PRESSING
[Ill.u.s.tration: FIG. 20.]
[Ill.u.s.tration: FIG. 21.--Standing Press]
While the end papers are being made, the sections of the book should be pressed. To do this a pressing-board is taken which is a little larger than the book, and a tin, covered with common paper, placed on that, then a few sections of the book, then another tin covered with paper, and then more sections, and so on, taking care that the sections are exactly over one another (see fig. 20). A second pressing-board having been placed on the last tin, the pile of sections, tins, and pressing-boards can be put into the standing-press and left under pressure till next day. Newly printed plates should be protected by thin tissue paper while being pressed. Any folded plates or maps, &c., or inserted letters, must either not be pressed, or have tins placed on each side of them to prevent them from indenting the adjoining leaves.
[Ill.u.s.tration: FIG. 22.--French Standing Press]
Hand-printed books, such as the publications of the Kelmscott Press, should have very little pressure, or the "impression" of the print and the surface of the paper may be injured. Books newly printed on vellum or heavily coloured ill.u.s.trations should not be pressed at all, or the print may "set off."
The protecting tissues on the plates of a book that has been printed for more than a year can generally be left out, unless the t.i.tles of the plates are printed on them, as they are a nuisance to readers and often get crumpled up and mark the book.
In order to make books solid, that is, to make the leaves lie evenly and closely to one another, it was formerly the custom to beat books on a "stone" with a heavy hammer. This process has been superseded by the rolling-press; but with the admirable presses that are now to be had, simple pressing will be found to be sufficient for the "extra"
binder.
At fig. 21 is shown an iron standing-press. This is screwed down first with a short bar, and finally with a long bar. This form of press is effective and simple, but needs a good deal of room for the long bar, and must have very firm supports, or it may be pulled over.
At fig. 22 is shown a French standing-press, in which the pressure is applied by a weighted wheel, which will, in the first place, by being spun round, turn the screw until it is tight, and give additional pressure by a hammering action. This press I have found to answer for all ordinary purposes, and to give as great pressure as can be got by the iron standing-press, without any undue strain on supports or workmen.
There are many other forms of press by which great pressure can be applied, some working by various arrangements of cog-wheels, screws, and levers, others by hydraulic pressure.
CHAPTER VI
Tr.i.m.m.i.n.g Edges before Sewing--Edge Gilding
Tr.i.m.m.i.n.g BEFORE SEWING
When the sheets come from the press the treatment of the edges must be decided upon, that is, whether they are to be entirely uncut, trimmed before sewing, or cut in boards.
Early printed books and ma.n.u.scripts should on no account have their edges cut at all, and any modern books of value are better only slightly trimmed and gilt before sewing. But for books of reference that need good bindings, on account of the wear they have to withstand, cutting in boards is best, as the smooth edge so obtained makes the leaves easier to turn over. Gilt tops and rough edges give a book a look of unequal finish.
If the edges are to remain uncut, or be cut "in boards" with the plough, the book will be ready for "marking up" as soon as it comes from the press; but if it is to be gilt before sewing, it must be first trimmed.
[Ill.u.s.tration: Fig. 23.]
The sheets for tr.i.m.m.i.n.g with end papers and all plates inserted must first be cut square at the head against a carpenter"s square (see fig.
7). Then a piece of mill-board may be cut to the size, it is desired to leave the leaves, and the sections trimmed to it. To do this three nails should be put into the covering board through a piece of straw-board, and the back of the section slid along nails 1 and 2 until it touches No. 3 (see fig. 23). The board is slid in the same way, and anything projecting beyond it cut off. When the under straw-board has become inconveniently scored in the first position, by shifting the lower nail (1) a fresh surface will receive the cuts.
Fig. 24 is a representation of a simple machine that I use in my workshop for tr.i.m.m.i.n.g. The slides A A are adjustable to any width required, and are fixed by the screws B B. The bra.s.s-bound straight edge C fits on to slots in A A, and as this, by the adjustment of the slides, can be fixed at any distance from B B, all sizes of books can be trimmed. As by this machine several sections can be cut at once, the time taken is not very much greater than if the book were cut in the plough.
[Ill.u.s.tration: FIG. 24.]
Considerable judgment is required in tr.i.m.m.i.n.g. The edges of the larger pages only, on a previously uncut book, should be cut, leaving the smaller pages untouched. Such uncut pages are called "proof," and the existence of proof in a bound book is evidence that it has not been unduly cut.
Before gilding the edges of the trimmed sections, any uncut folds that may remain should be opened with a folder, as if opened after gilding, they will show a ragged white edge.
[Ill.u.s.tration: FIG. 25.]
EDGE GILDING
To gild the edges of trimmed sections, the book must be "knocked up"
to the fore-edge, getting as many of the short leaves as possible to the front. It is then put into the "lying press," with gilding boards on each side (see fig. No. 25), and screwed up tightly. Very little sc.r.a.ping will be necessary, and usually if well rubbed with fine sand-paper, to remove any chance finger-marks or loose fragments of paper, the edge will be smooth enough to gild. If the paper is very absorbent, the edges must be washed over with vellum size and left to dry.
The next process is an application of red chalk. For this a piece of gilder"s red chalk is rubbed down on a stone with water, making a thickish paste, and the edges are well brushed with a hard brush dipped in this mixture, care being taken not to have it wet enough to run between the leaves. Some gilders prefer to use blacklead or a mixture of chalk and blacklead. A further brushing with a dry brush will to some extent polish the leaves. It will then be ready for an application of glaire. Before glairing, the gold must be cut on the cushion to the width required (see p. 200), and may be either taken up on very slightly greased paper, a gilder"s tip, or with a piece of net stretched on a little frame (see fig. 26). The gold leaf will adhere sufficiently to the net, and can be readily released by a light breath when it is exactly over the proper place on the edge.
When the gold is ready, the glaire should be floated on to the edge with a soft brush, and the gold spread evenly over it and left until dry; that is, in a workshop of ordinary temperature, for about an hour. The edge is then lightly rubbed with a piece of leather that has been previously rubbed on beeswax, and is ready for burnishing. It is best to commence burnishing through a piece of thin slightly waxed paper to set the gold, and afterwards the burnisher can be used directly on the edge. A piece of bloodstone ground so as to have no sharp edges (see fig. 27) makes a good burnisher.
[Ill.u.s.tration: FIG. 26]
[Ill.u.s.tration: FIG. 27.]
There are several different preparations used for gilding edges. One part of beaten up white of egg with four parts of water left to stand for a day and strained will be found to answer well.
After the fore-edge is gilt the same operation is repeated at the head and tail. As it is desirable to have the gilding at the head as solid as possible, rather more sc.r.a.ping is advisable here, or the head may be left to be cut with a plough and gilt in boards.
CHAPTER VII
Marking up--Sewing--Materials for Sewing
MARKING UP
This is drawing lines across the back of the sections to show the sewer the position of the sewing cords.
Marking up for flexible sewing needs care and judgment, as on it depends the position of the bands on the back of the bound book.
Nearly all books look best with five bands, but very large, thinnish folios may have six, and a very small, thick book may look better with four. Generally speaking, five is the best number. In marking up trimmed sheets for flexible sewing, the length of the back should be divided from the head into six portions, five equal, and one at the tail slightly longer. From the points so arrived at, strong pencil lines should be made across the back with a carpenter"s square as guide, the book having been previously knocked up between pressing-boards, and placed in the lying press. It is important that the head should be knocked up exactly square, as otherwise the bands will be found to slope when the book is bound. In the case of a book which is to be cut and gilt in boards, before marking up it will be necessary to decide how much is to be cut off, and allowance made, or the head and tail division of the back will, when cut, be too small.
It must also be remembered that to the height of the pages the amount of the "squares" will be added.
About a quarter of an inch from either end of the back of a trimmed book, and a little more in the case of one that is to be cut in boards, a mark should be made for the "kettle" or "catch" st.i.tch. This may be slightly sawn in, but before using the saw, the end papers are removed. If these were sawn, the holes would show in the joint when the ends are pasted down.
If the book is to be sewn on double cords, or on slips of vellum or tape, two lines will be necessary for each band.
It has become the custom to saw in the backs of books, and to sink the bands into the saw cuts, using "hollow backs," and putting false bands to appear when bound. This is a degenerate form, to which is due much of the want of durability of modern bindings. If the bands are not to show on the back, it is better to sew on tapes or strips of vellum than to use sawn-in string bands.
SEWING
The sewing-frame need by bookbinders is practically the same now as is shown in prints of the early sixteenth century, and probably dates from still earlier times. It consists of a bed with two uprights and a crossbar, which can be heightened or lowered by the turning of wooden nuts working on a screw thread cut in the uprights (see fig. 29).
To set up for sewing, as many loops of cord, called "lay cords," as there are to be bands, are threaded on to the cross piece, and to these, by a simple knot, shown at fig. 28, cords are fastened to form the bands. The "lay cords" can be used again and again until worn out.