From a Binder's Point of View

FROM A BINDER’S POINT OF VIEW: SOME ADVICE FOR INDEPENDENT, DESKTOP PUBLISHERS Gregor R. Campbell : : Campbell-Logan Bindery : : Minneapolis

Anyone can be a book publisher today. over the phone or in person to some- Machine Made Paper A great many desktop publishers one inquiring about our bookbinding The demand for paper, even today actually do generate books they will service by asking the broad question, remains unsatisfied. In the early 1800s wish to have bound. A review of our “How much does it cost to bind a paper was in very short supply. sales for 1996 showed that some 30% of book?” or “Can you bind this disk?” Machinery for making paper was sales were made to independent pub- The questions most often asked fall developed to satisfy growing demand. lishers, not library customers. This did into three main categories. The most successful and prolific of not happen by accident. We have taken • Paper these machines is known as the a strong marketing approach to attract • Printing formats Foudrinier papermaking machine. The such new business. When dealing with • Binding Fourdrinier is a great, long, ponderous, a first time publisher, we have learned steaming piece of machinery that Dard that a good deal of flexibility, patience, PAPER Hunter once described as “dragon and the development of retail sales The paper chosen for any printing like.” Fourdriniers are capable of pro- skills are necessary. project may be the most crucial deci- ducing continuous streams of paper, Book production is a very technical sion to make. Decisions about paper over 300 inches wide, at more than business. Most of the general public will not only affect the printing but will 2000 feet a minute! has little knowledge of what is affect how a book may be bound. As the still liquid paper is spit from required to produce a book purchased Because of this, there is a heavy con- the Fourdrinier machine in one forceful at the local bookstore. Few have any centration on the subject. direction, the pulp fibers line up paral- knowledge of book design or would lel to each other in the long direction grasp that there may be a vast differ- Handmade Paper they are being driven, much like water ence between the concept of “camera Prior to 1830, all paper was made droplets streaming from a garden hose. ready” copy and copy that is ready to by hand from plant fiber such as cot- As paper comes off a Fourdrinier print. Fewer still have any idea of how ton, linen, flax, straw, hemp, or kozo. machine, it travels through a series of decisions they make about printing Plant fibers were torn or, if in the form both horizontal and vertical rollers. It is will affect various binding options. of rags, cut up. These shreds are then stretched, dried and rewound. It is then If, by lucky accident, a new, inde- beaten into pulp fibers and placed into colored and coated with agents such as pendent publisher should find some- a vat of water allowing the fibers to clay, chalk, caesin, and various resins. one with enough time and book design float to the surface. A screen that is Finally, it travels to a calendar or finish- knowledge to help them achieve their woven tightly enough to catch pulp ing machine that puts artificial textures goals they are very fortunate. If not, fibers but open enough to allow water into the paper. they may make any number of costly to escape is dipped into the vat. As the mistakes. screen is raised the fibers trapped on Common Book Paper Having been involved in the busi- top formed the sheet of paper. Classifications ness of bookbinding for some 30 years I In hand papermaking, the size of In general, paper used for books feel just barely confident enough to the screen is determined by the size of comes in either text weight or cover offer some rudimentary advice about the sheet needed for any particular weight. Text weight paper (used for the book design and book structure to a papermaking project and the strength printed pages of the text) comes in four beginner. The first bit of advice I offer is of the papermaker to lift the screen main weights: 50-pound, 60-pound, 70- that I won’t have all the answers for from the water. Hand papermaking is pound, and 80-pound. you. The information I am offering is hard, laborious work with very little Cover weight paper (used for print- gleaned from practical experience and mechanical assistance. As such, one of ing paperback book covers, magazine is geared toward desktop publishers the beauties of handmade paper is that covers, etc.) is approximately three who are seeking hardcover binding there is no discernible, machine-made, times thicker or heavier than text solutions. It is advice that is often given grain direction to its fibers. weight paper of the same poundage.

1 of 4 Standard cover weight paper comes in inch size has become much more com- Typefaces 65-pound, 70-pound, 80-pound, and mon, as you can print two pages at a Thankfully, for the desktop pub- sometimes 100-pound weights. There time on a standard 81/2 x 11 sheet of lisher, computer type has come a long would be, however, approximately one paper. way from the days when typefaces third the number of sheets of 70-pound were limited to what was easily dis- cover stock in a carton as there would Book Design played on a computer screen. There are be in a carton of 70-pound text weight When pages are printed on both now thousands of typefaces to choose paper. sides there is the possibility of “show- from. Each one has its own character. Both text and cover weight papers through” or bleed-through problems. While hundreds of books have been come in coated and uncoated versions This is the dark shadow from type or written about type and book design, for various uses. an illustration that shows through from the choice of which face to use is most the reverse side of the sheet. This is often made by either a typeface’s avail- Grain direction caused by the fact that the paper is not ability or personal preference. Machine made paper, like wood, opaque enough to mask out the image. Typefaces fall into two main cate- has a grain direction which should be Ideally, printing that is done on gories: serif or sans serif type. Serif type taken into account when choosing both sides of the page should “back has little feet on the letters. This article paper for a book. If the paper grain is up” or have its shadow hidden by is written in a serif typeface. Serif type- not parallel to the spine, the book’s printing that is done on the reverse or faces are considered easier to read pages will not turn easily or lie flat. opposite side of the page. This prevents (as text) than sans serif. Sans serif type Folding a sheet of paper across the show-through and gives a crisp, clean is more often used as a headline or grain will break approximately 50% of look to the page. chapter heading. the paper fibers, weakening the sheet If show-through problems persist substantially. Additionally, cross-grain we advise against the natural inclina- Page Margins paper is strangely hydroscopic. It will tion of choosing a heavier weight Page margins and choosing propor- absorb moisture from adhesives at a paper for the text, especially cover tions within a page are very important much faster rate, causing “cockling” stock! Heavier paper will only resist design elements. It is a basic principle and warpage. opening and easy reading. Try choos- of book design that typographic areas Grain direction of paper is almost ing a text weight paper of another color will generally occur within the same always “with” the longest dimensions such as off-white or light gray. rectangular space, in the same position, The paper merchant’s catalog desig- After decisions about paper have throughout a book. The “white space” nates grain direction with a small been made, the next most important around the typographic area frames underline below the number (such as consideration should be what typeface the text on a page much like a mat 25 x 38 inches). and what size type to use. Obviously, it frames a picture. In book design the old is best to use a size of type that is easy classic standard was one-third black Paper Sizes to read. For text generated by word space to two-thirds white space. This In the US, paper that is sheeted for processor or computer these sizes made for eye appeal and easy reading. the printing trade, either text weight or would normally be 10 point, 12 point, As paper and printing costs have cover weight, comes in standard sizes. and 14 point. escalated this rule has been sacrificed. Standard sizes for text weight paper in We would urge you to resist the Margins have become narrower and inches are 25 x 38, 35 x 40, and 38x 50. temptation to reduce the size of the narrower. As a general rule, and if at Standard sizes for cover weight paper typeface by photocopy reduction. This all possible, we recommend a one-inch are 23 x 35, 25 x 38, 26 x 40 and 35 x 45. will only make the text more difficult to all around page margin for desktop read. It is preferable to add additional publishing. If this is not possible due PRINTING FORMAT pages if required. to maximum page count or other con- Book Sizes I encourage you to read more about siderations leave as much margin as Common book sizes relate to a book design. The best book I have read possible, keeping in mind that most printer’s best yield or (cut) from these on the subject is Adrian Wilson’s The bookbinders will want to trim three master sheets of paper. Thus 81/2 x 11, Design of Books (ISBN 0-87905-019-5). In sides of a book when doing the binding. 7 x 10, 6 x 9, and 51/2 x 81/2 inches are his book, Wilson lists another dozen or traditional sizes of many books. Lately, so references for those who are truly BINDING due to photocopiers and other emerg- serious about wanting to learn more. Ideally, the actual binding on a ing printing technologies, the 51/2 x 81/2 book should perform several functions. 2 of 4 These are consolidation or holding the The term perfect binding always The two most common are oversewing pages together and providing protec- equates to a book that is bound with and double-fan adhesive binding. tion from moisture and handling. Bind- adhesive. The adhesive, while usually Oversewing offers the advantage of ings should provide for identification a hot melt may occasionally be a cold being able to sew single leaves into mul- of the item. They may also be designed emulsion PVA or even a new breed of tiple signatures. Oversewing has the as a means for attracting attention to adhesive called a polyurethane adhe- disadvantage of consuming approxi- and for promotion of the item. sive (PUR). Perfect bound books are mately 3/16-inch of spine margin. There are many binding options to usually covered in paper, however they Additionally, oversewing is so strong chose from. Factors that determine can be made with a hard cover. that pages have a tendency to “pucker” choice are usually based upon cost and up along the sewing line, making read- availability as well as the expected use Sewn Bindings ing or photo reproduction difficult if a bound item is to receive. Bindings fall Sewn bindings fall into two main narrow margin material is attached in into three main categories. categories. (1) Side sewn or (2) sewn this method. • Mechanical bindings through the fold. Either category may be Double-fan adhesive binding may • Adhesive bindings done by machine or by hand. also be used to attach single leaves • Sewn bindings Some methods of side sewing are together to form a book block. This Japanese sewing, block stitching, may be done either by hand or by Mechanical Bindings Singer side sewing, and Moffett stitch- machine. It is accomplished by clamp- Mechanical bindings include ring ing. Japanese sewing (to my knowl- ing the book into a vise-like contrap- binders, loose-leaf or post binders, sta- edge) is only done by hand, as is block tion and “fanning” the pages at a near ples or saddle stitching, plastic coil, stitching. Singer sewing and Moffett 90-degree angle, while applying adhe- plastic comb, Velo binding, channel sewing both refer to the sewing sive to the edges of the pages. The binding, metal spiral and wire-O bind- machines that are used in the machine pages are brought back to center and ing. Rivets, grommets, and other fas- side sewing process. fanned in the opposite direction. Adhe- tening devices may also be used. With Sewing through the fold does re- sive is again applied to the pages as the exception of ring or post binders, quire that a book be made up of folded they are fanned. In effect, each page is mechanical bindings are normally the leaves called signatures. A book may tipped to its neighbor, fore and aft. least expensive binding option avail- have a single signature or be made up The strength of double-fan adhe- able for small runs of desktop pub- of many signatures that will be linked sive binding may be augmented by lished material. together during the sewing process. notching the spine to increase adhesive Books that are sewn through the fold penetration or by milling or sanding Adhesive Bindings by hand are referred to, naturally, as the edges of the spine to expose addi- Adhesive bindings attach a book’s “hand sewn” books. tional paper fiber to adhesive. When pages together with adhesive (glue or Machine sewing through the fold is properly done, double-fan adhesive paste) rather than by mechanical fas- most often done on a Smyth sewing binding has the advantage of allowing tening or sewing. machine. The process, again naturally, a book to lie open nearly flat for easy Bookbinding adhesives fall into is most often called “Smyth sewing,” reading or photocopy reproduction. two main categories. (1) Hot melt adhe- although there are other through-fold sive and (2) cold emulsion, polyvinyl sewing machines that can accomplish Book Covers acetates or PVAs. One form of hot melt this task. The National sewing machine Hardcover bindings, sometimes adhesive is the little round stick of glue and the Martini sewing machine are referred to as “cases,” may be covered that is inserted into a hand-held glue but two examples. Much like in paper, cloth, leather, or a combina- gun. This glue needs to be heated to “Kleenex” is used to designate facial tion of two or more of these materials, become liquid for application, thus the tissue or “Xerox” is used to signify a which are wrapped around and glued term “hot-melt.” photocopy, the trade name “Smyth to a supporting board. The board itself A familiar form of PVA is Elmer’s sewing” has become so prevalent that may be rigid (as in an encyclopedia) or Glue. This adhesive does not need to be it is the general term for any through- flexible (as in a small Bible). heated to become liquid, thus the term fold sewing method. Paper cover materials are referred “cold emulsion.” There are other methods and ma- to in the trade as non-woven cover ma- There are thousands of glue formu- chines used to attach book pages terial. Non-wovens are often textured lations for both types of adhesive, each together that are, for the most part, to appear like fabric or leather. They formula being for specific usages. unique to the library binding industry. may also be decorated, as in marbled

3 of 4 paper or laminated with clear polyester A third option is photo offset print- CONCLUSION films for added strength and durability. ing. As with silkscreening it can be suc- Copyright information Book fabrics (woven materials) are cessful on both book cloth and non- Finally, after one has spent count- graded by “weight” which refers to the woven materials. Photo offset printing less hours producing their first master number of threads per square inch in a allows for the widest variety of decora- work, we are often asked about obtain- particular cloth. Book fabric comes in tion possibilities in design and color. ing a copyright. This may be done after A, B, C, D, E, and F weights. “A” If a small number of covers are production of the book. Copyright weight fabric is the lightest weight, “F” required and color is desired, it is also information may be obtained by writ- weight is the heaviest. It is generally possible to use a color photocopier. ing to the U.S. Copyright Office, assumed that heavyweight book cloth Fabric materials have been developed Library of Congress, Washington, DC is stronger than lightweight cloth. which can be manually fed through 20559. For books and other printed Book fabric may be left uncoated in some color photocopy machines. How- works request form TX. its natural state or coated with mois- ever, if the quantities were large this ISBN numbers (used as inventory ture resistant substances (vinyl or would be an expensive method to use control when ordering) may be acrylics). It may also be textured to for decoration of book covers. There obtained by writing to ISBN Agency look like leather. may also be possibilities for using inkjet (U.S.), R.R. Bowker, 121 Chanson Road, Leather cover materials are har- printers to decorate cover materials. Providence, NJ 07974. Tel. 908-665-6770. vested from any number of animals. Printed book jackets are another A new publisher should write a letter These commonly include cows, sheep, alternative for cover decoration. Book on their letterhead requesting an ISBN pigs, and goats. However more exotic jackets are usually made from paper. assignment. skins have sometimes been used to They are easily printed in any number Library of Congress Catalog Card cover books, including human skin! of ways, and after binding, wrapped number preassignment may be Leather is prepared for use by tan- around finished books. obtained by writing to U.S. Library of ning the hide or skin for durability. It is A word of caution about book jack- Congress, Cataloging in Publication also frequently colored with leather ets! Pay close attention to the direction Division, Washington, DC 20540. The dye and occasionally textured to alter of the paper grain. The grain direction Library of Congress will send you the surface appearance. should always run parallel to the spine appropriate form and kit describing of the book. Also, be sure to allow Cataloging in Publication procedures. Cover Decoration enough “wrap around” so that the inte- There are a vast number of re- There are several options available rior flaps of a book jacket are held sources available in print to those seri- for cover decoration or titling. Most firmly in place by the book cover. A ous about publishing their books. One people are familiar with “foil stamp- minimum of two-inches for interior that I recommend is The Prepublishing ing,” which usually consists of basic flaps is suggested. If this is not done the Handbook by Patricia A. Bell, Cat’s-paw title and author information. This jacket will not fit well and will not stay Press 1992, ISBN 0-9618227-2-4. This information is set in metal type and hot put on the book as the book is handled. book explains in good detail the many stamped through a colored foil onto hats worn by a small publisher. It also the book fabric or cover. Additional art- has an extensive listing of independent work, in the form of an illustration or publishers and regional booksellers logo, may be added by having a metal organizations. engraving made from film or line art. I hope this information will be Most library binders will be very famil- helpful to the beginning, independent iar and comfortable in providing this publisher and to library binders who type of cover decoration. wish to offer their services to a growing Silkscreening is a second option. It constituency. New methods of printing is a popular method, used primarily on and binding continue to evolve. It is vinyl covers. However it can work very estimated that some 5,000 new publish- successfully on nearly any fabric and ers appear each year! This certainly many non-woven cover materials. Silk- gives added testimony to the fact that Campbell-Logan Bindery screening has advantages in allowing 212 North Second Street nearly everyone has at one time or larger areas to be decorated. It also Minneapolis MN 55401 another said, “I could write a book!” allows for multicolored images and First published in easy matching of specific ink colors. The New Library Scene, March 1997 4 of 4