UNIT 12 BINDING PROCESS

Structure

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

12.2.9 Finishing; Lettering and Ornamentation

12.3 Binding Routine,

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

12.3.3 Administrative Procedures

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

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

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

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

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

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

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

12.2 BINDING PROCESS

Library binding process proceeds according to the following steps:

12.2.1 Preparation of Material for Binding

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

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

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

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

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

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

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

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

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

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

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

167
Binding

Fig. 12.1: Sewing on a Sewing Frame

12.2.3 Forwarding: Cutting and Trimming

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

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

12.2.4 Rounding and Backing

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

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

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

Fig. 12.2: Rounding and Backing

12.2.5 Marbling, Gilding, Colouring of Edges

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

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

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

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

12.2.6 Fixing Head-bands

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

12.2.7 Cutting and Attaching Boards, Gluing

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

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

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

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

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

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

Fig. 12.5: Covering of Cardboard

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

Fig. 12.6: Hollow Back.

Fig. 12.7: Flexible Back

12.2.9 Finishing: Lettering and Ornamentation

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

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

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

Self Check Exercise

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

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

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

12.3 BINDING ROUTINE

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

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

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

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

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

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

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

12.3.2 What Type of Binding for What Kind of Material?

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

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

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

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

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

12.3.3 Administrative Procedures

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

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

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

Self Check Exercise

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

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

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

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

………………………………………………………………………………….

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

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

12.5 ANSWERS TO SELF CHECK EXERCISES

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

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

12.6 KEY WORDS

Cutting Press : See ‘Laying Press’.

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

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

Finishing : This Comprises lettering, tooling and polishing.

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

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

Forme : See ‘Section’

French Joint : See ‘Hinge’

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

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

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

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

Joint : See ‘Hinge’

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

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

down to the cardboard cover.

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

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

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

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

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

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

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

Square : The portion of the cardboard covers that project beyond

the leaves.

12.7 REFERENCES AND FURTHER READING

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

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

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

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

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

1996.

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

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

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

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

176