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Bookbinding is the process of physically assembling a book of codex format from an ordered stack of paper sheets that are folded together into sections or sometimes left as a stack of individual sheets. The stack is then bound together along one edge by either sewing with thread through the folds or by a layer of flexible adhesive. Alternative methods of binding that are cheaper but less permanent include loose-leaf rings, individual screw posts or binding posts, twin loop spine coils, plastic spiral coils, and plastic spine combs. For protection, the bound stack is either wrapped in a flexible cover or attached to stiff boards. Finally, an attractive cover is adhered to the boards, including identifying information and decoration. Book artists or specialists in book decoration can also greatly enhance a book''s bindings. A third division deals with the repair, restoration, and conservation of old used bindings.
Today, modern bookbinding is divided between hand binding by individual craftsmen working in a shop and commercial bindings mass-produced by high-speed machines in a factory. There is a broad grey area between the two divisions. The size and complexity of a bindery shop varies with job types, for example, from one-of-a-kind custom jobs, to repair/restoration work, to library rebinding, to preservation binding, to small edition binding, to extra binding, and finally to large-run publisher''s notion when stating "" and that "".
Early intact codices were discovered at Nag Hammadi in Egypt. Consisting of primarily Gnostic texts in Coptic, the books were mostly written on papyrus, and while many are single-quire, a few are multi-quire. Codices were a significant improvement over papyrus or vellum scrolls in that they were easier to handle. However, despite allowing writing on both sides of the leaves, they were still foliated—numbered on the leaves, like the Indian books. The idea spread quickly through the early churches, and the word Bible comes from the town where the Byzantine monks established their first scriptorium, Byblos, in modern Lebanon. The idea of numbering each side of the page—Latin pagina, ""—appeared when the text of the individual testaments of the Bible were combined and text had to be searched through more quickly. This book format became the preferred way of preserving manuscript or printed material.
The earliest surviving European bookbinding is the St Cuthbert Gospel of about 700, in red goatskin, now in the British Library, whose decoration includes raised patterns and coloured tooled designs. Very grand manuscripts for liturgical rather than library use had covers in metalwork called treasure bindings, often studded with gems and incorporating ivory relief panels or enamel elements. Very few of these have survived intact, as they have been broken up for their precious materials, but a fair number of the ivory panels have survived, as they were hard to recycle; the divided panels from the Codex Aureus of Lorsch are among the most notable. The 8th century Vienna Coronation Gospels were given a new gold relief cover in about 1500, and the Lindau Gospels (now Morgan Library, New York) have their original cover from around 800.
Luxury medieval books for the library had leather covers decorated, often all over, with tooling (incised lines or patterns), blind stamps, and often small metal pieces of furniture. Medieval stamps showed animals and figures as well as the vegetal and geometric designs that would later dominate book cover decoration. Until the end of the period books were not usually stood up on shelves in the modern way. The most functional books were bound in plain white vellum over boards, and had a brief title hand-written on the spine. Techniques for fixing gold leaf under the tooling and stamps were imported from the Islamic world in the 15th century, and thereafter the gold-tooled leather binding has remained the conventional choice for high quality bindings for collectors, though cheaper bindings that only used gold for the title on the spine, or not at all, were always more common. Although the arrival of the printed book vastly increased the number of books produced in Europe, it did not in itself change the various styles of binding used, except that vellum became much less used.
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Although early, coarse hempen paper had existed in China during the Western Han period (202 BC - 9 AD), the Eastern-Han Chinese court eunuch Cai Lun (ca. 50 AD – 121 AD) introduced the first for 1 last update 2020/07/13 significant improvement and standardization of papermaking by adding essential new materials into its composition. Although early, coarse hempen paper had existed in China during the Western Han period (202 BC - 9 AD), the Eastern-Han Chinese court eunuch Cai Lun (ca. 50 AD – 121 AD) introduced the first significant improvement and standardization of papermaking by adding essential new materials into its composition.
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Bookbinding in medieval China replaced traditional Chinese writing supports such as bamboo and wooden slips, as well as silk and paper scrolls. The evolution of the codex in China began with folded-leaf pamphlets in the 9th century AD, during the late Tang Dynasty (618-907 AD), improved by the '' bindings of the Song dynasty (960-1279 AD), the wrapped back binding of the Yuan dynasty (1271-1368), the stitched binding of the Ming (1368-1644 AD) and Qing dynasties (1644-1912), and finally the adoption of Western-style bookbinding in the 20th century (coupled with the European printing press that replaced traditional Chinese printing methods). The initial phase of this evolution, the accordion-folded palm-leaf-style book, most likely came from India and was introduced to China via Buddhist missionaries and scriptures.
With the arrival (from the East) of rag paper manufacturing in Europe in the late Middle Ages and the use of the printing press beginning in the mid-15th century, bookbinding began to standardize somewhat, but page sizes still varied considerably.. Paper leaves also meant that heavy wooden boards and metal furniture were no longer necessary to keep books closed, allowing for much lighter pasteboard covers. The practice of rounding and backing the spines of books to create a solid, smooth surface and "" supporting the textblock against its covers facilitated the upright storage of books and titling on spine. This became common practice by the close of the 16th century but was consistently practiced in Rome as early as the 1520s.
In the early sixteenth century, the Italian printer Aldus Manutius realized that personal books would need to fit in saddle bags and thus produced books in the smaller formats of quartos (one-quarter-size pages) and octavos (one-eighth-size pages).
In the German book-distribution system of the late 18th and early 19th centuries, the end-user buyers of books "".
The reduced cost of books facilitated cheap lightweight Bibles, made from tissue-thin oxford paper, with floppy covers, that resembled the early Arabic Qurans, enabling missionaries to take portable books with them around the world, and modern wood glues enabled the addition of paperback covers to simple glue bindings.
Historical forms of binding include the following:
Woodworking Planshow to Woodworking Plans for Some older presses could not separate the pages of a book, so readers used a paper knife to separate the outer edges of pages as a book was read.
Woodworking Planshow to Woodworking Plans for There are various commercial techniques in use today. Today, most commercially produced books belong to one of four categories:
A hardcover, hardbound or hardback book has rigid covers and is stitched in the spine. Looking from the top of the spine, the book can be seen to consist of a number of signatures bound together. When the book is opened in the middle of a signature, the binding threads are visible. Signatures of hardcover books are typically octavo (a single sheet folded three times), though they may also be folio, quarto, or 16mo (see Book size). Unusually large and heavy books are sometimes bound with wire.
Until the mid-20th century, covers of mass-produced books were laid with cloth, but from that period onward, most publishers adopted clothette, a kind of textured paper which vaguely resembles cloth but is easily differentiated on close inspection. Most cloth-bound books are now half-and-half covers with cloth covering only the spine. In that case, the cover has a paper overlap. The covers of modern hardback books are made of thick cardboard.
Some books that appeared in the mid-20th century signature-bound appear in reprinted editions in glued-together editions. Copies of such books stitched together in their original format are often difficult to find, and are much sought after for both aesthetic and practical reasons.
A variation of the hardcover which is more durable is the calf-binding, where the cover is either half or fully clad in leather, usually from a calf. This is also called full-bound or, simply, leather bound.
Library binding refers to the hardcover binding of books intended for the rigors of library use and are largely serials and paperback publications. Though many publishers have started to provide "" editions, many libraries elect to purchase paperbacks and have them rebound in hard covers for longer life.
There are a number of methods used to bind hardcover books, from them:
Different types of the punch and bind binding include:
Some of the different types of thermally activated binding include:
Woodworking Planshow to Woodworking Plans for Types of stitched or sewn bindings:
Modern bookbinding by hand can be seen as two closely allied fields: the creation of new bindings, and the repair of existing bindings. Bookbinders are often active in both fields. Bookbinders can learn the craft through apprenticeship; by attending specialized trade schools; by taking classes in the course of university studies, or by a combination of those methods. Some European countries offer a Master Bookbinder certification, though no such certification exists in the United States. MFA programs that specialize in the '' (hand paper-making, printmaking and bookbinding) are available through certain colleges and universities.
Hand bookbinders create new bindings that run the gamut from historical book structures made with traditional materials to modern structures made with 21st-century materials, and from basic cloth-case bindings to valuable full-leather fine bindings. Repairs to existing books also encompass a broad for 1 last update 2020/07/13 range of techniques, from minimally invasive conservation of a historic book to the full restoration and rebinding of a text. Hand bookbinders create new bindings that run the gamut from historical book structures made with traditional materials to modern structures made with 21st-century materials, and from basic cloth-case bindings to valuable full-leather fine bindings. Repairs to existing books also encompass a broad range of techniques, from minimally invasive conservation of a historic book to the full restoration and rebinding of a text.
Though almost any existing book can be repaired to some extent, only books that were originally sewn can be rebound by resewing. Repairs or restorations are often done to emulate the style of the original binding. For new works, some publishers print unbound manuscripts which a binder can collate and bind, but often an existing commercially bound book is pulled, or taken apart, in order to be given a new binding. Once the textblock of the book has been pulled, it can be rebound in almost any structure; a modern suspense novel, for instance, could be rebound to look like a 16th-century manuscript. Bookbinders may bind several copies of the same text, giving each copy a unique appearance.
Woodworking Planshow to Woodworking Plans for Hand bookbinders use a variety of specialized hand tools, the most emblematic of which is the bonefolder, a flat, tapered, polished piece of bone used to crease paper and apply pressure. Additional tools common to hand bookbinding include a variety of knives and hammers, as well as brass tools used during finishing.
When creating new work, modern hand binders often work on commission, creating bindings for specific books or collections. Books can be bound in many different materials. Some of the more common materials for covers are leather, decorative paper, and cloth (see also: buckram). Those bindings that are made with exceptionally high craftsmanship, and that are made of particularly high-quality materials (especially full leather bindings), are known as fine or extra bindings. Also, when creating a new work, modern binders may wish to select a book that has already been printed and create what is known as a ''. ""
Conservation and restoration are practices intended to repair damage to an existing book. While they share methods, their goals differ. The goal of conservation is to slow the book''s creed, ""/w/index.php?title=Primum_non-nocere&action=edit&redlink=1""new""Primum non-nocere (page does not exist)"". While reversibility is one standard, longevity of the functioning of the book is also very important and sometimes takes precedence over reversibility especially in areas that are invisible to the reader such as the spine lining.
Books requiring restoration or conservation treatment run the gamut from the very earliest of texts to books with modern bindings that have undergone heavy usage. For each book, a course of treatment must be chosen that takes into account the book''s life for many decades and is necessary to preserve books that sometimes are limited to a small handful of remaining copies worldwide.
Typically, the first step in saving and preserving a book is its deconstruction. The text pages need to be separated from the covers and, only if necessary, the stitching removed. This is done as delicately as possible. All page restoration for 1 last update 2020/07/13 is done at this point, be it the removal of foxing, ink stains, page tears, etc. Various techniques are employed to repair the various types of page damage that might have occurred during the life of the book. Typically, the first step in saving and preserving a book is its deconstruction. The text pages need to be separated from the covers and, only if necessary, the stitching removed. This is done as delicately as possible. All page restoration is done at this point, be it the removal of foxing, ink stains, page tears, etc. Various techniques are employed to repair the various types of page damage that might have occurred during the life of the book.
The preparation of the "" of the book could mean the difference between a beautiful work of art and a useless stack of paper and leather.
The sections are then hand-sewn in the style of its period, back into book form, or the original sewing is strengthened with new lining on the text-spine. New hinges must be accounted for in either case both with text-spine lining and some sort of end-sheet restoration.
Woodworking Planshow to Woodworking Plans for The next step is the restoration of the book cover; This can be as complicated as completely re-creating a period binding to match the original using whatever is appropriate for that time it was originally created. Sometimes this means a new full leather binding with vegetable tanned leather, dyed with natural dyes, and hand-marbled papers may be used for the sides or end-sheets. Finally the cover is hand-tooled in gold leaf. The design of the book cover involves such hand-tooling, where an extremely thin layer of gold is applied to the cover. Such designs can be lettering, symbols, or floral designs, depending on the nature of any particular project.
Sometimes the restoration of the cover is a matter of surgically strengthening the original cover by lifting the original materials and applying new materials for strength. This is perhaps a more common method for covers made with book-cloth although leather books can be approached this way as well. Materials such as Japanese tissues of various weights may be used. Colors may be matched using acrylic paints or simple colored pencils.
It is harder to restore leather books typically because of the fragility of the materials.
Most of the the 1 last update 2020/07/13 following terms apply only with respect to American practices: Most of the following terms apply only with respect to American practices:
Though books are sold as hardcover or paperback, the actual binding of the pages is important to durability. Most paperbacks and some hard cover books have a "". The pages are aligned or cut together and glued. A strong and flexible layer, which may or may not be the glue itself, holds the book together. In the case of a paperback, the visible portion of the spine is part of this flexible layer.
In languages written from left to right, such as English, books are bound on the left side of the cover; looking from on top, the pages increase counter-clockwise. In right-to-left languages, books are bound on the right. In both cases, this is so the end of a page coincides with where it is turned. Many translations of Japanese comic books retain the binding on the right, which allows the art, laid out to be read right-to-left, to be published without mirror-imaging it.
In China (only areas using Traditional Chinese), Japan, and Taiwan, literary books are written top-to-bottom, right-to-left, and thus are bound on the right, while text books are written left-to-right, top-to-bottom, and thus are bound on the left. In mainland China the direction of writing and binding for all books was changed to be like left to right languages in the mid-20th century.
Early books did not have titles on their spines; rather they were shelved flat with their spines inward and titles written with ink along their fore edges. Modern books display their titles on their spines.
In languages with Chinese-influenced writing systems, the title is written top-to-bottom, as is the language in general. In languages written from left to right, the spine text can be pillar (one letter per line), transverse (text line perpendicular to long edge of spine) and along spine. Conventions differ about the direction in which the title along the spine is rotated:
In texts published or printed in the United States, the United Kingdom, the Commonwealth, Scandinavia and the Netherlands, the spine text, when the book is standing upright, runs from the top to the bottom. This means that when the book is lying flat with the front cover upwards, the title is oriented left-to-right on the spine. This practice is reflected in the industry standards ANSI/NISO Z39.41 and ISO 6357., but ″... lack of agreement in the matter persisted among English-speaking countries as late as the middle of the twentieth century, when books bound in Britain still tended to have their titles read up the spine ...″.
In most of continental Europe, Latin America, and French Canada the spine text, when the book is standing upright, runs from the bottom up, so the title can be read by tilting the head to the left. This allows the reader to read spines of books shelved in alphabetical order in accordance to the usual way left-to-right and top-to-bottom .
In most cases, questions related to book-binding did not figure into the discussions between authors and publishers about the formal aspects of editions of their works, because individual purchasers generally made separate arrangements with either the publisher or a bookbinder to have printed sheets bound according to their wishes and their budget.
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