Bookbinding: A Comprehensive Guide To Folding, Sewing, & Binding [1 ed.] 1616896574, 9781616896577, 1616897430, 9781616897437

Table of contents :
Cover
Title
Copyright
Contents
Basics
Folding and binding techniques
Constructing a softcover book
Constructing a hardcover book
Overview of different covers
Different kinds of fore-edge
How to develop a print project
The concept: Developing and realizing a publication
Format
Paper and sheet sizes
ISO Formats
American book formats
Paper
Composition and manufacture
The tactile qualities of paper
Surface texture
Roughness and smoothness
The visual characteristics of paper
Colour, brightness and whiteness
Opacity
Lightfastness
The technical characteristics of paper
Paper weight
Bulk
Considerations resulting from manufacture
Machine direction
How to identify the machine direction
Bend test
Tear test
Fingernail test
Fold test
Moisture test
Printed sheets
Manufacturing printed sheets: general principles
Imposition
The layout of a printed sheet
Crop marks and bleed area
Bleed
Registration marks
Fold marks
Collating marks
Signature marks/page information
Colour bars
Useful information: The printed sheet
Creep
Doubling the image in the gutter
Registration
Useful information: Book blocks
Book-block thickness
Dummies
The title on the spine
The printing process and binding styles
Industrial and hand bookbinding
How does the production process work?
Books on demand
Estimates
Request for a print estimate
Paper order
Request for a binding estimate4
What happens in a bindery
The book as an objet d’art
Bookbinding, reinterpreted: Twelve interesting examples
Overview: Binding techniques
Folding
Parallel folds
Single fold
Variant: Asymmetrical fold
Multi-sheet fold
Roll fold
Double parallel fold Parallel centre fold, quarter fold)
Triple parallel fold
Gate fold (window fold)
Open gate fold
Accordion fold (zigzag fold, Z-fold)
Stepped fold
Cross folds
Classic cross fold
Three-fold cross fold
Four-fold cross fold
Combination folds
Poster booklet fold
Thickness, extent
Materials
Timescale
Costs, print runs
Wire
Saddle stitching
Side stitching
Glue
Perfect binding
Perfect binding
Double-fan adhesive binding
Padding
Fold gluing
Lay-flat binding
Thread
Thread sewing
Pamphlet sewing
Thread-and-knot sewing
Singer sewing (lock-stitch sewing)
Side sewing
Side singer sewing
Japanese stab binding (Chinese binding)
Thread sealing
Binding systems
Spiral and comb binding
Spiral binding
Ring-wire binding
Plastic comb binding
Binding rings
Screws, rivets, eyelets
Spine bars and springback binders
Rubber-band binding
The soft cover: Softcover books
Single-sheet softcover with 360-degree rotation
Single-sheet softcover with 360-degree rotation
Single-sheet softcover with 360-degree rotation: Variants
Side-bound softcover
Side-bound softcover
Softcover bound along the spine fold
Softcover bound along the spine fold
Dos-à-dos binding (Z-binding)
Softcovers: Common styles
Standard softcover
Softcover with flaps
Blank softcover with jacket and flaps
Blank softcover with drawn-on jacket and flaps
Tape-bound softcover
Swiss binding
Kösel EB 500
Softcover with a detached spine
Softcover with a detached spine
Softcover with a detached spine: Variants
Flush board binding with spine backing
Flush board binding with spine backing
The hard cover: Hardcover books
Single-piece cases
Cases made of synthetic material
Single-piece cases
Multi-piece case bindings
3- and 4-piece cases: Full binding
5- and 6-piece cases: Half binding
Padded cases
Additional information: Design specifications
Interior paper
Endpapers
Case materials
Covering materials
Soft covers
Dust jackets
Bellybands
Head and tail bands
Folding plates, fold-outs, centre folds, fold-ins
Finishing techniques
Ribbons (bookmarks)
Rounded spines
Rounded corners
Appendices
Glossary: More than 285 technical terms from the book, with brief explanations
Afterword
Acknowledgements
Sources and credits

Citation preview

B   ookbinding A Comprehensive Guide to Folding, Sewing & Binding

Franziska Morlok, Miriam Waszelewski Translated by Caroline Waight

Princeton Architectural Press, New York

This book … … explores the possibilities of folding, stitching and binding from the perspective of (and incorporating questions from) designers and production managers, facilitating collaboration with binderies and an understanding of the process as a whole.

and various binding techniques using …

… explains

types of fold  from p. 96

wire  from p. 121

… illustrates the difference between

softcovers  from p. 256

hardcovers  from p. 332

Tips from bookbinders … offers lots of important

glue  from p. 141

… and explores other important topics, including

 

 Pointers

about pitfalls

thread  from p. 171

binding systems and fasteners  from p. 210

•  Planning a publication  from p. 20 •  The production process  from p. 60 •  Format  from p. 24 and paper  from p. 30 •  Design specifications  from p. 358

C   ontents

Basics 6 8

Turning a print project into reality is not simply about the binding style but also about choosing a type of cover, as well as making many other decisions. The various chapters of this book are therefore concerned with all aspects of the printed product – from the binding style to the paper to the cover and other design elements.

10 12 16

Folding and binding techniques Constructing a softcover book Constructing a hardcover book Overview of different covers Different kinds of fore-edge

How to develop a print project 20 24 30 42 54 57 60 64 67 72

The concept: Developing and realizing a publication Format Paper Printed sheets The printing process and binding styles Industrial and hand bookbinding How does the production process work? Books on demand Estimates What happens in a bindery

The book as an objet d’art 75

4

Bookbinding, reinterpreted: Twelve interesting examples by contemporary designers

96

101 109 113

Overview: Binding techniques

332

Folding Parallel folds Cross folds Combination folds

336 342

131

141 155 161

Wire Saddle stitching Side stitching

354

358

Additional information: Design specifications

350

Glue Perfect binding Fold gluing Lay-flat binding

360 365

Thread Thread sewing Pamphlet sewing Side sewing Thread sealing

367

376

247

Binding systems Spiral and comb binding Binding rings Screws, rivets, eyelets Spine bars and springback binders Rubber-band binding

256

The soft cover: Softcover books

171 181 191 201

367 374 375 375 375

213 225 233 241

260 268 274 282 284 288 292 296 300 304 308 312 322

Single-piece cases Cases made of synthetic material Multi-piece case bindings 3- and 4-piece cases: Full binding 5- and 6-piece cases: Half binding Padded cases

344 346

121

The hard cover: Hardcover books

377 386 386 386

Interior paper Endpapers Case materials Covering materials Soft covers Dust jackets Bellybands Head and tail bands Folding plates, fold-outs, centre folds, fold-ins Finishing techniques Ribbons (bookmarks) Rounded spines Rounded corners

Appendices

Single-sheet softcover with 360-degree rotation Side-bound softcover Softcover bound along the spine fold Softcovers: Common styles Standard softcover Softcover with flaps Blank softcover with jacket and flaps Blank softcover with drawn-on jacket and flaps Tape-bound softcover Swiss binding Kösel EB 500 Softcover with a detached spine Flush board binding with spine backing

5

389

Glossary More than 285 technical terms from the book, with brief explanations

415

Afterword Acknowledgements Sources and credits

417 419

Folding and binding techniques Folding

Stitching with wire

Parallel folds 101

Binding with glue

Saddle stitching 121

Cross folds 109

Side stitching 131

Combination folds 113

6

Binding systems and fasteners

Sewing with thread

Perfect binding 141

Padding 146

Thread sewing 171

Pamphlet sewing 181

Wire combs, spirals, plastic combs  213

Rings 225

Screws, rivets, eyelets 233 Fold gluing 155

Side sewing 191

Lay-flat binding 161

Thread sealing 201

Spine bars 241

Rubber-band binding 247

7

Constructing a softcover book

Book block 392

Scoring  407

Binding (perfect binding)  141

Cover 374

Constructing a hardcover book

Endpapers  365

Book block  392

Super  410 Backlining paper  391 Head and tail bands  400 Paste-down  405 Covering materials  367

Binding (thread sewing)  171 Spine/spine piece  409

Case  332

Overview of different covers

Thread sewing 171 Full binding 346 Flat spine 332

Thread sewing 171 Full binding 346 Rounded spine 386

Thread sewing 171 Half binding 350 Flat spine 332

Thread sewing Half binding 3 Rounded spine

Plastic cover 342

Thread sewing 171 Open spine 178

Thread sewing 171 Flush board binding with spine backing 322

Thread sewing Open spine 17 Flush board bi with spine bac

12

g 171

350

e 386

g 171

78

inding cking 322

Thread sewing 171 Four-piece case 346 Flat spine 332

Thread sewing 171 Padded case 354 Ribbon 386

Thread sewing 171 Single-piece case 336 Rounded spine 386

Thread sewing 171 Swiss binding with a hard cover 332

Lay-flat binding 161

Lay-flat binding incorporating board 161 (as used for children’s board books)

13

Overview of different covers

Perfect binding 141 Standard softcover 284

Perfect binding 141 Softcover with a detached spine 312

Perfect binding 141 Swiss binding 304

Perfect bindin with fold-outs

Japanese stab binding 195 Side-bound softcover 268

Book screws 210 Side-bound softcover 268

Spine bars 241

Pamphlet sew Saddle stitchi Softcover bou the spine fold

14

ng 141 s 376

Padding 146

Ring-wire binding 215 Single-sheet softcover 260

wing 181 ing 121 und along d 274

15

Plastic comb binding 220 Single-sheet softcover 260

Different kinds of fore-edge

Saddle-stitched untrimmed 125

Saddle-stitched trimmed 125

Wire-o 215

Fold-outs 376

Japanese stab binding 195

Flush board binding with spine backing 322

Padded case 354

Hardcover 332 Foiled edges 377

Printed edges 377 Rounded corners 386

16

Standard softcover 284

Wraparound cover 266

Softcover with flaps 288

Hardcover 332 Flat fore-edge 386

Hardcover 332 Rounded fore-edge 386

Single-piece case 336 Rounded fore-edge 386

Coloured edges 377 Rounded fore-edge 386

17

Planning – Concept

The concept: Developing and realizing a publication There are various aspects to take into account when developing a publication. The question of which folding, case or cover style is most suitable should be considered right from the start, because the interior and exterior design and the content should be closely coordinated.

20

Books, flyers and folders are not merely repositories of information, their form serving only to store and protect their contents. They are also three-dimensional aesthetic objects that must fulfil certain criteria in terms of their design as well as their physical look and feel. A successful publication is always the result of the interplay between interior and exterior design. In addition to the layout – comprising typography, illustrations and colours – the format, materials, folds and binding style all play an important role. A publication can be much more than a linear sequence of pages – in a perfect world, it can be a comprehensive work of art that appeals to the senses on various levels and interacts creatively with its content. In our digital age, such publications are increasingly becoming highly sought-after objects and collector’s items. The goal should always be to ensure not only that the form clearly communicates the content, but that both are intertwined. In reality, of course, cost or functional requirements are often prioritized so highly that binding techniques and design are barely discussed at all, leaving design potential untapped. Yet even if the format, shape, extent and weight are predetermined, there are all sorts of ways to make a publication stand out. That is why it is so important to get bookbinders involved in the early development stages. Not all ideas can be implemented, of course, but experts familiar with the processes, methods and technical possibilities of printing and bookbinding will easily find alternative solutions. By drawing on a strong base of knowledge and experience, it is possible to develop realistic projects that go beyond traditional or standard models – often producing results the designer never considered, or even inspiring the bookbinder to explore new avenues.

21

At the start of the initial planning phase it is a good idea to ask a few questions, the answers to which could have a significant impact on subsequent decisions and design processes.

What content is being communicated? Is this a photography book, a magazine, a novel, an art catalogue, an information sheet or a fold-out poster? Are you trying to tell a linear story? Or are you arranging things differently, deliberately interrupting and reshaping the narrative structures of the content?

Who is the target audience?

Planning – Concept

Are you targeting academics or children? Thousands of readers or just a small group? Age range, reading habits and socialization all play an important role.

What is the intended purpose of the publication? Is it informational material for a festival that is only going to last three days, or a textbook that will be used frequently and intensively? Depending on the intended purpose of the publication, you will have to think carefully about its format, weight and how easy it is to open and lay flat. Books in frequent use, for instance, will need a sturdy binding. Texts with a high page count should use paper that is not too white or too transparent. A big, heavy book may seem impractical – or it may command respect.

How will the publication be read? A newspaper is read selectively, but a novel end to end. The various ways of reading a publication will affect its shape and, to a degree, its format.

22

What impression is the publication supposed to make? Should the book seem especially high-end? Does it represent a particular brand? Or is it a fanzine, intended to project a certain lightness of touch? The style of design, the format, the colours, the materials – each of these elements has a particular effect you should be aware of. The texture of the paper, the smell of the printing ink, the heaviness of a book, the lightness of a small folded poster that unfurls into a large-scale image. Raw linen that evokes the feel of a strong, warm blanket, or the fascinating artificial suppleness of a synthetic cover paper that feels like skin – such textures may be appealing or they may be repulsive, but either way they provoke a reaction. There is a huge diversity of materials that can be used to communicate ideas, although not all are suited to every purpose.

What is your budget? Are there specific constraints imposed by production costs? Can you fall back on alternative, more costeffective materials in your design? Could there be high shipping costs you need to take into consideration when thinking about manufacturing?

Why does shipping sometimes influence the development of a publication? Anybody creating a printed product that needs to be shipped individually has to consider the restrictions imposed by format and consignment costs. With small production runs these are less important, but with large runs, shipping costs can use up half the budget. That is why it makes sense to integrate packing directly into the production process. A yearbook, for instance, which will be sent to all students, can be packed for postage at the bindery. The format and the weight of the paper stock should be chosen so as not to exceed shipping-cost constraints.

23

Planning Planning — – Format Format

Format If you don’t want to fall back on traditional formats, of which there are many, then you can, of course, choose your own. Which format is best suited to which project depends on several things, including reader behaviour, type area and costs.

24

In order to find the right format for a publication, the following issues are crucial: • Content •  Target audience, intended use •  Design, type area, extent •  Technical criteria (dimensions of the printed sheet, printing press size, materials) •  Cost (especially in choosing materials and design specifications) First, you should think about the content of your publication. What are you trying to convey? Is it text-led, or are there a lot of illustrations? Is a large format essential, because the images have to be reproduced in full detail? Or does the format of the images (as with artworks, for instance) determine the format of the book, because they have to be printed full-page but can’t be cropped? Maybe a simple paperback format will do, because you’re printing a novel.

Portrait higher than it is wide

Publications are put together as visual and tactile objects for readers, and should therefore be tailored to their intended audience in terms of format, extent and weight. A novel is held in the hand. An academic book sits on a desk. An illustrated volume, large and decorative, can be laid out on a coffee table. Magazines occasionally have to fit into handbags, and a festival schedule –  ideally – into a pants pocket.

Landscape wider than it is high

Narrow portrait format at least twice as high as it is wide 400

Narrow landscape format at least twice as wide as it is high

Even the format – i.e. the relationship between width and height – conveys a particular impression: a format can be portrait or landscape. The layout (for instance, the type area) and the extent play a decisive role in this. If you have to arrange text in margin columns, a wider format is advisable. A long book with a high page count can’t be too small, otherwise too much space might get lost in the gutter during binding. Narrow formats can give a dynamic impression, while wider ones seem more classic and expensive. With softcovers, flyers and foldouts, can you fall back on the classic ISO paper sizes or choose an exclusive special format. The basic choice is between portrait, landscape or square, all of which can, of course, be individually adapted.

25

Paper and sheet sizes Unlike the international ISO norms, the standard paper sizes used in the USA don’t build on each other in a linear progression. There are two different standards for paper sizes: ANSI/ASME Y14.1 and ANSI X3.151-1987. The ANSI series is based on letter format, which has an aspect ratio of 3:4. The next-largest format in the series is created by doubling, using either the aspect ratio 1:1.294 (ANSI A, C, E) or 1: 1.545 (ANSI B, D).

A

Letter

C B

Ledger, Tabloid

Planning Planning — – Format Format

E

D

Diagram of the ANSI series, based on letter format.

Size

Width × Height (in)

Tabloid Extra 12 × 18 Tabloid 11 × 17 Ledger 17 × 11 Broadsheet 23.5 × 29.5 Broadsheet C 17 × 22 Broadsheet D 22 × 34 Broadsheet E 34 × 44 Broadsheet F 28 × 40 Letter 8.5 × 11 Half letter 5.5 × 8.5 Government letter 8 × 10.5 (all measurements in inches)

26

Size

Width × Height (in)

Government legal  8.5 × 13 Legal 8.5 × 14 Legal 13" 8.5 × 13 Junior legal 5.0 × 8.0 Executive 7.25 × 10.5 Invoice 5.25 × 8.5 Commercial #10 4.125 × 9.5 Monarch 3.875 × 7.5 5 ×7 Card 5 × 7 4 ×  6 Card 4 × 6

ISO Formats Internationally, ISO (or DIN) standards are common. The aspect ratio of 1:√2 means that each format is always produced by halving the previous one. The measurements have a tolerance of a few millimetres in order to allow for folding, resulting in slight deviations. The ISO B series provides additional paper sizes while the ISO C series was defined for envelopes to fit the A series.

A7 A5 A6

A3 A4 A1

A2

Diagram of the A series formats, which build linearly on each other.

A Series ISO ISO ISO ISO ISO ISO ISO ISO ISO ISO ISO

A0 A1 A2 A3 A4 A5 A6 A7 A8 A9 A10

841 x 1,189 594 x 841 420 x 594 297 x 420 210 x 297 148 x 210 105 x 148 74 x 105 52 x 74 37 x 52 26 x 37

B Series

C Series

ISO ISO ISO ISO ISO ISO ISO ISO ISO ISO ISO

ISO C0 917 x 1,297 ISO C1 648 x 917 ISO C2 458 x 648 ISO C3 324 x 458 ISO C4 229 x 324 ISO C5 162 x 229 ISO C6 114 x 162 ISO C7 81 x 114 ISO C8 57 x 81 ISO C9 40 x 57 ISO C10 28 x 40

B0 1,000 x 1,414 B1 707 x 1,000 B2 500 x 707 B3 353 x 500 B4 250 x 353 B5 176 x 250 B6 125 x 176 B7 88 x 125 B8 62 x 88 B9 44 x 62 B10 31 x 44

(all measurements in millimetres)

27

Because the aspect ratios of the American paper sizes and the ISO norms are different, it’s not possible to transfer content from one to another without altering the margins. There are also a number of other sheet formats commonly used for books in offset printing. These sizes conform to an industry standard. Examples: Bond 22 × Book 39 × Cover 26 x Index 30.5 x Offset 38 x

17 in 25 in 20 in 25.5 in 25 in

Planning Planning — – Format Format

You don’t have to limit yourself to ANSI, ISO or DIN formats. We’re used to them – their proportions are familiar – but often they’re not particularly elegant. Even as slight a change as shortening the height can make a book seem more distinctive. On the other hand, some traditional formats have stood the test of time. Their dimensions may be related to the optimal use of space on the printed sheet – in other words, how many pages can be printed on a single sheet – or with the subsequent function and marketing of the book: a paperback has to be small-format so that you can read it while travelling or in bed; an opulent illustrated volume can have a bigger format, because you’re more likely to look at it on a table and the larger size makes it seem more upscale.

28

American book formats1 12 × 19 Folio 9.5 × 12 Quarto 8.25 × 11.5 Imperial octavo 7 × 11 Super octavo 6.5 × 10 Royal octavo 6.5 × 9.25 Medium octavo 6 × 9 Octavo 5.375 × 8 Crown octavo 5 × 7.375 Twelvemo 4 × 6.75 Sixteenmo 4 × 6.5 Eighteenmo 3.5 × 5.5 Thirty-twomo 2.5 × 4 Forty-eightmo 2 × 3 Sixty-fourmo

In Europe, China, and Japan, other standard formats are common for paper, which can easily lead to complications on international projects. (1)

42

In addition to questions of content and issues to do with design and function, technical criteria can also influence the format. Often it’s the budget that imposes limits: if you want to produce books cheaply, you have to use the printed sheet very efficiently. And if you’re going to mail out the publication, you should investigate the shipping costs of various formats beforehand in order to save money 2. With high print runs, for instance for a flyer or the first edition of a book, you can often get paper of the requisite size at a reasonable price because you’re buying in bulk – reprints at a lower quantity, however, can easily start getting expensive.

Shipping costs can, in certain cases, actually turn out more expensive than printing costs. (2)

This means that in some cases it’s better to settle on a standard format right from the start, or to use a paper the printer will keep in stock for various customers and which is therefore cheaper.

29

Paper

Planning – Paper

With each project, you have to make a fresh decision about what paper to use. The most critical considerations when choosing are functionality, effect and cost.

30

There are, of course, various criteria and technical arguments for or against particular kinds of stock, and these can help you choose your paper. Yet it is also conceivable that you will only achieve the effect you are looking for by not keeping to these criteria. There is no question that coated paper better supports delicate typography and images with fine gradations of tone than uncoated paper. Long texts, on the other hand, are easier to read when printed on off-white book paper, because it has less of a sheen and a more pleasant feel. If you are seeking the opposite effect – a plastic, artificial look – a high-gloss paper may be right for you. Papers can be categorized according to the following physical and technical criteria: • Composition • Surface texture • Weight, bulk • Colour, brightness, degree of whiteness • Lightfastness • Opacity • Machine direction Additionally, format, availability, delivery time and price can be crucial factors in deciding which stock to choose. With smaller print runs, price is less likely to tip the balance, whereas with larger ones a more expensive paper can raise production costs significantly.

31

Composition and manufacture

363 406

As a general rule, papers consist of organic fibres – i.e. cellulose or pulped wood – and in some types of paper, textile fibres known as ‘rag’ are incorporated. In addition to wood-free, wood-containing and rag papers, there are also some that include a percentage of recycled paper. Wood-free papers are manufactured almost entirely from cellulose fibres, and cannot contain more than 5 per cent wood fibres. They are largely of high quality and so well suited to high-quality printing projects.

Planning – Paper

Wood-containing papers are manufactured using wood pulp and tend to yellow relatively quickly. For this reason they are mainly used for throwaway products. Wood-containing papers often include fibres from recycled paper. Rag papers are of a particularly high quality, and are often used for products where extremely exacting standards are required, such as banknotes and security paper. They are highly durable and resistant to tearing, folding, weather and age. Recycled paper is manufactured from secondary fibres (waste paper). It often has a darker tone, but is sometimes lightened. Recycled papers are difficult to work with when bookbinding, because the fibres are very short and prone to breakage. All papers incorporate a mixture of fibres, adhesives and synthetic resins, as well as fillers like talc, plaster or chalk, and other supplementary materials, including dyes and brightening agents. A paper will have different characteristics depending on the proportions of these components: it may have a smooth, unbroken surface; it may be more or less transparent; it may be more or less soft, flexible, absorbent or abrasion resistant, and so on.

32

The tactile qualities of paper Surface texture

403

393

One decisive factor in selecting a paper is its surface texture, which can vary dramatically from stock to stock and which determines the look and feel of the paper. Depending on its surface, paper can be better or worse to print on, although an experienced printer can compensate for this by using specific inks. When paper comes out of a paper machine, it has a particular machine-finished texture, which is determined by the manufacturing process. Afterwards it is usually given a different finish or coating. Uncoated papers are minimally or unfinished, and have a matt surface that feels slightly rough. The pores between the fibres are relatively large – when you look closely you can pick out individual fibres on the surface of the paper. Uncoated papers make excellent surfaces for writing and stamping, but the colour reproduction is weaker when printing. Calendering can produce significantly improved results. Coated papers are finished with an application of adhesive – a process known as coating. This produces an even, unbroken surface that can be matt, semigloss or glossy, making it possible to reproduce a high level of detail during printing. Coated papers are thus particularly useful for demanding projects. They may be more or less heavily coated, and are available in different types, with specific characteristics to suit varying requirements.

33

Calendered paper: Uncoated and coated papers can be smoothed mechanically by being pressed through rollers. The paper that results – known as calendered paper – has a particularly smooth and glossy surface, although it comes in varying grades. Embossed papers have a relief-like texture that has been stamped on using steel rollers. This might be a delicate texture or a repeated motif; graphic patterns and imitations of natural materials are also possible.

378

Additionally coated paper: Some papers may be finished with plastics or varnishes to make them smudge- and waterproof, or to give them some other specialized surface. There are also special laminates and foils that can be applied to a paper after printing.

Planning – Paper

Roughness and smoothness Uncoated papers have a rough surface, while coated papers are more or less smooth, so when selecting a paper you should figure out how rough or smooth it can or should be. Both surface textures have their pros and cons, including how well they take printing, for example.

34

The visual characteristics of paper Colour, brightness and whiteness Colour and brightness are visual characteristics of paper that are always perceived in conjunction with each other. White paper can have a bluish, yellowish, reddish or greenish hue. Its brightness varies in intensity between white and black. Each hue gives the paper a different effect, and it is also important that this matches what is printed on it, because it may either support or interfere with the print. Cool, bluish papers, for instance, are particularly well suited to technical diagrams, while paper in a warm white goes well with images depicting skin tones. Whiteness is a measure of how much white light a paper reflects: on paper with a high degree of whiteness, the ink stands out more because of the strong contrast.

Opacity Low opacity

AA

Opacity refers to a paper’s lack of transparency. Opacity is low when it lets through a lot of light – meaning you can see the type or printed image on the other side of the page. The higher the opacity, the less transparent the paper. High opacity is achieved by adding more filler between the fibres of the paper, or by coating the paper. Colour and paper thickness can also affect opacity; a thicker paper is normally less seethrough than a thin one.

High opacity

35

Lightfastness Lightfastness tells you how well the colour of a paper will hold up when exposed to light for long periods of time – especially UV light. Coloured papers, in particular, are often not lightfast, and will change in colour if they are left in the light for extended periods; nor are white papers always lightfast. A paper will bleach or yellow depending on its composition, whether optical brightening agents were added, how long it is exposed and how powerful the light is.

The technical characteristics of paper

Planning – Paper

Paper weight The weight of paper, as mass per unit area, is expressed in grams per square metre (gsm, or grammage) in countries using the ISO system. Grammage is one way of distinguishing between paper, card stock and paperboard (or simply board), although the boundaries between them are fluid. Broadly speaking, whether we refer to a material as paper, card stock or board depends on its rigidity. Paper: 7 to 170 gsm (40 to 100 lb) Card stock: 170 to 200 gsm (50 to 130 lb or 8 to 16 pt) Thin paperboard: 200 to 500 gsm (70 to 140 pt) Thick paperboard: over 500 gsm (over 140 pt) In the United States and Canada, the older basis-weight system is used: a measure of the weight in pounds of an uncut 500-page ream of the given paper stock. There is no single ratio that can be used to convert gsm to basis weight, since different types of paper stock come in different uncut sizes. How high the weight should be depends on the requirements of the printed product. A thin paper might be too transparent, while a paper that is too thick might be hard to fold.

36

Bulk Besides the weight, the bulk of the paper is also crucial in determining how stiff the paper is and how it feels to the touch. Bulk is calculated as the ratio between paper thickness and weight. If their bulks differ, papers can be of different thicknesses even if they have the same weight. A typical stock of normal smoothness is generally considered to have an average bulk (1.0). If a paper has a higher bulk, its value will be more than 1 (1.25 up to 2.2). Papers with a lower bulk have a value lower than 1.

Examples:

High bulk

Average bulk

Low bulk

1.6

1

0.8

In a high-bulk paper stock the fibres are less densely packed, with lots of empty space in between. Highbulk stocks feel soft and are very absorbent. They are often used to make books with a low page count seem longer than they are. There are also papers whose fibres are very densely packed. They are lower in bulk than the average and therefore harder and less absorbent. This category includes parchment papers, super-calendered papers and papers with a heavy coating because the mass of the coating applied to the raw paper is often heavier than the paper itself. If you pick up a photo album, for instance, you can feel how much more a low-bulk paper weighs.

37

Considerations resulting from manufacture Machine direction When paper is manufactured, the pulp is applied to a wire mesh that passes rapidly through the machine in a particular direction. The fibres then run parallel to the direction in which the mesh travelled. This is called the machine or grain direction1.

Planning – Paper

All materials used in a book (endpapers, cover stock, board and so on) have to be correctly orientated, i.e. with grain direction parallel to the gutter. This also applies to pages or illustrations that are tipped in. (1)

At the end of this process, the paper is wound onto rolls and cut to different widths. Sheets with various machine directions can then be cut for printing.

Roll of paper

Long grain

Long grain

Short grain

Short grain Grain direction

38

Dimension specifications will always indicate the machine direction. For example: 100 x 70 cm is short grain 70 x 100 cm is long grain (2)

Even if you are just buying paper at a stationery store to print something out digitally and get it bound, you have to take the machine direction into account – otherwise the bound papers might crinkle and the finished product won’t open as neatly. (3)

Long grain: The machine direction of long-grain papers runs parallel to the longer side. Classic A4 (21 × 29.7 cm, 8¼ × 11¾ in) paper, for instance, is long grain². Short grain: With short-grain papers, the paper fibres run parallel to the shorter side. In working with paper, the machine direction – or grain – must be taken into account, whether you are simply making a fold-out brochure or you want to use one of the many bookbinding techniques available. Failure to do so may lead to problems with folding, gluing or turning the pages. Pages orientated with the wrong machine direction can crinkle or create unsightly folds when they get damp. This is because the damp paper fibres primarily expand widthwise and only minimally lengthwise. The machine direction of the paper must therefore always run parallel to the spine or folded edge³.

Paper fibres

Damp paper fibres

Papers are also more easily bent and folded with the grain, because this does not break the fibres. If you fold across the grain, you can end up with unsightly cracks along the folded edges. In book production, therefore, printed sheets are folded so that the last fold runs parallel to the machine direction. This makes the book open more neatly.

39

How to identify the machine direction Bend test

Planning – Paper

If you bend the paper first in one direction and then in the other, you will feel a distinct difference: when you bend it against the grain, the resistance is much greater than when you bend it with the grain.

Tear test If you tear the paper along the grain, you will end up with a smooth edge, while tearing against the grain will produce a frayed and crooked edge.

Fingernail test If you run the edge of the paper between the nails on your thumb and forefinger, the paper will curl less with the grain and more against the grain.

40

Fold test If you fold a sheet with the grain you will get a smoother crease than if you fold it against the grain, which will break the fibres. This is because the grain is parallel to the smooth crease. This method is particularly suitable for thick papers and card stock.

Moisture test If you moisten the paper across its surface or just around the edges, the fibres will swell, placing the sheet under tension: it will curl and crinkle against the grain more than when parallel to the grain.

Moisture

41

Printed sheets

Planning — Printed sheets

The printed sheet is the foundation and starting point for any printed product – no matter whether you are creating a simple flyer or binding a whole book.

42

Manufacturing printed sheets: general principles A printed sheet is the entire sheet of printed paper on which the individual pages of a multi-page publication – or multiple iterations of the same image, if the product is a postcard or something similar – are positioned. The untrimmed printed sheet is considerably larger than the end result, because other information must be included in addition to the print area itself. These elements are important for the printer, enabling them to check the print quality, and for the binder, who does the next phase of work on the book. After printing, the sheet is folded and trimmed.

Imposition Imposition is a step that takes place before printing; it establishes how the individual pages of a publication will be arranged on the printed sheet. Pages are not set out in a line, one after the other; rather, they follow a specific pattern determined by the way in which the printed sheet will be subsequently folded into a signature¹. Imposition takes into account the following factors: 1. How the sheet will be folded 2. The number of pages 3. The number of printed sheets for the whole publication

5

4

3

6

8

1

2

7

Front

Back

4 Folded once

43

5

1 Folded sheet

What is crucial is that all the pages in a book can be divided evenly across the printed sheets2. A single sheet will fit at least 4 pages, and other common sizes can fit 8, 12, 16, 24, 32 or even 64 pages. The total number of pages must be divisible by the number of pages per sheet. An 80-page book could have 5 sheets with 16 pages on each; if the pages were especially large, however, this might require the use of 10 sheets of 8 pages instead.

Files for printing should always be generated as a PDF of single pages.(1) At the point where one sheet changes to the next, there may be colour deviations in double-page images or misalignments across the gutter. (2)

36

Planning – Printed sheets

47 48

It’s essentially about arranging the maximum possible number of pages on a single printed sheet in order to make the most efficient use of space. This avoids any empty pages on the final folded sheet. The number of pages that can be arranged on a sheet also depends on its weight – the denser the paper, the less often it should be folded. Imposition is usually done digitally by the printer using special software. They will also position other important elements on the sheet, including crop marks, registration marks and fold marks. After folding and trimming, the pages should be in the correct order. Sheets used in printing books are traditionally folded with three cross folds (also called right-angle folds) to form an octavo: a signature with 16 pages and 8 leaves. Each leaf is therefore one eighth the size of the basic sheet. A sheet may be folded more or fewer than three times, creating signatures with different page counts. These terms are independent of size.

4 pages, 1 cross fold = folio 8 pages, 2 cross folds = quarto 16 pages, 3 cross folds = octavo

Right: Several gathered, still untrimmed, folded sheets. The protruding edges and folding perforation can be clearly seen.

44

The layout of a printed sheet In addition to the printed pages themselves, the sheet must include other pieces of information that will aid in the printing process. These also take up space. As a general rule of thumb, they will be added by the printer rather than the designer; nonetheless, designers should still bear in mind the need for extra space. It may prove important if you are trying to make cost-effective use of the space on the sheet. Normally, the sheet is printed on both sides.

Planning – Printed sheets

These additional pieces of information include colour bars, crop marks, fold marks, registration marks, collating marks and signature marks. There should also be space for the so-called gripper edge, which is the area of the paper caught by the press and used to feed the paper through the machine.

Gripper edge Crop marks

Fold marks

Final size

Lay edge

Type area (or print space)

Registration marks

Collating marks

Colour bar Signature mark/page information

46

Crop marks and bleed area After printing and folding, the page is cropped down to the right size. In order to do this, the binder needs crop marks, which are placed at the corners of the page at its final dimensions.

Bleed

Crop marks

Final size

3 mm (1/8 in) bleed area

395

Printed sheets cannot be folded down to the halfmillimetre. In order to avoid issues with imprecise folds or creep, which might result in unwanted white space, the document should incorporate a 3 mm (1/8 in) edge called a bleed area, into which full-page images and flat colours can overrun.

47

Registration marks Errors in registration are more common with traditional printing processes than with digital printing. (3)

Planning – Printed sheets

Normally the printer will add the registration marks, but the designer can also generate them when building printready PDFs. It is best to discuss this in advance. (4)

Misaligned registration marks

If you are printing with more than one colour, the individual colours must be overlaid very precisely to avoid any unsightly white space and to make sure the image does not look blurry or indistinct3. Registration marks are used to check for this sort of error4. These marks are shaped like cross hairs and sit outside the print space on the sheet. For each colour, the cross hairs are printed on the exact same spot – on top of each other – on the printed sheet. Depending on the process used, the registration can vary significantly. With digital printing, for instance, it is considerably more precise than with screen printing. This is because the paper remains motionless with digital printing, whereas with screen printing the paper and printed image can easily become misaligned due to the pressure on the screen.

CMYK registration marks

Fold marks Fold marks tell binders where they should fold the printed sheet. In publications with multiple pages, fold marks are automatically added by the imposition software at the pre-press stage.

Fold marks

48

Collating marks Collating marks help the binder check whether the printed sheets have been gathered into the correct sequence after folding. These black bars, measuring three to four points wide, are visible down the spines of the signatures, and each one is in a different position. When the collating marks form a stepwise sequence, the folded sheets are in the correct order. This means transposed or missing signatures are easy to spot. Collating marks

Like fold marks, collating marks are added auto­ matically by the imposition software at the printer.

49

Signature marks/page information

392

Another way of checking that the folded sheets are in the correct order is to look at the signature mark. It is situated outside the bleed, and usually consists of the signature number and the brief title of the project.

Colour bars The colour bar sits at the edge of the sheet and contains various squares of colour that can be used to visually and digitally check the quality of the print. It is created during plate exposure.

Planning – Printed sheets

Greyscale

Colour gradation

Useful information: The printed sheet Creep When the printed sheets are folded into signatures, they shift so that the inner pages jut out more along the fore-edge than the outer ones. The characteristic stepping pattern is called creep. Usually the binder will trim the paper along its edge to an appropriate length. Because the interior pages then end up being narrower and the outer ones gradually wider, the print space can shift – especially with single-section books that have a high page count. This must be compensated for in the layout by widening the gutter outward page by page

50

until the print spaces are aligned again. Usually the printer will do this using relevant software.

Creep Before trimming

After trimming

Doubling the image in the gutter There are no hard and fast rules about increasing the width of the margin in the gutter, because how much of the type area gets swallowed up depends on the binding style and the thickness of the book. It is best to discuss this with the printer in advance. (5)

If you are using a binding style where the pages do not open all the way to the spine – as with a magazine, for instance – then the gutter will often conceal some of the images in a double-page spread. Even if only a few millimetres are missing, it can spoil the whole effect. This phenomenon tends to be more pronounced with side stitching, perfect binding and springback binders. Doubling part of the image in the gutter margin can reveal the missing centre of a spread. Simply shift each half of the image a few millimetres away from the gutter and extend the edge of the image frame back towards it, creating a slight doubling effect. The more image lost in the spine, the more of it should be doubled; usually 3 to 5 mm (1/8 – 1/5 in) on either side works well5.

3 mm (1/8 in) width increase

51

Registration The registration determines whether the grid and the edges of the type area on the front and reverse of a printed sheet are correctly superimposed. If you hold the sheet up to the light, you can see how closely the two sides match6.

Planning – Printed sheets

Accurate registration is especially important with books that feature a lot of text and paper that is easy to see through – it is very distracting when the lines of text showing through from the reverse of the page are not sitting on precisely the same baseline. (6)

52

Useful information: Book blocks Book-block thickness Books with a particularly high page count – those with a block or spine thickness of more than 5 cm (2 in) – are very difficult to work with. Bookbinders will frequently give a maximum block thickness for their production lines. It is best to agree a maximum extent with the binder in advance7.

Voluminous papers are often made thinner by the printing process, meaning that dummy book blocks tend to be thicker than the final printed book.(7)

Dummies We highly recommend that you get a dummy made prior to binding for every print project. It is possible to calculate the block thickness using formulae, but other aspects, such as functionality, surface feel and weight, are easier to judge with a dummy, particularly with hard- and softcover books8.

Publications with a high page count and lots of colour, on the other hand, can end up being 1 or 2 mm (up to 1/12 in) thicker than the dummy. It may be better to size slipcases after printing, or simply to allow for a thicker book block.(8)

The title on the spine

C

C B A

AB

ABC

C B A

A B ABC C

Fig. 2

ABC

Fig. 1

Depending on the country of publication, the title will be positioned differently on the spine. In books published in English (Fig. 1), the title runs from top to bottom, whereas in Germany, France, Spain, Italy and Russia (Fig. 2) it virtually always runs bottom to top. If the book is too large to stand upright on a bookshelf, however, even German-language books will position the title and author running from top to bottom (Fig. 3), ensuring that the cover will be face up.

ABC

53

Fig. 3

Planning – Printing and binding

The printing process and binding styles Using certain printing processes and binding styles in combination can sometimes lead to undesirable effects, such as cracking along the folds or ink scuffing. These problems can be avoided by keeping both the printer and binder in the loop and ensuring the various processes are compatible.

54

407 394

141 149 408

399 362 36

150 360

378

How well a book can be bound also depends on the way it was printed: not every printing process can be straightforwardly combined with every binding technique. Whatever you do, you may well run into trouble if you print full-bleed images opposite an unprinted surface – the ink can easily transfer onto the white paper on press or during trimming, a problem known as set-off. If you are using coated or varnished paper, folding can split the coating and make it flake off, leaving a white line on the printed surface. This also depends on how well the paper holds coating – with good-quality paper, the coating is less likely to crack. If the paper is varnished all over, the glue may not adhere properly if you are using perfect binding with cold glue. In offset printing, sheets of various sizes can be printed, although the standard is 70 x 100 cm (27 ½ x 39 3/8 in). With this size you can bind books in any style, and you can use papers of various grammages (weights) and qualities – from thin India paper to thick board for book covers – which will then have an effect on the binding: extremely thick papers are not easy to work with. Very thick papers can only be bound as single pages using PUR adhesive, and uncoated papers need a long drying period after printing. With digital printing, printed sheets can cause trouble when binding if dry rather than liquid toner was used: sheets printed with dry toner have such a high level of wax or silicone that the glue in a perfect binding may not hold. Paper put through the stresses of digital printing is also difficult to laminate or foil. Digital printing with liquid toner, however, comes closest to offset printing in terms of quality, and is therefore often used for small print runs of photography books. Because liquid toners require less heat, the paper is less likely to crinkle or warp. The process is rather costly, as the inks are very expensive. Paper used for this kind of printing cannot be recycled either, because the ink cannot be lifted off it.

55

It is always best to let the binder know exactly how the printed product was made. There are also binders who specialize in one-stop printing and binding ‘on demand’, which can head off many problems in advance. If you are looking to print and bind a small run as cheaply as possible you will probably go for a standard format of some kind in terms of dimensions or layout. If you’ve plumped for digital printing, you should bear in mind that it does not yet work with all weights and types of paper.

Planning – Printing and binding

Inkjet printing is also a possibility for large formats, both as web-fed and sheet-fed printing. This means, for instance, that thin paper can be printed in four colours on both sides, which would be difficult to do with offset printing. Paper printed on inkjet presses must be sufficiently dry before binding, and care must be taken to ensure that it does not warp during the printing process. Screen printing is often used to print jackets or covers, and even difficult materials can be printed using this technique. The inks tend to be very scuff-prone, however, and can rub off onto conveyor belts, for instance. You should discuss this early on with the printer and binder, and do a few test runs to avoid complaints and disappointments further down the line. The principle of risographic printing is similar to that of screen printing. It is relatively environmentally friendly, because the toner is not as toxic as with laser printing, for instance, and the process does not require heat and solvent. It is especially well suited to uncoated papers. Because only formats up to A3+ (33 x 48.3 cm, 13 x 19 in) can be printed, the possibilities as regards bookbinding are limited: the sheets can be bound, for 141 121  instance, with perfect binding or saddle stitching.

56

Industrial and hand bookbinding Aside from industrial binding, which is fully automated and can produce high volumes, bookbinding can also be done by hand. Smaller runs with many intermediate steps can be bound in this manner. Depending on the production run, the process and the cost constraints, a project may be best suited to either industrial or manual bookbinding, although they may sometimes be combined.

57

Binderies that work by hand often specialize in producing individual, valuable or special books, slipcases, portfolios and book objects with a print run of a single item. They also repair damaged books or rebind them. Many steps in the process are done by hand or with mechanical devices that are operated by hand, such as scoring machines, sewing machines or guillotines, with the bookbinder carrying the block of paper from station to station.

Planning – Industrial and hand bookbinding

Manual bookbinding can implement almost any idea, because it is not reliant on the specifications and dimensions of machines; any steps done by hand leave plenty of room for creativity. Large print runs can get expensive, however – each bound book requires additional (manual) labour, thereby increasing the cost.

195 141 374

399

Some binding techniques can only be done by hand rather than at an industrial bindery. Japanese stab binding by hand uses thread, for instance, but on an industrial level a form of perfect binding must be used as an alternative. Real leather is also difficult to work with industrially. In these cases, print run, aesthetics and cost must be weighed against each other. In industrial binderies, books are produced on a long production line, with virtually no steps done by hand. Not everything can be done by machines, however: gathering individual pages or lining up certain formats, for example, often cannot be fully automated. The more steps that need to be done by hand, the more expensive the book. Normally, industrial binderies also have mechanical binding machines they’ll use to bind dummies, for instance – it would be too expensive to set up the whole production line in the right format for a single copy.

185

Certain binding styles offer the opportunity to work with both an industrial and a manual bindery. Some steps, like folding, can be done more quickly and costeffectively at an industrial bindery, while a special style like singer-sewn binding is best left to a manual bindery. There are also binderies that focus on offering both at a high level of quality. As a designer, it can be worth

58

taking such considerations into account when planning a publication. Sometimes it is not easy to tell which steps can be done industrially and which cannot. There are some products that are difficult to create industrially – they might be too big for the stitching machine, or the product may perhaps need to be turned around by hand at a certain point in the process – although this may not be obvious at first glance. It is best to discuss the production process with the bindery early on.

59

Planning – Production

How does the production process work? It is immensely helpful to know how the process of book production works. You can then check the quality more effectively, avoid mistakes and influence the whole process in a positive way.

60

Once you’ve come up with a concept for a publication, you need to choose materials and a printing and binding style – and you should discuss this with the printer and binder early on. Whose task it is to gather estimates and quotes depends on how the work is divided up: on smaller teams it may fall to the designer, while on larger products it will be the job of the production department.

396 392

With expensive or atypical publications it is especially helpful to get a dummy made up by the binder or printer. Dummies provide more information about the block thickness, the book’s functionality, and any potential difficulties (how particular materials interact, for instance). It is important to bear in mind, however, that dummies are nearly always produced by hand and are therefore not necessarily accurate down to the last detail. You can now get on with designing the publication. Be sure to include the printer and binder in the process, as they will be ordering and preparing the materials. The print-ready files will then be delivered to the printer by you (the designer), from the agency or from the publisher.

Instead of ozalids or plotter proofs, the older term ‘blues’ is frequently used.(1)

405

401

Before exposing the plates, the printer will produce a set of plotter proofs or ozalids (which are not accurate for colour)1. These are proofs that designers, publishers, editors and anybody else can use to run visual checks. Using the plotters, which will not be printed on the correct paper, you can check the imposition – i.e. the sequence of pages – and see whether all the elements are positioned accurately on the page.

394

You can also get a colour proof done, which is a colouraccurate (usually digital) print. If you only proof certain images, the result is called a scatter proof. The printer then uses this as a reference so that they can make small adjustments to the colours on press.

61

Quality control during the production process

Coming up with a concept Sample materials Handmade samples

Choosing a format 24 Choosing a paper 30 Binding style 6 Design specifications 358

Concept into reality Dummies Proofs Printing on final materials

Design Layout Setting Proofreading

Planning – Production

Printing Colour proofs Plotters (blues/ ozalids) Press proofs Folded and gathered sheets

Pre-press Lithographic printing Printing 54

Post-press Folding pattern Advances

Shipping to a test address

62

Folding 96 Binding 121 Softcovers 256 Hardcovers 332 Design specifications 358 Packaging 23

Shipping

As soon as the printer has been given approval to print, the process begins. As the client you generally get the opportunity to be involved in proofing to make sure that you are happy with the quality and print reproduction. This is important in printing art, for example, because even slight deviations in colour can make the finished product look profoundly different from the desired result. Do not leave too much time between producing the case and inserting the contents because the case may warp. (2)

332

381

The binder can get started at the same time. With a traditional hardcover book, the case will be printed, manufactured and finished2. Some printers also provide a binding service, while others leave that to external binderies. Many printers also offer additional services, including varnishing or laminating interior pages or jackets. If you have a specific request, however, the printer may have to hand the printed sheets over to an external bookbinder, raising the cost significantly. Once the printing process is complete, there is more work to be done on the printed sheets. If it is a poster, the sheets will simply be trimmed. With a book, the sheets must be folded to size and arranged in the correct order.

392

How the binder then proceeds depends on which binding style you have chosen. With a traditional hardcover book, for instance, the book block will be bound, trimmed and inserted into the case. With a softcover book, the block will be bound (in whatever style) directly into the cover and both will be trimmed together. After binding, clients are usually sent a few advance copies before the official date of publication. This is a final opportunity to check whether the product has been manufactured according to specification and whether it is of satisfactory quality. Last but not least, the books are packed and shipped.

63

Planning – Books on demand

Books on demand The notion of ‘books on demand’, whereby clients can order books to be produced as single copies, has been gaining currency in recent years. These books are digitally printed, machinebound and then distributed. This service is used both by self-publishers and traditional publishing houses.

64

Because providers of these on-demand services can produce individual copies, publishers can reprint their books in small numbers, enabling them to keep their whole backlist constantly available. One particular reason why this is significant is because copyright reverts back to the author from the publisher if a book has been out of print for a particular length of time. On-demand printing also means that reference texts can be kept up to date and books that are out of print can be rapidly brought back onto the market. Many publishing houses will produce an eBook first, then print copies to order if it sells well – the key phrase here being ‘eBook first’. Printing small runs or even individual copies to order will save on storage costs, and avoids the risk of having to shred unsold books. Digital printing also allows books to be personalized, meaning that pages can be printed with custom text and images; there are children’s books, for example, where purchasers can choose the name of the main character. Collating and binding a publication to target a particular group or audience is called selective binding, and it enables publishers to swap out parts of the sheet, or to add inserts. Self-publishers, too, can minimize their financial risk with small print runs. No longer do they have to pay in advance for offset printers to print in bulk, or pay warehouses to store their books. Distribution primarily takes place online and is undertaken by the large ondemand publishers – as is the design of the book. Providers of on-demand services operate production lines in which the books are printed and bound in a single pass. Often, a barcode will be used for identification so that the correct cover is wrapped automatically around the book. To make the process economically viable, it has to be highly standardized: most publications are produced in standard formats using perfect binding. There are only a few choices of format and paper on offer, because on-demand publishers get bulk discounts on materials and it is cheaper if they do not have to keep adjusting their machines. This is how they keep production costs low.

65

378

Textbooks are digitally printed with dry toner or in inkjet presses, which limits them in terms of colour – special colours, for example, are impossible. The final bound books are often gloss or matt laminated, while other design elements are generally too complex and expensive for such publications. Logistics also play a major role in on-demand projects; companies will often have software that details the specifications of a book and its production history. Turning an eBook into a hard copy is usually a fully automated process that does not require the involvement of a designer.

Planning – Books on demand

171 161

Photography books are an exception to the on-demand market, as they need a rather more extravagant feel and thus cannot be manufactured as economically as other books. Some companies specialize in producing photography books in small runs, offering additional binding styles like thread sewing or lay-flat binding, and various formats, design elements and finishes. Photography books are usually digitally printed using liquid toner, which achieves a high level of quality that resembles offset printing. This process is, however, relatively costly.

66

Estimates If you are planning a publication, it is crucial you produce a request for an estimate, laying out the printing and binding specifications in detail. This will form the basis of your communication with the printer and allow you to compare quotes.

67

Request for a print estimate Object/project name Hardcover, softcover, flyer, leaflet, poster, etc. Binding technique, treatment Perfect binding, thread sewing, etc. + cover style (hardcover, softcover with flaps, etc.) or folding style (with flyers, leaflets or posters) In the context of art, height is usually given before width, but this is dealt with differently from country to country. To be on the safe side, it is always best to specify portrait or landscape.

Planning – Estimates

Examples: 17 x 24 cm (6¾ x 9½ in) (portrait) 24 x 17 cm (9½ x 6¾ in) (landscape) (1)

Format Width x height in millimetres/centimetres or inches1 Closed final format or open format Extent Interior: page count Jacket/cover: page count Flaps: folding in or out Print run Total number of copies (and any subdivisions within that, for example if there are different languages) Materials, paper Interior: type or particular brand/manufacturer, weight (in gsm or basis weight), bulk Jacket/cover: type or particular brand/manufacturer, weight (in gsm or basis weight), bulk Printing, inks Printing: 1- or multi-colour, CMYK or spot colours, varnish Variations for interior and jacket/cover, e.g. interior: 4/4-colour (CMYK) cover: 4/4-colour (CMYK) Additional treatment E.g. embossing, grooving, scoring, perforation, protective film, etc. Inserts E.g. adding a sample or a postcard

68

Packaging E.g. shrink-wrapping, wrapping in paper or packing in cardboard/boxes Run-on/run-back price (please calculate) Run-on (interior), e.g. for 8+ pages Run-back price (interior), e.g. for -8 pages Production Method of print-file delivery (file format) 405 394

Schedule Estimate Creation of image proofs Files to printer Creation and approval of plotter proofs On press Printed sheets delivered to bindery Folded and gathered sheets delivered Advances delivered Final product delivered

For books and magazines with full-bleed images you should order slightly larger paper, because you need to take into account the gripper edge for the printing press. If you are on a tight budget, it is best to think about purchasing paper at the conception stage of the process. Standard formats tend to be most cost-effective. (2)

Normally the printer or binder will calculate how much paper is needed for a project. However, the designer should also be aware that certain printing techniques require additional paper – with offset printing, for example, you need trial sheets in order to fine-tune the machine. Depending on what you are printing, this could be up to 1,000 sheets. (3)

Delivery of plotter proofs (Analogue or digital) A colour proof, if required

Place of delivery, address Including locations for part-delivery, where relevant Test delivery, if shipping conditions are problematic

Paper order

36 24 38 39

Paper Specify the brand/manufacturer, weight (in gsm or basis weight)2 Bulk, format, grain direction (long grain or short grain) Quantity In sheets or tons3 (separate interior pages from the jacket/cover) Delivery date, place of delivery, address

69

Request for a binding estimate4 Object/project name Hardcover, softcover

Ordinarily the printer will deal with the bindery. On complex projects, however, it is often a good idea to coordinate directly with the bindery and clarify questions in advance. (4)

Planning – Estimates

If you are after something complex (special folds, jackets or similar), it is worth sending a sketch or sample with the estimate request. (5)

Format Width x height in millimetres/centimetres or inches Closed final format or open format Format of the printed sheet

376 411

Extent Interior: page count Jacket/cover: page count Flaps: folding in or out List any special requests: fold-outs or folding plates, tipped-in pages Print run Total number of copies (and any subdivisions within that, for example if there are different languages)

Binding style 141 171  Perfect binding, thread sewing, etc. 6

Materials, paper Interior: type or particular brand/manufacturer, weight (in gsm or basis weight), bulk Type of binding, binding material Jacket/cover: type and material Weight (in gsm or basis weight), bulk5 344 367 256 374

Hardcover: half-cloth, cloth binding, etc. + type of cloth, paper, etc. Softcover: standard softcover, detached spine, etc. + type of cover material

Design elements 365 360  Endpapers: uncoated paper, min. 120 gsm (80 lb text weight) 375 386  Head and tail bands, ribbon (colour) 377 386 Coloured edges, gilt edges, rounded corners

70

Dummy Yes/no Packaging E.g. shrink-wrapping, wrapping in paper or packing in cardboard/boxes

Schedule Estimate Dummy Delivery of the untrimmed sheets/printed sheets Delivery and number of advance copies Delivery of the bulk

Delivery Delivery on pallets, carton height on pallets and other delivery specifications

Place of delivery, address Including any other addresses

71

What happens in a bindery

Trimming/ folding/ finishing the cover/ jacket

Printed sheets

Softcover  256

Planning – What happens in a bindery

Trimming

Single page Folding/ trimming to size

Gathering Sheet

Trimming Folded sheet

Hardcover  332

Web (roll)

Making/ finishing the cases

72

Trimming the book

Binding

Binding the book block

Finished book

Optional protective jacket

Trimming

Trimming the book block

73

Inserting into the case

Equipment and finishing

Wrapping the cover around the book block

Matthew Barney Designer: WIGEL Manufacturer: Sellier Publisher: Kunstverlag Ingvild Goetz Extent: 240 pages Format: 175 x 245 mm (6 7/8 x 9 5/8 in)

171 346

377

The interesting thing about this threadsewn full-bound book is its cover material, an exceptionally silky, crumpled fabric with a strong texture. The effect is enhanced by light-blue edge colouring.

The book as an objet d’art On our travels through the world of books, we regularly find examples that offer exciting interpretations of the notion of bookbinding. We’ve featured some of them here.

75

The Timeless and the Timely: Essays, Lectures, Conversations 1900–1938 Designers: Bernd Kuchenbeiser with Christian Lange Printer: Memminger MedienCentrum Binder: Buchbinderei Lachenmaier Publisher: Dölling und Galitz Extent: 1,152 pages Format: 145 x 232 mm (5 ¾ x 9 1/8 in)

404

This hefty 1,152-page collected volume of texts by the designer Peter Behrens is easy to open and lays flat, despite a spine width of nearly 8 centimetres (3 1/8 in). Bernd Kuchenbeiser came up with a simple and highly effective idea to make this happen: the flat spine is scored down the middle, minimizing strain on the joints while opening and allowing the book to lie flat.

Tragic Viewing 171 Designer: Jenny Hasselbach Printer: Buchfabrik Halle Binder: Friederike von Hellermann Extent: 320 pages Format: 140 x 210 mm (5 ½ x 8 ¼ in) 377

This thread-sewn book, about the way in which the 2011 tsunami in Japan was instantly broadcast and discussed on social media, features a rising crosssection of blue that was screen-printed on the interior pages and coloured along the edges of the book.

A Well Respected Man, or The Book of Echoes Designer: Julia Born Printer: Pöge Druck Binder: Buchbinderei Mönch Publisher: Sternberg Press Extent: 140 pages Format: 217 x 270 mm (8 ½ x 10 5/8 in)

121

The book has a simple saddle-stitch binding and cardstock cover with spine. Pages of varying size inside the book block create different levels and make the book stand out.

Een Eis van Helderheid 181 Designer: Studio Wilfredtimo Manufacturer: Netzodruk Groningen Extent: 80 pages Format: 130 x 160 mm (5 1/8 x 6 ¼ in)

This book, saddle-sewn with thread, has an unusual cover: it consists of solid lead covered with buckram. The lead makes the book abnormally heavy; it is flexible, and keeps whatever shape it is given.

Kader Attia, Transformations 121 332 Designer: Studio Quentin Walesch Printer: Pöge Druck Binder: Buchbinderei Mönch 399 Publisher: Spector Books Extent: 224 pages Format: 233 x 310 mm (9 1/8 x 12 ¼ in)

This book was saddle stitched into a hard case. The interior pages have not been trimmed at the front, creating a stepwise fore-edge.

Love For The Real Thing Designer: Dagny Nowak and Daniel Szwed Manufacturer: Mos´ & Łuczak Printing House, Poznan´ Extent: 180 pages Format: 150 x 225 mm (5 7/8 x 8 7/8 in)

171 304 386

The thread-sewn, back-stripped book block of this catalogue for the Arsenał Gallery, Poznan, has – in a technique similar to Swiss binding – been glued into a case covered with cloth on the inside. It has a rounded spine.

Art of Change Designer: Hato Printer: MM Artbook printing & repro Binder: Buchbinderei Schwind Extent: 152 pages Format: 170 x 240 mm (6 ¾ x 9 ½ in)

141 399

This perfect-bound catalogue, for the exhibition ‘Art of Change: New Directions from China’ is folded once down the middle, yet nonetheless has a straight foreedge when closed. To achieve this, each page of the catalogue has slightly different dimensions.

The Academy, Art, Professors 171 256 Designer: PARAT.cc, Jonas Beuchert, Tilman Schlevogt Manufacturer: Rösler Druck 399 Publisher: Modo Verlag Extent: 356 pages Format: 160 x 210 mm (6 ¼ x 8 ¼ in)

The content of this thread-sewn softcover is split into three parts, each of which uses different paper and has a fore-edge trimmed at a different angle. Together, these three sections form a highly unusual book block.

Decoding + Recoding Designer: Rob van Hoesel Manufacturer: NPN printers Extent: 109 pages Format: 150 x 230 mm (5 7/8 x 9 in)

141 312

This book, produced for the first Graphic Design Festival in Breda, is a perfect-bound softcover with a detached spine. The cover is folded on the diagonal to emphasize the book as physical object.

Chicks on Speed Design: Alex Murray-Leslie, Melissa Logan, Walter Schönauer Manufacturer: Toppan Printing, Hong Kong Publisher: Booth-Clibborn Editions Extent: 228 pages Format: 279.4 x 350.5 mm (11 x 13 ¾ in)

171 322

376

This book, by the band Chicks on Speed, consists of 14 thread-sewn sections gathered and board-bound – each section has a different asymmetrical format, each produced with a different cutting die. A variety of paper stocks and fold-outs are also featured throughout the publication.

Design Reaktor Berlin 121 Designer: Onlab Manufacturer: Ruksaldruck Publisher: Verlag der Universität der Künste Berlin 107 Extent: 172 pages Format: 147 x 225 mm (5 ¾ x 8 7/8 in)

These five saddle-stitched booklets, which document a research project at the Universität der Künste Berlin (the Berlin University of the Arts), are bound into a connecting cover folded into a zigzag shape.

94

Binding techniques

95

Binding techniques – Folding

Folding Folding can be one step in the production process of the bindery, where large printed sheets are folded to create smaller pages. Or a sheet can be folded to create the end product directly, as with a flyer, accordion leaflet or newspaper.

96

99 24

107

Folds are accurate to about +/- 0.5 mm (1/50 in). Slight deviations are almost impossible to prevent. (1)

72 46

392 38

When paper is folded, it is bent then creased sharply along a straight line: the fold. In a folding machine this usually happens between rollers that shape the paper so that the fold is irreversible and the paper will not reopen. Although folding is nearly always automated, some steps may have to be done by hand, depending on the type of fold and format – especially when you are dealing with nonstandard variants. Certain types of fold can create the final product without any need for binding or addition treatment. Often only a few steps are needed to produce flyers, folders, maps or accordion leaflets. Several folded sheets can, for instance, be interleaved to create a newspaper. Folding¹, however, is also a step in the process of bookbinding: generally speaking, large printed sheets are folded into smaller signatures – following a particular folding pattern – then gathered into the correct order to produce a book block. The final fold should always follow the grain direction of the paper, because otherwise the folded sheet will reopen of its own accord and the damp glue will make the pages curl². After binding, the book block is trimmed, allowing the folded pages to be opened.

Thickness, extent

26

Usually, cut paper sheets are used for folding. The number of pages created from a single sheet depends on the sheet format and style of folding: in sheet offset printing, 32 pages is the maximum, while on a rotary press up to 96 pages is possible.

97

Materials If you are going to bind the folded sheets, you need to make sure the grain direction runs parallel to the gutter. (2)

412 405

Binding techniques – Folding

381

Paper: The weight of paper and the number of folds should be considered together. The paper mustn’t be too thick or folded too many times or unsightly wrinkles will occur. In order to avoid this, the sheets are partly perforated along the fold line, allowing air to escape. Printing ink: With heavy papers, the paper fibres – and therefore the ink printed on them – can occasionally tear along the fold. The resulting white lines and flakes along the tear are particularly unsightly across illustrations or panels of colour. Papers with a weight upwards of approximately 250 gsm (or a basis weight of 170 lb) that are prone to damage are therefore scored or grooved either before folding or by scoring wheels in the folding machine. The surface of uncoated and matt-coated papers can chafe in the folding machine, leading to shiny spots and smeared ink. Use of a protective coating or UV inks is most helpful in combatting this.

Timescale

412

Most standard folds can be done by machine. Large web-fed presses and modern digital printing systems include integrated folding machines, meaning that the sheets are printed and folded in a single pass. Unusual folds may require certain steps to be done by hand – for instance if the pages need to be specially collated or cut – which can prolong the production process.

Costs, print runs Folding needs no additional materials – the cost depends on how expensive it is to adjust the folding machine for the required fold. This means that small print runs, in particular, can rapidly become expensive. Any steps needing to be done by hand also make folding more costly.

98

There are essentially three standard kinds of fold:

101

Parallel folds All folds run parallel; used when manufacturing items such as flyers, folders or accordion leaflets.

109

Cross folds (also called right-angle folds) Each fold runs perpendicular to the last; used primarily when folding printed sheets.

113

Combination folds Parallel and cross folds can also be combined; used mainly when folding printed sheets to create 12 or 24 pages.

99

100

Binding techniques – Folding

Parallel folds The simplest form of folding is the parallel fold, in which all folds run parallel. This style is used predominantly for items such as maps, folders and advertising materials.

101

Asymmetrical fold  103

Multi-sheet fold  104

Binding techniques – Folding

Single fold 103

Roll fold  104

Open gate fold  106

Double parallel fold  105

Accordion fold  107

102

Gate fold  106

Stepped fold  107

Single fold 44

One symmetrical fold down the centre of the sheet produces four pages.

Variant: Asymmetrical fold There may sometimes be aesthetic or technical production reasons to fold the sheet asymmetrically, i.e. off-centre.

402

If the sheets are going to be run through threadsewing machines or saddle stitchers, for instance, then they are often folded slightly asymmetrically, so that the front or rear part of the sheet projects out a few millimetres. This lap enables the machines to grip and move the paper more effectively.

Low folio lap

103

High folio lap

Normally sheets are folded individually before being gathered. In web-fed rotary printing machines, several webs or sheets can be folded at once. (1)

Multi-sheet fold

407

Folding machines can also fold several sheets at once, creating sections. This expedites the process¹.

Binding techniques – Folding

Roll fold To make sure they fit neatly, the sections of the sheet that are folded inward when roll-folding should be shorter than the others – 3 mm (1/8 in) is standard. It is best to determine the format in advance and discuss it with the printer or binder. (2)

With this kind of parallel fold, each panel is folded in the same direction around an inner panel of the sheet as though ‘rolled’ around it². With two parallel folds, a single sheet can produce three panels and six pages – a three-panel roll fold, or ‘tri-fold’.

Three-panel roll fold, giving three panels and six pages

Four-panel roll fold, giving four panels and eight pages

104

The double parallel fold is also used in book production to improve registration in illustrations across double-page spreads.(3)

Double parallel fold (Parallel centre fold, quarter fold) A double parallel fold is made by folding the sheet twice down the centre in the same direction, doubling the number of pages with each fold³. Additional parallel folds can also be made.

Triple parallel fold

Triple parallel fold

Combination of a parallel fold and roll fold



105

Gate fold (window fold) The panels should be at least 2 to 3 mm (1/12 – 1/8 in) away from each other in the centre. Otherwise the paper can easily become dog-eared.(4)

A gate fold, or window fold, gets its name from its resemblance to two-door gates or window shutters. The outer panels are folded towards the centre like flaps, but the pages do not overlap or touch each other⁴. The sheet can then be opened to the left and right like a window. This fold is often used for creating folders.

Binding techniques – Folding

This gate fold has three creases, giving six pages.

This closed gate fold has an additional fold in the middle of the sheet, giving four creases and eight pages.

Open gate fold An open gate fold is a more elaborate version of a gate fold, using four instead of two creases. The inward-folded panels are half folded back in the opposite direction, i.e. outwards. This gives ten pages in all.

106

Accordion fold (zigzag fold, Z-fold) An accordion fold is made by folding the sheet in alternate directions. Zigzag flyers can be produced in two or three folds, but items as thick as a book can be created using web-fed printing, or by sticking sheets together. These folded publications can be opened on both sides and easily laid flat. They may also include a protective jacket.

Two-fold accordion fold (Z-fold)

Three-fold accordion fold

Stepped fold A stepped fold is a special kind of zigzag fold in which the folded pages are gradually narrowed, creating a step-like pattern. How rapidly they narrow – and whether the fold is right-justified, left-justified or centred – is up to you. A stepped fold can only be produced with a specialized machine.

107

108

Binding techniques – Folding

Cross folds The cross fold is used almost exclusively in book production. Unlike the parallel fold, the creases do not run parallel: rather, each crease is always perpendicular to the last. Finally, the folded pages are bound, for example to create a book block.

109

Classic cross fold In a cross fold, the sheet is folded lengthwise and then widthwise. This creates four panels and two folded edges in the shape of a cross, giving a total of eight pages¹.

No matter their size, folded sheets can be categorized as follows: (1)

Binding techniques – Folding

4 pages, 1 cross fold = folio 8 pages, 2 cross folds = quarto

38

16 pages, 3 cross folds = octavo

332 256 47

It is crucial that the grain direction of the paper runs parallel to the final fold. When the sheets have been folded for hardcover and softcover books and then gathered, the final step is to trim them – otherwise it will not be possible to open the pages, as they are still held together in crucial places. Folding is therefore simply one step in the production process of a book.

The sheet is folded twice

110

The principle of a cross fold can be extended: the sheet can be folded in half numerous times, always at a right angle to the previous fold. Often, three or four cross folds will be used.

Three-fold cross fold Traditionally, a sheet is folded three times: first horizontally, then vertically, then horizontally again. The result is the 16-page signature most commonly used in book production².

In principle, any sheet folded three or four times can be described as a triple- or quadruple-folded sheet. What is important is to specify whether the folds are cross folds or parallel folds. (2)

1. Fold 2. Fold

3. Fold

Four-fold cross fold Sheets used in book production should not be folded more than four times or the signatures will become too thick, resulting in excessive creep. (3)

If you fold a sheet four times horizontally and vertically, you get 32 pages³.

1. Fold 2. Fold

4. Fold

3. Fold

111

112

Binding techniques – Folding

Combination folds There are various methods and infinite possibilities when it comes to combining different kinds of fold; what determines the end result is the sequence. Combination folds are commonly used in book production, but other items, such as maps and folding posters, can be made too.

113

Folding in the wrong direction will mess up the sequence of pages. (1) In portrait format, these folding patterns are not suitable for perfect binding or thread sewing.(2)

When combining parallel and cross folds, the final crease should always be a cross fold – in other words, it should run perpendicular to the previous fold, following the grain direction of the paper¹. This is crucial, because it prevents the folded sheet unfurling of its own accord. If you are incorporating various kinds of fold, do not forget to specify the order in which they are used so that there are no misunderstandings. Combination folds are often used with landscape or square formats so that all of the sections can be perfect-bound or thread-bound at the gutter².

Binding techniques – Folding

Tri-fold and cross fold: 12 pages

Two examples that use the same folds but in a different order

Single fold and tri-fold: 12 pages

114

Z-fold (two-fold accordion fold) and cross fold: 12 pages

Parallel fold and cross fold: 16 pages

Three-fold accordion fold and cross fold: 16 pages

115

Poster booklet fold The number of pages on a poster can be increased by adding slits and folds – assuming the sheet is large enough for the desired end result.(3)

With a relatively simple trick, a poster can be turned into an eight-page booklet whose pages can be turned. The sheet is scored along the fold lines after printing and a slit is added in the middle. The sheet is then folded twice parallel and once across. If, to finish, it is folded down the centre and flipped over, you get a booklet with four double pages that can be opened up completely and converted back into a poster³.

Binding techniques – Folding

The sheet is scored and the slit added at the same time

The folded, partly open sheet

The sheet is then folded twice, with two parallel folds and a cross fold

116

The poster booklet fold (from above)

117

Saddle stitching Wire stitching Stapling

Saddle stitching is a particularly quick and convenient method of binding, requiring no materials other than wire. Saddle stitching is most commonly used for magazines, catalogues, advertising materials and some softcover books, but is also well suited to other items with a low page count.

121

Single sheets

The sheets are folded simultaneously and bound with staples along the spine

Binding techniques – Wire

Cover

In the middle of the booklet, the ends of the staples are closed

122

In saddle stitching, a number of gathered sheets are wire-bound along the spine, a process done in a single pass. Saddle stitchers are used to punch wire staples through the gathered sheets, and the ends of the staples are then bent closed. The sheets are folded so that the staples sit in the gutter, with the ends inside the booklet. This produces a strong binding that can only be loosened by removing the staples. The length of the staples is determined by the thickness of the item. Depending on the thickness, spine length and intended use, booklets may be bound with two, three or four staples. Saddle-stitched items are usually trimmed on three sides.

Variations on saddle stitching Loop stitching: In order to make it easier to store and archive printed items in files and folders, loop stitching is commonly used. Here the wires incorporate external loops placed at the standard intervals found in binders (80 mm, or 3/8 in). This means that bound booklets can be filed without having to punch holes in them. Loop stitching can incorporate two or four loops. Unlike traditional flat saddle stitching, it requires a saddle stitcher with a special stitching head. Combination stitching: Loop stitching can also incorporate two flat staples, which make it more stable. This kind of combination stitching features two loops and two flat staples.

Loop stitching (back) and combination stitching (front)

123

Block thickness, extent1 For saddle stitching, weights of between 80 to 170 gsm (equivalent to weights of 40 to 100 lb) are usually appropriate, depending on the brand, bulk and stiffness of the paper. The weight determines how thick the booklet will be. The higher the weight, the fewer pages can be bound – and vice versa. In any case, the number of pages must be divisible by four. If you want to add extra pages, these must be pasted in.

The maximum block thickness depends on the binder’s equipment. It is best to discuss this in advance.(1)

Saddle stitching always adds swell – extra bulk around the spine. Swell can make subsequent work more difficult, for instance trimming or stacking.

Binding techniques – Wire

410

124

Creep can be an interesting resource for a designer: if you do not trim the fore-edge, you can incorporate the slightly protruding edges into the design.(2) 50

From an aesthetic and design perspective, it is important to remember that the sheets will shift when gathered. At the fore-edge, this means that the inner pages will protrude more than the outer ones, typically producing a step-like pattern. This phenomenon is known as creep2. Usually the bookbinder will trim the edges, bringing the paper back to the same visual length. This means, however, that the inner pages are narrower and the outer ones increasingly wide, which should be accounted for in the layout.

Although all the pages of this saddle-stitched booklet are the same width, there is visible misalignment along the fore-edge after binding.

This misalignment is usually resolved by trimming the edges.

Materials, printing process 360 360 38 141

In principle, all kinds of paper (whether coated or uncoated) of a suitable weight can be saddle stitched. The grain direction of the paper should run parallel to the spine, although using the wrong grain direction has less of an effect with saddle stitching than with perfect binding, for instance, where the damp adhesive can make the pages curl. Saddle stitching works smoothly with all types of printing, as it does not interfere with the ink – and vice versa.

125

Opening and laying the pages flat 404

Saddle-stitched booklets are good for opening and laying the book flat, because none of the page gets lost in the gutter. Anything printed closer to the centre will remain visible.

Durability

Binding techniques – Wire

Saddle stitching is very sturdy and can only be undone by removing the staples. How long it lasts, though, also depends on the type of paper used. The thinner the paper, the more fragile it will be around the staples. You can see this effect clearly in magazines that are old, much used or have been printed on thin material.

391

Production errors can result if the staples are misaligned or the wire is too thick or too thin.(3)

The first and last pages are especially vulnerable, as is the outermost sheet. This is partly because the staples deform the paper and partly because the paper and wire rub against each other when under stress. Both can lead to the pages becoming easier to pull loose. To prevent this, you can reinforce the weak spots with a backlining or card. Another, more long-term problem is that the wire staples 3 can begin to rust if not adequately protected. The wire gradually oxidizes when exposed to oxygen, and even a layer of corrosion inhibitor will not entirely prevent this.

Stapling errors

Ends too short

Back twisted

126

Ends pressing into the paper

Ends twisted

Timescale

412

Saddle stitching is among the fastest binding methods: there is no drying time; it is almost fully automated; and all the sheets are bound at the same time, along with the cover. Saddle stitching is often integrated directly into the process of web-fed printing, enabling the production of large print runs in a short amount of time.

Costs, print runs Because staples are the only material required, saddle stitching is a very cost-effective style of binding. For this reason, and because it is so quick, it is ideal for large print runs – of magazines, for example.

Design elements Although this is a simple binding style and there is a cap on the page count, saddle stitching does offer a few opportunities to get creative with the design. Staples: Staples come in an array of colours (coated or varnished) and thicknesses. Number and distribution of staples: The number of staples and the intervals between them can be varied. Paper: Saddle stitching allows you to mix virtually all types and thicknesses of paper; stocks and materials with dramatically different weights, bulks and textures can follow one after another. Bear in mind, however, that each type of paper will appear twice.

Paper type 1 Paper type 2 Paper type 3

127

Binding techniques – Wire

Format: Saddle stitching allows you to use papers of varying sizes. Smaller pages can be handled by machine if they are aligned to the top or bottom of the booklet. Other positions are harder to deal with, so this must be agreed with the binder in advance.

128

Additional processes

256

Cover: Saddle stitching can work either without a cover or with any of the usual softcover styles. Reinforcement: Using a stronger material (card stock, for instance) as the outermost sheet can reinforce the binding.

377

Edging: Saddle-stitched booklets can be coloured or foiled along up to three edges.

Environmental impact Saddle stitching is very environmentally friendly, because it uses minimal materials.

+

–

• fast • cheap • few materials required • lots of design options • various materials and

• limited block thickness • creep • swell • less high-end • does not feature a

formats can be bound together

129

traditional spine

Side stitching Side stitching, which uses wire staples, is generally used only for cheap, simple items such as notepads, receipt books or calendars. Its thread equivalent is side sewing.

131

Binding techniques – Wire

Single sheets

The wire staples are punched through the paper near the gutter or top edge

The book block is trimmed on up to four sides

132

With side stitching, the gathered blocks or sheets should be stapled as close to the gutter or the top edge as possible; the ends of the staples are bent, creating a firm hold. Blocks bound with side stitching can be trimmed on three or even four sides. This style is often used for items featuring perforated tear-away pages – for example, receipt books.

Block thickness, extent

399

Side stitching puts a cap on block thickness, from two panels (i.e. four pages) up to a maximum of around 15 mm (5/8 in). The maximum page count can be calculated from the grammage, or weight, and the bulk: the higher the weight, the fewer pages can be bound – and vice versa. Heavy papers make opening the book more difficult, and in extreme cases can even force open the binding. Especially lightweight papers, on the other hand, can easily tear around the staples. It is a good idea, therefore, to test your materials with a dummy. How thick you can make the booklet depends on the care with which the work is carried out, the paper quality, and the intended usage of and wear on the final product, as side stitching puts a greater strain on the paper than most binding methods.

391

With thicknesses of less than 2.5 mm (1/8 in), the ends of the staples are closed at the back of the booklet; beyond that point, the staples are offset, positioned alternately on the front and on the back. If necessary, the binding can be reinforced with card or a backlining.

133

Materials, printing process 360 38

141

All papers (both coated and uncoated) are suitable for side stitching, just as long as the weight, or grammage, is not too high or too low. The grain direction of the paper should run parallel to the spine, although getting the orientation wrong will not have as big an impact as it would with perfect binding, for instance. Side stitching is compatible with all printing processes and does not interfere with the inks.

Opening and laying the pages flat

Binding techniques – Wire

407

400

As the wire staples have to be approximately 5 mm (1/4 in) from the edge of the paper, it is impossible to open a side-stitched booklet flat. Scoring next to the binding can improve matters somewhat, but the booklet will still be difficult to handle: when opened, it will shut automatically instead of lying flat. The thicker the booklet, the harder it will be to open and keep flat. Much of the page will be swallowed up by the gutter, too, making anything printed in that area invisible1.

Because the booklet cannot be fully opened, it is best to give the gutter a wide berth when designing the layout.(1)

134

Scoring to the right of the side stitching will make the booklet easier to open. (2)

Durability

405

Side stitching2 is very durable, and it takes a degree of force to tear out individual pages. The type of paper used will also contribute to the durability of the binding: the thinner the paper, the more fragile it will be at stress points. This quality that can prove useful, however – for instance, with tear-off pads. The paper can also be perforated close to the gutter, making it easier to tear out the pages. The first and last pages of the bound block are the most prone to wear. Because the staples distort the paper at the puncture sites and chafe against it with prolonged use, in time the pages may come loose from the binding. This effect can be mitigated, however, by incorporating a lining strip or piece of card. After a while, the wire staples may start to rust unless protected, although even a layer of corrosion inhibitor will not provide a reliable defence against oxidation.

135

Timescale Side stitching is a very rapid binding process. It needs no drying time and is almost entirely automated. The cover is usually bound at the same time.

Costs, print runs The costs are relatively negligible, because few materials are needed and the simplicity of the process saves time. For this reason, side stitching is well suited to large print runs.

Design elements

Binding techniques – Wire

This binding style is simple and the extent limited, but designers do have some options.

Staples: Staples come in a range of colours. Number and distribution of staples: The number of staples and the intervals between them can be varied. Paper: Saddle stitching allows you to mix virtually all types and thicknesses of paper; stocks and materials with dramatically different weights and textures can follow one after another. Format: It is possible to incorporate papers of varying sizes, although doing this by machine can get expensive. It is therefore a good idea to discuss this with the binder beforehand.

136

Additional processes

256

Cover: Side stitching can be completed either without a cover or with any of the usual softcover styles.

391

Reinforcement: The binding can be reinforced with a stronger material around the spine (card, for instance). To avoid readers catching their fingers on the staples, it is possible to add a backlining over the spine and wire.

377

Edging: Side-stitched items can be coloured or foiled along all four edges – unlike with most other binding styles. Perforation near the gutter makes it easier to tear out individual pages, and is a common feature in items such as receipt books.

Environmental impact Saddle stitching is very environmentally friendly, because the only material it uses is wire.

+

–

• fast • cheap • few materials required • various materials and

• limited block thickness • less high-end • does not feature

formats can be bound together

137

a traditional spine

• difficult to open and lay flat

Perfect binding Adhesive binding PUR binding Hot-melt binding

Perfect binding is a cheap and time-efficient method of binding that is predominantly used for paperbacks, magazines and advertising brochures – items that have a rather short shelf life. Unlike thread sewing, perfect binding can also be used to bind single pages, and papers of different thicknesses and types can be mixed.

141

256 391 332 300

143 144 146

Binding techniques – Glue

Single pages

In perfect binding, the bookbinder gathers individual pages or folded sheets and binds them with adhesive. The glued edges are usually protected with a cover (with softcovers) or a backstrip (with hardcovers or tape‑bound softcovers). Covers featuring integrated hot-melt strips are also available, such as those used to bind school projects. There are various styles of perfect binding: traditional perfect binding, double fan adhesive binding and padding.

Sheets

O R

The spine is cut and roughened, preparing it for the adhesive

Glue is applied to the spine

142

Perfect binding

149

The most common technique, which today is almost entirely automated, involves abrading the edges of the book block. The gathered sheets are slightly roughened and notched down the spine, exposing the paper fibres so that the glue will adhere better. The fragments of paper are brushed off the book block before the glue is applied, allowing it to bond properly. The adhesive is applied with rollers or nozzles, then a soft cover or strip of lining tape is pressed on. Finally the block must be dried and – if hot-melt adhesive has been used, for instance – allowed to cool. Book blocks that are still damp or hot cannot be trimmed straight away.

Softcover  256

Hardcover  332

143

The pages are held under tension and fanned out

Binding techniques – Glue

Single pages

The gluecovered edges are returned to their original position

Glue is applied to the fanned edges

Double-fan adhesive binding

171

410 395

404

Double-fan adhesive binding originated with Emil Lumbeck, who developed this early adhesive-binding technique as a cheap alternative to thread sewing in the 1930s. In double-fan adhesive binding, the book block is clamped at the fore-edge and then the spine is fanned out and dabbed with adhesive; the spine is then held together with super or crêpe paper. This kind of adhesive binding is relatively durable, because the fanning process means that the glue sticks not only to the edges of the sheets but between them. One disadvantage of this, however, is that the pages are more difficult to open and lay flat. Double-fan adhesive binding is not well suited to machine production, so it is primarily used in hand bookbinding.

144

The spine is lined with super

Glued block

Softcover  256

Hardcover  332

145

Padding This technique allows individual pages to be torn easily from a pad – you will have seen this on notepads. It uses padding adhesive, a low-hold glue, which is brushed along one edge of the gathered pages. After drying, the block can be trimmed on up to three sides.

Binding techniques – Glue

Single pages + paperboard

The glue is applied along one edge

146

Block thickness, extent Perfect-binding machines, which can be used for a variety of formats and thicknesses, can in extreme cases1 work with a book block as thick as 80 mm (3 1/8 in).

In books with a particularly high page count, you should ask the bindery in advance for the maximum spine width and adjust the paper thickness as necessary.(1)

Materials, printing process Printing ink: The printing ink needs to be dry and scuff-resistant in order to proceed to perfect binding because gathering and clamping the paper puts it under a lot of stress. If the inks are not quite dry or sufficiently scuff-resistant, they may rub off or leave marks. Fresh ink can easily smear onto the conveyor belts and leave streaks or blotches on unprinted areas. In offset printing, printed papers can generally undergo perfect binding without any side effects. However, as there are so many different kinds of digital printing, these processes can sometimes lead to problems with perfect binding2. Perfect-bound varnished pages can loosen after just a few months(2)

Leave the spine blank when printing the inside cover.

378

Cover: The cover materials, as well as the printing and any finishes such as foil stamping or screen printing, should be scuff- and scratch-resistant; otherwise they may be damaged in the binding machine. If you want to print inside the cover, it is best to leave out the spine – the interaction between the ink and the adhesive may cause problems. In the worst-case scenario, the binding may even come away completely. Only by leaving the spine blank can you be sure that the glue will adhere to the paper. Relationship between cover and block thickness: The weight of the cover and the thickness of the book block should be considered together: the thinner the block, the smaller the surface that can be glued; the thicker the cover, the harder it will be to open.

147

393

Interaction between paper weight and binding quality: This binding will be more durable with a thicker paper, because the surface available for gluing is correspondingly larger. However, this only holds true with weights of up to around 170 gsm (100 lb), depending on how stiff the paper is, because unwieldy papers put more strain on the binding. Stiff paper can tug itself free of the binding. Bulkier papers do take adhesive better than normal papers, however.

360

Perfect binding with flexible paper

Binding techniques – Glue

Perfect binding with stiff paper (tugging at the binding)

Be sure to use the correct adhesive for the type and thickness of paper so that the pages are more easily opened and laid flat.(3)

Coated and uncoated papers: Uncoated paper is especially well suited to perfect binding because its fibres are more exposed. Coated papers, on the other hand, are more problematic: the more coating a paper has, the worse it bonds with the adhesive, because only the fibres of the raw paper stick firmly to the glue. With some coated papers, you will have to use a different binding style.

Adhesives3 Numerous types of paper – as well as other materials, such as plastic films – can be perfect-bound, so there are no hard and fast rules about which paper and which material is best suited to which style of perfect binding. The most commonly used adhesives for perfect binding are water-based cold glue, hot-melt adhesive and PUR glue (polyurethane).

148

Just-finished cold-glue bindings are sensitive to freezing.(4)

Cold glue consists of water, a dispersion medium and particles of glue, which together form an adhesive film. The high water content allows it to soak in between the paper fibres, embedding protruding fibres in the film. After drying, cold glue4 remains permanently elastic. It holds and lasts well, and because it does not swallow up the gutter the book can be opened easily and laid flat. Cold glues are suitable for most types of paper, including coated and uncoated papers (as in illustrated books), although it is best to confirm specifics with the bindery. They take longer to dry than hot-melt adhesives, so production lines that use cold glue tend to have long drying belts and high-frequency driers – which makes binding more expensive. Because the glue makes the paper damp, the grain direction should always run parallel to the spine, otherwise the paper will crinkle. Hot-melt adhesives: A hot-melt adhesive is a thermoplastic substance that is applied hot and then bonds while cooling. It does not soak well into the fibres of the paper, remaining instead on the surface of the page. Hot-melt adhesives are less elastic than other glues and more prone to becoming brittle. Occasionally, individual pages may come loose from the binding. It is a good idea to avoid full-bleed images, because the mineral oils in the inks can interact badly with the glue and affect the binding. Even under normal circumstances, however, hot-melt glue ages more rapidly than cold and PUR glue, lasting somewhere between five and ten years. It is also sensitive to temperature, becoming unstable above 60 degrees Celsius (140 degrees Fahrenheit). Hot-melt glue is normally thickly applied and forms a strong bond with the book block. As it is not very elastic, the pages are more difficult to open and lay flat. Hot-melt glue is best suited to large print runs, because it dries more quickly than any other adhesive – the speed with which items can be run off industrial production lines therefore keeps costs down.

149

PUR adhesive (polyurethane reactive adhesive): PUR glue has two active components. The first ensures that – as with hot-melt glue – the substance, applied hot, bonds while cooling. The second reacts chemically with the moisture in the air and with the paper fibres over hours or even days. These two components give the binding an extremely high and long-lasting level of durability, comparable only to thread sewing. PUR glue has a long lifespan and is resistant to cold and heat.

Binding techniques – Glue

PUR glue is very thinly applied, meaning that more of the gutter is visible than with other kinds of perfect binding: softcovers and hardcovers can be opened fully. The paper does not swell and the glue is not prone to running. PUR glue can also be used to bind a number of papers that do not take conventional adhesives very well, as well as papers orientated in the wrong grain direction and heavy art papers. Materials and production are so expensive, however, that PUR gluing can cost four or five times as much as hot-melt gluing.

Opening and laying the pages flat Illustrations may not be fully visible in the gutter, so the image should be subtly doubled and shifted outwards.(5)

400

Perfect binding tends to swallow up the gutter5, because the adhesive sticks both to the edges of the pages and to the pages themselves. This may be partly why the binding lasts longer: it is under less stress, because the pages are not opened as far. This does mean, however, that perfect-bound books cannot be laid completely flat. The type and thickness of paper may make the book harder to open and lay flat. Most crucial in this regard, however, is a strong adhesive: if the glue is not strong enough, it will break at the binding and the pages will fall out.

The grain direction of the paper should always be parallel to the spine. Otherwise the paper will curl and the book will be difficult to open.(6)

Cold glue forms an elastic layer that stretches as the pages are turned, allowing most of the gutter to remain visible. With hot-melt binding, a rigid film of adhesive forms along the spine6, considerably reducing visibility in the gutter. If the film is thick – say, a millimetre – the effect will be especially pronounced. It may even be

150

possible to break the whole spine by opening the book too roughly. With PUR adhesive, the thin application of glue allows for easier opening, although it is not as flexible as cold glue.

312

The cover style can also make a big difference: for example, a detached spine can be opened easily and laid flat, even if pages are perfect-bound.

Durability Perfect binding cannot compete with the long-lasting durability of a thread-sewn book. For items that need to last, that incorporate special papers or that need to be laid flat, it is best to use PUR or cold glue. Products with a short shelf life, on the other hand, such as paperbacks, magazines or catalogues, are usually bound with hot-melt glue.

Timescale Because the perfect-binding production process is seamless, and requires one step fewer than thread sewing – the sewing part – this style of binding can save a lot of time.

151

Costs, print runs As so much is done swiftly and automatically, perfect binding is quite cost-effective, and can achieve large print runs at speed – up to 20,000 copies per hour. Cold gluing does get expensive, however. The adhesive itself is relatively costly, but it is the high-frequency driers and the slowness of the process that really bump up the price.

Design elements

Binding techniques – Glue

Different papers: Perfect binding allows you to use various types and thicknesses of paper, and to bind individual sheets. It is important to remember that the thickness and texture of the paper will have an impact on the adhesive binding, affecting durability and/or ease of opening.

391

Spine tape: Perfect bindings can feature spine tape or backstrip.

Colourful adhesive binding7: The edges along the spine itself can be coloured, producing an unusual and expensive-looking effect.

Coloured adhesive bindings are expensive, because the machines have to be cleaned afterwards. In a manual bindery, this does not make such a difference.(7)

Additional processes

256 332

377

Cover: Perfect binding can be finished either without a cover, with any of the usual softcover styles, or as a hardcover book.

Edging: Perfect-bound books can be coloured or foiled along up to three edges: in books with protruding cases, only the book block can be edged; in softcovers, everything (block and cover) can be.

152

Environmental impact Perfect binding can be environmentally friendly when solvent- and pollutant-free adhesives are used. Hardened PUR glue residue, for instance, is environmentally neutral and not dangerous. It can be disposed of like normal industrial waste: because the film is so cohesive, the glue can be mechanically separated from the paper fibres during recycling.

+

–

• fast • cheap • automated production • suitable for large

• shorter shelf life • binding can become

print runs

• possible to bind loose-leaf pages and different materials

153

brittle and break

• low visibility in the gutter; difficult to open and lay flat • possible interaction between adhesive and paper/inks • sensitive to temperature

Fold gluing Fold gluing is a specialized form of perfect binding that is used predominantly for items with a low page count. It is suitable for large print runs, but is not particularly sturdy. It can be used to produce interesting leaflets, among other items, in a cost-effective way. For thin brochures without covers, fold gluing is a cheap alternative to saddle stitching.

155

The sheet is glued along the fold line, then folded

Binding techniques – Glue

Printed sheet

The block must be trimmed so that all the pages can be opened.

The strip of adhesive holds the booklet together

156

96 The pages must be precisely folded because the adhesive cannot be removed or the pages adjusted.(1)

397 16 399

With fold gluing, the individual parts of a folded sheet are glued during the folding process itself. A strip of glue is applied to the fold lines of the sheet, which is then folded using a cross fold, roll fold or accordion fold – which one depends on the desired page count. This binds1 the individual pages of a sheet at the gutter without having to puncture or roughen the spine. The block is usually trimmed at the top edge and bottom edge, and sometimes at the fore-edge. Fold gluing can be performed in a rotary press or in a folding machine with integrated nozzles for the adhesive. Its primary use is for large print runs of short brochures, flyers and marketing materials, magazine inserts, sleeves, folders, tickets, glued letters with tear-open strips, and envelopes.

157

Block thickness, extent A cross fold will produce 8 pages in a single pass; a roll fold will produce 12 or 16. Higher page counts are possible with accordion folds.

Materials, printing process 149

Binding techniques – Glue

360

360 362

Cold glue is normally used for fold gluing, and is applied by means of nozzles. Cold glue dries very quickly, expediting the production process. Absorbent papers need more adhesive; gloss or coated papers need less. Fold gluing suits papers with a weight of 80 to 135 gsm (a basis weight of 40 to 100 lb). Some papers are very difficult to work with. Glue soaks into bulky and uncoated papers and does not adhere as well. If too much glue is applied, the strip can get too wide – it will become visible and the pages will be harder to open. The same can happen with thick, coated art papers, because the glue does not penetrate the surface. India paper can crinkle due to the moisture in the adhesive. The ink must be dry and scuff-resistant before the sheets can be folded, because folding exposes the paper to various stresses and the ink can rub off. Offset-printed papers can usually be glue-folded without any side effects, but because there are so many different kinds of digital printing, these processes can sometimes lead to problems when gluing.

Opening and laying the pages flat Products bound in this manner can be opened with relative ease, although they cannot be laid completely flat.

158

Durability Fold gluing does not last long, and is thus primarily used for throwaway products.

Timescale Fold gluing is quick because it is fully automated and integrated into the printing and folding process, although it does take additional time to prepare the machine.

Costs, print runs Automation keeps the costs down. That said, fold gluing is only worthwhile with a print run of at least a few thousand, as it takes time to prepare and clean the machine, bumping up the cost.

Further processes Fold gluing does not offer the option of a cover.

Environmental impact If solvent- and pollutant-free adhesives are used, the process can be environmentally friendly.

+

–

• automated production • fast • cheap

• looks less expensive • less durable • no option of a cover

159

Lay-flat binding Flat binding Panoramic binding

Lay-flat binding is familiar from children’s board books, in which the pages are fully stuck together, keeping the book block attached. The advantage of this method is that the pages can be opened flat, meaning that none of the image gets lost in the gutter.

161

The paper is folded and gathered

Binding techniques – Glue

Printed sheet

The pages are completely covered with glue and stuck to each other

Usually the block is trimmed to finish, but a cover can also be added.

162

44

50

With lay-flat binding, the paper is folded into four-page signatures and gathered, and then the last page of each signature is covered on one side with adhesive and glued to the first page of the next signature; the block is then placed under pressure. This produces a strong binding that can be opened and laid flat. Unlike all other binding styles, in lay-flat books the pages are visible all the way into the gutter and are not subject to creep. After binding, the book block is trimmed on up to three sides. With children’s books that feature lay-flat binding, the printed pages are normally glued to stiff board, but other materials can also be bound using this method. For example, there are now papers available that are pre-primed with a layer of adhesive, and these can be bound by printers to produce small runs of lay-flat books.

Block thickness, extent Lay-flat books can be up to 6 cm (2 3/8 in) thick, but the thicker blocks are excessively heavy and can no longer be processed by machines.

Materials, printing process It is crucial to make sure that the grain direction runs parallel to the spine, because with lay-flat binding the paper can easily warp.(1)

360

360 394

Papers: Uncoated papers are especially well suited to lay-flat binding1 because of their high paper-fibre content. They should have a weight of at least 170 gsm (100 lb), because thinner papers can curl when covered with adhesive. Coated papers, on the other hand, are not such a good bet. Sometimes the adhesive only sticks to the coating of the pages, and the paper underneath can peel off. The coating may also crack and leave a fine line visible down the fold, cutting through the printed image.

163

378 412

Relationship between paper weight and binding quality: The thicker the paper, the sturdier a layflat binding will be – this effect is clearly visible in children’s board books. The pages of children’s books are often laminated, which increases their durability and prevents wrinkling around the gutter.

Binding techniques – Glue

Printing ink: The printing ink must be dry and scuffresistant before the next stage in the process. Because the sheets are exposed to high levels of stress while being gathered and bound, inks that are not fully dry or sufficiently scuff-resistant may smear.

164

Opening and laying the pages flat

400

Unlike with most other binding techniques, lay-flat books open completely flat – all of the page is visible and there is no gap at the gutter. Lay-flat binding thus offers opportunities to get creative with the layout: for instance, small-print text can be printed across the gutter.

Durability The durability of a lay-flat binding depends almost entirely on the choice of paper stock. Children’s books made from board, for instance, are very robust and long-lasting.

Timescale Lay-flat binding is relatively time-intensive because of the need to factor in drying time for the paper.

Costs, print runs

A higher spoilage rate means a larger print run, bumping up the cost of materials and production.(2)

404

Lay-flat binding is relatively expensive, because the complex process requires effort and longer machine times. Lay-flat binding must also take into account a higher overs allowance (i.e. a larger print run) than other binding styles, because if there are production problems2 any book blocks already manufactured generally cannot be used. With lay-flat binding it is possible to produce large or small print runs, but larger print runs will not mean a lower unit cost.

Design elements Design: Being able to lay this binding flat means that photographs and fine detail, including text and illustrations, can be printed across the gutter.

165

44

Different papers: Lay-flat bindings can incorporate different types of paper, combining four-page signatures of various colours and bulks. What matters is that the papers are all suitable for lay-flat binding.

Further processes A cover can negatively affect how easy it is to open and lay the pages flat, because it may force the book partially shut.(3)

304 256 332

Edging: Lay-flat-bound softcovers can be edged on up to three sides. The spine can also be printed, much like open spines on thread-sewn books. If a part of the image is printed on the back of each signature – along a 6 mm (1/4 in) strip down the fold – the whole image will appear when the sheets are gathered into a block.

Binding techniques – Glue

178 171

Cover: This style can be produced without a cover3, with Swiss binding, as a softcover or a case-bound hardcover.

Printed sheet, front, with printed area

Printed sheet, back, with image that will be visible on the spine

166

Environmental impact If solvent- and pollutant-free adhesives are used, layflat binding is environmentally friendly. The need for additional spoilage, however, has a negative effect on the environmental impact of this technique.

+

–

• pages can be opened fully • images and/or text can be

• relatively expensive • time-intensive • possible interactions

printed across the gutter

• premium quality • long-lasting

The pages are fully covered in adhesive, and the image becomes visible on the spine

167

between paper and adhesive

168

169

170

Binding Techniques – Thread

Thread sewing Section sewing Smyth sewing Loose-leaf thread sewing Thread binding

Thread sewing is a long-lasting technique used primarily to bind hardcovers and highquality softcovers. It offers a variety of opportunities for creative design, including an exposed spine or the use of different papers and coloured threads.

171

The printed sheet is folded

Binding techniques – Thread

Printed sheet

The folded sheets are gathered

The folded sheets are sewn together

172

Adhesive is applied to the sewn book block

Softcover  256

Hardcover  332

173

44

395 411 332

Binding techniques – Thread

365

With thread sewing, the folded and gathered sheets (signatures) are sewn individually and then together along the spine using a continuous nylon thread. A folded sheet is usually 16 pages, but 8-page signatures and 4-page signatures are also common. Today the process is usually carried out by machine, but binderies can also bind individual books by hand: the binder sews the individual sheets with a single thread, then binds the signatures together using cords or tapes, which run across the spine and are visible on the open spine as perpendicular ribs. The tapes also protrude out to the side, and are glued to the case underneath the endpapers. With machine thread sewing, the gathered sheets are opened in the middle and sewn together at intervals of approximately 1.5 to 2 cm (5/8 – 3/4 in) with a piercing needle, a hook-shaped needle and a threaded sewing needle. Each sheet is thus bound into a signature and all the signatures are bound together into a book block. The thread-sewn, still loosely bound book block only acquires stability and strength when adhesive is applied to the spine. The sewn block is trimmed on three sides. It can be inserted into a hard case or a flexible cover.

174

Types of stitch Different types of stitch can be used, depending on the paper and the requirements of the project: a simple stitch or a staggered stitch.

410

Simple stitch: The stitches are positioned evenly on every signature – this results in swelling, causing problems further down the line.

Simple stitch

Staggered stitch

360

Staggered stitch: If the position of the thread is alternately staggered by the length of a stitch, this will reduce swelling around the spine. The effect is particularly noticeable with thin papers and art papers, and when a book includes a lot of signatures.

Block thickness, extent Even thick book blocks can be thread-sewn1. The maximum page count depends on the individual sewing machine. In any case, it is important that the total number of pages is divisible by 16, 8 or 4, corresponding to the number of pages in a 16-, 8- or 4-page signature.

Remember that part of fullbleed images may vanish into the gutter, depending on the binding style. (1)

Materials, printing process 2 Misregistration of full-bleed images can be minimized at imposition stage by planning a parallel fold instead of the usual cross fold.(2)

When pasting in individual pages, bear in mind that 4 to 5 mm (1/6 – 1/5 in) of the print area will be lost where the page is adhered.(3)

360

Nearly all papers with a weight of around 50 to 170 gsm (or 40 to 100 lb) – both coated and uncoated – are suitable for thread sewing. Papers that are too thick and stiff, however, are very difficult to work with. It is possible to mix various papers and materials, but it is crucial to bear in mind that at least one signature – i.e. four pages – must be one single material; individual pages can be inserted or pasted3 in.

175

38

The grain direction of the paper must always be parallel to the spine, or the paper may curl and not open and lie flat as easily. Thread sewing works well with all printing processes.

Opening and laying the pages flat

Binding techniques – Thread

One signature (at least four pages) must consist of a single material.

Thread-sewn books are relatively easy to open and lay flat, but much depends on the other components of the binding. A thread-sewn book with an open spine, for example, will not automatically close, so will be easy to lay flat. The downside, however, is that it will not be as durable as a thread-sewn book with a closed spine. Certain covers also make it easier to open and lay flat the pages – bindings where the book block is not attached directly to the spine, for instance. Either way, it is important not to apply too much glue to the spine of thread-sewn books, because doing so will make them harder to lay flat.

Durability Thread-sewing is very sturdy, and is thus used for highquality books and books that will be exposed to a lot of wear, such as school textbooks and dictionaries, which need to last a long time. Individual pages cannot be torn out without damaging the binding.

Timescale Because the book block is bound first and then given a layer of adhesive, thread sewing takes longer than other binding styles, which can be done in a single pass. Inserting the block into a case will be more

176

How long it takes to produce the book depends not only on the binding technique but on the number of additional steps.(4)

time-intensive still, because these must be specially produced, whereas a flexible cover takes less time4.

Costs, print runs Thread sewing, because it requires additional steps (sewing and gluing) is more expensive than other binding methods. It is also well suited to large print runs.

Design elements Trimmed pages, individual pages: Thread sewing allows you to bind smaller pages into your book. This can be done by hand or by machine:

Insertion: The additional sections are inserted into the middle of the folded sheet and bound together with the signature.

Wrapping: A sheet can be wrapped around an individual signature. This technique can be automated, but in this case, the position of the sheet or special paper cannot be altered.

a) A single page pasted onto the front of the signature

b) A single page pasted into the middle of the signature

177

Pasting in: Individual pages can be ­pasted in by machine, either at the front (a) or the middle (b) of the ­signature; in this case, too, the position of the paste-in cannot be altered. Pasting-in is an additional step and thus bumps up the cost.

Coloured thread: Colourful thread can, for example, be used to make reference to the content of the book. Only one colour can be used within one book. Coloured thread will be visible on the spine (if it is open) and in the gutter of each signature. Different papers: Virtually all kinds of paper can be bound together, but bear in mind that each type of paper will pop up twice unless it has been pasted in as a separate page.

A coloured sheet has been incorporated.

Additional binding features

Binding techniques – Thread

332 256

Open spine: If a strip of super or an equivalent is not added after sewing and gluing, the spine will be open: that is, its particular stitching and thread pattern will remain visible. The book block does not then have to be inserted into a case or soft cover; it can simply remain exposed.

178

408

304 322

A thread-sewn open spine can be a design feature: an image, pattern or area of text can be printed onto the outermost signatures. Books with an open spine are easy to lay flat, and the area in the gutter will remain visible – in fact, sometimes the spine adhesive or segments of what is printed on previous pages will be partially visible, too. Open spines are possible with hardcovers (e.g. with Swiss binding) and softcovers (e.g. with flush board binding).

Further processes

256 332

Cover: Thread sewing is feasible with all standard types of soft and hard covers, as well as for publications without any cover at all.

Environmental impact Thread sewing is good for the environment inasmuch as it is long-lasting. It does not require large quantities of thread or adhesive, either. If you choose environmentally friendly and recyclable materials for the cover, it becomes an even better option.

+

–

• high-quality • long-lasting • easy to open and lay flat • can use coloured thread • various papers can be

• a multi-step process • time-intensive • more expensive than

combined

179

perfect binding

180

Binding techniques – Thread

Pamphlet sewing Saddle sewing with thread Singer sewing Single-section pamphlet sewing Thread-and-knot sewing/binding

Pamphlet sewing is rarely used today because it is an elaborate process, taking longer and costing more than the comparable saddle stitching. It is more durable and appears more high-end, however, which is why it is still used to bind passports.

181

Single sheets

Cover

Binding techniques – Thread

Thread-and-knot stitching

The gathered sheets are folded in the middle

The sheets are bound with a long stitch and central knot

182

The sheets are sewn with a lock stitch

Singer-sewn booklet

The sewn sheets are folded in the middle

Softcover  256

183

With pamphlet sewing, the gathered sheets are sewn together with a single thread, then folded into a booklet. The sheets are punctured using a special sewing machine or by hand, and the thread drawn through. The process creates a sturdy binding that can only be undone by tearing the thread or bound material. Products bound using this method are trimmed on three sides. The most important techniques are thread-and-knot sewing (or binding) and singer sewing.

Thread-and-knot sewing

Binding techniques – Thread

Using a specific machine, the gathered sheets are punctured with three or five holes, then the thread is drawn through and the ends are knotted. The stitches are relatively long, but do vary. The thread and knots are left visible in the central gutter after folding.

184

Singer sewing (lock-stitch sewing) A specialized industrial sewing machine is used for singer sewing, which sews the gathered sheets with an even stitch length of 5 to 20 mm (1/5 – 3/4 in). The tight stitching produces a durable binding, and is used to bind passports, among other items. Singer sewing can be done with one or two threads, meaning that two different colours can be used. Sewing thread comes in various thicknesses and colours. The size of the sewing machine limits the maximum sheet width; there are no height constraints.

185

Block thickness, extent Only items with a low page count are suitable for pamphlet sewing: from two sheets (eight pages) up to a block thickness of about 5 mm (1/5 in). The total number of possible pages depends on the weight, texture and bulk of the paper, as well as the wear and tear on the bound product – the greater the weight, the fewer pages can be bound, and vice versa. If the paper is too heavy, the booklet will be difficult to open, whereas very lightweight booklets will break down more quickly. It is a good idea to have a dummy prepared as a test run.

410 50

If you bind lots of heavy sheets, you can end up with swell. This means that the spine is thicker than the fore-edge, which makes subsequent work on the book – such as trimming – more difficult and leads to creep.

Binding techniques – Thread

Materials, printing process The sewing thread can be made of synthetic fibres, natural fibres or a composite; thread made from synthetic fibres is more robust than the natural kind. Which thread is the right one depends on the kind of paper, the number and thickness of the folded sheets, and the anticipated wear and tear on the binding.

360

38

In order to produce a long-lasting binding, durable paper must be used – ideally, bulky book paper. Weights of between approximately 70 to 135 gsm (50 to 100 lb) are suitable. Thinner papers should not be used for the inner sheet, at least, because they can tear when the thread is put under tension and knotted. The grain direction of the paper should always run parallel to the spine, although orientating the paper incorrectly will not have such a negative impact on the end result, because the process does not use glue (which might make the paper fibres swell up). Pamphlet sewing is compatible with all printing processes: it does not interfere with the inks, or vice versa.

186

Opening and laying the pages flat Pamphlet-sewn softcovers are easy to open and lay flat, and the binding does not tend to force the pages shut. This means that anything printed in the gutter will be visible.

Durability Singer sewing and thread-and-knot sewing are not equally durable. Singer sewing is an extremely sturdy and long-lasting binding method. The tight, continuous stitches bind the pages firmly together, and the thread is robust even over long periods of time.

The exposed knots in thread-and-knot sewing can come undone if a book is in frequent use.(1)

Thread-and-knot sewing, on the other hand, is not as hard-wearing. Its weak spots are the knots1, which are exposed and not sewn down: if the knots come undone, so will the binding. Thread-and-knot sewing also uses far fewer stitches than singer sewing, although they have to stand up to the same wear and tear.

Timescale You need to build in more time for pamphlet sewing, because the operation and workings of the sewing machines are so complex. It can also be done by hand, but then it generally takes longer still.

187

Costs, print runs This method is relatively costly, as operating the sewing machines is time-consuming and laborious, and the process is not fully automated. The cost therefore rises proportionally with larger print runs.

Design elements Different papers: With pamphlet sewing, a huge range of papers2 can be combined. Even papers and materials with widely varying weights and textures can be placed in sequence. Do remember, however, that each kind of paper will appear twice in the booklet.

Binding techniques – Thread

The outer and inner sheets in a booklet are especially vulnerable to damage, and should therefore be as durable as possible.(2)

Sheet 1

Sheet 2

Sheet 3

188

Different formats: It is possible to incorporate smaller pages and varying formats3. As with the use of different papers, remember that each format will appear in the booklet twice.

Any non-standard specifications to do with paper stock or format will usually increase production costs and make the process more laborious. In order to get a better sense of time expenditure and cost, it is a good idea to discuss these with the bookbinder early on.(3)

Thread: Coloured or metallic thread may be used, but must always be compatible with the paper. Distribution and number of stitches: The number of stitches and the intervals between them may vary.

Environmental impact With singer sewing, at least, the longevity of the binding and minimal use of materials make this method a good option.

+

–

• high-quality • long-lasting (singer

• limited block thickness • no traditional spine • not suitable for large print

sewing)

• coloured threads can be used • various papers and formats can be combined

189

runs

• relatively expensive • time-intensive

190

Binding techniques – Thread

Side sewing Thread-and-knot sewing Side singer sewing

Side sewing with thread is equivalent to side stitching with wire, but has a premium look and offers more design opportunities; as well as side sewing, there are also variants such as Japanese stab binding.

191

O R

Binding techniques – Thread

Single pages

The pages are sewn with a lock stitch

The block is trimmed on up to four sides

192

Single pages and cover boards (back and front)

399

195

With side sewing, the gathered folded sheets or single pages are thread-sewn through holes bored approximately 5 mm (1/5 in) from the gutter – there are specialized machines for this, but it can also be done by hand. The side-sewn blocks are trimmed on three or four sides. The two most common techniques of side sewing are singer sewing (also used in pamphlet sewing) and Japanese stab binding.

Side singer sewing An industrial sewing machine binds the block with tight stitches along the whole length of the spine. The looped thread is poked through the paper and picked up by a hook, then the paper is moved further on. Each new loop is drawn through the previous one, interlinking the thread. Singer sewing can be done with one or two threads, and the stitch length is variable.

193

O R

Binding techniques – Thread

Folded pages, closed at the front and trimmed to final size

The pages or folded sheets are punctured

The pages are bound with a special stitch

194

Single pages

Japanese stab binding (Chinese binding) One special form of side sewing is Japanese stab binding. With this method, the sheets are folded once then bound not along the fold but at the open edge. The result: doubled sheets. In other words, of the original four pages on each sheet, only two remain visible, while the other two are hidden. The block is sewn so that the thread is carried around the spine as well as the top and bottom edges – they can no longer be trimmed.

141

Japanese stab binding cannot be fully automated; some steps must be carried out by hand. Only by incorporating perfect binding can Japanese stab binding be done on an industrial scale. Originally, this traditional technique was used to bind pen-and-ink drawings. Because the ink showed faintly through on the reverse of thin Japanese paper, the sheets were folded before binding.

405

Japanese stab binding opens up some interesting possibilities for design. For instance, images and text can be printed on the hidden ‘inner pages’, which would normally be blank – in which case the fold lines should be perforated so that the folded sheets can be opened more easily.

195

Block thickness, extent Side sewing can only be used to bind fairly thin booklets, from eight pages up to a maximum thickness of around 5 mm (1/5 in). The exact page count depends on the weight, texture and bulk of the paper, as well as the wear and tear on the bound product. The greater the weight, the fewer pages can be bound; the lower the weight, the more can be bound. Heavier papers make opening and laying the booklet flat more difficult, while lighter papers tear more quickly. It is therefore best to do a test run with a dummy.

Japanese stab binding really comes into its own when using thin paper with a maximum weight of 60 gsm (40 lb) – only then will the book block feel light and flexible.(1)

Japanese stab binding1, on the other hand, can cope with a block thickness of several centimetres. Because the pages are folded sheets, even very thin stock can be used without them tearing.

Binding techniques – Thread

Materials, printing process

360

38

141

Threads made of synthetic fibres have the greatest bending and tensile strength, but natural and composite fibres can also be used – it just depends on the type of paper, the number and thickness of the folded sheets, and how hard-wearing the binding needs to be. Bulky book papers with a weight somewhere between 70 and 135 gsm (50 to 100 lb) are best suited for side sewing, but other papers can work too. For Japanese stab binding, weights of approximately 60 gsm (40 lb) are ideal, because they will help retain the typical look and feel of the binding style. The grain direction of the paper should run parallel to the spine, although getting this wrong will not be as problematic as it would be with perfect binding, for instance. Side sewing is compatible with all printing techniques. It will not interfere with the inks, and vice versa.

196

Opening and laying the pages flat Because the thread must be sewn approximately 5 mm (1/5 in) from the edge, a booklet with this binding cannot be opened flat – this should be taken into account at the design stage.

400 131

When opened, the booklet will not stay flat; it will shut of its own accord. The thicker the book block, the more pronounced this effect will be. The gutter will not be visible. This issue is less problematic than with wire side stitching, however, because thread – unlike rigid staples – has a certain amount of give. Elastic thread may also be used.

This effect can be mitigated by scoring alongside the binding.

197

Durability Singer sewing is extremely sturdy and long-lasting. The tight, continuous stitches bind the pages firmly together, and the thread is robust – even over long periods of time.

Timescale Because operating the sewing machines is a complicated process, side singer sewing takes longer than other binding styles. It can also be done by hand, but this is slower still.

Costs, print runs

Binding techniques – Thread

As side sewing is a time-intensive and laborious process, costs are relatively high. This method is therefore not ideal for large print runs.

Design elements Thread: Coloured or metallic thread can help accent the binding. The thread should, however, always be chosen in conjunction with the paper. Distribution and number of stitches: The number of stitches and the intervals between them can vary.

If you want to combine different papers and formats, you should always discuss this with the binder in advance, because it may slow down production and cost more.(2)

Formats: Side sewing can accommodate changes in format, although this is laborious to do by machine. It is best to discuss this with the bindery in advance. Different papers: Virtually all kinds of paper2 can be combined. Even papers and materials with widely varying weights and textures can be placed in sequence.

198

Further processes

256

Cover: Side sewing works without a cover or with various styles of soft cover. Edging: Side-sewn blocks can be edged on up to four sides, side-sewn sheets on three.

Environmental impact Singer sewing is easy on the environment, because it requires minimal materials and is long-lasting. Using environmentally friendly materials will mitigate the environmental impact still further.

+

–

• high-quality • long-lasting • coloured threads

• limited extent • no traditional spine • difficult to lay flat,

can be used • various papers and formats can be combined

199

restricting layout options

200

Binding techniques – Thread

Thread sealing Thread sealing is a technique that sits somewhere between thread sewing and perfect binding. Cheaper and quicker than thread sewing, it can be carried out by a folding machine in a single pass. Today, however, thread sealing is falling out of use, because it requires special equipment and because many books can be bound equally sturdily and rapidly using PUR adhesive.

201

As it is folded, the sheet is stitched with thermoplasticcoated thread

Binding techniques – Thread

Printed sheet

°C

Heat and pressure melt the thermoplastic coating

The threadsealed sheets are gathered

202

Adhesive is applied to the bound book block

Softcover  256

Hardcover  332

203

Binding techniques – Thread

148 149

Thread sealing does not use a continuous thread but short, thermoplastic-coated sections of thread that can be stitched through the gathered sheets during folding. A hot metal arm tucks the ends of the thread around the spine, melting the coating and sealing it to the paper. The thread-sealed signatures are then gathered into a block and glued along the spine with PUR adhesive, hot-melt adhesive or cold glue.

204

For thread sealing, sheets should have at least eight pages to work. Individual pages and four-page sheets can also be bound in with the signatures, assuming they have been ordered correctly when the sheets are gathered. They then adhere to the strip of glue along the spine. (1)

171

401

141

Unlike with thread sewing, the threads only bind the individual signatures together, not the signatures to each other – the adhesive down the spine accomplishes that. Because thread sealing1 can be done inline in a folding machine in a single pass, it saves time. Indeed, it was originally developed as a quick and cheap alternative to thread sewing. These days, however, it is little used in industrial bookbinding, and requires specialized sealing tools. There are two reasons for its falling out of favour: modern sewing machines have made thread sewing more costeffective; and perfect binding with PUR adhesive is significantly more durable than in the past.

Block thickness, extent

410

Thread sealing is not suitable for block thicknesses of more than 20 mm (3/4 in): because the sealing threads are relatively thick, they would lead to excess swell around the spine.

Materials, printing process

36 38

381

Thicker papers – above 100 gsm (70 lb) – are ideal. Thinner papers can rip too easily, and the swell is more pronounced. With thicker or bulkier papers, it is best to make sure they are not folded too many times, and you may have to fold them differently. The grain direction should always be parallel to the spine, otherwise the paper may curl and prevent the pages from lying flat. If the pages are varnished or printed into the gutter, the increased temperature and pressure during the thread-sealing process can have an impact on the inks or varnish – the glue may not adhere properly and the inks may rub off.

205

Opening and laying the pages flat

400

Pages are quite easy to open and lay flat, although not to the same extent as with thread sewing. This is because of the spine adhesive, which holds together the individual signatures. Depending on the type of glue used, this can swallow up some of the gutter and make the book tend to squeeze shut.

Binding techniques – Thread

Durability Thread-sealed books last longer than perfect-bound ones, but significantly less than those that are threadsewn. With heavy use, individual signatures can detach from the book block, because they are merely glued rather than stitched together.

Timescale Thread sealing is quicker than thread sewing, for instance, because the whole binding process can be done in a folding machine in a single pass.

Costs, print runs The cost of thread sealing lies somewhere between thread sewing and perfect binding. The technique can also be used to bind large print runs.

Design elements Different papers: Thread sealing can be used to combine different papers. It is important to bear in mind, however, that different papers have different lifespans, so this should be discussed with the binder in advance.

206

Further processes

256 332

Cover: Thread sealing does not need a cover, but is compatible with all soft or hard covers.

Environmental impact The individual components cannot be separated easily, so thread sealing can only be considered environmentally friendly if the coating on the thread is solvent- and pollutant-free.

+

–

• fast • cheap • opens and lies flat easily

• not every bindery offers it • the sealing thread causes

207

significant swell

208

Binding techniques – Binding systems

209

Binding techniques – Binding systems

Binding systems Binding systems encompass a variety of techniques that can be used to bind separate pages – they include spiral or comb binding, wire-o binding, and binding with screws and rings, among other methods. The pages are held together loosely at the spine by these mechanical fasteners. Some can be reopened after binding, allowing pages to be swapped out. Such systems can be used to produce small print runs quickly and cheaply.

210

214 215 233 225 241 247

Binding systems secure the separate pages of a block only loosely, and are thus more flexible than other binding styles: because the pages are not tightly bound, they have a certain amount of give and can thus be easier to leaf through. They can also be removed without damaging the durability of the binding as a whole. There are numerous types of fastener that can be used to turn separate pages into blocks, including spirals, combs, screws, rivets, eyelets, rings, spine bars and rubber bands. First, holes are punched or drilled into the block as close to the gutter as possible, individually or in a row, then the fastener is fed through and closed – the process is different only for spine bars and rubber bands. Binding systems offer an extraordinary array of opportunities for creative design. They can be used to combine radically different materials and formats, including papers of very different thicknesses that would be impossible to bind using other techniques.

Holes for spiral binding

Oval holes for spiral and ring-wire binding

Square holes for ring-wire binding

Rectangular holes for wire and plastic combs

Pill-shaped holes for ring-wire binding or filing

Some fasteners, such as plastic combs, screws, rings and spine bars, allow pages to be swapped out later, whereas this is not possible with spiral or ring-wire binding. Copy shops often use binding systems to bind single copies or extremely small print runs. They tend to use small pieces of equipment with no restrictions on format, allowing them to produce small runs quickly and cheaply, generally with digital printing. Spiral- and ring-wire binding, on the other hand, can also be done on an industrial scale, producing very large print runs. There are three main criteria to consider when punching holes. The maximum punch width determines the maximum length and/or width of the block to be punched. The maximum punch thickness establishes the maximum block thickness the machine can punch in a single pass. The edge distance is the distance between the holes and the edge of the page along the binding edge. The greater the edge distance, the sturdier the binding. The amount of edge distance required depends on the fastener, binding style and punching machine.

Holes for screws, rivets, eyelets and rings

211

Binding techniques – Binding systems

212

212

Spiral and comb binding Spiral binding Coil binding Wire-o binding Plastic comb binding

Spiral and comb binding are among the most popular methods of binding. They enable copy shops to produce individual copies and small runs quickly and cheaply, but are also suitable for the industrial manufacture of calendars, notebooks and teaching materials. Spiral and comb bindings allow the individual pages a lot of freedom to shift: they can be rotated 360 degrees.

213

Spiral binding

Binding techniques – Binding systems

384

To create a spiral binding1, a series of round holes are punched into the block, running parallel to the edge of the pages. Then a spiral spine made of plastic or wire is spun through the holes and the ends are crimped so that the pages do not come loose as they are turned. Spiral binding is most commonly used for school notepads, calendars, user manuals, teaching materials and city maps.

Spiral binding is also known as coil binding.(1)

214

Ring-wire binding Ring-wire or wire-o binding is often erroneously termed ‘spiral binding’, but it works somewhat differently. The fastener here is a double-looped wire clasp that resembles the teeth of a comb. Much as with spiral binding, a series of round or square holes is punched through the pages, which are then hung off the open wire spine. As soon as the spine is closed up, the pages are securely bound. This process originated in England, and can be carried out with small pieces of equipment that are easy to operate.

One variant on ring-wire binding is skip binding, which uses shorter fasteners spaced at regular intervals instead of a single wire comb. This minimizes the materials used. Skip binding is primarily used in manufacturing wall calendars with loops for easy hanging. A thumbhole must be cut so that the pages of the calendar can still be turned despite the hanger: this is a semi-circular notch punched into the middle of the spine.

215

Block thickness, extent Spirals and wire combs come in diameters of 15 to 40 mm (5/8 – 1 5/8 in), and this determines the maximum block thickness. The interior diameter of the fastener should be at least 3 to 4 mm (1/8 – 1/6 in) larger than the thickness of the block.

Materials, printing process

Binding techniques – Binding systems

Wire combs and metal spirals: Wire combs and metal spirals are made of a special tear- and bend-resistant wire consisting of tin- or nylon-coated steel. This coated wire comes in a range of standard colours, although virtually any colour is available on demand. Although the wire is extremely sturdy, it can warp under pressure, in which case it is very difficult to bend back into its original shape. Plastic spirals: Plastic spirals are flexible, springing back into their original shape when warped. Unlike metal spirals, plastic spirals can break when placed under stress.

38

Paper: Spirals and wire combs allow for the combination of various papers and materials, including film, plastic, paperboard and leather. Even paper orientated perpendicular to the grain direction can be bound without any side effects, although this will make the pages easier to tear out, especially when there are rectangular holes. Printing process: This binding method is compatible with all printing processes.

Opening and laying the pages flat Items bound with spirals or wire combs can be laid flat more easily than those with any other binding. In fact, they do not simply lie flat: they can be rotated all the way round.

216

A block where the pages can be flipped all the way round is a space-saver, and the opened pages remain clearly legible – and easy to photocopy, for instance – even when the book block is thick.

However, the spiral2 or wire comb must be large enough not to interfere with the opening of the pages. If the diameter is too small or the distance between the page edge and the holes is misaligned3, the pages cannot be turned as easily and the spine edges will butt up against each other when the book is opened.

Open spiral binding Remember that spiral binding will result in a slight misalignment: in other words, the pages will shift up one rung in the coil when opened. This binding style is therefore not optimal for double-page images.(2)

Open wire-o binding The advantage of wire-o binding is that the pages are not misaligned when opened.(3)

217

Durability Spiral and wire-o bindings are themselves very sturdy, but because the punched holes act as a kind of perforation line, individual pages can be torn out easily – of course, in some cases this is an advantage. Unlike in other such systems, individual pages cannot be swapped out afterwards without destroying the binding. Plastic spirals can eventually become brittle with age and prone to breaking.

Timescale This method is unusually quick because it requires only two steps: punching and binding.

Binding techniques – Binding systems

Costs, print runs

392

The fasteners themselves – spirals and wire combs – are relatively expensive, yet the overall cost of this method is low. Copy shops and hand binderies can produce single copies and small runs quickly and cheaply. On an industrial scale, large print runs are also feasible: a fully automated production line can manufacture up to 1,000 units per hour, although the process may take longer and be more costly depending on the format and block thickness.

Design elements Coloured wire combs and spirals: Wire combs and spirals come in a range of colours. Plastic-coated ones are mostly matt; those without a coating are usually silver but can be coloured. Different formats: A variety of formats can be bound together, including smaller pages.

218

399 393 33

Different papers: Spiral and wire-o binding allows a variety of paper stocks and thicknesses to be interleaved, including papers and materials with radically different grammages, bulks and textures.

Further processes

266 260

386

Cover: Spiral and wire-o bindings do not need a cover, but can accommodate an array of different cover styles. (Read more on this under Single-sheet softcover with 360-degree rotation.) Rounded corners: The corners can be rounded.

Environmental impact The paper and its binding are easily separated and recycled.

+

–

• quick and straightforward

• no traditional spine • gaps between the open

to produce (copy shop) • cheap • long-lasting • easy to open and lay flat (360 degrees) • materials and formats can be combined

219

pages

• bulky fasteners make stacking more difficult

• clearly visible spirals and combs may be intrusive • plastic spirals can bleach and become brittle with age

Plastic comb binding Plastic comb binding involves a flexible, round plastic comb being fed through the block and closed. Softcovers bound in this manner cannot be laid flat as easily as spiral or wire-o bindings, nor can the pages be flipped round all the way. The plastic comb is also far more eye-catching.

Binding techniques – Binding systems

Because the process is so quick and simple, office documents, pocket calendars, address books, telephone directories, reference books and user manuals are all commonly bound with plastic combs. The necessary equipment is cheap and available even at office supply stores; most copy shops will also offer this binding style. Unlike with wire-o and spiral methods, this binding can be reopened using the same equipment used to close it, allowing additional pages to be added at a later stage.

Block thickness, extent Blocks up to several centimetres thick can be bound using this technique. What is essential is that the diameter of the plastic comb is at least 3 to 4 mm (1/8 – 1/6 in) larger than the block thickness, allowing the book to open easily and lay flat.

Materials, printing process Plastic comb: The combs are punched out of a plastic sheet and shaped while exposed to heat. They are available in a range of plastics and colours. There are round and oval plastic combs – as a general rule, the oval variety are only used for block thicknesses above 30 mm (1 1/8 in), to prevent the block bulging out too far along the fore-edge. Plastic combs with a wide back bar can also be used as a design surface, assuming the material can be printed.

220

A round plastic comb and an oval plastic comb

38

Paper: Plastic combs allow a variety of papers and materials to be bound in combination, including film, plastic, paperboard and leather. Even paper orientated perpendicular to the grain direction can be bound without any side effects, although this will make the pages easier to tear out. Printing process: This technique is compatible with all printing processes.

Opening and laying the pages flat Blocks with a plastic comb binding can be easily opened and laid flat, although not as easily as with wire-o or spiral binding – they look somewhat unwieldy. Because plastic combs have a solid back bar, they cannot be rotated fully.

221

So that the pages do not become difficult to turn, the diameter of the plastic comb should be sufficiently large, and the distance between the holes and the edge of the page properly aligned.

Durability This binding is robust, but is less well suited to heavy products, as they can wear out the comb; after a while it may become brittle and break. Single pages are easily torn out if the distance between the holes and the edge of the paper is too great, or the diameter of the comb too small. Being able to swap in additional pages later on extends the longevity of this binding.

Timescale Binding techniques – Binding systems

Plastic comb binding requires only two steps (punching and binding), and is therefore very quick.

Costs, print runs Although the combs themselves are relatively expensive, the overall cost of this method is low. Plastic comb binding is offered solely in copy shops and hand binderies, which can produce single copies and very small runs quickly and cheaply.

Design elements Coloured plastic combs: Plastic combs come in a range of colours.

399 393 33

Different papers: Plastic comb binding allows virtually all paper stocks and thicknesses to be interleaved, including papers and materials with radically different grammages, bulks and textures. Different formats: A variety of formats can be bound together, including smaller pages.

222

Printed spine: It is possible to print on the back of the plastic comb, which can be of varying widths.

Further processes

266

Cover: Plastic comb bindings do not need a cover, but can accommodate an array of different cover styles.

386

Rounded corners: The corners can be rounded.

Environmental impact The paper and its binding are easily separated and recycled. Combs made of recycled plastic are also available.

+

–

• quick and straightforward

• no traditional spine • gaps between the open

to produce (copy shop) • cheap • long-lasting • easy to open and lay flat • materials and formats can be combined • pages can be swapped out later

223

pages

• bulky fasteners make stacking more difficult

• clearly visible combs may be intrusive

• plastic combs can bleach and become brittle with age

224

Binding techniques – Binding systems

Binding rings Bookbinding rings Ball chains Wire rope rings

Binding rings, ball chains and rings made of wire rope can all be used as simple methods of binding separate pages by loosely holding them together. This style is especially well suited to sample books of paper, fabric and other materials, as well as labels, tags, menus and photo albums.

225

Binding rings and similar fasteners require no tools besides a hole punch. One, two or more round holes are punched through the block, then the binding rings, wire ropes or ball chains are fed through and the ends are closed. The closing mechanism can be easily reopened, allowing pages to be swapped out and the fasteners to be reused. Because they are done by hand, these binding styles are suitable only for single copies or small runs.

Block thickness, extent

Binding techniques – Binding systems

The maximum extent is determined by the size of the fasteners: binding rings are generally available in diameters between 13 and 76 mm (1/2 and 3 in), while wire ropes and ball chains are offered in a range of thicknesses and lengths. They can also be cut to size.

Materials, printing process Binding rings mainly come in nickel-plated metal (coloured gold or silver), and have a catch that can be opened by squeezing the ring. Wire rope rings, made from steel cable, are very robust and can withstand a greater degree of strain. They have a secure threaded closure that can be reopened at any time. Ball chains consist of a series of small balls connected by thin metal dowels. They are very flexible and mobile, and can be closed and reopened with a connector. The chains are made of nickel- or brass-plated metal, although special finishes in other colours are available.

226

Binding ring, ball chain, wire rope ring

Paper: It is best to use paper that is as thick and tearresistant as possible – such as non-wovens – because thinner papers can rip at the holes. Otherwise, rings, chains and wire ropes can be used to bind a variety of papers and other materials, including laminates, plastic, paperboard and leather. Printing process: This technique is compatible with all printing processes.

227

228

Binding techniques – Binding systems

Opening and laying the pages flat Products bound with rings, wire rope or chains can be opened easily and fully rotated. The binding is anything but tight, however: the pages are held together only loosely, even if two or more fasteners are used. This means that pages can easily become misaligned, which is not ideal for images across a spread.

Open binding featuring binding rings

Binding rings do not create a completely flat surface when the pages are opened because they are rigid and protrude above the block – wire rope and chains are more flexible, but they still have a similar effect. The distance from the edge of the page to the punched holes must be correctly calibrated. If it is too large, the spine edges can butt up against each other when the book is opened.

Problems can occur when opening and laying the pages flat.

229

Durability The longevity of a product bound with binding rings or similar fasteners depends on the sturdiness of the pages, which are only loosely held together. The fasteners themselves are very long-lasting, and individual pages can easily be swapped in without damaging the binding. This method is thus ideal for products that require pages to be regularly substituted – sample books or menus, for instance.

Timescale As only two steps are required – punching and binding – this method is remarkably quick.

Binding techniques – Binding systems

Costs, print runs Bindings with rings and similar fasteners can only be made by hand, so this method is best suited to individual copies or small runs. The relatively high cost of the fasteners is thus less significant.

Design elements Coloured fasteners: Rings, wire ropes and chains come in a range of colours.

399 393 33

Different papers: Stocks and materials with radically different grammages, bulks and textures can be combined, following one after another. Different formats: Smaller pages can be bound together with other sizes.

230

Further processes Cover: This method cannot accommodate a traditional wraparound cover, but can incorporate a board cover. Finishes: Finishes such as coloured edges are not feasible because the product is a loose collection of pages rather than a uniform block. 386

Rounded corners: The corners can be rounded.

Environmental impact The components of the binding can be easily separated from the pages and reused.

+

–

• cheap • pages can be swapped out

• large print runs are

later on • various materials and formats can be combined

unfeasible

• no traditional spine • large gaps between the open pages

• bulky fasteners make stacking difficult

231

232

Binding techniques – Binding systems

Screws, rivets, eyelets Binding screws (bookbinding screws) Rivets (hollow rivets) Eyelets

Unlike most other binding systems, screws, rivets and eyelets keep individual pages tightly rather than loosely bound. This is a simple technique that can be used for single copies and small runs of items such as menus, albums, fan-out sample books and labels.

233

Binding techniques – Binding systems

Two, four or more round holes are drilled as close as possible to the edge of the page. The fasteners1 are then fed through and closed, keeping the block tightly bound. Binding screws can always be unscrewed later, allowing individual pages to be swapped out, but eyelets and rivets do not have this functionality. This method is not suitable for industrial production. It is offered primarily by hand binderies using small-scale equipment.

Because the fasteners take up space along the spine edge, parts of the image can disappear into the gutter. The layout should therefore allow some extra distance in the centre margin.(1)

234

Eyelet, rivets, binding screws, binding screw with a long post

Binding screw

Eyelet, original shape

Eyelet, compressed

Rivet, flattened

Binding screws: The screws consist of a screw head and a threaded shaft, which are screwed into each other through the holes in the pages. The screws can be reopened and closed again at any time and are often used for menus, photo albums and fan-out sample books. Eyelets are hollow metal cylinders with a thickened head. They are pushed through the holes in the pages and compressed using eyelet pliers on the other side, turning the cylinder outward. The result is a tight, secure binding that cannot be reopened without destroying it, and eyelets are therefore commonly used for important documents and records. Because eyelets – unlike rivets – are hollow in the middle, the blocks can also be filed in folders. Rivets are two-part bolts made of metal or plastic that can be used to firmly bind separate sheets and cover boards. The head and tail are pushed through the holes and closed with riveting pliers. They cannot be reopened.

235

Block thickness, extent The maximum block thickness depends on the size of the fasteners: with standard rivets and eyelets, only products with a low page count can be bound. Binding screws with extended posts, on the other hand, can cope with block thicknesses of up to 10 cm (4 in).

Materials, printing process

Binding techniques – Binding systems

Fasteners: Screws, rivets and eyelets come in nickel, brass or aluminium; screws and rivets are available in plastic, too. They come in various lengths, diameters and colours, and binding screws can also have coloured heads.

38

Paper: A wide range of papers and other materials can be bound together, including film, plastic, paperboard and leather. Even paper orientated perpendicular to the grain direction can be bound without any side effects, although this will make the pages easier to tear out. Printing process: This binding method is compatible with all printing processes.

Opening and laying the pages flat Because the holes must be a certain distance from the edge of the paper, the pages are harder to open and lay flat, and much of the gutter is invisible. The thicker the block, the more difficult it is to open and lay flat, although larger formats mitigate this somewhat.

236

237

Durability Rivet and eyelet bindings last a very long time. Screw bindings can improve the longevity of a product still further, in that they allow individual pages to be swapped out without damaging the durability of the product as a whole.

Timescale Production time is minimal because stamping holes and binding are the only two steps in this process. Binding screws are an exception, however: they have to be screwed in by hand, so they take longer to work with.

Binding techniques – Binding systems

Costs, print runs Bindings with screws, rivets or eyelets must be done by hand, and are therefore suitable only for single copies or small runs. They are relatively low-cost, although special cover folders – for elaborate menus, portfolios or albums, for example – will bump this up.

Design elements Coloured fasteners: Eyelets, rivets and screws come in a variety of colours.

399 393 33

Different papers: Various paper stocks and materials with radically different grammages, bulks and textures can be combined in sequence. Different formats: Smaller paper sizes can be mixed in with larger ones.

238

Further processes Cover: This method cannot accommodate a traditional wraparound cover, but can incorporate a board cover. Finishes: Screw, rivet and eyelet bindings allow an item to be edge-coloured on all four sides.

Environmental impact The paper and components of the binding can be easily separated and recycled.

+

–

• fast • long-lasting • different materials and

• limited extent • not suitable for large

formats can be combined • with screw-bound books, pages can be swapped in later • eyelet-bound books are tamper-proof

239

print runs

• poor visibility in the gutter • no traditional spine

240

Binding techniques – Binding systems

Spine bars and springback binders Spine bars and springback binders hold single pages together very simply, without having to punch or glue the paper. The pages can be removed undamaged from the binding at any time. Spine bars are commonly used for documents.

241

Spine bars are the fastest and simplest way of holding together loose pages. The block is slid into a flexible metal or plastic bar, which holds it firmly in place. The pages can be given additional protection by adding covering sheets or plastic film.

Binding techniques – Binding systems

Springback binders work in a similar fashion. A hard case hides a steel spring inside the covered spine. The pages are fixed in place by opening the folder wide, inserting the sheets and then closing the folder. Springback binders come in a variety of finishes and colours – they can be made of plastic or paperboard, and covered in leather or cloth. Both styles (spine bars and springback binders) permit not only loose leaves but folded sheets and sleeves to be bound. Individual pages can be rapidly removed or swapped out. Spine bars and springback binders are reusable and are frequently used for menus, application materials, handouts and presentation folders.

242

Block thickness, extent Standard bars and binders are available only for certain formats and block thicknesses. Bars can usually accept blocks up to a maximum thickness of 10 mm (3/8 in), and binders in A4 (8 ¼ × 11 ¾ in) and A5 (5 7/8 × 8 ¼ in) format up to 20 mm (3/4 in). Springback binders can also be made to order, in which case their capacity can be determined by the client.

Materials, printing process Fasteners: Plastic and metal spine bars come in a variety of colours and with a range of optional extras – filing strips, for example. Springback binders are produced in a similar way to book cases and use the same materials.

38

Paper: Radically different papers and other materials can be combined and clamped together. The paper should not be too stiff, however, or the bar will open and the pages will fall out. Even paper orientated perpendicular to the grain direction can be bound without any side effects, although this will make the pages harder to open. Printing process: Spine bars and springback binders are compatible with all printing processes.

Opening and laying the pages flat A significant proportion of any double-page spread will disappear into the gutter, so the layout should leave additional space for the centre margin.(1)

400

Because the spine bars take up 1 to 2 cm (3/8 – 3/4 in) of the gutter, little of the central margin is exposed1 and the pages are relatively difficult to open. If the covering sheets are made of stiff material, they will be folded to the right of the bar so that the product can be opened more easily.

243

Durability Spine bars and springback binders are usually intended only for temporary use, and their content is interchangeable. If you want to change the content regularly, it is best to use hard-wearing materials. With menus, for instance, a steel spring is a good idea. Plastic spine bars can sometimes break when under constant stress, and they can become brittle with age.

Timescale Very quick, because the pages simply have to be inserted into the bar.

Costs, print runs

Binding techniques – Binding systems

Spine bars are very cheap, and can be purchased at any office supply store. Springback binders, on the other hand, are expensive, and when made to measure the costs will depend on the specification. Because the content must be inserted by hand, this binding method is suitable only for small quantities.

Design elements Colours and formats: Springback binders come in a variety of formats and finishes, and can also be made to specification by the bookbinder – the various materials required are similar to those of cases. Spine bars are only available in standard sizes and styles, but they do come in different colours.

399 393 33

Different papers: This method allows a variety of paper stocks and thicknesses to be interleaved, including papers and materials with radically different grammages, bulks and textures. Different formats: Smaller pages can be bound together with larger sizes.

244

Further processes Cover: Spine bars do not permit a traditional wraparound cover, but can incorporate a cover board.

Environmental impact The environmental friendliness of this technique depends on the materials used. Spine bars and springback binders can be reused, extending their lifespan.

+

–

• cheap • pages can be swapped out • various materials and

• limited extent • no traditional spine • not suitable for large

formats can be combined

• reusable

245

print runs

246

Binding techniques – Binding systems

Rubber-band binding A rubber band can be used to bind folded sheets or single pages in small print runs. The pages can be swapped out at any time. Rubber-band bindings do not last long, however, and tend to look like a temporary solution. That said, choosing a band in an unusual colour can accent your design nicely.

247

248

Binding techniques – Binding systems

408

There are two ways of creating a rubber-band binding – depending on whether you want to bind sheets or single pages, the band is placed either around the spine fold or laterally. Rubber-band binding along the spine: Several trimmed, gathered and folded sheets can be bound with a rubber band by sliding it into the centre fold by hand. The band should not be too tight or too loose. Because the rubber band pokes out at the top and bottom of the booklet, the pages can be trimmed only along the fore-edge.

121 408

As well as ordinary sheets, a rubber band can be used to bind individual saddle-stitched signatures together, even those of different sizes. Side rubber-band binding: If you want to bind single pages with a rubber band, it has to run down the side. Rectangular notches are punched into the top and bottom of the gathered pages (which have been trimmed to the desired format), positioned as close to the gutter as possible – this process is done by hand for small runs and by machine for higher ones. The notches are there to ensure that the rubber band will not shift around, so they should be only marginally wider than the band itself.

Block thickness, extent 191

410 399

Rubber-band bindings, like saddle stitching or side sewing are suitable only for products with a low page count. Depending on the amount of paper, a rubberbanding binding can result in swell, meaning that the booklet is thicker at the spine than at the fore-edge. The rubber band itself will also thicken the spine somewhat.

249

Materials, printing process Rubber bands: Rubber bands are available in natural rubber, woven elastic tape or fabric-covered elastic cord. Those made from natural rubber are generally flat and are manufactured as closed rings. They can be purchased in a variety of lengths1 and widths, and in a range of colours, including transparent. Woven elastic is flat; fabric-covered elastic cord is round. Both are sold from spools and must be fused into a closed ring of the desired size or secured with a small metal clasp before binding. They are available in many colours.

Binding techniques – Binding systems

Rubber bands must be the right length, or they will grip the book block either too little or too firmly.(1)

38

Paper: Rubber bands permit the combination of widely different papers and other materials, because the individual sheets are not actually bound together. That said, the paper should be chosen with the block thickness and format in mind: it must be stiff enough to withstand the tension exerted by the rubber band, yet flexible enough that the pages can be opened easily – especially important with the side-bound technique. If you have chosen a thinner paper for the interior, you can compensate with a thicker paper for the cover. Even paper orientated perpendicular to the grain direction can be bound without any side effects, although this may make the pages harder to open and lay flat. Printing process: This binding method is compatible with all printing processes.

250

Opening and laying the pages flat Using a rubber band to bind a booklet at the spine will allow the pages to open relatively easily, much like a saddle-stitched pamphlet, whereas a lateral rubberband binding will be significantly worse in this regard – the distance between the notches and the edge of the paper will swallow up a lot of the gutter and force the book shut.

Rubber-band binding along the spine

Rubber-band binding down the side

407

Covering pages made of stiff material should be scored just to the right of the binding, allowing the pages to open more easily and lie flat. Durability Rubber-band bindings can be somewhat insecure, because the individual pages or sheets are only loosely held together. How long they last depends primarily on the materials used: the rubber bands may eventually become brittle, for instance. Being able to swap out the pages easily without affecting the sturdiness of the booklet as a whole prolongs its lifespan.

Timescale Side rubber-band binding: After notching, the rubber bands are usually added by hand, which takes time.

251

Rubber-band binding along the spine: This technique is less time-intensive than the sideways version because no notching is involved: the sheets simply have to be folded and the rubber band affixed. Because this is done by hand, more time should be built in for large print runs.

Costs, print runs

384

Rubber bands are cheap, but since this method is done manually it can be costly. Cutting dies may even need to be created for the notches used in the sideways version. Rubber-band binding is thus most suitable for single copies and small runs.

Binding techniques – Binding systems

Design elements Coloured rubber bands: Rubber bands come in a variety of colours, and fabric-covered elastic cord can also be purchased in a metallic finish.

399 393 33

Different papers: Virtually all types and thicknesses of paper can be interleaved, including papers with radically different grammages, bulks and textures. Different formats: A rubber band around the spine can be used to bind formats that are different heights and widths. A band down the side can only bind pages of the same height, although they can be different widths. Rounded corners: The corners can be rounded if this is done before binding.

252

Further processes Cover: Rubber-band bindings do not require a cover, but are compatible with a variety of cover styles – for instance, with a cover made from a single piece of paperboard that is folded around the spine, or covers made from two pieces of paperboard – i.e. with a board at the front and back. Finishes: Finishes such as coloured edges are not feasible, because the product is a loose collection of pages rather than a uniform block. Environmental impact The paper and rubber bands can be easily separated and recycled.

+

–

• different materials and

• time-intensive and thus

formats can be combined • pages can be swapped out • rubber bands come in a wide range of colours

relatively expensive • no traditional spine • rubber bands running down the side make the pages difficult to open and lay flat • rubber bands around the spine cause swell, making stacking more difficult • rubber bands can become brittle

253

Softcovers

Types of softcover

Paperbacks Softbacks

Softcovers consist of a book block and flexible cover that are attached to each other directly. There is a huge range of different types of softcover. They are an interesting and often more cost-effective alternative to traditional hardcover books, as they permit a wide array of materials and design options.

256

Originally, soft covers were conceived as a temporary binding, for use until the bookseller had chosen a higher-quality case in whatever style they preferred. It was not until the end of the nineteenth century that books with uniform covers designed by the publisher – known as publisher’s bindings – started to be produced. The status of the softcover has transformed considerably since then, in large part because of higher-quality adhesives that have made opening and laying the pages flat significantly easier. These days soft covers are used not just for paperbacks, but also as interesting alternatives to traditional hardcover books.

Multi-section softcover

Producing a softcover book requires a softcover book block; the gathered and bound single pages or folded sheets are then bound together along with the cover. Unlike a hardcover block, the softcover variety does not include glued-on endpapers; it can be bound using any technique – multi-section, single-section or singlesheet binding – and is normally only trimmed at the end of the process along with the cover. With a traditional multi-section softcover, the cover is a single piece – usually paper or paperboard. It is scored two or four times and glued onto the spine of the block. Finally, the bound book is trimmed on two (top and bottom) or three sides. The cover does not protrude over the edge of the block.

Single-section softcover

In addition to multi-section softcovers, there are also single-section softcovers and single-sheet softcovers – in other words, softcovers are compatible with all methods of binding. With single-section softcovers, the cover – a single, unscored sheet – is usually bound in with the signature, for example with saddle stitching or pamphlet sewing. The process for single-sheet softcovers is similar: the cover is bound along with the loose-leaf book block, although the two are not glued together.

Single-sheet softcover

257

A range of finishes are added to the cover (optional)

Types of softcover

The cover is manufactured separately

Single pages or sheets are bound into a block

258

The cover is affixed at the same time

optional

The book is trimmed

The edges are coloured (optional)

259

Single-sheet softcover with 360-degree rotation

Types of softcover – Single-sheet softcover with 360-degree rotation

Book block

Cover

Metal coil/rings/screws

260

Single pages can be spiral- or wire-bound, and they often incorporate a soft cover. The block is held together loosely, and the pages are thus especially mobile. They can be rotated a full 360 degrees, making this a popular option for calendars and school notepads. 266 Single-sheet softcover with 360-degree rotation: Variants

261

Types of softcover – Single-sheet softcover with 360-degree rotation

Single-sheet softcover with 360-degree rotation The cover for a single-sheet softcover can be either produced separately, or punched and bound together with the book block – in which case it usually consists of a thicker front and back page in the same format as the block. A wide range of covers is possible, including covers in sturdy paperboard or materials like paper, plastic and leather, as well as covers with flaps and shorter or protruding covers. Inside, a variety of papers and other materials can be combined. Single-sheet softcovers lack a traditional, printable spine. Special wraparound covers have been developed to redress this: a spiral-bound book, for instance, could then incorporate a spine. Possible bindings 215 Ring-wire binding/wire-o binding 214 Spiral binding (plastic, metal) 220 Plastic comb binding

288 266 266 266 266 267 267 267 267 215

Variants Softcover with flaps Wire-o binding with wraparound flap Reverse binding Full Canadian binding Half Canadian binding Wire-o binding, glued back (flat spine) Wire-o binding, cased in (rounded spine) Wire-o binding, semi-exposed (rounded spine) Pocket binding Wall and desk calendar

Single sheets Cover

Comb

262

Types of softcover – Single-sheet softcover with 360-degree rotation

Single-sheet softcover with 360-degree rotation

Book block Metal/plastic coil Cover

264

Types of softcover – Single-sheet softcover with 360-degree rotation

Single-sheet softcover with 360-degree rotation: Variants Wire-o binding with wraparound flap A single-piece cover with a flap that opens outward to the right, protecting the foreedge; it is bound simultaneously with the block and can be printed.

Reverse binding This specially folded cover is affixed to the block only at the back, wrapping around to conceal the binding. It produces a flat spine that can be printed. The back flap gives the book stability; it can be glued down or left free.

Full Canadian binding A single-piece cover bound simultaneously with the block, revealing the binding only at the front and back. The binding is thus partially exposed, and the flat spine offers space for a design.

Half Canadian binding A single-piece cover where only the back is bound with the block, exposing the binding down the back; the flat spine can be printed.

266

Wire-o binding, glued back (flat spine) The back of the wire-o-bound block is glued into a single-piece cover with a flat spine that conceals the binding.

Wire-o binding, semi-exposed (rounded spine) A single-piece cover featuring two rows of holes, bound simultaneously with the block; the wire is exposed at the spine.

Wire-o binding, cased in (rounded spine) The wire-o-bound block is glued at the back to a rounded and sturdy cover – the pages can thus be flipped 360 degrees.

Pocket binding The last page of the block is tucked into the cover, which features an integrated pocket, binding them together; the spine can be flat or rounded.

267

Side-bound softcover

Types of softcover – Side-bound softcover

Softcover book block

Binding screw

268

Cover

Side-bound softcovers can be bound with thread, wire, screws or rivets. They cannot be opened and laid flat as easily, but they are very sturdy. The cover usually consists of two thicker sheets, while the spine is left exposed. This style of softcover is relatively uncommon, but it is used, for example, for tear-off blocks with wire staples.

Thread/wire

269

Side-bound softcover

Types of softcover – Side-bound softcover

171

The two covering sheets on the front and back are bound simultaneously with the book block, without the need for adhesive. Single-piece covers, scored twice, can be wrapped around the block. A wide range of materials can be used, including paper, paperboard, plastic, leather and cloth, as long as they can be drilled through or punctured – for instance, with needles used for thread sewing. Inside the book block, a variety of papers and other materials can be combined.

381

The cover material should not be too stiff, because then the book will be harder to open and lay flat1, and the material may break. It is a good idea to score the cover sheets along the binding, mitigating this effect and preventing ugly lines developing in the cover. Flaps or additional finishes can also be incorporated, including lamination or varnishing.

193 195 131 233 233 241

Possible bindings Side singer sewing Japanese stab binding Side stitching Screws Rivets Spine bars

378

This type of softcover is relatively difficult to open and lay flat. One alternative is single-sheet wire-o binding, in which the pages can rotate 360 degrees.(1)

Variants 288 Softcover with flaps 292 Blank softcover with jacket and flaps 375 Bellybands

Book block Cover Scoring Wire/thread

270

Types of softcover – Side-bound softcover

Side-bound softcover

Book block Cover Scoring

Thread/wire

272

Softcover bound along the spine fold

Types of softcover – Softcover bound along the spine fold

Book block

Cover

Wire/thread

274

To bind a book along the spine fold, gather several folded sheets into a signature and bind them at the spine with wire staples or with thread. This very simple softcover is common with magazines and school textbooks. 280  Dos-à-dos binding

275

Softcover bound along the spine fold

Types of softcover – Softcover bound along the spine fold

The block is bound with a wraparound cover in a single pass – there is no need for adhesive here, either. Afterwards the book is trimmed1 on the top, bottom and front.

378

Not all materials are suitable for the cover. It must be possible to puncture them with staples or needles, and they must also be flexible enough that the book can be opened and laid flat without any problems. Besides paper and paperboard, flexible plastics or leather can work. When the cover is printed all over, laminating it is often a sensible idea, because it stops the ink cracking along the spine.

The resultant creep can be trimmed away or deliberately incorporated into the design.(1)

One drawback of books bound in this manner is that the spine cannot be printed. 121 123 184 181 185

Possible bindings Saddle stitching Loop stitching Thread-and-knot sewing Pamphlet sewing Singer sewing

280 288 292 375 332 247 304

Variants Dos-à-dos binding Softcover with flaps Blank softcover with jacket and flaps Bellybands Hard cases Rubber-band binding (around the spine) Swiss binding

Book block Cover

Wire/thread

276

Types of softcover – Softcover bound along the spine fold

Softcover bound along the spine fold

Book block Cover Wire/thread

278

Types of softcover – Softcover bound along the spine fold

Dos-à-dos binding (Z-binding)

One way to vary the spine-fold binding style is to incorporate a dos-à-dos cover, or Z-binding, in which several folded sheets are bound into a cover folded into a zigzag shape. The folded sheets face opposite directions, orientated head to toe, and the book can be opened from both sides. The cover must be stable enough to withstand the extra strain. It will be manufactured separately and trimmed to size before it is attached to the block, as trimming is impossible afterwards. The top and bottom edges are then guillotined after binding. Dos-à-dos-bound books are made by hand. Any number of folds can be added, increasing the length of the book. Within each section, various papers and other materials can be combined. Other binding methods and types of softcover can incorporate the dos-à-dos structure too, even those with rigid cases. 121 123 184 181 185 141 171

Possible bindings Saddle stitching Loop stitching Thread-and-knot sewing Pamphlet sewing Singer sewing All styles of perfect binding All styles of thread sewing

Variants 332 Hard cases

Book block Cover

Wire/thread

280

Softcovers: Common styles

Types of softcover – Common styles

Book block

Cover Scoring

Spine

282

Of all the different types of softcover, the traditional version – in which a perfectbound or thread-sewn book block is glued into a flexible cover – is the most common. The traditional softcover is usually considered the alternative to a hardcover book, but there are many ways it can be varied. 284 288 292 296 300 304 308

Standard softcover Softcover with flaps Blank softcover with jacket and flaps Blank softcover with drawn-on jacket and flaps Tape-bound softcover Swiss binding Kösel EB 500

283

Standard softcover Fig. 1

Types of softcover – Common styles

403

The simplest, cheapest, but also most short-lived style of multi-section softcover is used, for example, with paperbacks. The book block is glued along the spine into a wraparound cover and trimmed on three sides. The cover is scored at least twice (Fig. 2), once on each edge of the spine. Scoring four times – i.e. also scoring a few millimetres from the spine on the front and back – can make the book easier to open and lay flat. In this case, the adhesive is also applied on the front and back up to the scored line. The scores on the spine are positive (they bulge outwards), while the hinging scores on the front and back are negative (they curve inwards).

Possible bindings 141 Perfect binding 171 Thread sewing 201 Thread sealing 322 288 292 296 375

Variants Flush board binding with spine backing Softcover with flaps Blank softcover with jacket and flaps Blank softcover with drawn-on jacket and flaps Bellybands

Fig. 2

Book block Cover Scoring Glue

Scoring

284

285

Types of softcover – Common styles

Standard softcover

Book block Cover Scoring Glue Scoring

286

287

Softcover with flaps Fig. 2

Unlike a traditional softcover, this version features flaps on both cover leaves1, giving it a sturdier and more hardcover-like effect.

Types of softcover – Common styles

So that the cover juts out slightly over the edge of the pages like a hardcover (Fig. 1), the block is trimmed along the fore-edge by about 1 to 2 mm (1/25 – 1/12 in) before being glued in, and along the top and bottom after gluing. Usually the flaps are folded inwards, but then can also be turned outwards2. The flaps can be any length, including being longer at the front than at the back, and vice versa. Another possibility is to leave the book block projecting out and attach a shorter cover (Fig. 2), in which case the block must first be glued into the prepared cover and then trimmed. Possible bindings 141 Perfect binding 201 Thread sealing 171 Thread sewing

Shortened flaps, trimmed after binding

The cover of a softcover with flaps must be laid out on a sufficiently large sheet. With digital printers, standard sizes are often not big enough(1). Flaps can make it more difficult for the gluing machine to process the books. To make sure they do not get stuck in the machine, you may have to secure the flaps, especially those folded outwards – this will bump up the costs.(2)

Variants Very short flaps Short flaps, trimmed after binding

Book block Cover Scoring Glue

Scoring

288

Fig. 1

289

Types of softcover – Common styles

Softcover with flaps

Book block Cover Scoring Glue Scoring

290

291

Blank softcover with jacket and flaps

Fig. 2

This style of softcover is similar to a normal softcover, but it features an additional protective jacket, usually made of thinner paper. The block is glued into an unprinted inner cover, then a printed outer jacket with flaps is loosely fitted around it. The flaps are folded around the inner cover, and can be glued down if desired.

Types of softcover – Common styles

The protective jacket can be folded over along each side (Fig. 1). The first and last sheets of the book block can then be glued down along the edge with the folded-over jacket. Possible bindings 141 Perfect binding 201 Thread sealing 171 Thread sewing Variants 332 Hard case 375 With a protective jacket

Book block 1 Cover

Fig. 1

2 Protective jacket Scoring

2

Glue

1 Cover with a protective jacket folded over

292

Scoring

293

Types of softcover – Common styles

Blank softcover with jacket and flaps

Book block 1 Cover 2 Protective jacket Scoring Glue Scoring

294

295

Blank softcover with drawn-on jacket and flaps

Types of softcover – Common styles

For this style of softcover, two covers are used: an inner cover, usually made of sturdy, unprinted paperboard (which is scored four times, as with an ordinary softcover, and glued to the spine of the book block); and a printed outer jacket made of thinner paper, with flaps. This protective jacket is glued to the spine of the inner cover and the flaps folded around it. The block is trimmed by 1 to 2 mm (1/25 –1/12 in) along the fore-edge in advance, allowing the cover to overhang slightly, as with a hardcover book – the top and bottom edges are trimmed after gluing. A shorter second cover may also be incorporated.

284

This style is more hard-wearing than a standard softcover, but is significantly more laborious to produce, and thus more expensive.

Possible bindings 141 Perfect binding 201 Thread sealing 171 Thread sewing

Book block Cover Protective jacket Scoring Glue

Scoring

296

297

Types of softcover – Common styles

Blank softcover with drawn-on jacket and flaps

Book block Cover Protective jacket Scoring Glue Scoring

298

299

Tape-bound softcover

Types of softcover – Common styles

391

A tape-bound softcover employs a backing strip along the spine to bind the two covering leaves to the block. This backstrip, made of paper or cloth, is affixed to the spine but reaches another 6 to 7 mm (approx. ¼ in) onto the covering leaves (up to the scored lines) at the front and back, and is glued down. If paperboard or stiff paper is used for the cover, it should be scored beforehand in order to make it easier to open and lay flat, but this style does not require a stiff cover. As a final step, the book is trimmed on three sides. Because the spine tape is so flexible, tapebound softcovers can be opened easily and laid flat.

131 141 171 201

Possible bindings Side stitching Perfect binding Thread sewing Thread sealing

322 288 292 304 375

Variants Flush board binding with spine backing Softcover with flaps Blank softcover with jacket and flaps Swiss binding Bellybands

Book block Cover leaf Scoring Strip of tape Glue

300

301

Types of softcover – Common styles

Tape-bound softcover

Book block Cover leaf Scoring Strip of tape Glue

302

303

Swiss binding

178

Types of softcover – Common styles

332

131 141 171 201 215

With Swiss binding, the book block is glued to the inside back cover with a narrow strip of adhesive close to the gutter. The single-piece cover is then scored two or three times. It can be opened wide enough to expose the first page and spine of the block. The pages can also be opened and laid flat without any problems, because the very flexible spine features either a strip of tape or an open threadsewn binding. The book is then trimmed on three sides. The cover may be thick paperboard1 or even a hard case. Because it is not glued to the spine of the block – and thus exerts no pressure on it – the cover does not interfere with ease of opening. One of the special advantages of Swiss binding is that it allows a wide range of choice in terms of combining block and cover materials2. Possible bindings Side stitching Perfect binding Thread sewing Thread sealing Wire-o binding

One variation on Swiss binding is to add a paperboard lip projecting out approximately 15 mm (5/8 in) from the spine, which is then holepunched or fitted with metal eyelets, serving as a filing strip. (1)

Metal eyelets

One option for combining two softcovers into a single publication is ‘inverted’ Swiss binding, in which one book block is glued into the cover on the left, and the other on the right.(2)

Variants 332 Hard case 322 Flush board binding with spine backing 288 Softcover with flaps

Book block Cover Scoring Strip of tape Glue/strip of adhesive

Scoring

304

305

Types of softcover – Common styles

Swiss binding

Book block Cover

Scoring Strip of tape Glue/strip of adhesive Scoring

306

307

Kösel EB 5001

Types of softcover – Common styles

This style of softcover features an inner cover and outer jacket, much like several of the styles discussed previously. With this variant, however, the inner cover is not a single piece; rather, two paperboard cover panels are glued directly onto the first and last pages of the block, as close to the gutter as possible. Only the outer jacket – made from a thinner, fold- and tear-resistant material – is then glued onto the spine. The jacket’s flaps are folded around the inner cover, leaving them projecting slightly over the fore-edge.

Kösel, a specialist bookbinding firm, owns many different patents, which may cause confusion.(1)

The spine remains flexible, allowing the book to be opened easily and laid flat. Possible bindings 141 Perfect binding 171 Thread sewing 201 Thread sealing

Book block Cover Scoring Protective jacket Glue

308

309

Types of softcover – Common styles

Kösel EB 500

Book block Cover Protective jacket Scoring

Glue

310

311

Softcover with a detached spine

Types of softcover – Softcover with a detached spine

Book block

Cover

Spine strip/super/crêpe

Scoring

Spine

312

Softcovers bound with this technique can be opened and laid flat very easily, much like a hardcover book. This is because the spine is detached – in other words, the gap between the spine and the cover gives the pages plenty of room to move as they are turned. There are numerous methods and patented ways of creating a detached spine. 318 Eurobind 319  Tube binding 320  Kösel FR 321 Libretto

313

Softcover with a detached spine

411

Types of softcover – Softcover with a detached spine

395 410

To create a softcover with a ‘detached’ spine, the block and cover are glued in such a way that they are attached only along the sides and not down the spine. First, a strip of tape or some other soft lining material like crêpe paper or super is applied to the spine of the perfect-bound or thread-sewn block. The wraparound cover is scored six times, then glued to the front and back of the block, between the two outermost scoring lines on each side. When a softcover with a detached spine is opened, a gap appears between the block and the cover.

Possible bindings 141 Perfect binding 171 Thread sewing 201 Thread sealing 332 288 375 318 319 320 321

Variants Hard cases Softcover with flaps Bellybands Eurobind Tube binding Kösel FR Libretto

Book block Cover Scoring Glue Spine strip/super/crêpe Scoring

314

315

Types of softcover – Softcover with a detached spine

Softcover with a detached spine

Book block Cover Glue Spine strip Scoring Scoring

316

317

Softcover with a detached spine: Variants

Types of softcover – Softcover with a detached spine: Variants

Eurobind The cover on a Euro-bound softcover is scored five times – twice on the front and three times on the back. It is glued down on each side between the two outermost scoring lines, onto an already spine-lined block. Ordinarily, perfect-bound blocks are covered using this method.

Book block

Cover Spine strip/super/crêpe Scoring Glue Scoring

318

Tube binding Here a paper tube is applied like a strip of spine lining, and the block is bound into a cover that has been scored four times.

Book block

Scoring Cover Paper tube

Scoring

319

Softcover with a detached spine: Variants

Types of softcover – Softcover with a detached spine: Variants

Kösel FR Kösel scores its covers six times and glues them between the outermost score-marks to the endpapers of the spine-backed block. The main difference between this and other styles is the extra spine lining, which makes the spine more robust without stiffening the book as a whole.

Book block Endpaper Cover

Glue Scoring Spine strip/super/crêpe Spine lining Scoring

320

Libretto In Libretto binding, the endpaper affixes the book block to the cover, which is scored four times. The endpaper is glued to the block only within the scored lines and along the spine, and to the cover only beyond the outermost score-mark. The spine thus remains detached.

Book block Glue Scoring Cover Spine strip/super/crêpe

Scoring

321

Types Types of softcover of softcover – Flush – Softcover board binding with a detached with spinespine backing

Flush board binding with spine backing Book block

Endpaper

Spine lining

Paperboard/card stock

322

Of all the different kinds of softcover, this is the one that most resembles a hardcover book – it is almost a hardcover without a spine. Unlike most softcovers, it features hard board covers. Endpaper

328 Variants

323

Types of softcover – Flush board binding with spine backing

Flush board binding with spine backing A flush board binding, unlike traditional types of softcover, does not have a single-piece cover; rather, it features two paperboard panels that are bonded to the endpapers of the spine-backed block. This style can be produced by hand or by machine, resulting in a tripartite cover that is then trimmed flush with the block 1.

The block can end up with ragged edges after trimming. This is because particles in the paperboard are dragged along the paper as it is cut.(1)

The paperboard panels2 can also be covered with paper or cloth, in which case they will only be affixed after being trimmed.

If the grain of the paper and paperboard are not orientated correctly, the cover may wrinkle when bonded to the panels. (2)

There are a number of variants on flush board binding, some of which are described on the following pages. 131 121 141 171 201

304

Possible bindings Side stitching Saddle stitching Perfect binding Thread sewing Thread sealing Variants Cover panels of different thicknesses Swiss binding

Book block Endpaper Glue Card stock/ paperboard Spine strip/ super/crêpe

324

Types of softcover – Flush board binding with spine backing

Flush board binding with spine backing

Book block Endpaper Card stock/paperboard Glue Spine backing

326

327

Types of softcover – Flush board Binding with spine backing: Variants

Variant 1 This type of softcover usually requires a book block featuring endpapers, which is trimmed along the fore-edge. Paperboard panels trimmed to the desired width are then laminated to the endpapers. The width of the panels is partly a design decision: you can choose to affix them to the whole surface or leave a gap between them and the spine, making it easier to open and lay the pages flat. Only then is a strip of cloth glued to the spine, wide enough to extend over the paperboard panels.

Variant 2 This technique also works without endpapers, by simply affixing the panels to a tape-bound softcover. The spine backing should extend far enough onto the front and back of the block that the panels cover it – it may even extend the whole width of the block.

Spine backing that extends across the whole width of the block

Fig. 1 Variant with spine backing extending over the paperboard panels

The panels can be covered with printed paper, which may be folded over the edges. If it is not, the cut edges will remain visible; the top and bottom of the book are then trimmed as a final step.

Fig. 2 Variant with edges folded over

Book block Glue Card stock/ paperboard Spine strip/ super/crêpe

328

Variant 3 This variant is particularly well suited to certain bindings: for instance, an exposed thread-sewn spine, in which the paperboard panels are affixed directly to the thread-sewn book block without any intervening endpapers.

Variant 4 ‘Pseudo-flush board bindings’, in which traditional hardcovers are trimmed on three sides, are also commonly seen. The disadvantage is that the edges1 of the case are prone to damage.

This variant can feature projecting edges; see Fig. 2 (1)

Book block Book block

Endpaper

Glue

Glue

Card stock/ paperboard

Card stock/ paperboard Covering material Scoring Spine strip/ super/crêpe Spine lining

Glue

Scoring

329

330

Planung

331

Hardcovers

Heften Types —ofKlebebindung hardcover

Hardback Cased-in

The covers on hardback books project out over the edges of the block; these covers are known as cases. This is what differentiates them from softcovers, which are normally bound into flexible covers. Cases consist of two panels and a connecting spine, and they are covered with cloth, leather or a synthetic material. They protect the block and give it its external appearance.

332

400

392 365

365

375

A case has three functions: it provides information about the content of the book and makes an initial aesthetic impression; it protects the block from dirt and damage; and it keeps the book upright on the shelf and stops it warping. The case must open without any difficulty and allow for easy handling. Various techniques, such as adding hinges, have been developed to ensure this. Cases are produced separately before being wrapped around the finished, trimmed book block. The case and block are affixed via the endpapers, which each usually consist of a single folded sheet. The outermost leaf of each endpaper is glued across its whole surface to the case, covering the inside of the panels. This is known as the paste-down. The other half of each endpaper – the flyleaf – is affixed to the block via a narrow strip of glue. It has a protective function and, from a design perspective, adds visual continuity between the case and block. To ensure that the book opens easily, hinges are created in both panels using a heated tool. The finished book is placed under pressure so that the case does not warp as it dries. Afterwards a jacket may be wrapped around the book – usually an automated process.

333

The block is glued to super and the endpapers

Types of hardcover – The production process

optional

Backlining paper and head and tail bands may be added to the book

The block may be rounded

Finishes may be added to the case

The case is produced

334

The block is trimmed down to its final size

The edges of the block are coloured (optional)

The block is inserted into the case; the endpapers are glued to the case

The hinges are added to the book using heat; the book is placed under pressure

The spine is rounded (optional)

335

Single-piece cases

Book block

Types of hardcover – Single-piece cases

Endpaper

Crêpe/super Case

336

Single-piece cases are similar in appearance to soft covers. They are made from a single piece, are flexible, and can be covered. Endpaper

342  Cases made of synthetic materials

337

Single-piece cases

367 367 344

375

Types of hardcover – Single-piece cases

386

Single-piece cases usually use thin, fibrous material like tough binder’s board and paperboard, but may also use synthetic materials and leather. They do not open as easily as multi-piece cases, but this can be partially remedied through scoring. Single-piece cases can also be covered, with the covering material functioning as reinforcement either on the spine alone or across the whole surface – the covering material may be folded over along the edges, or the edges may remain exposed. Traditional elements of design such as head and tail bands or a rounded spine are also feasible with a single-piece case. A flexi-bound cover is a special style of cover in which the edges of a very thin piece of cover stock are folded over and glued.

1

Book block 1

Covering material

Endpaper 1 Case Glue

1

Covering material

Hinge Super/head band

Single-piece case with wraparound covering material

338

339

Types of hardcover – Single-piece cases

Single-piece cases

Book block Endpaper 1 Case Glue Hinge Head band/super

340

341

Cases made of synthetic material

Types of hardcover – Single-piece cases

Cases made of synthetic material have been around since the 1950s, when high-polymer plastics such as PVC – still the most common material used to manufacture them – first became available. Because synthetic cases are very robust, they are traditionally used for products that need to stand up to plenty of wear and tear, such as dictionaries, diaries or pocket calendars. They are manufactured from one or more pre-cut pieces of material. The plastic is not folded over but simply bonded along the edges. One advantage of synthetic cases is that they are long-lasting, although the materials are often not environmentally friendly and are difficult to dispose of. The cost of materials and production is also high, because the process requires specialized machines. They can only be printed using UV offset printing or screen printing, which is why sometimes a paper inlay will be printed and inserted into a transparent plastic sleeve before bonding.

Book block Endpaper (Card/printedpaper insert) Plastic Glue Super/head band

342

343

Multi-piece case bindings

Book block

Types of hardcover – Multi-piece case bindings

Endpaper

Crêpe/super Backlining paper Head band Spine piece

344

Endpaper

Multi-piece cases consist of rigid panels held together by a covering material. They are especially easy to open and lay flat. They are distinguished by the number of panels, including all the constituent parts of the case and the covering material. Terminology may vary by region, which can lead to misunderstandings1. 346  3- and 4-piece cases: Full binding 350  5- and 6-piece cases: Half binding 354  Padded cases

Case Covering material Some binderies do not count the covering material as part of the case. What we are calling a three-part case – consisting of two panels – would thus be considered a two-part case. (1)

345

Types of hardcover – Multi-piece case bindings

3- and 4-piece cases: Full binding

350

These days, full bindings2 are the most widespread. They consist of either three or four parts: the two panels, the spine piece (optional) and the covering material. A three-piece full binding has no spine piece and is used primarily for thinner books, as the spine must be at least 6 mm (1/4 in) thick to accommodate a spine piece. The covering material is a single piece and is folded over along the edges of the case – depending on the material used, the result may be described as a full cloth binding, a full leather binding and so on. Because the material is a single piece, this process is less laborious than half binding.

1

(4)

A full binding can be flexible if a thinner material is used for the case. This is referred to as a flexible case.(2)

3

2

Case panels, spine piece and covering material

Book block 1

(4)

2

3

Endpaper 1+2 Case panels 3 Covering material Glue

1

(4)

2

3

Case panels and spine piece with the covering material folded over

346

Hinge Super/head band (4 Spine piece)

347

Types of hardcover – Multi-piece case bindings

3- and 4-piece cases: Full binding

Book block Endpaper 1+2 Case panels 3 Covering material Glue Hinge Super/head band (4 Spine piece)

348

349

5- and 6-piece cases: Half binding

Types of hardcover – Multi-piece case bindings

The distinctive thing about half binding is that the spine is covered in a different material from the front and back panels. In a 5-piece half binding, the spine consists only of the covering material; in a 6-piece half binding, it also features a spine piece. The spine should be covered in a hardwearing material that will enable it to cope with the mechanical demands of the hinges. Depending on the material used, the result may be described as a half cloth binding, a half leather binding, and so on. Originally, half bindings were intended to save money: in the past, materials were more expensive than labour, so the highquality material was reserved for the spine and the rest was cheaply bound. Today, by contrast, half bindings cost more than full bindings.

3

1

(6)

4

2

5

Case panels, spine piece and three pieces of covering material Book block Endpaper 1 + 2 Case panels 3

1

(6)

4 5

2

3 + 4 Covering material Glue

1

(6)

5 Spine covering

2

3 5 Case panels and spine piece with the covering material folded over

4

350

Hinge Super/headband (6 Spine piece)

351

Types of hardcover – Multi-piece case bindings

5- and 6-piece cases: Half binding

Book block Endpaper 1 + 2 Case panels 3 + 4 Covering material Glue 5 Spine covering Hinge Super/head band (6 Spine piece)

352

353

Padded cases

Padded cases are filled with foam or some other kind of padding up to a thickness of 4 mm (1/6 in); they feel soft and distinctive. Large sections of foam are affixed to the case, then cut to the correct size. Embossing should be done before the padding is added – it is more difficult to do afterwards.

Types of hardcover – Multi-piece case bindings

Padded cases are relatively expensive, because the production process is laborious and uses a lot of material.

Book block Endpaper Case panel Foam Covering material Glue Hinge Super/head band Spine piece

354

355

356

Planung

357

DesignPlanung specifications

Design specifications The specifications of a book determine how upscale it looks. Format, materials (including the interior paper, the endpapers and the covering materials), the binding style and additional finishes like head and tail bands, ribbons, edge colouring and lamination are all elements of design specification.

358

The physical design of a book is just as important as its layout – it subtly communicates the character of a publication to its users and audience, emphasizing the design concept. There are several criteria that should be borne in mind when considering this aspect of a book. Durability: The specification should take into account the intended purpose of a book, including how often it will be picked up. Books that will be used frequently – such as school textbooks – should be given scuffresistant, wipe-clean lamination. Value: There are a number of design elements that can be employed to give a book a particularly expensive feel. Options include using fine cloth or even silk as a covering material, featuring deluxe endpapers, or incorporating such details as gilt edges or embossing. Purpose: Aside from the durability issue, the intended purpose of a book plays an important role. A children’s book meant for bathtime, for instance, should be waterproof; a photography book should use paper that can reproduce the delicate nuances of the images. The format of a publication should always be considered in terms of its intended use. Look and feel: Distinctive covering materials, such as those that are particularly rough or velvety, can draw special attention to a publication, and finishes such as textured varnish or embossing can add a tactile element. In principle, almost any material can be used to make a book, assuming it is handled properly – this is an opportunity for designers and binders to get creative.

359

Interior paper Interior paper should be chosen with the content and purpose of a book in mind: if you need to reproduce images very precisely, for example, art paper will be better than book paper. Uncoated papers consist of natural fibres that have been smoothed but not coated or given any kind of surface treatment. This means that their surface is somewhat rougher than other stocks, appealing to a reader’s sense of touch. Uncoated papers are ideal for text, while images for offset printing will have to be specially litho-printed – otherwise they can ‘soak in’, meaning that the continuous tones will be lost during printing. They also require more drying time, which must be factored in at the planning stage.

Design specifications – Interior paper

37

393

Book paper is a particularly bulky kind of uncoated paper, extremely well suited to reproducing text and line drawings. It takes slightly longer to dry than other types of paper – do not try to shortcut this, or you may end up with ink on the back of the sheet. Coated papers (art papers) have been coated with a binder, known as a coating. This coating seals the surface of the paper and improves the quality of the print. It goes on matt, but if the paper is calendered using rollers then the surface will be smooth and glossy. Coated papers fall into four main categories: matt, semi-gloss, gloss and cast-coated. In book production, coated paper is used primarily for illustration-heavy publications. Remember, however, that folding can lead to cracking – if the coating breaks, it will leave a white line on the printed surface.

360

361

403 393

399

399

Design specifications – Interior paper

412 393

Offset paper is a wood-free or wood-containing paper that is machine finished or lightly calendered. It is specially manufactured for the requirements of offset printing: it produces no dust and will not warp when exposed to offset dampening systems. India paper, occasionally called Bible paper, is a thin stock with a very low grammage of 25 to 50 gsm (or a basis weight ranging from around 14 to 30 lb). It is traditionally used for books with a high page count such as bibles or hymnals, but is found increasingly often in promotional mail. This kind of paper is relatively difficult to work with: with four-colour printing in particular, the ink may cause uneven thickness, which can lead to problems when folding and gathering the sheets. Rotogravure paper is used primarily in web-fed printing to produce large runs of magazines. It is uncoated, wood-free or wood-containing, calendered and very robust, as it has to withstand the mechanical stresses of web-fed printing. It must also be soft and absorbent enough to take the ink, which is laid down very quickly in web-fed printing. Newsprint is a wood-containing, uncoated, machinefinished or calendered paper used in web-fed printing. It is employed almost exclusively for large print runs of short-lived products: newspapers, for example. Consisting of 100 per cent recycled materials, it often has a darker tone. Newsprint comes in very low weights, and its weaknesses as a surface for printing are most obvious when images are reproduced on it.

38

Deckle-edge paper (sometimes called vat paper) is made of high-quality materials. Handmade papers of this kind have no machine direction, but if manufactured using a cylinder mould machine – creating what is known as ‘mould-made paper’ – then the grain must be taken into account. Today, industrial paper production has largely replaced the practice of making paper by hand; mould-made paper is now used mainly for invitations or business stationery.

362

Recycled paper is manufactured entirely from recycled fibres. It is generally darker in tone, but some stocks have been heavily bleached. Recycled paper is difficult for a bookbinder to work with because the fibres are very short and fragile. The paper therefore produces more dust during folding, and the glue adheres less strongly to the fibres. The paper may crinkle if exposed to damp or stored incorrectly.

363

364

Planung

Endpapers 332 392

An endpaper is usually a single sheet folded once, connecting the case to the block and ensuring that they do not fall apart. The outer half of the endpaper is glued fully to the case, covering the inner panel – this is known as the paste-down. The other half of the endpaper, the flyleaf, serves to protect the book block and provides visual continuity between the case and block. Special papers are used for the endpapers, which should be particularly strong and resistant to tearing. They have a high opacity, and a weight usually somewhere between 120 and 150 gsm (80 to 100 lb). The paper may be the same printed stock as in the block, assuming it is sufficiently hard-wearing. Because the endpapers are glued fully to the case and pressed down, coated papers are not ideal – the dampness of the adhesive may cause only the coating on the surface of the paper to adhere, instead of the paper as a whole. The coating may also crack, leaving a white line visible along the fold of the printed endpaper. Endpapers come in a variety of colours, and can also be printed. The quality of the front endpaper is crucial to how long a book lasts, as it is placed under particular strain whenever the book is opened and closed. There are other ways in which the endpapers can be designed: if the flyleaf is shorter than the block, for example, it will expose part of the half-title page; endpapers can also be specially printed or incorporate flaps, allowing space for additional printed information.

365

There are several ways in which the endpapers can be affixed to the book block: Endpaper

Glue

Design specifications – Endpapers, cases, covering materials

Simple pasted-down endpapers (industrial endpapers): A sheet is folded once and glued fully to the inside of the case, with a narrow strip of adhesive holding it to the block.

The endpapers are also the title page and final page

Glue

Integrated endpapers: The first and last pages of the block are used as endpapers. The paper must be sufficiently tear-resistant (an uncoated paper, for instance) and have a weight of at least 120 gsm (80 lb). Integrated endpapers are only feasible with thread-sewn and thread-sealed book blocks. Because it skips a step in the production process, this method works out cheaper.

Endpaper

Sewn-in endpapers: With single-section softcovers, such as those that are saddle-stitched or pamphlet-sewn, the endpaper is folded around the interior pages and bound simultaneously.

366

Case materials 332 392

395

Cases can be manufactured from thick, flexible card with a weight of between 200 and 400 gsm, in which case the book will look more like a softcover. This sort of flexible case can be single- or multi-piece.(1)

The material used to manufacture the case should take into account both the dimensions and thickness of the book block and the covering material1. Board: Binder’s board must be rigid and hard-wearing. It should not split or de-laminate, and it must lie very flat and be as smooth as possible, because any unevenness in the surface will press against the covering material. Greyboard, leatherboard, millboard, wood-pulp board and strawboard are all possible options. Card stock: Card stock is thinner than paperboard and is manufactured from higher-grade raw materials. It can have a weight between 200 and 500 gsm (around 50 to 130 lb).

Covering materials Early covering materials were leather and parchment, but the nineteenth century saw an increasing trend towards cheaper materials such as calico (muslin). In addition to ease of manipulation, durability and cost, look and feel also play a role. In choosing binding materials, a number of criteria must be considered: while binderies will be most interested in how easy the materials are to work with, users will prioritize tear-resistance, bending strength at the joints, colourfastness (which can often be a problem with neon or fluorescent inks), stability (the material should not swell or crinkle), and obviously the overall look and feel. Scuff- and dirt-resistance are also key factors. Most covering materials consist of more than a single material: often they have a (paper) substrate or backing, or incorporate other fibres.

367

368

Planung Ausstattung — Buchdecken, Bezugsmaterialien

Covering materials: paper Cover papers must be tension-proof, crease-resistant and not prone to scuffing, scratching or other mechanical sources of damage2. Often they will be laminated or varnished for added protection.

378

Art paper or offset paper can, in many cases, be used as cover paper. It is generally printed, but must normally be laminated as well in order to make it sufficiently hard-wearing. Using dyed, long-fibred uncoated paper as a covering material gives a beautiful, natural paper surface. It is more robust than art paper, does not have to be laminated, and can be stamped or printed using offset printing. Dyed, uncoated papers also come with special varnishes or coatings that give them a particular look, such as a gloss or glitter effect.

Coloured papers and many textiles are lightfast only to a limited degree, and may fade. Information on lightfastness can be found by using the Blue Wool Scale.(2)

384

Thermo-reactive uncoated paper reacts to heat and pressure because it incorporates plastic fibres. This means that blind embossing or debossing will produce an interesting reaction with the ink – the stamped areas will appear darker than the unstamped ones. Thermo-reactive papers are available in a variety of different textures. Coated papers are usually offset papers coated with latex and sealed with polyurethane or acrylic. This coating makes them particularly robust and resistant to dirt, and depending on the materials used can produce soft, interesting surfaces. Coated papers are suitable for offset printing and screen printing, and can be embossed or debossed. In addition to the papers listed above, there are numerous handmade or treated papers that can be used to bind books by hand, including decorated paper, paste paper, crinkled paper, traditional marbled paper and paper marbled with oils.

369

Covering materials: cloth Cloth is the general term for a wide variety of raw materials, including cotton, linen and spun rayon, as well as blends of these materials, which are always backed with paper.

377

Design specifications – Covering materials

384

Blind stamping before foil stamping gives improved results on coarse, matt cloth.(3)

Usually cloth is opaque, but there are also very thin textiles available that allow the backing (often a different colour) to show through. This can produce interesting duotone effects. Different cloths have different textures and can be sized or coated, making the surface smoother, stiffer and more resistant to wear and tear; matt or gloss surfaces are also available. Cloth can be printed and finished in a variety of ways, including hot foil stamping, but the result depends on the coarseness of the thread: only finely textured cloth is suitable for offset printing and stamping, for example, whereas screen printing can also be used to print rougher-textured cloth. Cloth with a natural surface3: Less heavily sized cloths have a natural surface with an obvious texture, but are more damage-prone than those that are extensively sized. Cloths may be fine (fine cloth) or coarse (rep), with a matt or glossier surface. Most commonly used are cloths made from cotton or viscose, and sometimes – though rarely – silk or raw silk, which are very delicate and expensive. Viscose textiles have a very even surface, which makes stamping easier. Cloth with a treated surface: Size or some other coating rolled onto both sides of a piece of cloth closes the gaps between the threads, making the texture less pronounced – often the fabric will be smoothed out, too. This makes it more resistant to wear and tear. Heavily sized cloths include calico (muslin), buckram, library-grade cloth and Record cloth (which is made from cotton).

370

371

372

Planung

Covering materials: acrylic

384

Acrylic-surfaced materials have a paper or fleece backing. Acrylic is harder than most other covering materials, very robust, wipeable and scratch-resistant. Acrylics can be matt or glossy, with a variety of textures. They can be printed using offset and screen printing, and can be stamped.

Covering materials: leather Bonded leather is made from leather fibres – a waste product of commercial leather-processing – and adhesive. It has a very high leather content and thus a strong smell. It is available with a polyurethane surface coating, which is somewhat softer, or an acrylic one, which is harder. Bonded leather is environmentally friendly inasmuch as it is made from waste material, but it cannot be recycled again.

Covering materials: synthetic leather Synthetic leather is a vague term that tells you very little about the actual material: it may be polyurethane-, PVC- or cloth-based. What all synthetic leathers have in common is that they are quite bulky; this can be noticeable, especially at corners (where the material is folded over), making it more difficult to work with. Synthetic leather, polyurethane-based: A polyurethane coating bonded to a paper or fleece base layer is faintly reminiscent of skin, with a soft, warm and velvety feel. The polyurethane is very hard-wearing and can be wiped clean easily, although it is prone to scratches. It can be screen printed and stamped. Synthetic leather, PVC-based: PVC is a very costeffective covering material, but it is not necessarily ideal as it is not good for the environment. Polyurethane and acrylics are better alternatives. Synthetic leather, cloth-based: The luxury watch industry has developed various high-tech fabrics with

373

384

very specific tactile qualities for use in packaging: they may feel like leather, for instance, or like short fur or velvet. Cloth-based synthetic leathers are difficult for machines to work with, partly because they stretch during processing. They can usually be foil stamped.

Covering materials: animal skin The oldest and most valuable bookbinding materials are made of animal skin. Leather is distinguished from parchment or vellum by the way in which the skins are processed. Today, these are primarily used for expensive editions that need to last, including bibles, reference books and visitors’ books.

Design specifications – Covering materials, soft covers

Leather: Only the middle layer of the animal skin, known as the middle split, is used. It is generally tanned before being used in bookbinding. Various types of leather are suitable, including goatskin, sheepskin, cowhide and pigskin, as well as leathers with a velvety texture, such as nubuck and suede. Parchment and vellum: Parchment and its finerquality cousin, vellum, are even tougher and more hard-wearing than leather. These days they are only used in hand bookbinding. Parchment and vellum are manufactured not by tanning but by being scraped and dried under tension; there are several kinds made from different skins, including goatskin and calfskin.

Soft covers

360

Soft covers can be made of the same paper used inside the block but should be thicker. This paper is often insufficiently robust, however, and must be laminated or varnished. There are also long-fibred card stocks with a matt or gloss surface (chromo board) that make for ideal soft covers and can be printed on an offset printing press. Dyed, long-fibred uncoated papers may also be used, assuming they have the right weight – they require no additional protection. Nearly all papers used to cover cases will also work for softcovers if the binder affixes them to a thicker paperboard.

374

Dust jackets Dust jackets serve to protect hardcover books from dirt and abrasions. They are generally printed, laminated or varnished, and machine-wrapped around the finished books. The flaps offer space for additional information, such as a blurb. A shorter jacket that exposes the various case materials may be an attractive option. Fold-out posters can also be used as dust jackets, either spanning the full height of the book, or simply concealing part of the cover. Some jackets are folded over again at the top and bottom to reinforce them – this is known as a French fold jacket.

Bellybands A bellyband is a narrow strip of paper or plastic that wraps around a book, providing extra space for information and greater tactility. It may be printed to complement the cover design. A bellyband that is still sealed indicates that the book has not yet been opened.

Head and tail bands Head and tail bands are small pieces of fabric that conceal the upper and lower edges of the book block’s spine, protecting it from dust. They are affixed to the spine and come in many colours; usually the colour is selected to complement the overall design of the book.

375

Folding plates, fold-outs, centre folds, fold-ins Many methods of binding allow folded pages to be bound within a wider format – these are known as fold-out sections, or folding plates. This will let you print large-format photographs, for example, on a single continuous page. Bear in mind the dramatic composition of the book: fold-outs4 should always be designed to provide visual appeal when opened out, otherwise they will simply be skipped over.

Shorter, folded pages

210 131 191

Design specifications – Fold-outs, finishes

121 181

Using a parallel fold, these sections can open left or right; or they can be constructed as a roll fold. They can be incorporated easily with single-leaf binding, side stitching, side sewing or a perfect-bound loose-leaf binding. The same goes for single-section bindings such as saddle stitching or pamphlet sewing. With a thread-sewn binding, the fold-out can be inserted into the centre of a folded sheet and bound with it; or it can be tipped in, either at the front or middle of a section. Both options are relatively laborious and may require some steps to be done by hand. The material and paper thickness of a fold-out are best discussed in advance with the binder, as not every material is suitable for every binding technique or compatible with the other materials used. Paper that is too stiff, for instance, can lever out other pages from a perfect-bound book. It is simplest to use the same paper for the fold-out as for the rest of the block, printing and binding it with the other printed sheets.

Shorter, folded pages

Fold-outs often become dog-eared and creased with use.(4)

Whatever style of binding you use, fold-outs must always be approximately 2 to 3 mm (1/12 – 1/8 in) narrower than the other pages at the fore-edge – otherwise they will be cut open when the book is trimmed. The edge of the folded-over page should also be at least 10 mm (3/8 in) away from the gutter so that it does not butt up against the opposite page and so it can be folded out more easily.

376

Finishing techniques

380 384 384 381 383 380

There are various reasons to incorporate particular finishes into the design specifications of a book: they protect the book and make it last longer (for instance, varnishes and lamination serve this purpose); they showcase the book as a physical object (stamping or die-cutting techniques are examples of this); they have a tactile appeal (examples include textured surfaces, tactile varnish or textured lamination); and they can make the book seem more expensive (coloured or gilt edges, for instance).

Decorative edges Decorating the edges of a book block has a long history: in parts of Europe in the fifteenth century the title of the book would be written on the fore-edge and the book stored facing outwards on the shelf so that the title could be read. The edges would be coloured and ornamented with stamps or paintings. Later, books started to be placed with their spines facing the viewer, removing the need to write the title on the fore-edge. In any case, the top edge generally continued to be decorated, protecting it from dust and light. Today, gilt, coloured or printed edges are mainly considered an element of design. A book with three decorative edges will be a more distinctive object, and the edges may even pick up and elaborate a motif or colour from the cover. To create this effect, the edges are compressed and sanded, which produces a smooth surface to which the foil or ink can then be applied. Light edge-colouring may not adequately conceal full-bleed images, spoiling the effect.(5)

Coloured edges:Coloured edges5 are the most common form of edge decoration. On an automated production line, the ink is applied with a roller or spray gun, but this can also be done with a sponge or paintbrush; all spot colours are feasible, as are metallic or fluorescent colours. The advantages of a UV-coloured edge are that the ink will be very evenly distributed as it cures under UV light; it will not run onto the block; and it will not delay subsequent steps in the production process. UV ink will adhere even to coated and varnished paper.

377

Non-standard laminates must be specially prepared, and there is usually a minimum order quantity.(6)

Gilt edges (gold edges, silver edges): Adding ‘real’ gold edges – i.e. gilding the edge of the block – is done by hand and is therefore both costly and time-consuming6. A cheaper alternative is to use foil, which is applied by a machine: the block is compressed and the foil transferred onto the edges with a hot silicone roller. When the book is first opened, the pages appear to stick together, but the foil tears very easily. In addition to gold and silver foils, a range of metallic colours and diffraction foils is also available. Gilt edges can also be tooled, producing a result known as gauffered edges.

Design specifications – Finishes

Printed edges: The edges of the block can be printed with typography, a pattern or an image. In the past, this process was carried out using pad printing; these days inkjet printing is the usual method. Creating a design by printing the pages: Another option is to print all the pages in the book with a motif that extends to the edge of the paper. Depending on the thickness of the block, a pattern, typography or even an image can be produced on the edges. The disadvantage is that each page of the book must feature this motif in the layout, which may be intrusive.

Lamination Lamination – the addition of a film laminate – protects the surface of a book from dirt, scratches and abrasions, extending its lifespan. Laminated papers are tear-resistant and can be scored and folded. They can also be combined with such popular finishes as varnishing or foil stamping. Lamination will alter the surface, the feel and even the colour of an offsetprinted cover. Lamination is only possible across the whole surface of a sheet; no area can be omitted. Several different types of lamination are available: Matt and gloss lamination: Matt or gloss lamination is very commonly applied to covers. It changes the effect of the underlying colour and material: matt lamination will dampen the colour, while gloss lamination will make it more intense. The various effects should be

378

379

tested in advance – a rough first impression can be gleaned by applying matt or gloss sticky tape. Matt or gloss lamination will adhere both to coated and to uncoated papers, although the surface texture of uncoated papers could transfer onto the film. This may prove an interesting effect, but it should be taken into consideration. Textured lamination: Textured lamination offers excellent protection against dirt, scratches and abrasions, and is primarily used for books that need to withstand heavy wear and tear, such as dictionaries and school textbooks. It is available in an array of different textures, and either comes pre-textured from the factory or can be textured with a roller after application. Textured lamination dampens or intensifies the effect of the inks and materials underneath, depending on whether it is matt or gloss. Trial runs are highly recommended. Design specifications – Finishes

Metallic lamination (silver lamination, gold lamination, diffraction foils, laminates with special effects): Metallic laminates are available in gold, silver, metallic colours, mother-of-pearl effect and diffraction effect. They can be printed using screen or offset printing after application, although the colour of the film will show through; white, for instance, is not feasible – when printed onto a metallic laminate it will have a greyscale value of approximately 40 per cent. Black tones, too, should ideally be applied in four colours to avoid looking flat and dull. Metallic laminates are not scratch- or scuff-resistant, and should therefore be varnished or gloss-laminated. Varnishing Varnish across the whole surface runs the risk of cracking the ink along the scored lines when the paperboard stretches.(7)

Varnish is the other most common finish used in bookmaking. Varnish protects the book when applied across its whole surface7, or – when applied only to certain areas – can be an effective element of design. Like lamination, varnish affects the inks and materials below. Glossy varnish gives the colours a more intense glow, while matt varnish mutes them somewhat. Varnish can be applied to most materials without any side effects. It is divided into four main categories:

380

printing varnishes, oil-based8 matt varnishes, waterbased dispersion varnishes and UV-curing varnishes. Printing varnishes, oil-based gloss printing varnishes and matt varnishes are applied like ink in an offset printing press. They increase scuff-resistance and offer some protection against damp. Because varnished sheets tend to stick together, a powder is usually dispersed across them – this can be unsightly, especially on dark surfaces.

Oil-based varnishes tend to yellow.(8)

406

Dispersion varnish is also applied inline. It dries quickly and is normally coated across the whole surface to prevent the printing substrate from yellowing. UV-curing varnish is applied in special varnishing units, in the printing press or inline by screen printing, and dries under UV light in seconds. The printed sheet can therefore be moved on to the next step in the production process immediately after varnishing, without the ink rubbing off or scuffing. UV varnishes can be very matt or extremely glossy.

401

A drip-off varnish effect is achieved inline during offset printing as part of a two-step process, resulting in a contrast between matt and gloss. An oil-based matt varnish is applied to the areas that are supposed to be matt, then the entire surface is coated in high-gloss dispersion varnish. Because the two varnishes repel each other, the dispersion varnish beads on the mattvarnished areas. The hybrid process is comparable to the drip-off process, but has an even stronger effect: an oil-based matt varnish is applied to the areas that are supposed to be matt, then the whole surface is coated with a high-gloss UV varnish. The varnishes repel each other, producing a granulated texture over the matt areas. Soft-touch varnish has a soft, velvety texture. It can be applied during offset or screen printing, although screen printing affords a thicker layer and hence a stronger effect. Soft-touch varnish is relatively scratchprone and absorbs a lot of light.

381

382

Planung

Coarsely textured varnish on a cover can transfer onto other books and cause damage.(9)

Textured varnish is a kind of UV varnish with particles mixed in that create a specific texture9. It can be applied during screen printing. It is transparent and colourless, but can be pigmented. Tactile varnish is a high-build UV varnish that can be used to create three-dimensional raised motifs. It is applied during screen printing, is transparent and colourless, but can be pigmented. Varnishes with effect pigments (Iriodin, interference ink, pearlescent ink, metallic gloss ink) are varnishes with effect pigments mixed in, which shimmer in a variety of ways by refracting the light or causing interference. Effect-pigment varnishes can be applied during offset printing and screen printing. Some effect pigments cannot be photocopied and are therefore used as a security feature for items such as banknotes. Glitter varnish is a UV varnish with particles of glitter mixed in, and is applied during screen printing. Depending on the size and number of the particles, it may be translucent or opaque. If you are planning to use it on the cover, bear in mind that coarse glitter varnish can easily transfer onto other books.

Be careful when choosing a scented varnish. Remember that scents are more difficult to define than colours – smells are subject to interpretation and will trigger different associations in different people.(10)

Scented varnish contains micro-capsules of scent that are released when rubbed. The effect can be repeated more than once, although fewer and fewer capsules will burst each time. Scented varnish is applied as a final coating either during offset or screen printing. There is a wide choice of standard scents10, and having one specially mixed is quite expensive.

383

Die cutting, laser cutting, stamping Die cutting: A mechanical die is pressed against the printing substrate to cut out the desired shape. Bear in mind that the surface underneath will now be visible. If you do not want an area inside the shape to be cut out (as with hallmarks, for example), you must leave connective strips in place. Sometimes, die cutting may leave nicks, because the tools cannot make precise right angles at the corners. For intricate shapes, laser cutting is more appropriate than die cutting.

Design specifications – Finishes

Smoke residue may be deposited on the back of the paper during laser cutting, leaving fine brownish edges that must be taken into account during the design phase.(11)

Laser cutting11 is a digitally operated cutting technique that uses vector files to cut out intricate shapes. The process is suitable for small runs, because it does not require the production of a cutting die, which is laborious and costly. Laser cutting is feasible even for single copies, but it can get expensive for large production runs because it involves numerous steps performed by hand. Perforation, slitting, hole-punching and microperforation are all specialized forms of die cutting. Often they serve a functional purpose – allowing part of the printed product to be torn off, for example. Stamping: Stamping uses heat and pressure to reshape the substrate. Foil may be applied at the same time. This is how textured foil stamping and embossed or debossed foil stamping work. Blind stamping, however, is a type of stamping that does not incorporate foil. Flat foil blocking is the term used when only foil is applied and the substrate is not deformed. Micro-embossing: Micro-embossing is a stamping technique in which only the foil and not the substrate is deformed. It produces subtle textures that reflect the light in interesting ways. Cold foil printing: Cold foil is bonded to the substrate in a cold-foil unit during offset printing. It can be applied very precisely, and is suitable even for subtle textures and raster gradients. The foil is applied flush, so no edge can be felt around the outline of the shape.

384

Laser engraving: A laser, working from vector files, can be used to engrave intricate patterns into a substrate. The laser burns the surface to varying depths, producing a highly tactile effect. Engraving papers composed of different-coloured layers will create attractive contrasts. The process is suitable even for single copies; larger production runs often become expensive because – depending on the pattern – engraving can be extremely time-consuming and may require several steps to be done by hand. Cut-in indexes: Books such as dictionaries or reference works are often notched along the fore-edge to make it quicker and easier to locate particular letters or chapters. These notches are cut into the finished block. There are several different types of cut-in index, including thumb cuts, tab cuts and step indexes.

385

Ribbons (bookmarks) This is a narrow ribbon, generally glued to the upper edge of the spine, which is used as a bookmark. Depending on the binding style, it may be attached elsewhere. Ribbons were previously made of silk, but today they are almost always rayon. The colour can be chosen to complement the overall design of the book.

Rounded spines

Design specifications – Ribbons, rounded spines, rounded corners

Softcover spines can also be rounded, although the effect is not as pronounced as with a hardcover.(12)

408

410

Rounding the spine shifts the leaves or signatures to give the spine a subtly convex shape (and thus curving the fore-edge inwards). Rounding makes the book more hard-wearing, and thicker books, in particular, can be more easily opened and laid flat with a rounded spine12. It also mitigates swell, as it means the threads in a thread-sewn book are offset rather than piled on top of each other. Rounded spines are recommended for books with a high page count, in particular, because they help prevent the spine collapsing inwards with use and losing its firmness. If you want a flat fore-edge in addition to a rounded spine, you will have to trim the block again after binding, introducing an extra step that bumps up production costs.

Rounded corners A book’s corners are rounded using a punch. With softcovers, the finished product is punched in one go, cutting the cover as well as the block, whereas with hardcovers, the case and block are punched separately before casing in. If the case is covered, the covering material is nicked in a star shape before being folded over the corners.

386

387

388

Planung

Glossary

390

Glossary – A B

A

suited to reproducing detailed raster images. Art papers may be matt, semigloss or gloss-coated.

Abrasion resistance — 378 ff. The ability of a surface to withstand mechanical stresses such as scuffing or scratching. The abrasion resistance of inks is especially crucial with packaging, but is also important with covers and jackets. In book production, covers are often laminated or varnished to protect them and improve their resistance to abrasion.

B

Accordion fold — 102 ff., 107 A parallel fold in which the sheet is folded in alternately opposing directions. Two or three folds will produce zigzag flyers, but by using web-fed printing or pasting sheets together you can produce book-length products.

Backlining — 142 ff., 204, 314, 334 ff. The practice of reinforcing the spine of a block by lining it with a strip of paper or cloth. Unlike a backstrip, a backlining strip does not extend onto the front or back of the block.

Adhesive — 142 ff., 148, 156, 162 Various types of adhesive are used in bookbinding, including cold glue (waterbased), hot melt and PUR (reactive polyurethane). Adhesive run-off — 150 In a perfect binding, the glue can penetrate between the pages and become visible on the paper. This is not only unsightly but it makes the pages harder to open and lay flat. Adhesive strength Indicates the strength of the bond between two materials that are glued together. Adhesive strength is essential in bookbinding, for example in perfect binding and casing in. Art paper — 150, 158, 175, 360, 369 Mid-priced to expensive paper finished with a coating on both sides that seals the surface and improves print quality, producing a very even texture that is well

391

Backing — 386 A hardcover book block is shaped by machine to create a rounded or flat spine.

Backstrip — 142, 300 ff. A strip of paper or fabric glued on to reinforce the spine of a book block. Basis weight The system used in the United States and Canada to calculate paper weight, based on the weight in pounds of an uncut 500page ream of a particular paper stock. Bellyband — 375 A narrow strip of hard-wearing paper or plastic that is wrapped around to seal packaging or as part of the cover on books and other printed products. Bifolium A printed sheet folded once; has four sides. Binder’s board — 329, 332, 367 Used to manufacture case boards. It must be tough and exceptionally smooth, so that no bumps appear on the surface.

Binding endurance Determines the strength and durability of a binding. There are various methods for testing this, including the pull test, diagonal pull test and flex test. Binding material — 70, 367 ff. Various materials are suitable for binding, from long-fibred papers to cloth to animal skin.

Glossary – B C

Binding rings — 15, 225 ff. Components for use in binding loose-leaf pages.

Bone folder A tool used to fold paper sharply by hand. Book block (also text block) — 8, 10, 53, 63, 73, 256 ff.

Single pages or folded sheets, gathered and bound (but without a cover or case). Book format — 24 ff., 29 f. There are a number of classic book formats, such as octavo or folio, which do not correspond to international norms, and standard formats also vary between countries.

Bleed — 47 ff., 110, 124, 162, 186, 324 If full-bleed images or areas of colour are included in your layout, it is best to extend the edges by about 3 mm (1/8 in) to compensate for any imprecision during folding and trimming. Otherwise you risk ending up with white lines at the edges.

Book screws — 14, 233 ff. Metal or plastic screws used to bind looseleaf pages.

Blind stamping — 369 f., 385 Deforming paper using a stamp, without applying ink or foil. Motifs and text may be embossed (raised) or debossed (indented).

Bookbinding cloth — 370 Overall term for a number of textiles used as covering materials, including those made from cotton, linen and spun rayon, as well as blends thereof. Bookbinding cloth is always bonded to a paper base.

Block thickness — 53, 61 The thickness of a hardcover or softcover book. Blocking → Stamping Board — 367 Although there are no rigid distinctions, board usually has a weight above 500 gsm (140 pt) and is thicker than card stock. It is manufactured from recycled paper or chemical pulp. Board is primarily used for packaging, but in bookbinding it serves as a rigid case-panel material.

392

Book sewing machine A machine that can thread-sew automatically.

Bookbinding leather — 58, 332 ff., 367 ff., 374 Particularly soft yet tough leather (such as goatskin) that is suitable for bookbinding. Booklet — 122, 182 Several folded and gathered sheets, bound along the fold with thread or wire. Bookletmaker A machine that collates, stitches, folds and trims the printed product inline.

Bookmark ribbon → Ribbon Bookplate A label or stamp on the inside front cover, featuring the symbol, coat of arms, or name of the book’s owner. Bookplates were often very lavishly designed. Books on demand — 64 ff. A computer-operated process that produces very small runs using standardized binding techniques. Bound-in insert An insert that is bound firmly inside another printed product such as a magazine or book. Broadside fold — 114 A combination of parallel and cross folds used to fold printed sheets, but also for maps and certain folding posters. Buckle fold A machine fold in which the sheet is fed into a pocket before being folded between three rollers turning in opposite directions. Buckram — 82, 370 A covering material made from cotton that – like bookbinding cloth – is heavily sized and resistant to soiling.

C Calendering — 33 f., 362 The process of smoothing the surface of paper using partially heated rollers. The more heavily a paper is calendered, the glossier it will be. Calico (muslin) — 367 ff. Covering material made from heavily sized cloth with a texture reminiscent of leather. Originally it was used as a substitute for leather. Card — 36 ff., 367 An overarching term for material made from highly compressed wood pulp, chemical pulp and recycled paper. Although there are no firm distinctions, it is generally thicker than paper but thinner than board, with a weight anywhere between 150 and 600 gsm (50 to 130 lb). It is made of higherquality materials than board. Case — 11 ff., 55, 63, 72, 332 ff., 367 The rigid cover of a hardcover book, usually composed of binder’s board or paperboard and covered in paper, cloth or bonded leather. There are various ways of constructing a case, and it can be singleor multi-piece, depending on how many components are incorporated.

Bulk → Paper bulk Burst binding A special kind of perfect binding in which notches are cut into the spine fold prior to the final fold, allowing the glue to penetrate better between the pages. Makes the binding sturdier.

393

Case board — 345 ff., 367 A piece of binder’s board used to make a case. Casing in — 333 ff., 365 Gluing the block into the case.

Casing-in machine A bookbinding machine that attaches the block to the case. It is part of the overall finishing and assembly line, but can be operated separately. Central fold — 105 A parallel fold in which the sheet is folded down the centre and in the same direction each time, doubling the number of pages with every fold.

Glossary – C

Chromolux The brand name for a cast-coated highgloss paper (or paperboard) that is used in book production as a covering material. Clamping Book blocks and softcovers are clamped – i.e. held firmly in place – while they are trimmed on three sides. This reduces swell and achieves an even thickness across the block. Closed gatefold — 102 f., 106 A parallel fold in which the outer panels are folded inwards towards the centre like flaps, without the pages overlapping or abutting. A closed gatefold gives eight pages. Cloth — 367 ff. All textiles consist of warp and weft threads. Depending on the fineness of the threads, cloth may be categorized as fine, coarse, etc. Coated paper — 31 f., 360 Paper coated with a smoothing sealant, creating a less absorbent surface. It takes printing better and can reproduce fine detail.

394

Coating — 31 ff., 360 A mixture of pigments, binding agents and additives applied to paper to make it smoother and more hard-wearing, and improving its ability to reproduce images. The coating goes on matt, but can be made glossy by calendering the paper. Cold foil printing — 384  A type of finish used mainly for covers and cases. Cold foil is affixed to the substrate using an adhesive in a cold-foil unit during offset printing. Cold glue — 149 ff. Used in perfect binding. Cold glue consists of water, a dispersion medium and particles of adhesive, which together form a film of glue. Collating → Gathering Collating marks — 46 ff. Guiding marks in the shape of small bars printed in a stepwise pattern on the back of each folded sheet. They allow the binder to see at a glance whether the sheets are in the right order by checking the spine of a gathered block. Colour bar — 46, 50 Placed at the edge of the sheet, a colour bar contains a series of squares used to visually and digitally check the quality of the colour reproduction. Colour proof — 61 f., 69 A colour-accurate proof, usually digital. A contract proof is used by printer as a reference in setting up the press. A scatter proof includes only important images.

Combination fold — 113 Parallel and cross folds (or right-angle folds) are often combined to produce books, as well as maps or folding posters. Combined folding machine A folding machine that can create both buckle folds and knife folds, making the production of books and marketing materials more efficient. Concertina fold → Accordion fold Continuous tones — 360 The incremental scale between black and white as well as the varying brightness and saturation levels of a colour. Coptic binding A traditional handmade binding in which the individual signatures and case are thread-sewn at the spine, leaving the spine itself exposed. Cords — 174 Cords are strips of cloth that run perpendicular to the spine of the block. Used in hand binderies to reinforce thread sewing. Cords vary, but are occasionally visible underneath the cover. Also known as tapes. Corner stapling Related to saddle stitching. Pages are held together by a single staple in the top corner. Cornerpiece Metal corners may be fitted to protect the edges of books exposed to heavy use.

Covering material — 242 ff., 342, 345 f., 350, 359, 367 ff.

Various materials can be used to cover a case, including paper, cloth, acrylic and bonded leather. Covering paper — 23, 369 Papers make suitable covering materials if they are crease-resistant, hard-wearing and have a high tensile strength, able to withstand mechanical stresses such as scuffing or scratching. Crease resistance — 32 Indicates how resistant a paper is to unwanted creases and wrinkles. Especially important with endpapers and covering materials, but also with other items such as banknotes. Creep — 47, 50, 111, 125, 186, 276 When folded sheets are gathered into a single-section softcover, they push against each other so that the inner pages protrude further at the fore-edge than the outer ones – producing a distinctive stepwise pattern called creep. Either the book can be trimmed as a final step, bringing the pages back to the same visual length, or the creep can be made a feature of the design. Crêpe paper — 312 ff. A long-fibred craft paper used as a spinelining material in bookbinding. Not as sturdy as other spine-lining materials. Crinkled paper — 369 A kind of decorated paper produced by hand-crumpling paste paper. Crop marks — 44 ff. After printing and folding, the sheets are trimmed to size. Crop marks placed at the corners indicate where to cut.

Covering — 336 ff., 344 ff. That which is wrapped around the case.

395

Cross fold — 44, 99, 109 ff. A pattern of folding in which each crease runs parallel to the previous one – if the sheet is opened up after folding, the lines form a cross. The cross fold, also called the right-angle fold, is used almost exclusively in book production.

Double-fan adhesive binding — 144 f. A method of perfect binding by hand invented by Emil Lumbeck as a costeffective alternative to thread sewing. The block – consisting of separate pages – is clamped, fanned out at the spine and dabbed with cold glue; it is then backed with super or crêpe paper. This binding technique is rarely used.

D

Double-sided lamination Sometimes the reverse of a material – such as a case – will be laminated if the front has already been done, to even out the tension and prevent curling.

Debossing → Stamping Deckle-edge paper (also called vat paper)

Glossary – C D E F

— 362

An exceptionally high-quality paper manufactured from pulp or rag (used cloth), either handmade or produced with a specialized machine. It has no grain direction. It is often used in business stationery, but also as a covering material for books. Decorated paper — 369 Coloured uncoated paper suitable for covering cases, assuming it is long-fibred and robust enough. Design specifications — 25 ff., 30 f., 62, 66, 70, 358 ff.

The interior and exterior characteristics of a printed item. These include paper, binding, covering material, decorative edges, finishes, head and tail bands and ribbons. Dos-à-dos binding — 280 A type of softcover in which two separate blocks are bound into a single Z-shaped cover and may be opened from both sides. A dos-à-dos softcover is compatible with pamphlet sewing, saddle stitching and perfect binding.

396

Double-stream production Makes a folding machine more efficient. If a printed item such as an eight-page folded sheet is arranged more than once on a single sheet, the number of separate folds (and thus the overall cost) can be kept to a minimum. In double-stream production, the sheets are folded at the same time, minimizing the number of separate folds. Doubling the image in the gutter — 51 Binding styles that minimize space in the gutter will often conceal sections of a double-page spread. To avoid this, the affected images should be shifted a few millimetres away from the gutter and the edge of the image frame should be extended back towards the centre, creating a slight doubling effect. Dummy — 53, 58, 61 f., 71, 133, 196 An unprinted sample copy of a book or other printed product. The format, extent and materials will be the same as those used in the final product, and can be checked on the dummy – as can the thickness and paper weight. Dust jacket → Jacket

E Edge colouring — 377 A method of decorating edges with a layer of colour applied to the top, bottom and fore-edge of a book, protecting them from dirt and yellowing. Industrial binderies use rollers or spray guns, whereas previously the process was carried out with brushes or sponges. Edge decoration — 377 f. Edges may be decorated with ink or metallic foil. The edges of hardcover book blocks are decorated before casing in, whereas softcover book blocks are decorated along with the cover. Edges — 16, 79, 377 f. The three sides of the block that can be opened. They are termed the top edge, bottom edge and fore-edge. Efalin The brand name for a high-quality stock with a pleasant feel. It is popularly used as a cover paper, but may also be used for invitation cards. Eight-page cover A cover normally consists of four pages (two at the front and two at the back) and a spine. An eight-page cover includes the flaps, which can be used as bookmarks or to provide space for additional information. Elefantenhaut [elephant hide] Brand name for a paper stock with a distinctive veining effect created by embedded fibres. It has a scratch-resistant surface. Embossing → Stamping

397

Endpapers — 322 ff., 365 ff. An endpaper is a sheet of paper folded once: one panel is pasted to the inside case while the other is affixed to the block via a narrow strip of adhesive. Eurobind — 318 A variant on the detached-spine softcover; its cover is scored five times. Eyelet binding — 233 ff. A method of binding that uses hollow metal cylinders with thickened heads. The eyelets are inserted through the hole-punched sheets and bent outwards on the other side using eyelet pliers, producing a sturdy binding.

F Feed — 58 ff. Individual sheets or leaves must be placed in the semi-automated binding machines by hand during certain steps of the process. Fine cloth — 370 Fine-woven covering material for hardcover books. This sort of cloth is usually easy to print and stamp. Five-piece case — 350 ff. A case consisting of five pieces: two boards and two pieces of covering material for them, plus a covering material for the spine. Flaps (softcover) — 17, 288 ff. Some softcovers feature flaps on both cover leaves, making them appear sturdier and more like hardcovers. The flaps can be used as bookmarks or as space to print additional information.

Flat blank A flat, unfolded and unprinted sheet. Flex text A method of checking the sturdiness of a perfect-bound book block. The block is placed under tension in a machine, and individual pages are moved back and forth until they come loose from the perfect binding.

Glossary – F G

Flexi-binding — 338 A specific style of binding in which the edges of the thin cover are folded over and glued. Flexible case — 346, 367 Cases can also be flexible if they are made from a thick, flexible card with a weight of between 200 and 400 gsm. Books with this sort of flexible single- or multi-piece case are similar to softcovers, but feature the distinctive overhang of a hardcover case. Fluorescent inks — 367 Special fluorescent inks that appear significantly stronger in daylight than ordinary inks. Because they are so attention-grabbing, they are used for highvisibility jackets and ambulances, among other things. Flyleaf — 365 The inner half of the endpaper, which is not pasted to the case but simply glued along a narrow strip to the book block. Foil stamping — 378, 385 A finishing process in which the substrate is deformed with a die as a foil is applied. Foils come in metallic shades, in various colours and with diffraction patterns.

398

Foiled edges — 16, 359, 378 A way of decorating the edges of a block with a metallic or coloured foil that is applied to the top, bottom and fore-edge. Foils (special effects) — 380 Foils used to decorate covers or edges come in a variety of patterns, and may feature metallic or holographic effects. The minimum purchase quantity is often very high, however, especially for the more unusual kinds. Foils (stamping) — 384 Foil can be applied during stamping. There are metallic and matt foils, and they come in a variety of colours and textures. Fold — 39f., 43ff., 96ff. A line along which the paper is sharply bent. A printed sheet becomes a folded sheet through the introduction of a number of folds. Fold gluing — 7 ff., 155 ff. Binding technique that enables low-pagecount printed matter to be bound at speed. The individual parts of a folded sheet are bonded together with a strip of glue along the fold lines during the process of folding itself. Fold gluing is most common with cheap and simple items such as advertising inserts. Fold marks — 46 ff. Guidelines on a printed sheet that show the binder where to fold. With multipage publications, the fold marks are automatically added by the printer using imposition software. Folded sheet — 43 ff., 96 ff. A printed sheet folded once or more.

Folding → Fold Folding error Sheets are often folded imprecisely, producing different results depending on the stock, texture and folding template. This can largely be avoided if the folding speed is reduced. Folding pattern — 43, 96 ff., 205 The sequence of folds applied to a printed sheet in a folding machine. Folio —  A signature with four pages. Also refers to a page size. Foot — 157, 280 The edge at the bottom of the block. Foot margin The space below the print area. Fore-edge — 16 f., 377 ff. The front edge of a book block, opposite the spine. Full binding — 346 ff. Multi-piece case covered in a single piece of material. Depending on the covering material, it may be called a full cloth binding, full paper binding, full leather binding and so on.

Gathering — 72 Arranging folded sheets or single pages into the correct sequence, either by hand or by machine. Gilt edges — 378 Decorative metallic foil applied to the block edge. Originally, gold leaf was added by hand to create the effect. Gloss lamination → Lamination Golden section A classic way of proportioning lines and areas that is considered especially harmonious. The smaller part relates to the larger one as the larger part relates to the whole. The ratio is 1:1.618, i.e. approximately 5:8. Grain direction — 38 ff. The direction in which the paper runs through the machine during manufacturing, and in which the fibres are orientated. Paper is sturdier in the direction of the grain and less stretch-prone, so in bookbinding the grain direction should always be parallel to the spine. Also known as machine direction. Grain direction (how to check) — 40 There are various methods of checking the grain direction: the bend test, the tear test, the fingernail test, the fold test and the moisture test.

G

Grammage — 362, 365 Indicates paper density in grams per square metre.

Gate fold — 102, 106 A kind of parallel fold in which the outer panels are both folded inwards towards the centre, without overlapping or abutting. A gate fold has six sides.

Graphite edges Book block edges can be finished by polishing them with graphite, giving them a somewhat metallic sheen.

399

Greyboard — 367 Binder’s board manufactured from recycled paper. Groove cutting — 68 To avoid unsightly bulges, a groove is cut into thick paperboard before folding, and a fine sliver is removed along the fold line. Gutter — 25, 38 f., 50 ff. The fold in the centre of a folded sheet or bound book.

Handmade paper — 362 Paper that is less uniform than industrially manufactured paper and features an irregular edge, such as deckle-edge paper or Japanese paper. Handmade paper is primarily used to create distinctive business stationery or invitation cards. Hardback → Hardcover

Gutter margin — 51 The area between the gutter and the print area. If using a binding style that makes it difficult to open the pages, it is a good idea to widen the gutter margin so that part of the layout does not get swallowed up.

Glossary – G H I

often because of the materials used (such as leather or parchment).

Hardcover — 68, 332 ff. A book with a rigid case that usually incorporates more than one constituent part. Head — 377 The top edge of the book block. Head and tail bands — 334 ff., 375 Cotton or imitation-silk bands glued to the spine at the top and bottom of the book. Used primarily for aesthetic reasons, to conceal the hollow spine.

H Half binding — 12 f., 350 f. A book covered with two different materials: one for the two boards and another for the spine. Depending on the materials used, this style may be called a half cloth binding, half leather binding or half paper binding. Hand bindery — 57 ff., 369, 374 A bindery that carries out many steps of the production process by hand or with mechanical equipment such as scoring machines, singer sewing machines or guillotines. Books can be hand-bound in low runs or produced as unique objects that would be impossible to create on an industrial scale. Hand binding A particularly labour-intensive kind of binding that can only be done by hand,

400

Head margin — 132 The margin above the print area. Heat sealing A sealing technique in which thermoplasticcoated materials are tightly bonded through exposure to heat and pressure. Heat sealing is used in bookbinding, for instance, when the endpapers are glued to the block and case. Hinge — 333 ff. A fold impressed onto the front and back of a case with a heated tool, functioning as a joint. Hole punching — 210 ff. In bookbinding, paper is hole-punched by die cutting or drilling with a paper-drilling machine.

Hollow spine — 312 ff. The gap created when a case-bound book is opened. Unlike a softcover, for instance, where the block and cover are usually affixed firmly at the spine, the case and block are attached only at the endpapers, not down the spine. This means case-bound books can generally be opened and laid flat more easily than softcovers. Holographic foil stamping A kind of foil stamping used primarily as a security feature. Manufacturers can emboss motifs and patterns that appear three-dimensional into the foil itself, which can then be treated like any other foil. Holographic films are very expensive, and can be time-consuming to work with. Hot foil stamping → Foil stamping Hot-melt adhesive — 149 ff. A multi-additive thermoplastic adhesive that is applied hot and binds as it cools. It does not penetrate very well between the paper fibres, remaining instead on the surface of the page. Compared to other adhesives it is less elastic and becomes brittle more rapidly.

must be arranged according to the size of the sheet and the pattern in which it will be folded – this ensures that the pages will be correctly sequenced in the bound book. India paper — 362 Paper with a very low weight of 25 to 50 gsm (14 – 30 lb), which is nonetheless opaque and very tough. Used for publications with a high page count, including dictionaries, statute books and bibles. Industrial bindery — 57 ff. Bindery featuring automated production, assembly and finishing lines, in which machines are arranged to minimize the number of steps done by hand. Inline — 205, 383 Means that several steps can be carried out in a single machine. An example is cold foil stamping, in which a cold-foil unit can apply the foil in a single pass during offset printing. Insert A printed product loosely inserted into another printed product such as a magazine or a book. Integrated endpapers — 366 The first and last pages of a block may be used as endpapers, assuming the paper is tear-resistant and has a weight of at least 120 gsm (80 lb).

I Imitation leather — 373 f. Overarching term for materials made of polyurethane, PVC or cloth that are used to cover hardback books. Imposition — 43 f. The correct ordering of pages on the printed sheet. In the layout, the pages are arranged in the order in which they appear in the book, but on the printed sheet they

401

ISO 216 — 26 ff. The international paper size standard is ISO 216, which is based on the German DIN 476 standard. A0 is 841 x 1,189 mm, i.e. 1 square metre, and is the base size for all other ISO formats, which are produced by progressively folding the sheet in half across its width.

J

the edges. In industrial binderies, this is done on a vibrating table. Also known as jogging.

Jacket — 73, 292 ff. 333 ff., 375 A loose wrapper placed around a finished book. Jackets are usually printed, then laminated or varnished to make them more hard-wearing. They protect the book from dirt and damage.

Glossary – J K L M

Japanese paper (also ‘washi paper’) — 195 A long-fibred, very tough paper traditionally made from plant fibres (for instance, the paper mulberry tree). Washi has no grain direction and comes in many colours, with a more or less pronounced texture. It is used for endpapers or as covering paper. Japanese stab binding — 195 A specific type of side sewing in which the folded and gathered sheets are bound not along the spine but along the fore-edge, producing double pages. Japanese stab binding can only be done by hand, although an industrial variant can be manufactured using perfect binding. Jogging → Knocking up

Kösel softcovers — 308, 320 Kösel, a German bindery, has patented numerous types of softcover — including a variant with drawn-on covers and flaps (Kösel EB 500) and one with a detached spine (Kösel FR).

L Lamination — 378 ff. A finishing process in which a glossy, matt or textured laminate is bonded to a case or cover. This laminate protects against scuffing, damp and dirt. Lap — 103 A protruding area of the sheet used by printing and binding machines to grip the signature during transportation and gathering. The printed sheet is folded offcentre to create the lap. Laser cutting — 384 A computer-operated technique that uses vector files to cut out intricate shapes.

K Knife fold A folding technique carried out in a folding machine. A blade is used to push the sheet between two rollers turning in opposite directions. Knocking up In hand binderies, the gathered blocks (or sheets) are shaken before trimming and knocked against a hard surface to square

402

Laser engraving — 385 Working from vector files, a laser can be used to engrave intricate shapes into a substrate. Lay-flat binding — 66, 161 ff. A binding style in which the pages are glued across their whole surface, thereby holding the block together. Lay-flat books can be opened completely flat, and no areas of a double-page image will be lost in the gutter.

Laying the pages flat → Opening and laying the pages flat Leather binding — 374 For a long time, books were bound using leather or parchment (including vellum), before the nineteenth century saw the introduction of cheaper materials such as calico (muslin) or linen. These days leather is used only for expensive special editions, and bindings made of bonded leather are more common. Leatherboard — 367 A covering material made of brown pulp that resembles leather. Leatherboard is light, tough and easy to work with. Library-grade cloth — 370 Heavily sized, hard-wearing cloth primarily used as a covering material for reference works that need to withstand plenty of wear and tear. Libretto — 321 Special type of softcover with a detached spine. The endpaper affixes the block to the cover, which is scored four times. Lock stitch → Singer sewing Long-fibred — 369, 374 f. Long-fibred paper is generally more expensive than paper with shorter fibres, which may have already been broken several times during processing and no longer run in the grain direction. It is more hard-wearing and easier to fold and stamp. Long grain — 38 f. The grain direction of long-grain papers runs parallel to the longer side. Loose-leaf binding → Single-sheet binding

403

Loose-leaf publication — 210 ff. A publication consisting of separate, interchangeable pages. For example, they may be kept loosely in a lever-arch file.

M Machine direction → Grain direction Machine finished — 33, 362 f. The surface of paper as it comes out of a paper machine. Machine-finished paper is rougher than calendered and coated paper. Marbling A technique in which tempera is dripped or combed onto a surface. This marbling pattern was used to decorate book edges as well as to create marbled papers. Marbling with oils — 369 A type of handmade marbled paper that uses oil-based paint. Used in hand binderies for endpapers or as a covering material. Margin The largely unprinted space around the print area. A distinction is made between the top, bottom and gutter margins. Millboard — 367 Very dense, rigid board used primarily for slipcases and boxes but also for cutting boards. As a material for cases, millboard is used only with very large formats. Multi-piece case → Case Multi-section softcover — 256 ff. A softcover consisting of several signatures gathered and bound into a block using thread, wire or adhesive.

N

P

Newsprint — 362 Wood-containing, uncoated, machinefinished or calendered paper used in webfed printing for short-lived products such as newspapers.

Padded case — 13 f., 354 A case padded with foam or some other material. It will be thicker than an ordinary case, and feels soft and distinctive.

O

Glossary – N O P

Octavo — 44, 110 f. A signature with 16 pages created by folding a sheet three times. Also a page size. Offset paper — 362, 369 Wood-free or wood-containing paper that is machine-finished or lightly calendered. Geared towards the requirements of offset printing. Opacity — 35, 365 A measure of how much light penetrates through paper. The higher the opacity of the stock, the less you can see through it. Opening and laying pages flat — 22, 165, 176, 257

Some books are more difficult to open than others, and their pages harder to lay flat. The binding method and cover style are both contributing factors. Overs — 165 ff. On press and in post-press, printers and binders will always need extra printed sheets to set up the machines. To guarantee that the correct final run is produced, they need to print more sheets. The overs allowance will vary depending on the binding style. Ozalids → Plotter proof

404

Padding — 146 A style of binding used for items such as notepads. Low-bonding adhesive is applied to the gathered single sheets along the top or the side edge — individual pages can then be torn out of the block with ease. Pamphlet sewing — 7 ff., 14 f., 181 ff. A binding technique for single-section softcovers, in which the gathered sheets are sewn through the fold with a single thread. Few binderies still offer pamphlet sewing. Paper bulk — 36 f. Used to measure the ratio between a paper’s thickness and its weight. High-bulk papers will be thicker than low-bulk papers even if their weight is the same. Paper format — 26 f. The size of a sheet indicated as width x height. There are a number of a standard formats, for example the ISO A series, which are important for inter-office communication. Paper grammage → Grammage Paper sheet — 39 ff. A piece of paper cut to a particular size. Paper web — 38 ff. Paper is manufactured in broad webs before being cut into narrower rolls or sheets.

Parallel fold — 101 ff. A type of fold in which all the folds run parallel. Parallel folds are mainly used to create items such as flyers, folders or accordion leaflets.

Permanence — 32 Refers to the rate at which paper decays. The standard for ‘permanent’ papers is ISO 9706, meaning the paper is made from pulp, is acid- and wood-free, and contains at least 2 per cent buffering.

Parchment — 367, 374 A covering material made from animal skin that is tougher and more hard-wearing than leather. It is not tanned but rather scraped and dried under tension. Various kinds of skin are used, including goatskin and calfskin.

Plastic comb binding — 15, 220 A binding style in which a flexible rollshaped plastic comb is fed through pages punched with lozenge-shaped holes and then closed.

Paste-in — 175 ff. Loose pages or signatures can be glued into an already bound product (such as a magazine or book).

Plastic cover — 342 f. A cover that is made primarily of PVC. Plastic covers are very robust and are used for books that undergo a lot of wear. The plastic is sealed rather than folded over at the edges.

Paste-down — 333 ff., 365 The half of the endpapers glued down onto the inside covers. Paste paper — 369 Handmade decorated paper used for covers or endpapers. Perfect binding — 7 ff., 10 f., 51, 55 ff., 141 ff., 195 A binding style in which loose-leaf pages or folded sheets are glued together at the spine. There are various types of perfect binding, including traditional perfect binding, in which the folds are cut off and the spine is roughened; double-fan adhesive binding; and padding. Perforation — 137, 157, 384 A series of holes or slits punched into paper. Perforation usually serves a specific function, as with the pages of a tear-off calendar. In bookbinding, fold lines are sometimes perforated to reduce tension in the folded sheet and prevent wrinkling.

405

Plotter proof — 61 f., 69 A proof (not accurate for colour) that is used to check the layout and the order of the pages before the books go to press. Pocket Bookbinders may add a pocket to the inside cover of a book, which can be used to store loose-leaf pages. Polyurethane adhesive → PUR adhesive Post-press — 43, 55, 62, 68 All steps in the production process that are carried out after printing the sheets. This includes trimming, binding, finishing and so on. Primer A thin layer of varnish applied to the spine of the block before perfect binding to make the binding smoother and more longlasting.

Print on demand — 64 ff. A system of book production in which books are only printed and bound when ordered by a customer. The books are printed digitally as single copies. Print run — 23, 31, 57, 68 f., 70 ff. The number of copies of a printed item. Large print runs usually lower the per-unit cost, although not necessarily the cost of binding — this depends on the binding style and finishes.

Glossary – P Q R S

Printed sheet — 26 ff., 42 ff., 69 f., 96 ff. A large sheet of paper that can accommodate several pages or sections, and which is folded and trimmed to size after printing. The dimensions of the printed sheet depend on the printing press or the available paper stock. Printing substrate — 30, 360 f. A printable material, such as paper, card stock, paperboard, plastic film, etc. Production line A series of machines — e.g. collating machines, perfect-binders and three-knife trimmers — that help to reduce the amount of manual labour involved in bookbinding. Pull test A method of testing how easy it is to pull pages out from a perfect binding. A page is pulled with increasingly force, vertical to the spine, until it tears or comes loose from the binding. Punching out — 211, 218, 222, 230, 249, 384, 386 A sharp implement is used to punch through paper and card stock, allowing shapes to be cut out. With intricate motifs, the punched areas often have to be pushed out by hand.

406

PUR adhesive — 150 ff., 201 A reactive hot-melt glue with two active components. The first is a bonding agent, which works as the glue cools; the second gives the binding permanence and an extremely high level of sturdiness, comparable only with thread sewing.

Q Quarto — 44, 110 An eight-page folded sheet. Also refers to a page size.

R Rag paper → Deckle-edge paper Recycled paper — 32, 363 Paper manufactured entirely from secondary fibres (i.e. waste paper). Refolding Manually correcting production errors in folding. Register accuracy — 52 Indicates whether the lines and edges of the print area match up on the front and back of a printed sheet. Registration marks — 46, 48 Marks that allow printers to judge the alignment of the print. They are shaped like cross hairs and positioned in the slug, outside the print area.

Removable adhesive A low-bond adhesive used for such applications as notepads, where the pages adhere well but can be removed easily – often, the glue itself can be easily removed. Ribbon — 386 A narrow strip of material usually glued to the top edge of a spine. Serves as a bookmark.

Rub-off Ink may rub off onto other, non-printed areas of a sheet. Rubber-band binding — 247 A binding technique in which a rubber band is used to hold loose-leaf pages or folded sheets together, either along the spine fold or down the side. Rubber-band bindings are best suited to small production runs and have a limited lifespan.

Right-angle fold → Cross fold Rivet binding — 233 ff. A binding style that uses two-piece bolts made of metal or plastic. The pages are hole-punched, then the upper and lower parts of the rivets are pushed through the holes and closed with riveting pliers. The rivets cannot subsequently be opened.

S

Roll fold — 104 A specific kind of parallel fold in which each panel is folded in the same direction around an inner panel of a sheet.

Scoring — 282 ff., 381 A light impression is made with a metal tool along the fold line in materials such as card and paperboard so that they can be folded without cracking.

Rotogravure paper — 362 Paper primarily used in web-fed printing to produce large print runs of magazines. It is uncoated, wood-containing or woodfree, calendered, very absorbent and very robust. Roughening → Spine preparation Rounded corners — 16, 386 The corners of a hardcover or softcover can be rounded by die-cutting them: with a softcover, the final product is cut all at once, including the cover and interior pages, while the case and block of a hardcover are cut separately before casing in.

407

Saddle stitching — 6 ff., 121 ff., 274 ff. A binding style in which several gathered sheets are bound in a single pass, stitched with wire down the spine fold.

Section — 274 ff. One or more sheets, gathered and folded for binding. In a single-section softcover, the folded sheet is bound along the spine fold with thread or wire; in a multi-section softcover or hardback book, numerous sections (also called signatures) are gathered, stacked and bound into a block with thread, wire or adhesive. Set-off — 55, 360 Fresh ink can transfer onto the back of the sheet on top — this is especially common with less absorbent printing substrates. Using spray powder can help alleviate the problem.

Set-up — 159 Presses and binding machines must be set up correctly, i.e. adjusted to the appropriate size and function for each product. Some methods of binding may only be worthwhile above a particular production quantity, because setting up the machines is so time-consuming and expensive. Sewing needles — 174, 270, 276 Three different needles are used in machine sewing: a piercing needle, a hook-shaped needle and a threaded sewing needle.

Glossary – S

Sewing thread — 171 ff. Thread made from synthetic, natural or blended fibres, used in thread sewing, side sewing and pamphlet sewing. Sheet — 26 ff., 38f., 42ff., 63f., 72, 96ff. A piece of paper or paperboard in minimum A3 (11¾ x 16½ in) format. When printing, it is referred to as a printed sheet, which includes 4, 8, 12, 16 or more pages, depending on the size of the sheet and the format of the printed product. Sheet format — 26 ff., 46, 55, 97 Paper, card stock or paperboard in a format larger than A3 (11¾ x 16½ in). Sheet spoilage Some sheets cannot be used for bookbinding — because they were incorrectly printed, they became dirty, or because too many were printed. Sheet verification Collating marks can be used during gathering to check whether all the sheets are present and in the right order — this process is carried out in the collating machine automatically.

408

Short grain — 38 f., 69 The grain of short-grain papers runs parallel to the shortest side. Show-through Sometimes the ink (or even the glue) can show through a printed sheet, becoming visible on the reverse side. Shrink-wrapping — 69 ff. The final printed product or book will often be wrapped in a thin film of plastic that helps protect it. Side sewing — 7 ff., 191 ff. A binding style in which folded and gathered sheets, or loose leaves, are thread-sewn together through holes drilled approximately 5 mm (1/5 in) from the gutter. Side stitching — 6 ff., 131 ff. A binding style in which wire staples are pushed through folded and gathered sheets, or loose leaves, either as close to the gutter as possible, or at the top edge, then closed. Signature → Section Signature mark — 46, 50 A number inscribed on printed sheets, used to check the order of the pages. It is located on the first and third pages of every printed sheet, and contains a running number and the abbreviated name of the project. Simple stitch — 175 The most common type of stitching used with thread sewing. The stitches are positioned in the same place on each signature. Singer sewing — 185 ff., 193 ff. A binding technique that uses an industrial

sewing machine to produce — with thread rather than wire — a type of stitch known as a lock stitch. This tight, continuous stitch is particularly robust. It can be used in pamphlet sewing and side sewing. Single-piece case — 336 ff. A case made of a single piece of material — for example, plastic. Single-section softcover — 257, 274 ff. A softcover consisting of one or more gathered sheets that are folded once and bound using a technique such as saddle stitching or pamphlet sewing. Single-sheet binding style — 142, 210 Any binding style that can be used to bind loose pages. This includes perfect binding as well as systems such as wire-o binding or comb binding. Single-sheet proof — 69 A single printed sheet sent to the client for approval. Single-sheet softcover with 360-degree rotation — 260 ff. A softcover compiled from loose pages, bound into a cover using spirals, wire combs or rings. It offers maximum page rotation.

spines of the books. It protects them from dust, keeps them together and adds a premium-quality look. Soft cover — 374 The flexible cover of a softcover book, usually consisting of stiff paper or card. Softcover — 8, 12 ff., 21 ff., 53 ff., 72, 256 ff. A printed product with a flexible paper or card cover — or one without any cover at all. There are single-page, single-section and multi-section softcovers. Softcover with a detached spine — 324 ff. A softcover that opens and lies as flat as a hardcover does, because the gap between the spine and the cover (the detached spine) provides space for the pages to turn – the block and cover are attached at the side but not along the spine itself. Spine — 11, 39, 53, 332 ff., 386 The closed edge of the book, where the pages are bound together. The spine is usually inscribed with text. Spine bar — 7 ff., 14, 211, 241 ff. A fastener used to bind loose-leaf pages into a folder. Spine gluing — 173 To reinforce a thread-sewn block, the spine is coated with an extra layer of adhesive.

Sizing — 370 Textiles, including those used for bookbinding, are frequently coated with a mixture of artificial resin and filler to make them more hard-wearing. Sizing closes the gaps between the threads, making the texture of the fabric less pronounced.

Spine piece — 344 ff., 367 A segment of paperboard used in multipiece cases. The paperboard will be either flexible or rigid, depending on whether the spine is rounded or flat.

Slipcase — 53, 58 A box-like case precisely sized to accommodate one or more books. A slipcase is open at the front, revealing the

Spine preparation — 143 The spine of a perfect-bound block is milled and roughened so that the glue can penetrate better between the paper fibres.

409

Glossary – S T U

Spine rounding — 386 A spine is rounded when the individual pages or signatures are shifted to form a convex shape. This is particularly recommended for thicker books, because it makes the binding remain sturdier for longer and allows them to lie flat.

Stitching wire — 121 ff. Wire made of copper-plated or zinc-coated steel, used in bookbinding.

Spine title — 53 The title of a book is usually printed running down the spine.

Swell — 124, 175, 205, 386 The degree to which the spine of a book block is higher than the fore-edge. The swell will vary depending on the method of binding; it will be especially marked with thread sealing, for example, because the sealing threads are relatively thick. Swell can make later steps in the production process – such as trimming or stacking – more difficult.

Spiral binding — 7, 213 ff. A method of binding loose-leaf pages that can be carried out quickly and cheaply in copy shops, producing single copies or small runs. A row of round holes is punched through the pages parallel to the edge, then a plastic or wire spiral is twisted through the holes and the ends are bent so that the pages will not come out as they are turned. Staggered stitch — 175 The stitches in a thread-sewn binding may be staggered, reducing swell, especially if thick art paper is used and there is a high number of signatures. Stamping — 384 A finishing process in which the substrate is deformed with a stamp under heat. A foil may be applied at the same time, which is known as foil stamping. Stamping without applying foil is called blind stamping. Stitch type (thread sewing) — 175 In addition to ordinary stitching, in which the threads are positioned evenly on all signatures, a staggered stitch may also be used in thread sewing. This avoids excessive swell, especially when using thin paper stocks.

410

Super — 144, 334 ff. A coarsely woven strip of fabric glued to the spine of the book block in order to stiffen and reinforce it.

Swiss binding — 13 f., 304 f. A style of softcover in which the block is affixed to the inside back cover by only a narrow strip of adhesive. This means the cover can be opened far enough to expose the first page of the block as well as the spine. Swiss binding (inverted) — 304 A way of combining two softcovers in a single publication, in which one book block is glued into the cover on the left and the other on the right.

T Tape-bound softcover — 300 f. A softcover spine backed with a cloth or paper lining strip, which extends over the front and back of the block and is glued to the cover leaves.

Tapes → Cords Temporary binding Refers to the now obsolete practice of protecting valuable books with a temporary binding before they were cased in. Thread count — 370 Indicates how coarse or fine a textile is. The higher the thread density, the finer and more opaque the fabric. Thread-and-knot sewing — 181 ff. A special variant of thread-sewing by hand for single-section softcovers. It can also be carried out as a side binding. Thread sealing — 7 ff., 201 ff. An alternative to thread sewing. Plasticcoated threads are sealed to the spine of a signature through exposure to heat and pressure. To bind more than one signature firmly, glue must also be applied to the block. Thread sealing requires a special machine that few binderies have. Thread sewing — 7 ff., 12 f., 171 ff. A binding technique in which the gathered signatures are sewn together with thread at the spine. Three-knife trimmer A trimming machine used in binderies to trim the top, bottom and fore-edge of a printed product to size. Three-piece case → Case Three-sided trimming Hardcover and softcover books are normally trimmed on three sides – the top, the bottom and the fore-edge. Thumb-cut index An index punched stepwise into the fore-

411

edge of a book. The individual cuts represent chapters or letters, allowing the reader to find what they are looking for more quickly. Thumb cuts are often used for specialist dictionaries or books of tables. Tipped-in pages Loose leaves or folded pages that are attached to the book. They often have a different format, or are on a different paper stock from the rest of the block. Tube binding — 319 A special kind of softcover with a detached spine, in which a paper tube — affixed like a spine lining — connects the block to a cover that has been scored four times. Two-up → Up

U Uncoated paper — 33, 360, 369, 374 Uncoated paper has a pleasantly matt texture and a natural look. It can be woodfree or contain wood. Uncoated papers are especially well suited to printing text, whereas images should be specially lithoprinted. Up The term used, in its strictest sense, to define the number of identical impressions per sheet, which will then be cut out after printing. The idea is to make optimal use of space on the sheet and save money. A ‘twoup’ format, therefore, means two identical impressions are printed on the same sheet.

V Varnishes (special effects) — 369, 383 Special varnishes and inks may be used in designing a hard or soft cover. This category includes UV varnish, varnishes with effect pigments or glitter varnishes.

Z Z-binding → Dos-à-dos

W Web-fed printing — 98, 104, 107, 127, 362 Printing onto continuous paper webs from the roll. Often, the same machine can then be used for trimming and folding. Web-fed printing is primarily used for large print runs, with offset printing, gravure printing and digital printing. Glossary – V W Z

Wrinkle — 98, 164 Cross-folding can stress the paper and produce wrinkles — but it depends on the thickness and the total number of folds.

White spaces — 48 f. White gaps may appear inside images or along edges if the inks are misaligned during printing, the traps have not been set up properly, or full-bleed images do not extend into the bleed area. Wire-o binding — 15, 210 f., 213 ff. A method of binding loose-leaf pages in which the hole-punched sheets are mounted onto a double-loop wire fastener. Wood-free paper — 32, 362 Consists predominantly of chemical pulp, and may contain no more than 5 per cent wood pulp. It yellows much more slowly than wood-containing paper. Wood-pulp board — 367 Board made from wood pulp. Primarily used in packaging.

412

413

Afterword ‘Print is alive and kicking!’ we cry in response to those who say that the printed book and print production in general are dead. Innovative magazines are springing up everywhere, we’re seeing all sorts of gorgeous books on the shelves of independent bookstores, and customers are increasingly coming to appreciate this level of quality as an antidote to the slickness of the digital world. But ‘Print lives’ might not go far enough. After all, what is print without post-press production? Who’s interested in printed sheets on pallets? Dull sheets have to be folded, gathered and bound before they become tactile, three-dimensional objects of desire! And that is exactly what this book is about: showing graphic designers and makers, agency creatives, beginners and past masters of visual communication the diversity of options post-press – and making those options appealing. Supported by the best bookbinders and manufacturers in the world, Franziska Morlok and Miriam Waszelewski spent three years analysing and documenting all sorts of tips and tricks to make their magazine- and book-making dreams come true. Their mission is to encourage you to forge new production paths – and to give you the tools to do so. To dare you to do something fresh. In doing so they reveal tricks and stumbling blocks, hidden costs and timesavers, highlighting the elements of design you really need to think about in advance.

415

And this does not just relate to books – it is about any printed product of more than a single page. As a publisher, we know this book is lending the competition a hand – and we’re happy to do so! We learned a lot along the way. Even the bookbinders did. After all, no matter how experienced you are, you can always know more. That is why this book is intended not just for students – who could use the information for their degree projects – but for old hands looking to acquire new skills. Above all, this book is for everyone who believes in the future of print – and wants to be part of it. With best wishes from Mainz, the home of Gutenberg. Karin & Bertram Schmidt-Friderichs

Thank you! This book would not have been possible without the dedication and support of bookbinders: Throughout the whole process, Hans Burkhardt, head of Bubu in Mönchaltorf in Switzerland, helped us out with advice and dummies. We even saw their ‘Bindorama’ at the beginning of the process, which was a tremendous inspiration. Thomas Freitag and Daniel Kappeler also gave us lots of excellent pointers. An equally important consulting partner was Kösel. Erik Kurtz, Andreas Burkard, Ralf Fischer and Hans-Georg Trentz gave us loads of information and some wonderful dummies. The bindery at the DZA, the Druckerei zu Altenburg, Marina Arnoldt and Matthias Löbel also supplied us with dummies and generously answered our questions. Bettina Mönch offered us a special insight into highly experimental approaches at the Buchbinderei Mönch in Leipzig. On location in Berlin, ZeitDruck and Buchwerkstatt Gobel supplied us with dummies. The Diegmann Bückers Industriebuchbinderei advised us on fold gluing and helped us out with dummies. Huge thanks and praise are also due to everybody who supported us as we worked on the design and text of the book. Photography is by Matthias Weingärtner,

417

whose patience we tested on numerous photo shoots with books and paper – we’ve rarely seen somebody approach this topic in such a virtuosic, sensitive and innovative way. Markus Zehentbauer carefully and meticulously checked every single word of the text. Special thanks go to Till Beckmann and Maj Mlakar. They were involved throughout the process, in word and in deed. Many thanks, also, to Friederike Goll, Claire Chéry, Jenny Hasselbach and Gabriel Tecklenburg for their support. And to the designers who rummaged through their drawers to loan us their gorgeous books and dummies – thank you! Finally, of course, we’d like to thank Karin and Bertram Schmidt-Friderichs. They were hugely enthusiastic right from the get-go, and it was their ideas, expertise and tremendous patience that made this project possible. Supported by the Kulturwerk of the VG Bild-Kunst GmbH, Bonn.

Sources and credits Sources Peter J. Biel Buchherstellung für Medienkaufleute und angehende Hersteller Wiley-VCH Verlag, Weinheim, 2012 Fritz Wiese Der Bucheinband Schlütersche Verlagsgesellschaft, Hannover, 2008

Ursula Rautenberg (Hrsg.) Reclams Sachlexikon des Buches Reclam, Ditzingen, 2003 Erwin Bachmaier ZFA-Tutorials Buchbinderei Zentral-Fachausschuss Berufsbildung Druck und Medien

Credits Robert Klanten, Mika Mischler, Silja Bilz (Hrsg.) Der kleine Besserwisser Die Gestalten Verlag, Berlin, 2015 Helmut Teschner Fachwörterbuch Digital- und Printmedien Christiani, Konstanz, 2010 Gavin Ambrose, Paul Harris Format Stiebner Verlag, München, 2013 Dieter Liebau, Inés Heinze Industrielle Buchbinderei Verlag Beruf + Schule, Itzehoe, 2010 Dieter Liebau, Inés Heinze Lexikon, Buchbinderische Verarbeitung Verlag Beruf + Schule, Itzehoe, 2000 Daniel Graefen Print – Professionell vom Monitor zum Druck Graefen und Hronek Verlag, Berlin, 2013

419

Matthias Weingärtner: 8, 10, 18, 45, 49, 52, 74, 76, 78, 80, 82, 84, 85, 86, 88, 89, 90, 92, 94, 100, 108, 112, 116, 117, 118, 120, 124, 128, 130, 138, 140, 154, 157, 160, 164, 168, 170, 174, 178, 180, 184, 185, 190, 193, 195, 200, 204, 208, 212, 214, 215, 221, 224, 227, 228, 232, 234, 235, 237, 240, 242, 246, 248, 254, 263, 271, 277, 281, 285, 289, 293, 297, 301, 305, 309, 315, 325, 330, 339, 343, 347, 351, 355, 356, 361, 363, 364, 368, 371, 372, 375, 379, 382, 386, 387 Miriam Waszelewski: 12, 13, 14, 15, 16, 17, 265, 273, 279, 287, 291, 295, 299, 303, 307, 311, 316, 327, 341, 349, 353

Published by Princeton Architectural Press A McEvoy Group company 202 Warren Street Hudson, New York 12534 www.papress.com

For Princeton Architectural Press: Acquisitions Editor: Nicola Brower Project Editor: Barbara Darko

Originally published by Verlag Hermann Schmidt under the title Vom Blatt zum Blättern © 2016 Verlag Hermann Schmidt, Franziska Morlok, and Miriam Waszelewski Idea, conception, text, design: Franziska Morlok, Miriam Waszelewski Photography: Matthias Weingärtner Lithography: Europrint Medien Typefaces used: Circular, Larish US edition © 2018 Princeton Architectural Press Published by arrangement with Verlag Hermann Schmidt and Laurence King Publishing Ltd. All rights reserved. ISBN 978-1-61689-657-7 (alk. paper) ISBN 978-1-61689-743-7 (epub, mobi) No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions.

420

Special thanks to: Ryan Alcazar, Lucy Balcezak, Abigail Baxter, Janet Behning, Nolan Boomer, Abby Bussel, Benjamin English, Jan Cigliano Hartman, Susan Hershberg, Kristen Hewitt, Lia Hunt, Valerie Kamen, Jennifer Lippert, Sara McKay, Eliana Miller, Nina Pick, Wes Seeley, Rob Shaeffer, Sara Stemen, Marisa Tesoro, Paul Wagner, and Joseph Weston of Princeton Architectural Press —Kevin C. Lippert, publisher Library of Congress Cataloging-inPublication Data available upon request.

The paper used in this book was sourced from socially, economically, and environmentally sustainably managed forests, meeting the FSC Mix standard. The task is not to foresee the future but to enable it. —Antoine de Saint-Exupéry