornamentation

12.3 Binding Routine,

12.3.1 What is to be Bound?
12.3.2 What Type of Binding, for What Kind of Material?

12.3.3 Administrative Procedures

12.4 Summary
12.5 Answers to Self Check Exercises
12.6 Key Words
12.7 References and Further Reading

12.0 OBJECTIVES
After reading this Unit, you will be able to:
explain the binding process and the various steps involved in it from the preparations
of material for binding to the finishing stage;
identify type of binding materials required; and
know the administrative procedures involved with the binding.

12.1 INTRODUCTION
As we have seen in the, earlier Unit, the reasons, for which a book is bound are two-fold:
to preserve it for the posterity and to keep it in, a usable state for today’s users. We have
also learnt that book-:binding is the art of attaching stout cover to the book by means of
cords or tapes laced to the sewn sections of the book for protection of the pages and
,convenience of handling.

Binding, and for that matter re-binding of a library book poses certain constant problems,
which the librarian has to tackle satisfactorily. The problems arise because of the varied
165
Binding
nature of the reading materials, their physical structure and condition, and, also the nature,
extent and intensity of their use.

Added to these, is the perennial financial problem, which most of our libraries suffer from.
This problem often seriously restricts the binding activity in a library, especially because of
the rising cost of binding materials and labour.

All these problems make it imperative for the librarian to take discreet and judicious
decisions as to whether a particular volume is to be bound or rebound at all or not; if so,
what kind of binding - full, half or quarter leather, cloth or rexine, or simple paper, binding
- should be technically appropriate and economically feasible.

Some of the criteria, among others, for deciding whether a particular volume should be
bound or not, are:
The intrinsic value of its content: present and anticipated;
Existing physical condition of the volume;
What kind of readers will use it, in what way, and how frequently;
Can the volume be replaced easily now or in near future, and if so;
Whether it would be cheaper to buy a new copy than to rebind the old one.
Each piece of material has to be weighed in terms of the above criteria. The basic guiding
principle should be to derive maximum value of the money spent in binding/rebinding. On
taking the appropriate decisions in this respect, the volume concerned is passed on to the
binder with appropriate instructions for the required type of binding

12.2 BINDING PROCESS

Library binding process proceeds according to the following steps:

12.2.1 Preparation of Material for Binding

i) Folding: As has been stated” in the earlier Unit, in machine binding the sheets of the
printed pages are folded by the folding machine in signatures (Sections) of 16 pages,
which is very common, or of 8,12 and 32 pages, depending on the measurement of
the broad sheet used in printing and on the desired format of the book.

In the process of hand binding of a freshly printed book, folding is done by hand. In
rebinding of an already folded and bound volume, which has to be done by hand only,
the process of folding actually means refolding if the existing folding of certain pages
had not been done correctly. This is necessary to avoid flaws in the rebound volume.

ii) Gathering: The signatures (sections) of the folded or refolded sheets, as the case may
be, are gathered together, one section below the other is in correct sequence. In. the
case all superflow pages, such as advertisements etc. are to be discarded, and all
wire-stitching, if any, removed at this stage before gathering.

iii) Collation: To prepare a volume for binding it is important that it is collated properly to
ensure correct sequence of pagination, and that no page is either defective of missing.
Collation of journal volumes demand additional care, because the pagination of issues
of a volume of some journals run in issue-wise separate sequences. In the care of a
journal volume it is, therefore, important, not only to be sure that none of the pages are
166 damaged, missing or mutilated, but also to ensure that all the issues of the volume are
 Binding Process
intact and arranged in correct sequence. It is also important to ensure that each volume
has the title page and the index, the former to be included in the beginning of the
volume, and the latter at the end. For those journals which do not publish volume-wise
index, the content-page of each issue are to be collected, arranged, sequentially and
included in the volume.

iv) Repairing: If any defect is noticed in the collation process, it has to be rectified. The
process of repairing may involve:

Flattening of wrinkles: This can be achieved by moistening the wrinkled page with a
wet sponge and flattening with a moderately heated iron.

Guarding: This is to strengthen the folds or the edges of the damaged leaves by pasting
thin tissue paper or linen strips. This should, however, be done very judiciously because
excessive guarding will produce a much swollen spine, which in turn will produce a
weak binding, susceptible to damage in handling.

Sizing, washing, mending: If the surface of paper of an old volume for rebinding appears
to be of weak; wooly texture, it should be given a sizing; if there are stains, the paper
should be washed in an appropriate chemical solution; and if certain leaves are tom,
these should be mended. There are prescribed archival techniques to take care of
such jobs. Except for routine mending; all such jobs involving precious volumes showed
be got undertaken Under the supervision of a qualified Archivist.

12.2.2 Sewing
After proper collation and necessary repairing, the collected signatures are then placed on
a ‘sewing frame’ with sheets of end-papers on the top and the bottom. The back of the
collected sections are then marked by pencil lines to guide as to the location of each band.
This process is called “marking up”. Instead of simple ‘marking up’ process, sometimes
‘saw-in’ method is adopted. In this process saw-cuts are made on the back to accommodate
the bands, the sewing thread and its knots. This method is generally avoided now-a-days
because saw-cuts weaken the back to an extent, and what is more important, saw-cut
stitching hampers opening of the volume right up to die back.

Generally, for a book of normal thickness and spine length, five bands are used at equal
distance. For sewing, the marked-up sections are placed on the platform of the ‘Sewing
Frame’. The ‘Sewing Frame’ consists of a bed with two reprights and a cro-bar, which
can be raised and lowered as required. These are all made of wood. To setup for sewing,
as many loops of cards, called ‘lay cords’ as these are to be bands, are threaded to the
cross-piece and fastened to form the bands.

On the platform of the ‘Sewing Frame’, the first section is so placed that its spine presses
against the vertically set cords, each of which must coincide with each pencil marking on
the spine. The needle carrying the stitching thread is carried in and out of the section,
starting with a kettle stitch and passing round each upright cord. The second section is
then placed on the first (which has already been stitched), and stitched the same way, tying
it with the loose end of the beginning of the first section with a kettle stitch. The third and
all the subsequent sections are stitched in the same way, one after another. Thus, all the
sewn sections of the volume pile up on the platform of the ‘Sewing Frame’. After stitching
of each section, it is knocked down by a loaded stick so that even tension may be had all
through the sewing and kettle at the ends.

167
Binding

Fig. 12.1: Sewing on a Sewing Frame

12.2.3 Forwarding: Cutting and Trimming

When all the signatures are sewn, as above, the cords are cut, so that short lengths extend
at each side. These are to be laced into the boards later. These short lengths of cord
extending at each side are called ‘slips’.

The volume is then placed on, what is called, a Laying or Cutting Press. Keeping the
volume properly clamped and under pressure, its edges are neatly trimmed.

12.2.4 Rounding and Backing

After trimming of the edges, the volume is clamped in such a way that the spine projects
over the edge of the press. It is then hammered to give the spine a smooth round shape.

This ‘backing process’ is to create a groove on both sides of the back. The depth of these
grooves should be just enough to accommodate the thickness of the covering boards, to
be used.

This rounding and backing processes are meant to control swelling of the spine of the
volume caused by the stitching process.

Fig. 12.2: Rounding and Backing

12.2.5 Marbling, Gilding, Colouring of Edges

In the earlier days, these processes were applied at this stage, to give a pleasant look to
the bound volume.

Marbling: Edges of the volume were dipped in prepared colours, mixed with gum. After
the excess gum was wiped off and the colour dried up, the edges were burnished. This
process gave a pleasant look to the edges.

Gilding: The edges of the volume were sized heavily with a preparation of albumen on
which thin sheets of gold-leaf were laid. When dry, it was burnished to give a bright golden
168 look to the edges of the volume.
 Binding Process
Coloured edges: Aniline colours mixed with alcohol was applied to the edges of the
volume under pressure. When dry, the coloured edges were burnished.

Today, these processes of decorating the edges of the volume are applied very rarely and
if so, only in very special cases.

12.2.6 Fixing Head-bands

While pulling out a volume from the shelf, the user does so by applying hill figures at the
top edge of the spine of the volume. This gradually reduced the strength of the top-edge of
the spine. It starts sagging and may eventually crack. To protect the volume against this
kind of damage to the binding, headbands are affixed at the top- and bottom of the spine.
These are generally made of strong cotton, or coloured silk cords. Such, head band’s
were very ornamental in the past, but now-a-days these are not as decorative as before.
(See fig.12. 2)

12.2.7 Cutting and Attaching Boards, Gluing

Two pieces of board of selected quality, one for each side of the volume, are now cut to
size. The size of the pieces should be such that there are projected ends at the head (top),
foot (bottom), and fore edge. The pieces of board so cut are called ‘squared’.

The board-pieces are now laid on the book and are marked with pencil according to the
positions where the slips (vertically set cords fixed to the spine: see ‘sewing’) are to be
inserted. Pair of holes is made by the binder’s bodkin for the purpose, at appropriate
locations so that the slip-ends can be inserted (laced) through them. The free ends of the
inserted slips are then cut to appropriate short lengths and hammered, 5.0 that these are
riveted into the board.

If, instead of cord, tapes are used, it becomes necessary to use split boards. The tape
ends are inserted into the layers of the spit board, which in turn are glued together, with the
tapeends embedded in between the two layers.

Fig. 12.3: Cord Laced into Boards Fig. 12.4: Tapes Inserted in between Split Board Plies

Gluing up:. After attaching the boards, the back along with the boards is screwed up on
the laying press and hot, but not very thick, glue is applied to the spine in such a way that
the glue reaches every section uniformly.

12.2.8 Covering
After the boards have been fixed to the volume and its spine glued and dried, the boards
are covered wholely or partially by leather, cloth, rexine, leather-like plastic or paper,
whichever is selected as per requirement. If the back is fully covered along with full, 1/2 or 169
Binding
1/4 of the cardboard, the binding, depending on the covering material used, is known as
Quarter, half and full’ leather, cloth, rexine (etc.) bound volume. Even in case of volumes
other than full-leather binding (having 1/2 or 1/4 leather binding) the corners of the cardboard
are given leather covering for better protection of the corners, which are susceptible to
damage.

Fig. 12.5: Covering of Cardboard

If the covering material is not attached directly to the spine we have a bound volume with
a hollow back. Otherwise we have the volume with flexible back. Flexible back is better,
because it will make the pages of the two halves of the open volume to lie flat.

Fig. 12.6: Hollow Back.

Fig. 12.7: Flexible Back

12.2.9 Finishing: Lettering and Ornamentation

This is the last step, where the end-papers are pasted on to the cardboards and thereafter
the bound book is put -under some pressure so that a smooth and curve less binding is
ensured.

Finishing also involves lettering and decoration with decoration design of the bound volume.
In gold-lettering (see 11.6 of Unit 11) lettering done by using gold leaf, for silver lettering,
silver or palladum fill is used. The binder’s metal type are set up in a pallet or a stick; the
types are heated; the heated type stick is passed on the spine the front-board on which
gold, silver or palladum foil is placed, If any design tooling is wanted, design is drawn on
paper and it is subjected .to tooling.
170
 Binding Process
Now-a-days there is another method of lettering by inscribing individual letters by an
electric stylus. In this process, the leather is smoothened by a heated polishing iron on its
surface and the surface cleaned before lettering.

Fig. 12.8 (A & B): Parts of a Bound Book

Self Check Exercise

1) Enumerate the various steps involved in the binding process.

Note: i) Write your answer in the space given below.
ii) Check your answer with the answers given at the end of this Unit.
………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

12.3 BINDING ROUTINE

12.3.1 What is to be Bound?
At first, decision on what is to be got rebound has to be taken. The need for rebinding or
simple mending of a deteriorated binding is to be decided in a judicious manner. There are 171
Binding
varieties of reading materials in library, such as, fictions, non-fiction books, journal volumes,
monographs, reports and pamphlets, rare volumes, heavy reference volumes for constant
use, and so on. Each piece of publication has to be considered on its merit, in the light of
such factors as its physical state and characteristics, its use pattern, the value of its’ content
and so on.

Books are published in different editions, such as, popular edition, student edition, paper
back edition, or library edition. The books proposed to be sent out to the binder are to be
sorted out in categories like: fiction, non-fiction, rare volume, journal volume etc.

Fictions: In so far as fictions are concerned, if a particular volume is found very badly
soiled, or its overall condition too fragile, there are three alternatives available for
consideration, depending on the situation.

If the volume is worth preserving because the demand for it from the readers is fairly
constant, efforts can be made to acquire a new copy or a new edition to replace it,
provided such a copy is available for about the same cost as of the original, or even at a
marginally higher cost.

If for such a volume a new replacement copy is not available, or even if available, but the
quality of production is too poor to preserve and rebind in future, the original, volume has
to be got properly repaired and rebound by a competent binder, even at a higher cost.

On the other hand if a fragile volume does not justify its preservation because of its lack of
use, or because its content is already included in an anthology available in the library, or
because it has no special artistic or historical value, it may be wiser to discard it. There is
hardly any point in storing such a fiction volume as a dead stock in the library.

Non-fiction books
Apart from the considerations that apply in the case of fictions, in the case of worn-out
nonfiction books, the guiding factors are:
Whether the subject-matter of the worn-out edition has been treated in a better way in a
newer available edition, rendering the content of the older edition out-of-date.
Whether the book is out-of-print and the original book is still important enough on some
consideration or other, to be preserved for further use.
It should be noted that there is no rule-of-thumb in this regard. The decision as to whether
a volume is to be got rebound or whether some mending of the existing binding will serve
the purpose, or whether a volume has to be weeded-out has to depend solely on each
such volume on its own merit. It is often a difficult job which the librarian is called upon to
handle meticulously and objectively. More difficult is to decide about discarding; because
weeding out is in fact a process of book selection in the reverse.
Journal volumes and rare books
Journal volumes are for long term use and rare books are precious. These materials,
therefore, deserve durable binding/rebinding. These are to be treated separately. Unlike
general books, question of procuring replacement copies or discarding worn-out volumes
does not generally apply in these cases.

12.3.2 What Type of Binding for What Kind of Material?

Reinforced binding: In the case of rebinding it involves strengthening of the structure of a
weakened volume by strengthening the hinge with cloth, reinforcing delicate pages by
172 using tissue. The volume is to be reserved and the covering material should be of a superior
 Binding Process
standard. This type of binding is ‘library binding’ in the real sense of the term, as is applied
to valuable publications.

Full-leather binding: In this class of binding the whole of the card-board is covered with
leather. This is adopted for rare and costly volumes and also for heavy volumes which are
liable to wear and tear owing to their constant heavy use. Since this type of binding is quite
costly it should be adopted very discreetly.

Half-leather binding: In this class of binding the spine of the volume and half of the
cardboard is covered with leather, while the rest of the card board is covered by cloth or
rexine. The corners of the cardboard are also covered by leather, because these are the
portions of the volume which are constantly subjected to strain. This class of binding is
generally adopted for binding journal volumes as well as heavily used reference volumes
like dictionaries, atlases etc.

Full-cloth or full-rexine binding: In this case the cardboards are fully covered with cloth
or rexine of superior quality. This type of binding is moderately strong, and is generally
used for standard textbooks. The cost of such binding is moderate.

Half-cloth or half-rexine binding: In this type of binding the spine and corners of the
volume are covered with cloth or rexine and the rest of the cardboard with strong paper.
This type of binding is generally adopted for books which are cheaper, and also for thinner
publications like monographs and reports etc., for which often quarter-cloth binding is
adopted. In quarter-cloth binding, the spine and one-quarter of the cardboard are covered
with cloth and the rest with paper.

12.3.3 Administrative Procedures

After taking decision on the above, the volumes to be bound are collected. If any repairing
is found necessary and can, be managed in-house, this should be done, as discussed in
para 12.2.1 (iv) above. The journal volumes are arranged sequentially with title pages and
Indexes and tied up volume-wise.

Decision regarding the covering materials, the quality and colour of the leather, rexine,
cloth or paper, as the case may be, has to be taken. This is necessary for maintaining
uniformity of colour of the volumes on the shelf.

All the above decisions have to be recorded on a binding slip in duplicate, together with
the exact letterings to be done on the spine and/or front-cover, as the case may be. One
copy of the same is to be tied with the concerned volume and the other copy is to be filed
for checking after the volume is returned by the binder.
Binding information is to be recorded in the Binding Register or Cards, indicating:
Call No. of the book or volume No. and year of the Journal.
Author and title of the book/title of the Journal
Binding specification
Colour of the spine
Date on which the volume is handed over to the binder
Date on which the volume is returned by the binder
Cost
Payment information (Voucher No. and Date)
173
Binding
When the volumes are returned by the binder, these are thoroughly checked to find out
that there are no inaccuracies in binding and lettering and the job has been done m
accordance with the prescribed specification. Any deficiency noticed is communicated to
the binder for necessary correction before the payment is made.

Self Check Exercise

2) How will you decide in a library, what is to be bound?

3) Describe the administrative procedures involved in the binding of the materials in a

library.
Note: i) Write your answer in the space given below.
ii) Check your answer with the answers given at the end of this Unit.
………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

12.4 SUMMARY
The criteria for deciding whether a particular volume should be bound or not has been
discussed in this Unit. The various steps involved in the binding process have been described
which include preparation of materials for binding, sewing, forwarding, rounding and
booking, marbling, fixing head-bands, attaching boards, covering and finishing.

The volume is ready for binding, what is the administrative procedure involved has been
described in the Unit. The details about type of binding a material required have been
dealt in detail.

12.5 ANSWERS TO SELF CHECK EXERCISES

1) The various steps involved in the binding process are:
Preparation of material for binding - This means getting material ready for binding,
for a new printed pages of books it starts from folding, gathering and collation.
Repairing in this take care flattening of wrinkles, pasting of broken pages and
removal of stains.
Sewing - All the pages put together and the side is marked with bands at equal
distance on spine so as to carry stitching section wise.
Forwarding - The process puts the pages together in a clamp and cutting and
trimming done so as to get proper size of the volume.
Rounding and Backing - The spin is rounded to hold covering and top and
bottom side edges are projected so as to hold hard board in proper place.
Marbling, gilding and colouring - Give the pleasant look to the bound volume.
174
 Binding Process
Fixing Head-bands - This is to, give strength of the top-edge of the spine.
Attaching boards and covering - The hard boards are then put on the book and
proper cloth or rexin, leatherite is put to get proper binding. And in the last step
lettering and other beautiful pastings are done.
2) The decision on what is to be got bound and rebound has to be taken depending
upon the following:
use of the material in a library;
the value of the content;
physical state and characteristics of the materials etc.
Some time there is need for rebinding or simple mending of a deteriorated binding is
to be decided in a judicious manner. The journal volumes, paper back edition and
fictions are to be given preference after seeing their use.

3) After deciding that these are the volumes to be bound, the covering materials, quality
and colour of the binding has to be decided. Exact letterings on the spine and or
front-cover may be recorded. In case of journal volumes, these are arranged
sequentially with title pages and indexes and tied up volume wise. Binding information
must be recorded in the Binding Register or Cards along with payment information
etc. finally when the volumes are returned by the binder, these are thoroughly checked
to see whether work is done as per requirements and any deficiency noticed must
be told to the binder before the payment is made.

12.6 KEY WORDS

Cutting Press : See ‘Laying Press’.

End Paper : A folded sheet of paper of which one half is attached to

the covering board (See ‘pastedown’) of the book and
the other half forms a fly leaf (see ‘Fly leaf’).

Finishing : This Comprises lettering, tooling and polishing.

Fly-leaf : A blank leaf at the beginning and at the end of a book.

Fore-edge : The edge of a book opposite the spine (see: ‘Spine’)

Forme : See ‘Section’

French Joint : See ‘Hinge’

Hinge : The flexible part of the covering material (leather or

rexine) on which the book opens (also called ‘Joint’)

Head Band : This is a hand made of strong cotton of coloured silk

cards, and are fixed at the top and bottom edges of the
spine to protect the binding from sagging in constant
use (particularly in the case of a heavy volume).

Joint : See ‘Hinge’

Kettle Stitch : A stitch made at the head and tail of the book to fasten
one section to another when a book is being sewed. 175
Binding
Laying Press : Also known as ‘Cutting Press’, on which the edges of
the bond volume are trimmed.

Paste-down : The half of the fly-leaf or end paper which is pasted

down to the cardboard cover.

Sewing Frame : It consists of a bed with two uprights and a cross bar
which can be raised or lowered as required. The volume
to be bound is set on the bed for sewing.

Signature : A sheet of paper consisting generally of 4, 8 or 16 leaves

folded and ready to be incorporated in the main body
of the book. Also known as ‘Section’

Slips : The ends of the tape on which the book is stitched,

that are attached to the board. Also known as ‘back’

Split Board : The board used in reinforced library binding, made by

two millboards - one thick and the other thin - being
glued together, except in the portion to be kept split.
The depth of the split portion shall be not less than one-
sixth of the width of the board.

Square : The portion of the cardboard covers that project beyond

the leaves.

12.7 REFERENCES AND FURTHER READING

Clough, Eric A. (1957). Bookbinding for Librarians. London: Association of Assistant
Librarians.

Corderoy, John (1978). Bookbinding for Beginners. London: Thames and Hudson.

James, Fritz. Trends in Equipment and Material Used in Library Binding. New Library
Scene 13 (August 1994): 14-15.

Lock R.N. (1961). Brown’s Manual of Library Economy. London: Grafton.

Lock, R.N. Bookbinding. In Landau, Thomas ed. The Encyclopedia of Librarianship,

1996.

Merrill-Oldham, Jan. (1993). Managing a Library Binding Program. (Preservation

Planning Program Series) Washington, DC: Association of Research Libraries.

Ogden, Barclay and Strauss, Robert. (1995). Performance Measures of Library Binding.
Rochester: Library Binding Institute.

Ranganathan, S.R. (1960). Library Manual. 2nd ed. Bombay: Asia Publishing House.

176
Absolutely! Bookbinding is a fascinating and intricate craft that combines art, precision, and
sometimes, historical techniques. Here's an overview to help you understand it better:

### What is Bookbinding?

Bookbinding is the process of physically assembling a book from an ordered stack of paper sheets. It
involves various steps including folding, sewing, gluing, and covering, resulting in a finished book.

### Types of Bookbinding

1. **Saddle Stitching**: This is the simplest and most common method, often used for booklets,
brochures, and magazines. It involves stapling the pages together through the fold line of the
sheets.

2. **Perfect Binding**: Commonly used for softcover books, this method involves gluing the pages
together at the spine with a strong adhesive. The other three sides are then trimmed to create a
clean, "perfect" edge.

3. **Hardcover Binding**: Also known as case binding, this method uses a hard outer cover. The
pages are sewn together in sections and then glued into the hard cover.

4. **Spiral Binding**: This involves punching holes along the edge of the pages and then inserting a
metal or plastic spiral through the holes. It allows the book to lie flat when open.

5. **Coptic Binding**: An ancient technique that involves sewing sections of the book together with
a chain-like stitch across the spine. This method allows the book to lie completely flat when open.

### Steps in Bookbinding

1. **Folding**: Sheets of paper are folded into sections called signatures.

2. **Sewing**: The signatures are sewn together, either by hand or using a sewing machine.
Different stitching techniques can be used, such as kettle stitch or Coptic stitch.

3. **Gluing**: After sewing, the spine of the book block (the stack of signatures) is glued to provide
additional strength.

4. **Trimming**: The edges of the book block are trimmed to ensure all pages are even.

5. **Covering**: The book block is then attached to a cover, which can be made of cloth, leather, or
paper. For hardcovers, the cover is often made separately and then attached.

6. **Finishing**: This includes adding any decorative elements, endpapers, headbands, and other
details that complete the book.

### Tools and Materials

- **Paper**: The quality and type of paper can vary depending on the purpose of the book.
- **Thread**: Strong thread is used for sewing the signatures together.
- **Glue**: Special bookbinding glue is used to secure the spine and cover.
- **Bone Folder**: A tool used to make sharp creases in paper and to smooth out folds.
- **Press**: Used to apply pressure and ensure that the glue adheres properly.

1
### Artistic Elements

Bookbinding can also be a form of art. Artists and craftsmen may use various decorative techniques
such as:

- **Marbling**: Creating intricate patterns on the edges of the pages.

- **Tooling**: Impressing designs onto the cover using heated tools.
- **Gilding**: Applying gold leaf to the edges of the pages or the cover.

### Modern vs. Traditional

While modern bookbinding often uses machines for mass production, traditional bookbinding is a
meticulous handcraft that requires skill and patience. Many bookbinders today blend both methods
to create unique, high-quality books.

### Conclusion

Bookbinding is not just a means of assembling books; it's a craft that combines functionality with
artistry. Whether you're interested in making your own books or simply appreciating the intricacies
of this craft, understanding the basics of bookbinding can deepen your appreciation for the beauty
and complexity of books.

Sure! Let's dive deeper into some specific aspects of bookbinding to enrich your understanding.

### Historical Context

Bookbinding has a rich history that dates back thousands of years. Here are some key points:

- **Ancient Egypt**: The earliest known forms of bookbinding were found in Egypt, where papyrus
scrolls were used.
- **Medieval Europe**: During the Middle Ages, monks in monasteries were the primary bookbinders,
producing beautifully illuminated manuscripts.
- **The Renaissance**: This period saw the advent of the printing press, which revolutionized book
production and binding techniques.
- **Industrial Revolution**: The 19th century introduced machines and new materials, making books
more affordable and widely available.

### Advanced Techniques

1. **Edge Decoration**: Enhancing the edges of the pages can add a unique touch. Techniques
include:
- **Gilding**: Applying gold or other metallic foils.
- **Marbling**: Creating colorful, intricate patterns.
- **Staining**: Using dyes to color the edges.

2. **Endbands**: These are small decorative bands at the top and bottom of the spine. They can be:
- **Hand-sewn**: For a traditional, artisan look.
- **Machine-made**: For a more uniform appearance.

3. **Embossing and Debossing**:

2
 - **Embossing**: Creating a raised pattern on the cover.
- **Debossing**: Creating an indented pattern.

4. **Inlays and Onlays**: Adding different materials to the cover for decoration:
- **Inlays**: Setting materials flush with the cover.
- **Onlays**: Adding materials on top of the cover.

### Conservation and Restoration

Bookbinding isn't just about creating new books; it's also about preserving old ones. Conservation
and restoration involve:

- **Cleaning**: Removing dirt and contaminants.

- **Repairing**: Fixing torn pages, sewing loose sections, and mending the spine.
- **Rebinding**: Replacing the cover while retaining as much of the original material as possible.

### Eco-Friendly Bookbinding

With growing environmental awareness, many bookbinders are adopting sustainable practices:

- **Recycled Materials**: Using recycled paper and covers.

- **Natural Adhesives**: Opting for non-toxic, plant-based glues.
- **Minimal Waste**: Designing processes to minimize material waste.

### Bookbinding Communities

There are vibrant communities of bookbinders around the world who share their knowledge,
techniques, and passion. You can find:

- **Workshops and Classes**: Many artisans offer hands-on training.

- **Online Forums and Groups**: Places like Reddit, Facebook, and specialized forums where
enthusiasts discuss techniques and share tips.
- **Guilds and Associations**: Organizations that promote the craft, such as the Guild of Book
Workers.

### Getting Started

If you're interested in trying bookbinding yourself, here's a basic list of what you'll need:

1. **Basic Tools**:
- **Bone Folder**: For creasing and folding paper.
- **Awl**: For making holes in the paper for sewing.
- **Thread and Needle**: For stitching the signatures.
- **Glue**: PVA glue is commonly used.
- **Cutting Tools**: Scissors and a craft knife.

2. **Materials**:
- **Paper**: Choose the type and weight based on your project.
- **Cover Material**: Options include cloth, leather, and decorative paper.
- **Board**: For hardcover books, you'll need sturdy board for the cover.

3. **Learning Resources**:

3
 - **Books and Manuals**: Many detailed guides are available.
- **Online Tutorials**: Platforms like YouTube have numerous instructional videos.
- **Workshops**: Local art centers often offer classes.

### Conclusion

Bookbinding is a multifaceted craft that spans cultures and centuries, blending functionality with
creativity. Whether you're admiring a beautifully bound volume or crafting one yourself, the art of
bookbinding offers endless possibilities for exploration and expression.

>> What are some advanced techniques in bookbinding?

Certainly! Advanced bookbinding techniques elevate the craft from functional to truly artisanal.
Here are some advanced techniques that experienced bookbinders often use:

### 1. **Edge Decoration**

- **Gilding**: Applying gold leaf or other metallic foils to the edges of the pages for a luxurious
finish.
- **Marbling**: Creating intricate, colorful patterns on the edges using special inks and
techniques.
- **Staining**: Coloring the edges with dyes to create a uniform or gradient effect.

### 2. **Endbands**
- **Hand-sewn Endbands**: Adding decorative bands at the head and tail of the spine, typically
using silk or cotton threads.
- **Beaded Endbands**: Incorporating beads into the endbands for an added decorative element.

### 3. **Embossing and Debossing**

- **Embossing**: Creating raised patterns or designs on the cover by pressing from the underside.
- **Debossing**: Creating indented patterns or designs by pressing from the top side.

### 4. **Inlays and Onlays**

- **Inlays**: Setting different materials flush with the cover to create intricate designs.
- **Onlays**: Adding layers of material on top of the cover, often in different colors or textures, to
create raised designs.

### 5. **Pop-Up and Movable Books**

- **Pop-Up Mechanisms**: Creating three-dimensional structures that pop up when the book is
opened.
- **Movable Parts**: Incorporating flaps, wheels, and other interactive elements into the pages.

### 6. **Coptic Binding**

- **Exposed Spine**: This technique leaves the spine exposed, showing intricate, braided stitching.
It allows the book to lie completely flat when open.

### 7. **Long-Stitch Binding**

- **Visible Sewing**: Uses long stitches that are visible along the spine, often in decorative
patterns.

### 8. **Secret Belgian Binding**

4
 - **Complex Structure**: Combines elements of Coptic and Japanese stab binding, resulting in a
book that lies flat and has a unique, intricate spine.

### 9. **Leather Paring and Tooling**

- **Paring**: Thinning leather to make it more pliable for covering books.
- **Tooling**: Impressing designs into the leather using heated tools, often combined with gilding.

### 10. **Fore-Edge Painting**

- **Hidden Art**: Painting a scene or design on the edges of the pages that is only visible when the
book is fanned open.

### 11. **Drum Leaf Binding**

- **Flat Pages**: Ideal for art books, this technique allows for full, uninterrupted spreads without
a visible spine.

### 12. **Hollow Spine Binding**

- **Flexible Spine**: Creates a hollow tube around the spine, allowing for greater flexibility and
ease of opening.

### 13. **Japanese Stab Binding**

- **Decorative Stitches**: Uses external stitching to bind the book, often with intricate and
decorative patterns.

### 14. **Vellum Binding**

- **Traditional Material**: Using vellum, a type of parchment made from calf skin, for a durable
and historical binding.

### 15. **Complex Structure Books**

- **Accordion Books**: Pages folded in a zigzag pattern, often combined with other binding
techniques.
- **Tunnel Books**: Layered pages with cutouts creating a tunnel-like view through the book.

### 16. **Custom Box Making**

- **Protective Cases**: Creating clamshell or slipcase boxes to protect and complement the book.

### 17. **Restoration Techniques**

- **Paper Repair**: Using Japanese tissue and wheat paste to repair torn pages.
- **Rebinding**: Replacing old, damaged bindings while preserving as much of the original material
as possible.

### Conclusion

Mastering these advanced techniques requires practice, precision, and often specialized tools. They
enable bookbinders to create truly unique and bespoke works of art, each with its own character
and story. Whether you’re looking to enhance your craft or simply appreciate the artistry involved,
these techniques represent the pinnacle of bookbinding expertise.

Certainly! Advanced bookbinding techniques elevate the craft from functional to truly artisanal.
Here are some advanced techniques that experienced bookbinders often use:

### 1. **Edge Decoration**

5
 - **Gilding**: Applying gold leaf or other metallic foils to the edges of the pages for a luxurious
finish.
- **Marbling**: Creating intricate, colorful patterns on the edges using special inks and
techniques.
- **Staining**: Coloring the edges with dyes to create a uniform or gradient effect.

### 2. **Endbands**
- **Hand-sewn Endbands**: Adding decorative bands at the head and tail of the spine, typically
using silk or cotton threads.
- **Beaded Endbands**: Incorporating beads into the endbands for an added decorative element.

### 3. **Embossing and Debossing**

- **Embossing**: Creating raised patterns or designs on the cover by pressing from the underside.
- **Debossing**: Creating indented patterns or designs by pressing from the top side.

### 4. **Inlays and Onlays**

- **Inlays**: Setting different materials flush with the cover to create intricate designs.
- **Onlays**: Adding layers of material on top of the cover, often in different colors or textures, to
create raised designs.

### 5. **Pop-Up and Movable Books**

- **Pop-Up Mechanisms**: Creating three-dimensional structures that pop up when the book is
opened.
- **Movable Parts**: Incorporating flaps, wheels, and other interactive elements into the pages.

### 6. **Coptic Binding**

- **Exposed Spine**: This technique leaves the spine exposed, showing intricate, braided stitching.
It allows the book to lie completely flat when open.

### 7. **Long-Stitch Binding**

- **Visible Sewing**: Uses long stitches that are visible along the spine, often in decorative
patterns.

### 8. **Secret Belgian Binding**

- **Complex Structure**: Combines elements of Coptic and Japanese stab binding, resulting in a
book that lies flat and has a unique, intricate spine.

### 9. **Leather Paring and Tooling**

- **Paring**: Thinning leather to make it more pliable for covering books.
- **Tooling**: Impressing designs into the leather using heated tools, often combined with gilding.

### 10. **Fore-Edge Painting**

- **Hidden Art**: Painting a scene or design on the edges of the pages that is only visible when the
book is fanned open.

### 11. **Drum Leaf Binding**

- **Flat Pages**: Ideal for art books, this technique allows for full, uninterrupted spreads without
a visible spine.

### 12. **Hollow Spine Binding**

- **Flexible Spine**: Creates a hollow tube around the spine, allowing for greater flexibility and
ease of opening.

6
### 13. **Japanese Stab Binding**
- **Decorative Stitches**: Uses external stitching to bind the book, often with intricate and
decorative patterns.

### 14. **Vellum Binding**

- **Traditional Material**: Using vellum, a type of parchment made from calf skin, for a durable
and historical binding.

### 15. **Complex Structure Books**

- **Accordion Books**: Pages folded in a zigzag pattern, often combined with other binding
techniques.
- **Tunnel Books**: Layered pages with cutouts creating a tunnel-like view through the book.

### 16. **Custom Box Making**

- **Protective Cases**: Creating clamshell or slipcase boxes to protect and complement the book.

### 17. **Restoration Techniques**

- **Paper Repair**: Using Japanese tissue and wheat paste to repair torn pages.
- **Rebinding**: Replacing old, damaged bindings while preserving as much of the original material
as possible.

### Conclusion

Mastering these advanced techniques requires practice, precision, and often specialized tools. They
enable bookbinders to create truly unique and bespoke works of art, each with its own character
and story. Whether you’re looking to enhance your craft or simply appreciate the artistry involved,
these techniques represent the pinnacle of bookbinding expertise.

7
Hardcover case types

In bookbinding, there are several types of hardcover cases. Here are some of the common
types and their patterns, along with tutorials for making each one:

### 1. **Flat Back Case**

A flat back case has a spine that does not curve. It is the simplest form of hardcover binding.

### 2. **Round Back Case**

A round back case has a spine that is rounded, giving it a more traditional look.

### 3. **Quarter Bound Case**

This type of binding uses two different materials, one for the spine and another for the cover
boards.

### 4. **Half Bound Case**

Similar to the quarter bound, but with more of the spine material extending onto the cover
boards.

### 5. **Full Bound Case**

The entire cover, including spine and boards, is covered with the same material.

### 6. **Bradel Binding (German Case Binding)**

A traditional German case binding technique that is known for its strength and durability.

### 7. **Drum Leaf Binding**

A variant of case binding that is often used for artist's books due to its ability to lay flat when
opened.

Each type of hardcover case has its own unique characteristics and applications, and the
tutorials linked should help you get started with making each one. Happy bookbinding!

--------------------

Absolutely, let's delve deeper into each type of hardcover case binding and their specific
characteristics, materials, and techniques.

### 1. **Flat Back Case**

**Characteristics:** The spine of the book remains flat and does not curve inward or outward.
This type of binding is straightforward and often used for textbooks and reference books.

**Materials:** Bookboard, book cloth or paper for covering, adhesive, endpapers.

**Steps:**
1. Cut the bookboard to the size of the book.
2. Attach the book cloth or paper to the spine area.
3. Attach the cover boards to the book cloth, leaving a small gap for the hinge.
4. Fold the book cloth or paper over the edges of the bookboard and glue it down.

1
5. Attach the endpapers to the inside covers.

### 2. **Round Back Case**

**Characteristics:** The spine is rounded, which allows for a more traditional appearance and
helps the book open more easily.

**Materials:** Similar to flat back but may also require additional tools for rounding the spine.

**Steps:**
1. Sew the book signatures together.
2. Round the spine using a bone folder or other rounding tool.
3. Construct the cover similar to a flat back case but ensure the spine is curved.
4. Attach the book block to the cover.

### 3. **Quarter Bound Case**

**Characteristics:** Uses a different material for the spine compared to the cover boards, often
giving a two-tone effect.

**Materials:** Two types of covering materials (e.g., leather and paper or cloth).

**Steps:**
1. Prepare the spine material and attach it to the spine area of the bookboard.
2. Attach different cover materials to the cover boards.
3. Assemble the cover in the same manner as a flat back case.

### 4. **Half Bound Case**

**Characteristics:** More of the book is covered with the spine material than in a quarter bound
case, often extending onto the cover boards.

**Materials:** Similar to quarter bound but with a larger piece of material for the spine.

**Steps:**
1. Prepare the spine material and attach it to the bookboard, extending onto the cover boards.
2. Attach the secondary cover materials to the remaining parts of the cover boards.
3. Assemble the cover as usual.

### 5. **Full Bound Case**

**Characteristics:** The entire cover, including the spine and cover boards, is covered with one
material, often providing a uniform look.

**Materials:** One type of covering material for the entire book.

**Steps:**
1. Cut the covering material to fully enclose both the spine and cover boards.
2. Attach the cover material to the bookboard and spine in one piece.
3. Fold over and glue down the cover material edges.

### 6. **Bradel Binding (German Case Binding)**

2
**Characteristics:** A very sturdy and durable type of binding with a distinctive look. It usually
involves creating a separate spine piece that is attached to the cover.

**Materials:** Bookboard, spine piece, cover material.

**Steps:**
1. Create a separate spine piece and attach it to the cover boards with a hinge.
2. Cover the spine piece and boards with the chosen material.
3. Attach the book block to the cover using endpapers or a similar attachment method.

### 7. **Drum Leaf Binding**

**Characteristics:** Ideal for artist's books and other types of books that need to lay flat when
opened. It uses single sheets rather than folded signatures.

**Materials:** Single sheets of paper, bookboard, cover material.

**Steps:**
1. Print or prepare the single sheets.
2. Glue the single sheets together along the spine edge.
3. Create the cover in a similar manner to other case bindings but ensure it allows the book to
lay flat.
4. Attach the book block to the cover.

Each of these methods offers unique advantages and aesthetics, making them suitable for
different types of books and purposes. If you want even more detailed instructions or have
specific questions about any of these types, feel free to ask!

--------------------

>> Which cover is used a French joint?

A French joint, also known as a French groove or French hinge, is a specific type of joint used in
bookbinding where a small groove is created between the spine and the cover boards. This
groove allows the cover boards to open more freely and gives the book a distinct, elegant
appearance.

Typically, the French joint is used in the following types of case bindings:

### 1. **Half Bound Case**

In a half bound case, the French joint can add extra flexibility and durability to the book,
especially when using a combination of materials for the spine and cover boards.

### 2. **Quarter Bound Case**

Similar to the half bound case, the French joint can enhance the appearance and functionality of
a quarter bound case, providing a sophisticated look and allowing the book to open more easily.

### 3. **Full Bound Case**

In a full bound case, the French joint can be employed to give the book a refined finish and

3
ensure smooth opening and closing of the cover boards, without putting stress on the spine.

#### Steps to Create a French Joint:

1. **Prepare the Spine and Cover Boards:**
- Cut the bookboard for the cover boards and the spine piece.
- Attach the spine piece to the book cloth or other covering material.

2. **Create the Groove:**

- Leave a small gap (usually around 1/8 inch or 3mm) between the spine piece and the cover
boards when attaching them to the covering material.
- This gap will form the French joint.

3. **Cover the Boards:**

- Fold the covering material over the edges of the spine piece and cover boards, ensuring the
groove remains intact.
- Glue the covering material down securely.

4. **Assemble the Book:**

- Attach the book block to the cover using endpapers or another attachment method.
- Ensure the French joint allows the cover boards to open freely without stressing the spine.

The French joint is a versatile and attractive feature that can be applied to various case
bindings, enhancing both their aesthetic and functional qualities.

--------------------

>> What are the different types of case bindings in which the French joint is commonly used?

The French joint is commonly used in various types of case bindings to enhance both the
aesthetic appeal and the functionality of the book. Here are the different types of case bindings
where the French joint is often employed:

### 1. **Half Bound Case**

In a half bound case binding, the spine and corners of the book are covered with one material,
typically leather or cloth, while the rest of the cover is covered with a different material, such as
paper or a contrasting cloth. The French joint can be used to add flexibility and elegance to this
type of binding.

### 2. **Quarter Bound Case**

In quarter bound case binding, only the spine is covered with one material, while the rest of the
cover is covered with a different material. The French joint provides a clean, sophisticated look
and allows for easier opening of the cover boards.

### 3. **Full Bound Case**

In a full bound case, the entire cover, including the spine and boards, is covered with the same
material. The French joint can be used to create a smooth transition between the spine and the
cover boards, offering a refined finish and better functionality.

4
### 4. **Three-Quarter Bound Case**
In three-quarter bound case binding, the spine and a portion of the cover boards (usually
extending about three-quarters of the way across the boards) are covered with one material,
while the remaining portion of the boards is covered with a different material. The French joint
helps in providing a neat appearance and aids in the smooth opening of the cover.

### 5. **Library Binding**

Library bindings are designed for durability and frequent use. Employing a French joint in this
type of binding can enhance the durability and flexibility of the book, making it easier to handle
and less prone to damage.

### 6. **Deluxe or Fine Bindings**

In deluxe or fine bindings, where aesthetics and craftsmanship are of utmost importance, the
French joint is often used to add an extra touch of elegance and sophistication. This type of
binding is typically used for special editions, collector's items, and high-quality publications.

### 7. **Custom and Artistic Bindings**

For custom or artistic bindings, where unique designs and materials are used, the French joint
can be incorporated to achieve a specific look or function. It allows for greater creativity while
still providing the practical benefits of flexibility and durability.

These different types of case bindings can benefit from the French joint's ability to improve the
book's flexibility, durability, and overall appearance.

--------------------
--------------------

>> Do you have any ideas when we create a Criss-cross bindings, AKA Secret Belgian binding,
making with a rounded spine? If it could be, how to make it?

Creating a Criss-cross binding (also known as Secret Belgian binding) with a rounded spine is
an intriguing idea that blends traditional binding techniques with creative design elements. Here
is a step-by-step guide on how to achieve this:

### Materials Needed:

1. **Bookboard**: For the front and back covers.
2. **Paper**: For the text block.
3. **Thread**: Strong, bookbinding thread.
4. **Needle**: Bookbinding needle.
5. **Glue**: PVA glue or any bookbinding adhesive.
6. **Bone Folder**: For creasing and smoothing.
7. **Awl**: For making holes.
8. **Ruler, Pencil, and Cutting Tools**
9. **Rounded Spine Form**: A rounded spine mold or form.

### Step-by-Step Guide:

#### 1. **Prepare the Text Block**

5
 - **Cut and Fold Signatures**: Cut your paper to the desired size and fold them into
signatures.
- **Sew the Signatures**: Sew the signatures together using a simple stitch, like a kettle stitch,
to form the text block. Ensure the text block can flex slightly to accommodate the rounded spine.

#### 2. **Create the Covers**

- **Cut Covers and Spine**: Cut two pieces of bookboard for the front and back covers. Cut a
third piece for the spine.
- **Round the Spine**: Use a rounded spine form or mold to shape the spine piece. This can
be done by gently dampening the spine piece and pressing it against the rounded form until it
dries and holds the shape.

#### 3. **Attach the Covers to the Text Block**

- **Mark and Punch Holes**: Mark and punch holes along the spine edge of both covers and
the text block. Ensure that the holes on the text block align with those on the covers.
- **Sew the Text Block to the Covers**: Sew the text block to the covers using a modified
version of the Secret Belgian binding technique. Instead of a flat spine, you will sew through the
rounded spine piece, making sure the stitches are tight around the curved surface.

#### 4. **Covering the Spine**

- **Fabric or Leather Cover**: Cover the rounded spine with a flexible material like fabric or
leather. Glue the material onto the spine, ensuring it conforms to the rounded shape. You may
need to stretch or mold the material gently to fit the curve.

#### 5. **Assemble the Binding**

- **Attach the Covers**: Attach the front and back covers to the spine piece using a criss-cross
pattern of stitching. This creates the characteristic look of the Secret Belgian binding.
- **Ensure Flexibility**: Make sure the covers can open and close smoothly without putting too
much strain on the rounded spine.

#### 6. **Finishing Touches**

- **Press and Dry**: Press the entire book under a weight or in a book press to ensure all
elements adhere properly and the rounded spine maintains its shape.
- **Trim and Tidy**: Trim any excess material and tidy up the edges to give the book a clean,
finished look.

### Tips:
- **Flexibility**: Ensure that the rounded spine is not too rigid, allowing the book to open and
close comfortably.
- **Consistency**: Keep the tension consistent while sewing to avoid uneven stitches or a
distorted spine.
- **Material Choice**: Use materials that can easily conform to the rounded shape, such as soft
leather or book cloth.

Creating a Secret Belgian binding with a rounded spine requires patience and precision, but the
result is a unique and visually appealing book that stands out.

6
An Introduction to Hardcover Bookbinding
Hardcover Binding
Hardcover binding—which is also called “casebound” or “case binding”—is the binding
method by which we sew the inside pages together and bind them, together with the end
sheets, into a hard casing made of a rigid cardboard cover wrapped with a printed sheet of
cover paper, vinyl, cloth, or leatherette. The book spine may be square-shaped or
rounded. The spine is also a printable area where we can print book title, author’s name,
the publisher’s name, and any other design or logo. Hardcover binding offers a beautiful,
professional look and the highest level of protection of any binding style.

Table of Contents
● What Is Hardcover Binding?
● How We Make Hardcover Bindings
● Minimum and Maximum Page Counts for Hardcover Binding
● The Anatomy of Hardcover Binding
● Dust Jackets and Slip Cases
● What Kind of Books Suit Hardcover Binding?
● The Advantages of Hardcover Binding
● Need More Help? Let’s Talk!

● What Is Hardcover Binding?

At QinPrinting, we recommend “sewn hardcover” binding rather than glue-only binding,
which is all some other printing services offer. With sewn hardcovers, you get a book that’s
not only robust and secure but also more beautiful to see and to handle, for a negligible
difference in cost. Your choice of binding always depends on the genre, style, book length,
your budget, and several other factors, of course, but if you’re investing in hardcovers, it
makes sense to make them as good as they can be. Hardcover binding gives high-end
results which always impress. Also, you can open a sewn hardcover binding flat with no
damage to the spine.

● How We Make Hardcover Bindings

First, we lay out the interior pages on a larger sheet, organized into “signatures”. Then we
print the sheets before folding. Next, we collate the signatures in order and sew the
interior pages together. Next, we glue them and cut the interior pages. Meanwhile, we
wrap the cloth or printed paper on grayboard to create the hardcover. Finally, we glue the
interior pages and hard cover together. Sewn hardcover binding is the most resilient and
professional-looking option, especially if you add finishes such as embossed titles,
debossed titles, soft touch lamination, gilt edges, and metallic foil stamping; or a dust
jacket, a slip case, marker ribbons, and sewn decorative headbands.

1
 ● Minimum and Maximum Page Counts for Hardcover Binding
One limitation of hardcover bookbinding is the number of pages which the technique
allows. This also depends on the style of spine you choose. If you opt for a square spine
hardcover book, the minimum page count is 32 pages. If design a round spine hardcover
book, the minimum page count must be 200 pages. The practical maximum page count for
a hardcover book is several thousand, depending on the thickness of the paper and the
overall size of the book.

● The Anatomy of Hardcover Binding

Let’s look at the anatomy of a hardcover book. The basic format includes the following
essential elements:
● interior pages, organized in signatures and sewn together
● end sheets—front and back—to which we glue the interior pages and the casing
● paperboard hard casing, composed of the front, the spine, and the back
● printed cover wrap, glued to the hard casing

We make the hardcover from a sheet of paper, vinyl, leatherette, or cloth wrapped on 2
mm, 2.5 mm, or 3 mm grayboard. The end sheets connect the casing to the interior paper.
Because the end sheets work hard, being the core of the binding, we make them of thicker
paper than we use for the inside pages. For example, with an 8.5″ x 11″ hardcover book
with fewer than 200 pages, we would suggest 140 gsm offset paper for the end sheets. If
the book has over 200 pages, or the book size is larger than 8.5″ x 11″, 180 gsm offset
paper would be better. In most cases, we leave end sheets blank, but if you’d like them
printed, then 157 gsm gloss or matte art paper would be a good choice.
We often recommend offset paper for unprinted end sheets, as its higher absorbency
makes adhesion stronger. The interior paper can be any other regular book paper. For a
hardcover book’s surface, you have a range of options from which to choose to enhance
the look and appeal. For example, gloss lamination, matte lamination, spot UV coating,
foil stamping, embossing and debossing, to name a few.

● Dust Jackets and Slip Cases

While not strictly part of the binding, most hardcover books also include a “dust jacket”
and, sometimes, a “slipcase”. So, let’s examine these options now.
A “dust jacket” is a popular and practical way of protecting a hardcover book. It finishes
your book with a professional touch while adding five printable surfaces—front, back,
spine, and two inside flaps. We can print it in full color, gloss coat it, matte coat it;
emboss, deboss, laminate, and foil stamp it, too, for added effects. Dust jacket flaps are
usually about 4″ to 8″ wide, depending on the size of your book, and afford ample space to
add a hook or teaser on the front flap, say, and an author biography on the back flap.
Slip cases are less common, but for a high-end project, they’re a powerful way to add
both upmarket style and extra protection to your hardcover books. We make them of
printed paper wrapped on grayboard like a five-sided box, but tailored to the size of your
book, with one side left open so that when the book is inserted, only the spine is revealed.
We can make them to house one or more books. We can cover the grayboard with printed
paper, cloth, vinyl, or leatherette, as you prefer. The slip case can be printed, embossed,
debossed, laminated, spot UV coated, and foil stamped, too.

Dust Jacket Slip Case

2
 ● What Kind of Books Suit Hardcover Binding?
Several factors influence binding choice: conventions of the genre, the intended
customers, material choices, design and artistic considerations, reader expectations, page
counts, and the budget. But, in broad terms, we can say that hardcover binding is best
suited to the following kinds of books:
● Coffee-table books
● Art books
● Cookbooks
● Special editions and compendia
● Academic books
● Certain children’s books
● Yearbooks
● High-end luxury catalogs
● History, memoir, and science books

We won’t lie to you. Hardcover binding is the most expensive option of all—especially if
you go for all the details and extras and special finishes. But if you need a stunning,
sophisticated hardcover edition, you won’t find a service more cost-effective, high-quality,
and customer focused than ours anywhere in the world. We’re not boasting. We’ve worked
hard to develop a world-wide reputation for excellence and we’re dedicated to delivering
superlative products with unparalleled care and support. It’s what gives us satisfaction.

● The Advantages of Hardcover Binding

If you’re undecided about whether hardcover binding is right for your project, get in touch
and we’ll be happy to discuss your needs and advise you. If we don’t think it’s the best
option for you, we’ll make an alternative suggestion we think is more suited to your
needs. In the meantime, here’s a list of several of the potential advantages of printing a
hardcover:
● Durable—for a book that’s being read once and then handed to the thrift store, a
paperback would be a better choice. But if you’re making a book that people will
treasure and revisit for years to come, then the durability of hard case binding
makes perfect sense and represents a viable return on investment.
● A fantastic range of special finishes—most of our customers who choose hardcover
binding are deeply concerned about superior quality and aesthetic values. The
options available for making a hardcover bound book into a truly unique and
standout product are vast: round-cornering, embossing, debossing, die-cutting,
metallic foil stamping, spot UV coating, varnishing, gloss lamination, matte
lamination, soft-touch lamination, page-edge gilding, marker ribbons, colored
decorative headbands, padded covers, dust jackets, and slip cases, for example.
● Optimal versatility—hardcover books needn’t be “hefty tomes” with thousands of
pages—although they can be! They can also be small, with only a few dozen pages.
You can design them for adults or children, for serious publications or more
light-hearted ones, for artistic merit or for commercial interest. In short, the
hardcover binding is not only the most beautiful and enduring, but the most
versatile, too.

3
● Professional finish—if you need a binding method that will give you a professional
quality finished product, then the hardcover binding is the method you need to
approach. Nothing speaks of quality, class, sophistication, and style more than a
well-designed hardcover book.
● Higher profit potential—while hardcover binding is more expensive than other
styles, it’s not that much more expensive; but its higher perceived value in the
eyes of customers means it can command a much higher retail price. If you are
sure of sales—with an enthusiastic readership and a responsive email list, for
example—a hardcover edition could represent a much higher profit margin per-unit
than a paperback.

4
Hand Bookbinding
Materials, Methods, and Techniques as they Relate to Preservation and
Conservation: An Overview
Elizabeth V. Boyles

Abstract

This paper examines a range of materials, methods, and techniques used in contemporary Western
hand bookbinding from a preservation and conservation perspective. While certain materials and
techniques can produce a hand-bound book with a long expected life as a readable object, the range
of available materials and extant binding styles, combined with the lack of any official standards for
the craft, can result in objects that are less stable and less durable. A wide range of common binding
materials and methods are discussed in terms of their contribution to the stability and usability of
the finished object; the lack of agreement between expert hand bookbinders regarding best practices
is also demonstrated. Standards that have been established for the purposes of library preservation
and conservation, which are also relevant to hand bookbinding practices, are noted. This paper then
discusses certain materials and methods used in bookbinding in East Asia, including some traditional
methods that have begun to be incorporated into contemporary bookbinding and book arts. Finally,
trends in hand bookbinding and book arts, as well as certain issues concerning the concept of the
book-object and the debate between aesthetic value and usability, are explored.

Keywords: Hand bookbinding, bookbinding, preservation, conservation, binding methods,

binding materials

Since the introduction of various kinds of machine binding, hand bookbinding has become a
niche craft practiced by book artists, book conservators, and a small number of binders and presses
seeking to preserve traditional methods. From a preservation standpoint, hand-bound books are
especially complicated objects, since the work of each bookbinder will display different strengths and
pose different challenges regarding the durability and life of the book. The kinds of materials used in the
BOYLES HAND BOOKBINDING

book’s construction, the techniques used to bind the book block, and the various methods of attaching
boards or endpapers to a book block, all contribute in a significant way to the strength of the book’s
spine. They also determine the optimal temperature and relative humidity conditions for the book, and
the ability of the book to function as a useful object without incurring damage from being opened or
read. This paper, which provides an overview on hand bookbinding from a preservation perspective,
will begin with a discussion of the common materials, methods, and techniques employed in standard
Western bookbinding and their relation to the durability of the hand-bound book. Following this
discussion, the paper will cover traditional methods of certain Eastern cultures, emphasizing points
of relevance to preservation and conservation professionals. Lastly, the paper will conclude with the
main ethical debates in the field of bookbinding, which have greatly affected the choice of materials
and the methods used by bookbinders in all variations of the craft.
The materials chosen by a bookbinder for a potential project are of the utmost importance, as
materials have a more significant impact on the eventual life of a book than either binding methods or
storage conditions. Pamela Richmond (1989) writes, “As the main point of any binding, whether it is
of leather or of cloth, is to protect the text, it is the binder’s duty to ensure that he is not hastening the
book’s demise by using unsatisfactory material” (p. 35). Although international and national standards
specifying the materials that should be used in the process of library bindings already exist, these
standards are not commonly followed in the areas of book arts and fine bookbinding, and there are no
official standards enforced by the bookbinding community. Furthermore, while attitudes toward some
materials are essentially common knowledge in the field of bookbinding, the applicability of certain
other materials is a point of contention. What follows is an examination of the basic materials needed
for the process of bookbinding and rebinding and their variations.
Paper chosen for the construction of a book block and for the endpapers of a book should ideally
qualify as “permanent paper,” i.e. the paper’s pH levels, alkaline reserves, tear resistance, and lignin
levels should fall within certain parameters laid out by the National Information Standards Organization
(NISO) in their standard on permanence of paper (2010, pp. 3-4).1 This standard is echoed, at least in
part, by bookbinding guides that espouse the use of archival-quality paper (which should meet both
the pH and lignin level specified by NISO for permanent paper) or, at the very least, acid-free paper.
While book artists use a variety of papers in their work, several bookbinders recommend rag content

1
To qualify as permanent paper according to NISO standards, a paper must have: a pH level between 7.5 and 10; an
alkaline reserve equivalent to “2% calcium carbonate” based on the dry weight of the paper; no more than 1% lignin
content; and a certain level of machine tear resistance as defined by the weight of the paper (NISO, 2010, pp. 3-4).
These standards have to do with the life of the paper and the two major factors which cause damage to paper: acidity
and physical damage. The pH guidelines ensure that permanent paper begins its life as basic, rather than acidic, and the
alkaline reserves help to stave off acidification in the future. Lignin-free paper is generally thought to be less susceptible
to acidification and more durable; low lignin levels and a high tear resistance contribute to a more durable paper that
should endure more strain and use than non-permanent paper.

The iJournal (2)2, Winter 2017 2

BOYLES HAND BOOKBINDING

paper over wood pulp paper. Aldren A. Watson (1986) notes that rag content paper is “more flexible,
more durable, and less likely to yellow than wood pulp paper” (p. 17). With regards to paper weight,
Kathy Abbott (2010) suggests using paper between 80 and 130 grams per square meter (gsm) for the
pages of the book and paper between 60gsm and 130gsm for endpapers or covering papers.
The boards used to construct the front and back covers (as well as the spine board, if using a flat-
back binding technique) are a point of contention between bookbinders. Generally, they agree that
boards must be strong enough to resist warping caused by the shrinking of covering materials as their
adhesive dried, but disagree on the best material for the job. Andrew Haslam (2006) notes that while
yellow strawboard was the choice of binders for many years, it has in recent years been largely replaced
by greyboard, or millboard (also called binder’s board) in the case of books needing boards of greater
weight (p. 221). Philip Smith (1974) concurs that millboard is the best material, though he also notes
that strawboard, while too brittle for most bindings, has certain advantages in that it is not prone to
becoming acidic due to atmospheric pollution (p. 64). In contrast to the above authors, Abbott (2010)
strongly advises against the use of greyboard, as “it has poor strength and is not acid-free” (p. 11), and
advises using either acid-free or archival millboard. However, her directions for determining the grain
of the board used—in this case, millboard—suggest using the flexing method of grain determination,
which would only be possible with a very thin variant of millboard, as it requires folding the material
over and rolling the fold (p. 21). Abbott’s statement about the pH level of greyboard is dubious as well,
given that several variations of archival or acid-free greybeard are available through bookbinding and
conservation materials suppliers. Richmond (1989) notes that greyboard, while softer than millboard,
is “ideal for cloth work,” while millboard is suitable for “leather binding and good quality heavy cloth
work” (p. 35). Watson (1986) agrees, labeling millboard or binder’s board “the most satisfactory board,”
given its ability to resist warping during the pasting stage of covering the boards (p. 18).
There are numerous kinds of adhesives used in contemporary bookbinding, but the most
prevalent ones are various kinds of cold glue and paste. The most commonly used cold glue is polyvinyl
acetate (PVA), which is available in a variety of emulsions and can be internally plasticized. Richmond
(1989) notes that this adhesive is favourable for its flexibility when dry and for its solubility in water
(p. 42). Using water-soluble adhesives is a priority in bookbinding; according to Richmond using such
adhesives is “an aid to future binders who may have to do further work on the binding” (p. 42). PVA is
commonly used in gluing spines and spine linings, as well as when gluing tapes or covering materials
to boards, because it is able to “[form] bonds between porous and non-porous materials” (Zukor,
2000, p. 9). The paste used in bookbinding is usually starch-based and made from either wheat starch
or rice starch.2 On the whole, starch-based paste has a longer drying period than PVA, which allows

2
Zukor (2000) notes that rice starch-based paste is sometimes sold pre-mixed in a tube, and can contain added
fungicides or plasticizers; for this reason, she recommends wheat starch-based paste made by heating wheat starch flour
with water until it thickens (p. 7).

The iJournal (2)2, Winter 2017 3

BOYLES HAND BOOKBINDING

for the manipulation of the materials being pasted after application, and is therefore used primarily
to paste paper materials together. Animal glues, such as hide glue or bone glue, have been used in
bookbinding in the past, particularly in leather binding; however, as Smith (1974) explains, these glues
have a “tendency to brittalize [sic]” and “attract mould under humid conditions” (p. 32). As a result,
biostatic adhesives like PVA are generally preferred now (Cains, 1974, p. 171).
Any hand-bound books that are also cased books require a spine lining of some sort of fabric. The
most commonly-used fabric is referred to as “mull” or “super.” Watson (1986) states that the mull
used to line the spine “should have a weave open enough to allow good paste penetration, yet enough
body to stand up to repeated flexing,” and recommends white linen or white muslin (p. 18). Abbott
(2010) rails against using anything marketed as mull, which she finds “too weak,” and recommends a
thin cotton fabric called “fraynot” instead (p. 12). Alternatively, Catherine Burkhard (2007) suggests
that fraynot can be more usefully employed as a flexible material for an optional spine-strengthening
mechanism called a “hinge cloth” (p. 1).3
The thread and sewing tapes used in the binding process can have a significant effect on the
long-term strength of the binding. Sewing thread must be strong enough to withstand the pulling
involved in tightening knots, but soft enough that it will not cut into the paper when pulled tight.
Thread should also be either pre-coated with wax or waxed with a block of beeswax prior to sewing
to ensure that the thread moves smoothly and holds a knot well. Watson (1986) recommends using
linen binder’s thread when possible, and substituting it with “No. 16 or No. 25 mercerized cotton” if
binder’s thread is unavailable (p. 18). Abbott (2010) also suggests linen thread as the best thread material
for bookbinding, and while she suggests having a variety of thread thicknesses and plies available for
different kinds of bindings, she does put forward 25/3 linen thread—that is, three-ply thread with a
thickness gauge of 25—as the best general purpose thread (p. 12).
Sewing tapes are spaced out evenly along the spine and used to support the binding. Watson (1986)
suggests that between the cotton, linen, and polyester tapes available to bookbinders, cotton is the best
given its durability and pliability. He points out that linen tape can be sized with agents that affect their
pliability and ability to be adhered easily, while polyester tapes are far too thin (p. 18). Abbott (2010)
suggests unbleached Irish linen tape, which would presumably not be sized with any additives and
should therefore be relatively pliable (p. 12). Certain kinds of binding—especially leather binding—use
different varieties of tape, such as the diagonally woven polyester tape, or may replace tape with the
use of cords. NISO advises using tapes made either of cotton or linen, with a minimum width of 0.5
in or 13 mm, and threads made of cotton, nylon, cotton-covered polyester, or linen for hand-bound
books sewn through the fold, but advises against the use of linen thread elsewhere, especially in side

Burkhard recommends that mull be used for its usual purpose, pointing out that the material used to line the spine
3

must be a heavily-sized, open-weave fabric (though the tightest weave available is sometimes the most durable).

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BOYLES HAND BOOKBINDING

sewing (2000, p. 18). Where cords are used, as in certain leather bindings, Laura S. Young (1995)
suggests unbleached hemp or flax twines as the most durable (p. 33).
The covering material chosen for a given book also has a huge impact on the life of the book. The
three main covering materials used in standard bookbinding are leather, cloth, and paper, though
certain branches of book arts and decorative bookbinding may use other materials. For the sake of
brevity, this paper will only address the numerous kinds of leather used in bookbinding from a very
general perspective. Leather is one of the oldest covering materials, and the many processes by which
it is manufactured (and the differences in the animals whose skin is used to make the leather) create a
multitude of issues surrounding the choice of leather used for a book.4 Haslam (2006) also details the
differences in certain skins that could eventually affect the usage of the book; for instance, morocco
or goatskin is pliable, while pigskin is not, and sheepskin is more inclined to split than leathers made
from the hides of other animals (p. 230). Given the many variables that can affect a leather’s strength,
Cains (1974) concludes that, “it is better to cover a book in a good linen or cotton buckram than a
leather of uncertain durability” (p. 171).
It is worth noting that paper-covered books have proven to be quite durable when the right kinds
of paper and binding methods have been used. While paper coverings were used from the 17th century
onward for titles and materials that were thought to be somewhat ephemeral, many of these pre-19th
century bindings still survive today, potentially due to the way in which rag paper was made and
processed during this period (Cloonan, 1991, pp. 12-13). Cloth is a more popular covering material
in Western bookbinding, and cotton and linen are very commonly used. Book cloth can come sized
in agents like starch or pyroxylin. Starched cloth is cheaper and resistant to creasing, but can absorb
moisture, while pyroxylin (which has waterproofing qualities) can affect the stiffness of the cloth and
is much more expensive (Haslam, 2006, p. 230). Currently, pyroxylin is the preferred sizing agent for
varieties of buckram cloth. The sizing or filler used in covering cloth is crucial to ensuring that the
adhesive does not filter through the weave of the cloth (Richmond, 1989, p. 40). Coverings can involve
multiple materials; Abbott (2010) refers to a book covered in a single material as a “full binding” (p.
55), while Young (1995) describes “one-quarter, one-half, and three-quarter” bindings, which use
differing amounts of two materials—for instance, book cloth and decorative paper—to create a two-
tone effect (p. 9).
The methods and techniques used in the bookbinding process can also have a significant impact
on the life of the book from a preservation standpoint as well as the ability of the book to function as
a readable object. Bookbinding begins with a book block, either consisting of signatures or sections

4
Smith (1974) points out that while all leathers have “pronounced hygroscopic tendencies” and often warp and change
size when in contact with water, “some leathers are more vulnerable than others” (p. 32). This variance, Smith writes, is
due to the manufacturing processes associated with the leather; binders choosing to work with leather should be aware
of the potential “dimensional instability” of their materials and make allowances for changes in size when bringing any
water-based adhesives into contact with the leather (p. 32).

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BOYLES HAND BOOKBINDING

constructed from folded paper or taken from a book with a deteriorated binding that is being rebound.
Restoration binding involves many factors that are not an issue in constructing an original binding,
one of which is the careful preparation of the book block. The book must be “pulled,” which involves
removing the cover from the text, separating each section or signature from the block, and cutting
any cords, tapes, threads, or mull which have held the book together at the spine (Diehl, 1980, v. 2,
pp. 29-30). The remnants of the glue must then be removed completely from these sections before
the block can be rebound. While in the past this process used to be achieved using one’s hands and a
sharp knife to scrape glue away (Diehl, 1980, v. 2, pp. 30-31), this is now usually done with the aid of
something like methylcellulose, a weak adhesive, which can soak old adhesive out of even varnished
paper when used in 2.5% or 3% solutions (Abbott, 2010, p. 12; Baker, 1982). If the book being rebound
was originally a rounded and backed book, the binder must also knock out the groove from the original
shape to ensure a solid rebinding (Watson, 1986, p. 106).
If the book block is being constructed by the binder, there are other factors to consider in the
folding of signatures. Paper must be folded so that the paper grain is parallel with the book’s spine,
just as board and cloth grain must run parallel to the spine. Folds must be made very precisely so that
the textual layout of the printed sheets may be preserved. Haslam (2006) notes, “A misplaced fold has
the effect of shortening one margin and lengthening another, leading to irregularities in the position
of the print area in the bound copy” (p. 220). If signatures are being constructed out of several sheets
of pre-cut bookpaper, as opposed to being made through several folds of a large sheet, the individual
sheets must be folded into a signature as a single unit, as the combining of sheets folded individually
can cause the signature to spring open and allow adhesives to leak between signatures (Watson, 1986,
p. 32). Folded signatures must be substantial enough to allow for sewing through the folds without the
thread tearing the paper, while still being slim enough as to allow for rounding and backing, even if
the book is being bound in a different way. Inordinately thick sections can cause friction and strain on
the thread during binding, while too many thinner sections can also affect the rounding and backing
process (Smith, 1974, p. 25).
Once the book’s signatures are completed, the bookbinder must consider how the endpapers of the
book will be incorporated into the binding. Diehl (1980) writes that endpaper sections should comprise
at least two folded sheets at either end of the book, and should be sewn with the book rather than being
tipped in or pasted in after binding (v. 2, p. 67). The method of tipping in endpapers is sometimes used
when only one sheet is wanted at each end. However, this technique weakens the binding of the book
and can sometimes cause cockling on the leaf to which the endpapers are pasted, and is therefore not
recommended (Haslam 2006, p. 220). Haslam (2006) recommends using a method known as “guarding”
for this kind of endpaper attachment, and for any other single leaves which must be included amongst
bound signatures. Guarding involves pasting a thin strip of paper or other reinforcing material to the
edge of the single leaf and then folding and wrapping this strip around the adjacent signature prior to
sewing (p. 220). This method ensures that the endpaper or other single leaf is sewn in with the rest

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BOYLES HAND BOOKBINDING

of the signatures without increasing the risk of the single leaf being torn during the sewing process,
which would also weaken the binding. It is also possible to use part of the book block as a pastedown
to fulfill the role of an endpaper, which avoids this extra reinforcing material along the spine and the
use of adhesives in this process.5
Once the book block is constructed, it can be pressed prior to sewing; this allows the signatures
to “form a stable relationship with each other, and the leaves are more likely to remain in alignment
for the life of the book” (Haslam, 2006, p. 220). This can be done in a regular book press or a nipping
press, or, for larger titles, a standing press. After this pressing stage, the signatures must be pierced
using a piercing awl and either a piercing board or a piercing or pricking cradle. A “piercing board”
is a board with an angled side that allows a signature to be partially opened and laid over the pointed
side. Holes are then pierced through the signature, with its outermost sheet facing up, and come into
contact with the board (Watson, 1986, p. 37). Piercing cradles, a kind of inverted piercing board, are
more common, whereby the signature is laid inside the cradle open to its innermost folded sheet,
and is pierced until the awl comes into contact with the cradle (Abbott, 2010, p. 18). In either case,
the holes must be pierced in the same location on all signatures, with two holes pierced for the head
and foot kettle-stitches and one hole pierced for either side of each sewing tape. Ideally the tip of the
piercing awl should be “smaller in diameter than the sewing thread so that the paper will grip the
thread when it is drawn through” (Watson, 1986, p. 37). Watson (1986) also notes that holes pierced
around the future tape positions should be “spaced a fraction wider than the exact width of the tape”
to avoid puckering in the tape when the thread is pulled tight (p. 36). This is the method for sewing
through the fold, and as such, holes are pierced precisely through the fold of the signatures. Sewing
through the fold increases the flexibility of the finished book and ensures that the book will be able to
be opened flat without damage to the spine, if done correctly (Watson, 1986, p. 23).
After piercing, the signatures are ready to be sewn. Sewing tapes, their position on the book spine
having already been determined through measuring prior to piercing, are positioned on the sewing
frame—an essential piece of equipment for keeping tension in the tapes while the book is being sewn.
NISO outlines guidelines for tape placement regarding hand-bound books that are sewn through
the fold, the most popular method of sewing in hand bookbinding, and specifies that for the optimal
durability of the spine, tapes should be placed between one quarter inch and one inch from the head and
tail of the spine, and evenly spaced between (2000, p. 5). NISO also specifies that spine length should
determine the number of tapes to use: book blocks less than eight inches long should be sewn using
two tapes, book blocks between 8 in and 12 in long sewn with three tapes, and book blocks greater

5
Pastedowns and endpapers are both used to cover the underside of the covering material and to provide additional
support in connecting the book covers to the book block. When endpapers are used, they are glued down to the
covering material. The first and last leaves of the book block, however, can also be used in this way, in which case they
are called “pastedowns.” Using pastedowns can create a stronger overall structure, but this process will also make the
finished book less flexible than one which uses endpapers.

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BOYLES HAND BOOKBINDING

than 12 in long should be sewn using four or more tapes (2000, p. 5).
When the frame is ready, the first signature is laid down on the frame and positioned against the
sewing tapes. A knotted length of thread is pulled through the hole at the foot of the spine using a
bookbinding needle, then reinserted and brought back through the hole immediately to the right of
the first tape, and then into the signature again through the hole on the tape’s left. Thread is worked
in and out of the tapes in this way until the hole at the spine’s head is reached, when the thread is
pulled out and pulled tight before the next signature is laid on. The thread is then worked through
this new signature back along the spine, winding in and out of the tapes. Signatures are secured to the
signatures below them through simple kettle-stitches either at the head or foot, depending on which
signature is being linked. The process is completed with a double kettle-stitch to secure the final
signature. It is imperative that the thread is pulled tightly, or the binding will be weak and loose, but
pulling too tightly can cause the signature to tear or the spine to cave in and curve (Watson, 1986, p.
42). To prevent swelling in the signatures that have already been sewn, these can be pressed down
while sewing up using a bone folder.6
This is a simple method of sewing up which is commonly used by bookbinders today. However,
many binders utilize methods in which the thread is not only woven around the sewing tapes (or, in
certain kinds of leather binding, the cords) in this way, but is wrapped around the cords or sewn through
the tapes themselves (Diehl, 1980, v. 1, p. 59). While these methods may strengthen the link between
the signatures and the tapes or cords, they also pose an additional problem regarding the tension with
which the thread is pulled and the signatures are sewn, as pulling too tightly or, indeed, not tightly
enough in this kind of binding would ultimately have a greater effect on the eventual strength of the
spine itself and on the strength of the attachment between the boards and the book block. If the book
block is quite thick or comprised of many signatures, it can be useful to knock out some of the swelling
in the spine prior to rounding and backing (if the book is to be rounded and backed) to compact the
work (Watson, 1986, pp. 107-108). The book block is then placed in a finishing press to be rounded,
backed, and glued, or, in the case of a flat-back binding, only glued. In this process, adhesive (PVA
is recommended for this stage) is worked into the spine, between the signatures and into the tapes,
before the lining material (mull or super) is positioned on the spine and then glued down as well. Any
excess glue is wiped away and the book is left to press and dry completely before further work is done.
Whether rounding and backing is done depends on the kind of book the binder wishes to construct.
NISO recommends that for the most durable binding, any hand-bound books which have been sewn
through the fold and have signatures which are thicker than 0.25 in. or 6 mm should be rounded
and backed (2000, p. 9). After the spine has been glued, any additional reinforcing material—perhaps

6
A bone folder is a common folding tool used to create and press sharp creases. These tools were traditionally made
from a leg bone taken from a cow, goat, deer, or other animal, while in the past ivory and bamboo folders were also
sometimes used. Today, bone folders and Teflon folders are the most common.

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BOYLES HAND BOOKBINDING

fraynot—can be added to the spine; NISO recommends that this material be included for any volumes
sewn through the fold or recased which have a thickness exceeding 1.5 in., and suggests alkaline paper
or an additional layer of the material used to line the spine initially (2000, p. 10).
At this point, hand-bound books comprised of constructed signatures are ready to be trimmed, as
hand-bound books are not trimmed until after the spine has been glued (Haslam, 2006, p. 221). After
trimming, the covering boards are attached to the book block. There have historically been many
methods for the attaching of the boards, and methods have evolved with the changes in the materials
preferred for covering boards. P. J. M. Marks (1998) describes the early practice of Coptic sewing,
which “involved the thread being passed directly through pre-bored holes in the boards,” as well as a
technique for books constructed using wooden boards and leather thongs (in place of sewing tapes) in
which a groove or tunnel was cut into the board for the thong to be channeled through before being
secured to the board with a wooden peg (p. 38). Cloonan (1991) delineates “boards,” in her description
of early paper-covered bindings, as specifically boards through which the sewing supports—tapes, cords,
or thongs—have been laced, as opposed to “cases,” the term she uses for boards which are constructed
separately and then attached to the completed book block (p. 6). Variations on this technique include
the splitboard or Bradel binding, in which a piece of material wider than the book’s spine is attached
to the spine with glue and then glued into the split sections of the boards, which are partially split for
this process (Cloonan, 1991, p. 10). This process is primarily used for leather binding, but one could
find both cloth-bound and paper-bound books that are constructed in this way (Cloonan, 1991, p.
10). It should also be noted that while cloth has been historically used as the supportive material in
Bradel bindings, current guides recommend the use of durable paper instead (Young, 1995, p. 37).
Another variation, used in leather binding, is what Diehl (1980), somewhat ironically, calls a “flexible
binding,” in which signatures are sewn around cords that are then laced through the boards before
the covering leather is attached directly to the boards and to the backs of the signatures; this binding
is very inflexible, but Diehl asserts that it is “the strongest of all types of binding” (v. 2, pp. 24-25).
Leather binding methods that involve any sort of lacing-in, however, have been found to complicate
certain future repairs an item might need, as this method prevents conservators from accessing every
edge of the board easily and causes difficulty when repairing joins (Hagadorn & Peachey, 2010, p. 42).
Board attachment methods that do not involve the lacing-in of any sewing supports fall into two
categories. The first method is what Abbott (2010) calls “casing in,” in which the covering materials
are attached to the boards first, so that the case is completely finished prior to being attached to the
book block (p. 57). Abbott (2010) suggests this method for rounded or rounded and backed books,
and instructs binders to attach the tapes to the boards, then the mull (or, in her case, fraynot), and
then the endpapers (p. 57). Watson (1986) suggests a different method for a flat-back binding, which
involves a backbone board in addition to the front and back boards (pp. 47-50). This method involves
coating the mull in paste, with waxed paper beneath the mull, and then pressing the board down onto
the pasted mull before folding the board back and adhering the tapes atop the pasted mull. Once the

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BOYLES HAND BOOKBINDING

covering boards are attached, the covering material is measured and cut, and the backbone board is
adhered to the spine of the covering material, which is then attached to the boards one side at a time
and folded over before the endpapers are pasted down (Watson, 1986, pp. 50-62).
It is difficult to compare the two methods properly given that they are intended for different styles
of binding. In any case, at this stage in the binding process, the technique with which the binder applies
adhesive both between the boards and covering material and between the boards and the endpapers
is critical to the book’s longevity. Watson (1986) writes, “[t]he difference between an expertly done
binding and a second-rate one is often nothing more than carelessly applied paste” (p. 27). Adhesive
should be applied in a thin layer from the centre to the edges, in order to ensure that the material being
pasted will lie flat, without any air bubbles (Watson, 1986, pp. 27-28). It should also be done quickly
enough to avoid the material being positioned improperly, but slowly enough to ensure that there
are no creases (Watson, 1986, pp. 27-28). This part of the process also determines whether the book
is what Young (1995) calls a “hollow back” binding, in which the cover is not directly attached to the
spine of the book block, or a “tight back” or “fast back” binding, in which the cover or case is directly
attached to the spine (p. 5). Interestingly, both Abbott’s rounded and backed binding and Watson’s flat-
back binding fall into this category, though other flat-back bindings do not. Diehl’s “flexible binding”
falls into this category as well. The Bradel binding is a kind of hollow back binding; other techniques
include the English split board binding and the German tube binding (Young, 1995, pp. 5-7).
Bookbinding in Western cultures—specifically Western European and North American
bookbinding—differs in many ways from the diverse styles, materials, and methods used in East Asian
bookbinding. While many book conservators working in North America and Western Europe may
not come across these kinds of items in their collections, both the traditional techniques of East
Asian bookbinding and contemporary practices in countries like Japan and South Korea are being
incorporated more frequently into the work of book artists around the world as more research is done
on these methods. Furthermore, certain practices, styles, and materials have been shown to create
books which are relatively stable and which can survive punishing conditions for long periods of time.
As a result, the bookbinding history of these cultures should be of interest to book conservators and
preservation experts.
Palm-leaf manuscripts, which are prevalent in historical collections in Myanmar, Cambodia, and
Thailand, but which are also found elsewhere throughout Southeast Asia, are generally constructed
out of one of two kinds of palm leaves: palmyra or talipot. In relation to preservation concerns, while
palmyra experiences embrittlement due to acidification relatively quickly, talipot has been reported
to remain in good condition for 600 years, preserving the Buddhist texts, folklore, and medical texts
written in these manuscripts (Dean, 1997, p. 130; p. 132). Palm-leaf manuscripts are held together by
bamboo splints or by braided cords that run through holes at either end of the book, and are finished
with wooden covers attached to the cords or fastened with webbing. Manuscripts bound using the
braided cord method, while incurring some mechanical damage from the friction between the cord

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BOYLES HAND BOOKBINDING

and the palm-leaf pages, can withstand much more of this kind of damage than similar structures with
pages made of paper (Dean, 1997, p. 132). Parabaiks, another kind of hand-bound book found in these
areas of Southeast Asia, are constructed as accordion fold books without covering boards—a form
popular with book artists today. Dean (1997) notes that both white parabaiks, full of rich illustrations,
and black parabaiks, generally intended to be ephemeral, are able to survive extreme climates, fungus,
and insect damage, perhaps due to their use of “crude paper made of bamboo, bark, straw, or leaf
fibre” (pp. 132-133). Traditional bookbinding in Indonesia incorporates binding methods used in the
Islamic world, binding practices and materials used elsewhere in Southeast Asia, and certain European
materials introduced during the Dutch colonial period. Bindings from nineteenth-century Central
Java, for instance, are constructed using boards made of leather which are then covered with another
layer of leather, and often include fore-edge flaps or envelope flaps. The text blocks in these bindings
consist of either European paper or a type of Indonesian tree bark paper called dluwang, which is
much more frequently used for spine linings and pastedowns (Plomp, 1993, p. 575). These bindings
have survived intact, while Indonesian bindings constructed using boards made of thin pasteboard
or paper—such as those created in nineteenth-century Western Sumatra—have largely fallen apart
(Plomp, 1993, pp. 583-584).
Hand bookbinding practices in East Asia often originated in China and subsequently spread to Korea
and Japan, where these practices evolved further to become more distinct in each region. Minah Song
(2009) charts the move of several of these binding styles from China to Korea, including the concertina
binding, the whirlwind binding, and the butterfly binding. Notably, the latter was the first folded
single-leaf binding to be spread throughout East Asia, as opposed to the continuous-leaf concertina
and whirlwind bindings (Song, 2009, p. 61). The side-stitched binding, a format which originated in
China but became much more widespread in Korea and Japan, is one of the more influential Asian
binding methods, and the style is also referred to as “thread binding, side-sewn, stabbed, stitched,
[and] bag or pouch binding” (Munn, 2009, p. 106). In Korea, side-stitched books were covered with
silk or layers of hanji—Korean mulberry paper—applied with a wheat-starch paste and treated with
beeswax in an early method of sizing to prevent insect damage (Song, 2009, pp. 65-66). The text blocks
in these books were bound using paper twists, and attached to the covers using thick thread waxed
with beeswax through five holes placed 12-15mm from the spine, in the Korean tradition (p. 68). This
is further than the standard distance from the spine for the side-stitching in a side-stitched binding,
which is closer to 9mm (Munn, 2009, p. 106).
Side-stitched books in the Chinese tradition are generally bound with a softer thread than those
in the Korean tradition, and have flexible paper covers rather than boards of layered paper. While
traditional Japanese side-stitched books use the sturdier thread and boards common in the Korean
method—known as seonjang—both the Chinese method (xian zhuang) and the Japanese method
(fukurotoji) employ four stabbed holes in the attachment of the covers, rather than five (Munn, 2009,
p. 108-109). Fukurotoji binding exploded in popularity in Japan during the Edo period (1603-1868),

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BOYLES HAND BOOKBINDING

due to a great increase in public literacy and an increased need for books. The fukurotoji books from
this period are characterized by an inner binding (the nakatoji) using holes at the foot and the head
of the book and a paper twist, which made the binding strong and durable (Hioki, 2009, pp. 80-81).
The Japanese style of side-stitched binding remains quite popular today, especially among book artists,
and is often taught at European and North American binderies, though some contemporary variations
on this form eschew the inner nakatoji binding and bind or adhere the pages directly to the covers,
resulting in a book which is much less flexible and less durable.
One of the preservation difficulties that arise from the realm of hand bookbinding is the relative
lack of standards and best practices within the community. While certain aspects of the bookbinding
process are generally agreed upon, the materials a bookbinder should use—as the disagreements between
Abbott (2010), Richmond (1989), and Watson (1986) have shown—is very much a topic for debate.
The greatest amount of relevant standards exist in the realms of library binding and preservation
binding or rebinding, where there are, in places, clear guidelines and best practices for certain kinds
of hand bookbinding. The NISO (2000) standard on library bindings, for instance, provides specific
recommendations throughout for items being sewn through the fold by hand, as aforementioned.
The materials and techniques used in hand bookbinding, however, are in some ways ignored in other
standards regarding preservation binding and library binding. John McIlwaine’s register of standards,
guidelines, and best practices for preservation, First, Do No Harm, lists several works on repairing
specific kinds of binding and on library bindings, yet the only work listed on hand bookbinding (aside
from the aforementioned NISO standard) is Laura S. Young’s Bookbinding and Conservation By Hand:
A Working Guide (2005, pp. 40-42). McIlwaine (2005) lists two ISO standards that are relevant to the
realm of preservation binding (p. 41), though the first, ISO 11800:1998, specifically limits its scope by
excluding hand bookbinding (section 1). The scope of the second, ISO 14416:2003, doesn’t mention
hand bookbinding at all.
The materials considered in this essay are the materials generally used in standard Western
bookbinding, and are the ones recommended for conservation bookbinding. Nonetheless, in the wider
world of book arts and decorative bookbinding, the choice of covering cloths, decorative papers, and
materials with which to adorn ornate leather covers results in the creation of book-objects with a
multitude of preservation issues. Anna Embree and Amanda Thompson (2007) calculated numerous
metrics with which book cloth has been measured in the past for a variety of decorative Japanese
book cloths, and noted that the last relevant ANSI document on the topic of book cloths at the time
of testing was now so outdated (being published in 1977) that the testing procedures it outlined had
been declared inapplicable for new design without having being replaced (p. 55). The two authors also
point out that there are no relevant standards for book cloths that are adhered to a paper backing or
book cloths not impregnated with any sort of additive or sizing (p. 55). Many of the cloths tested by
Embree and Thompson (2007) failed in areas like resistance to water spotting and abrasion resistance
(pp. 58-59), and it is recommended that items bound in these materials should be kept in individual

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BOYLES HAND BOOKBINDING

enclosures for the life of the object for their protection (p. 62). However, the lack of current standards
regarding many materials—like these book cloths—used in decorative bookbinding and book arts,
combined with the field’s wide-ranging views on best practices and a noticeable variation in techniques
from country to country, cause difficulty for hand bookbinders hoping to create a long-lasting object
from a preservation standpoint.
Whether or not a bookbinder or book artist actually aims to create a durable, useable book—as
opposed to an aesthetic object—is itself a debate that manifests within the bookbinding community and
the book artist community. Cloonan (1995) notes the presence of the debate between “the aesthetic” and
“the practical” even in the world of conservation or restorative binding (p. 137). Restoration binding
can, in certain circles, incorporate purely aesthetic considerations into restorative treatments; take, for
instance, the practice, employed by certain British restorative binderies, of applying methylated spirits
to a new leather cover to create the appearance of wear and age (Rosner & Taylor, 2012, p. 418). Smith
(1974) delineates the differing aims of the “conservator” and the “creative artist”:

The conservator tries to prevent forms going out of existence […] in short, to prevent the
shrinkage of our heritage. The creative artist (as bookbinder) on the other hand tries to
bring immaterial forms into existence, to increase our cultural heritage. (p. 162)

This view of bookbinding stands in contrast to the view firmly stated by Cains (1974): “Bookbinding
is the process of making the protective cover for the stabilized object” (p. 170). Smith (1974), however,
implies that the two positions should be reconciled, claiming, “[t]o be an integral part of the book
both the structure and ‘decoration’ should be ‘functional,’ that is, designed with special regard to use
in a given context” (p. 82). John Anzalone and Ruth Copans (1991) highlight this need for functional
books, stressing the “paradox” by which “art bindings become art objects […] that will not be handled
or read” (pp. 259-260).
Since the 1990s, certain prominent book artists from Europe and North America have been
grappling with issues related to the durability and function of the objects they create, and some have
aimed specifically to create books that can function as books. Binder and book artist Sün Evrard has
developed a binding method, which she calls the “simplified binding,” that incorporates elements of
traditional French bookbinding in order to create a book which is “flexible” and “easy to handle” while
also offering “a variety of possibilities for decoration” (1990, p. 37). Books bound using this method can
be opened completely flat without incurring any damage. Evrard is also a member of the Tomorrow’s
Past collective, an international group of book artists and bookbinders who create conservation
bindings for damaged books. They aim “neither to imitate and by association disguise the repair work
they do, nor to copy the aesthetic style of a book’s origins, but to conserve, and to do so with the utmost
care” (Parke, 2013). The collective, which also includes Kathy Abbott, Tracey Rowledge, Jen Lindsay,
Peter Jones, and Carmencho Arregui, among others, thus merges the aesthetic and the practical, as

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BOYLES HAND BOOKBINDING

their bindings are both functional restorations aligned with conservation practices regarding methods
and materials, as well as intricate book-objects designed in harmony with the content of the rebound
text. The works created by the collective’s members have been exhibited at bookbinding events several
times beginning in 2003, and in 2013 these works were displayed at a design gallery in London in the
Readable Objects exhibition (Lindsay et al, 2013; Parke, 2013).
While movements like the Tomorrow’s Past collective in the book-artist community are helping to
steer bookbinding as an art form towards the creation of durable, conservation-friendly books, there is
still a long way to go, particularly in the world of amateur bookbinding. Preservation and conservation
professionals, therefore, should be sure to familiarize themselves with the methods and materials being
employed by prominent book artists and more traditional bookbinders as these techniques change
and evolve to reflect new aesthetic and practical concerns. As more diverse traditional practices and
binding methods from around the world are brought to the forefront and adapted by contemporary
bookbinders, the preservation and conservation challenges that will be raised by these methods will
need to be addressed and tackled. At the same time, preservation and conservation professionals
can help to bridge the gap between aesthetics and practicality in the bookbinding community by
working together with binderies and book artists to promote the use of durable materials and binding
methods, especially to binderies offering courses in bookbinding. Through this kind of work, the next
generation of hand-bound books to enter libraries, archives, and museums might enjoy longer lives
as readable objects.

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