-The first forms of recording data were palm leaves and clay tablets, both of which were carved. The palm leaves would have colorant smeared into the crevices.
-The beginnings of the conventional book binding as we know it occurred 2nd-11th centuries; it was known as coptic binding (a type of codex). The unique feature of coptic binding is the use of signatures (or pages folded together and sewn through the fold.
-In 7th-12th centuries, early medieval times, vellum made from animal skin was used for the casing. Unfortunately, it (along with wood) is subject to moisture, which causes warping. Because of this, clasps were incorporated into the book design.
-Clasps and bosses were also incorporated to protect book corners in the 9th-14th centuries. At the same time the title was added to the outside of the book, but instead of putting it on the spine, it was added to the fore-edge of the textblock.
-In the 13th-16th centuries new innovations were made to protect books from the elements so that they could be carried around. Books were made with girdles which were like bags with straps as extensions of the book casing.
-Decorative embossed covers were made as early as the 15th-16th centuries. This is done with a metal edge roller that could have gold brine tooling applied to the edge for hand-made designs. The preservation department has the resources to emboss books with the same techniques.
-The 16th-17th centuries are the origins of boards being made from pressed paper or straw.
For any more details about these mile-markers in bookbinding, the external links of the syllabus post should be consulted. Learning the history is a less well known integral part of book repair. When repairing older materials it is sometimes necessary to research the history of the time for the original binding and to date the item by binding type and country. This information could dictate how an item is cared for, thus preserving the historical value of the material. For example, if a book is made in a time where the item is stitched together in a certain fashion, that same method should be used with minor additions (like better glue and paper).
A topic we covered together so that I could pursue it on my own was honing technical skills, such as how to properly handle a scalpel and measure paper. The curvature of the scalpel sometimes allows for an easier cut. It is best to run the knife along the triangle (straight-edge) lightly several times and apply weight to the straight edge. Application of weight makes it so the item does not move, while the light cuts allow for a more precise edge when you push down harder. The thicker the paper or board, the more important it is to practice these techniques. When more accurate cuts are needed you can use a divider (similar to a compass) to punch holes exactly the same distance throughout the page, or draw light lines to cut along.
Sharlane also started on small repairs, beginning with paper tears. Filmoplast tape should be used on modern books only. It is a permanent, but flexible solution that can only be removed using mineral spirits.
-The first step in repairing a paper rip is matching up the direction of the rip. In other words, look for the textured edges and put them together so they are not showing across the surface of the page.
--One repair type is to add glue to the larger side of the inner fibers (that will be matched to the other side). Surround the mend with wax paper and close the book/put a brick on the paper so that it keeps shape.
--Another simple method is adhering a strip of Filmoplast to the matched up tear. If the tear seems to still not be stable, add a piece to both sides. Make sure to cut the excess tape from the page (try using a straight-edge with a board underneath to guard the rest of the text block).
--There is paper that is especially suited to reinforcing the page called Japanese paper. Tear this paper to the shape of the rip. It is important to tear the paper to keep the long wood fibers intact. Coat the paper with methyl cellulose (preferably on wax paper), which will cause the paper to become clear. It may be necessary to leave a portion of paper not coated in order to pick up the piece, or simply use tweezers or a micro-spatula. Place the piece down over the tear and smooth the edges with a clean micro-spatula. The repair is finished by cutting the excess paper and sandwiching the page between a layer of remay (spun polyester) on each side, followed by blotter paper on the outside.
--Heat set paper/tissue is done in a similar fashion. The top of the paper is made of silocose release paper that activates the glue when heated. Tear the special tissue to the shape of the rip and place it shiny side down. Make sure to use a backer for this method. Cover the area with wax paper and use the special iron to gently go over the paper. *I had a bit of trouble with this because the paper formed spots after ironing. Sharlane tried to fix this by spraying the page with distilled water and placing it between layers of remay and blotter paper, which were put under a piece of plexiglass and weighted. When doing this, be sure to change out the papers frequently.
The second half of the day was spent learning styles of connecting the text block and the machines that are used in the processes. We started with using the large paper/board cutter. Proper use include: clamp down the materials with the foot petal, always have your hands away from the blade, it's a two-hand job, pull the blade handle toward you if the blade is not sharp.
On our own, the other student and I worked on hand binding single signatures. The pieces we worked on were 16 music scores that were going in a folder inside a binder as accompanied materials. We used size 18 thread. The first part of the process is normally determining the binder size by placing the item inside and positioning directly against the spine when closed. Each side should have 1/8 inch or more and the corners should be rounded (using a corner rounder). These items required a little different attention, though.
-The first step in sewing a signature is clipping the pages together in the middle at opposite ends, on opposite sides of the fold.
-Use a staple remover to pry the staples out of the spine.
-Cut enough thread to cover the length of the book, top to bottom, twice plus a little bit more.
-Thread the needle and secure it by running the needle through the tail of the thread (pull to tighten). The thread can also be secured by twisting it directly beyond the eye and keeping tract of it.
-Use an awl or the needle to create five holes: one in the center, one on each side approximately 3/4in from the edge (or use an existing hole), then add two more at the mid points between the others. *Five holes is the strongest for most items that can be repaired this way, but always use an odd number of holes for this type of binding.
-For explanation purposes, I will number the sewing process. The hole nearest to the upper edge of the material is the first hole, with the other five following suit down the spine of the item. *Visual aids below.
3 Start by sewing through the center. Inside>out. Leave a tail (finger-length).
2 Choose a direction and sew through one of the holes directly adjacent. Outside>in.
1 Sew through the last hole. Inside>out.
2 Continue back through the adjacent hole, trying not to sew through the thread. Outside>in. Tighten the string by pulling towards the direction you are sewing in (not against).
4 Then skip the middle hole and go through the next on the other side of it. Inside>out.
5 Go through the last hole near the opposite edge (of the direction you started). Outside>in.
4 Continue back through the adjacent hole, trying not to sew through the thread. Inside>out.
3 Finally, go back through the middle hole, trying not to sew through the thread. Outside>in. Adjust the end tail string (still attached to the needle) so that it is on the opposite side of the beginning tail. Tighten both sides until the strings reverberate or twang.
-Do two square knots in both directions, over under and under over.
-Cut the string so that less than 1/2 inch extends from the knot. The string should come off of the needle easily by pulling on one side.
-Smooth the spine with a bone folder.
-To finish, determine that the binder size is correct by placing finished product inside and positioning directly against the spine. If the item has room enough on the edges, it is ready for the next step of the process. In this case, however, the items were complete because they were going in folders inside of the binder-not being fastened to it.
Of the 16 music scores, Sharlane demonstrated on one, Quinn did seven, and I did eight.
We next watch a demonstration of the double-fan adhesive process using the press in the student worker area (refer to earlier posts).
-Place the back board on the press then the fore-edge of the textblock. Clamp the materials down until there is a slight grab and flip up the spine of the item.
-Add a layer of PVA glue while the item is upright, and bent in both directions (towards and away from you). Try to open it up as much as possible to get rid of air bubbles.
-Wipe away excess glue (though the item is supposed to be evenly coated).
-Adjust the press so that the book is on its side and cover the spine with wax paper before putting another board and brick on top of the item so that it can dry in the correct shape.
When the material is dry you can continue doing a drill and sew binding. This method is used particularly for items is under 1/4 inch thick and not considered special (such as frequently used music scores). For this you need a foot petal drill with a small drill bit.
-Five holes should be drilled in the item (similarly to the signature sewing). Each hole should be 1/16 inch from the edge, which allows for stability of the spine. The two ends should have holes approximately 3/4 inch from the edge. It may be easier for you to mark the spot first, which is fine because that part of the item will not be seen when the binding is finished. Make sure when using the drill to crank the drill up completely before removing the text block in order to not get the bit stuck in the item.
-Enlarge the holes with an awl for sewing.
-Select and cut the binder to size (Using the same technique listed above.).
-It is easier if the flaps on the inside of the binder are marked with where the holes are already positioned on the outside. Start at the back and use the same process for sewing as for a single signature bound object.
-When the sewing is complete, the item is finished and ready for use.
The day ended at 4:20pm after practicing some good tool maintenance: cleaning the glue pot of dried glue and brushes (done weekly).
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