1 10 × 15 Chandler & Price Gordon Press with 3 chases.
1 Steel chase.
1 Boston Staple Binder, Style A.
1 26″ Chandler & Price Paper Cutter.
1 Utility Imposing Stone Frame and Stone, 26 × 44.
1 No. 68 New Departure Cabinet (50 cases).
1 No. 2 Paper and Card Stock Cabinet.
1 No. 8 Bettis Lead and Slug Case.
2 Pairs news cases.
2 Pair 2–3 case tilting brackets.
1 Metal furniture case.
1 No. 1 Harris Rule Case.
5 8¾ × 13 all brass galleys.
1 12 × 18 all brass galley.
8 8 × 2¼ Yankee Job Sticks.
1 18 × 2½ Yankee Job Stick.
2 Doz. No. 1 Wickersham Quoins.
2 Keys, No. 1.
1 Doz. Spring Tongue Gauge Pins.
1 Quart Success benzine can.
1 Benzine brush.
1 No. 2 press brake.
1 3 × 6 planer.
1 3½ × 8 proof planer.
1 2½ × 4½ mallet.
2 Pair roller supporters.
20 Pounds 6 Point Authors Roman Wide.
40 Pounds 8 Point Authors Roman Wide.
40 Pounds 10 Point Authors Roman Wide.
20 Pounds 12 Point Authors Roman Wide.
20 Pounds 18 Point Authors Roman Wide.
2 Fonts 6 Point Old Roman Black.
2 Fonts 8 Point Old Roman Black.
2 Fonts 10 Point Old Roman Black.
2 Fonts 12 Point Old Roman Black.
2 Fonts 18 Point Old Roman Black.
1 Font 24 Point Old Roman Black.
1 Font 30 Point Old Roman Black.
1 Font 36 Point Old Roman Black.
1 Font 48 Point Old Roman Black.
1 Font 8 Point Engraver’s Old Black.
4 Fonts 12 Point Engraver’s Old Black, L. C.
2 Fonts 12 Point Engraver’s Old Black, Caps.
1 Font 24 Point Engraver’s Old Black.
1 Font 48 Point Elzeverine Initials.
5 Pounds 6 point spaces assorted.
10 Pounds 8 point spaces assorted.
10 Pounds 10 point spaces assorted.
10 Pounds 12 point spaces assorted.
10 Pounds 18 point spaces assorted.
5 Pounds 24 point spaces assorted.
5 Pounds 30 point spaces assorted.
5 Pounds 36 point spaces assorted.
5 Pounds 48 point spaces assorted.
5 Pounds 6 point quads assorted.
10 Pounds 8 point quads assorted.
10 Pounds 10 point quads assorted.
10 Pounds 10 point 2- and 3-em quads.
5 Pounds each 12, 18, 24 point quads assorted.
5 Pounds each 30, 36, 48 point quads assorted.
10 Pounds 10 point leaders, three dots to em.
10 Pounds 8 point leaders, three dots to em.
50 Pounds each 2 point L. S. leads and 6 point L. S. slugs.
3 Pounds L. S. brass rule hair line, side centered on 2 point body.
3 Pounds L. S. brass rule, 1 point face, side centered on 2 point body.
2 Pounds 2 point L. S. black face rule.
2 Pounds 4 point L. S. black face rule.
2 Pounds 6 point L. S. black face rule.
2 Pounds 10 point L. S. black face rule.
24 Pounds metal furniture.
1 Font No. 1 brass and copper spaces.
4 Font solid brass panel ends.
1 Set 12 point brass squares.
100 1×3 brass label holders.
5M ¼″ Boston staples.
In case this amount of money is not available for a printing equipment,
this list may be modified to come within the necessary limit. By
substituting a smaller press and cutter, by getting stands instead of
cabinets for the type and stone, by eliminating the stock cabinet,
motor, and stapler, and by reducing the quantities of various items, one
may still have an excellent equipment. The following is such a
suggestive list, and can be bought for $400:
Press, 8″ × 12″ with four chases.
Cutter, 23½″.
½ Doz. job sticks.
1 Doz. gauge pins.
1 Doz. quoins.
2 Keys.
1 Benzine can.
1 Benzine brush.
1 Waste can.
½ Doz. brass galleys, 8¾″ × 13″.
10 Lbs. metal furniture.
1 Two lb. font labor saving brass rule, 1 point, side centered on
2 point body.
1 Two lb. font brass rule, labor saving, 2 point.
50 Lbs. L. S. leads, 2 point.
25 Lbs. L. S. slugs, 6 point.
1 Rule case.
1 Metal furniture case.
1 Planer.
1 Proof planer.
1 Mallet.
1 Lead and slug case.
1 Case wood furniture.
24 California job cases.
2 Pairs news cases.
1 Double case stand, 24 cases.
1 Stone and frame, 26″ × 44″.
10 Pounds 8 point type.
50 Pounds 10 point type.
25 Pounds 12 point type.
2 Fonts 18 point type.
1 Font 24 point type.
5 Pounds 8 point quads and spaces.
15 Pounds 10 point quads and spaces.
10 Pounds 12 point quads and spaces.
5 Pounds 18 point quads and spaces.
2½ Pounds 24 point quads and spaces.
[Illustration:
Fig. 31.
]
ARRANGEMENT AND DISPOSITION OF EQUIPMENT
If the machinery, cabinets, tables, etc., are compactly and properly
arranged in good relative positions, a good job outfit can be placed and
used in much smaller quarters than at first seems possible. The
printshop is one place where a great amount of floor space between the
various parts of the equipment is not entirely essential. When the
groups or individuals have been set to work, there is no necessity for a
great amount of passing back and forth. This is mentioned for the
benefit of those who feel that printing cannot be installed unless there
is an enormous amount of floor space available. Of course, large rooms
are desirable, but after all, the effectiveness and availability of the
equipment turn on the point of convenient arrangement of related parts,
so that a job may pass easily from one stage to another without
disturbance or interruption. In other words, the arrangement must be
such that all the operations of the job shop may be in progress at the
same time and that without confusion. In the first place, the type
cabinet or case stand should be convenient to plenty of table space so
that the boys may carry their cases back and forth without difficulty.
The proof stand or press and the imposing stone should be of easy access
to those who are working at the type case and at the same time in close
reach of the pressman.
A good position for the press is in a well lighted corner far enough
from the walls to permit easy passing of the pressman for the purpose of
oiling, cleaning, and general care of the press. The motor may be placed
in the corner back of the press and entirely out of the way. The paper
cutter and stock cabinet should be placed as closely together as
possible not to interfere with the action of each other. There cannot
well be too much in the way of drawers, wall cases, and shelving, for
the work of the students, small items of supplies, inks, rollers,
benzine and waste cans, etc. These conveniences can be added here and
there in small, unoccupied spaces, with just a little time and a very
small bit of expense. In this way and this only, can a place be provided
for everything with any assurance that everything, at any one time, may
be found in its place. These repositories should be properly labelled.
Such additional items and conveniences not included in any list of
equipment, are nevertheless among the essentials, and their presence
greatly facilitates and systematizes the work. The matter of table space
cannot be too greatly emphasized. Not only are tables used for rests for
type cases but the make-up galleys are laid upon them for convenience in
work. Proof reading also requires table space.
It seems proper, under this heading to speak of the disposition of the
various sizes of type for the greatest convenience. Of course, the type
ought to be divided and placed so as to be accessible to the greatest
possible number. So, except in very small fonts, each size should be
divided and put into as many cases as can be supplied with working
quantities of type. Thus, fifty pounds of ten point, which is
extensively used in general work, may be divided among five or even more
cases. In this way, ten pupils can be accommodated at the ten point
cases at one time, since two can work, to a very fair advantage, at one
case.
The class works in groups, one setting type, one proofing and
correcting, one making up forms, while the fourth operates the press. At
the same time, there usually are jobs going forward in different kinds
and sizes of type. So, it is difficult to think of needing
accommodations for more than ten students at one size and kind of type
at one time.
------------------------------------------------------------------------
The little boy said, “I can
not go home.
My goat ran into the
woods.
He will not go home.”
Then the boy began to cry.
The squirrel tried to make
the goat go home.
------------------------------------------------------------------------
FIRST GRADE POEMS
Do you best your very best,
And do it every day;
Little toys and little girls,
This is the wisest way.
See-saw! See-saw!
Here we go up and down.
See-saw! See-saw!
This is the way to town.
The world’s a very happy
place, where every child
should dance and sing,
And always have a smiling
face,
And never sulk for anything.
Politeness is to do or say
------------------------------------------------------------------------
HIGH SCHOOL
COMMERCIAL DEPARTMENT
_Bloomington, Illinois._
* * * * *
It was late in mild October, and the long autumnal rain
Had left the summer harvest-fields all green with grass again;
The first sharp frosts had fallen, leaving all the woodlands gay
With the hues of summer’s rainbow, or the meadow-flowers of May.
—Whittier.
------------------------------------------------------------------------
PRINT SHOP PRESS
_Ye High Schoole._
* * * * *
═════════════════════════════════════════════════════════════════════════════════════════════════
VOL. I. SIOUX CITY, IOWA, THURSDAY, NOVEMBER 27, 1913. NO. 1.
─────────────────────────────────────────────────────────────────────────────────────────────────
ORGANIZED PLAY in Sioux City. He visits each school FLYING THE FLAG
about once a week. He starts the pupils
———— in some kind of play and the teacher ————
THIS IDEA IS BEING CARRIED OUT continues this until Mr Morris returns H. H. RICE COMMENTS ON THE
IN SIOUX CITY. the next week. All pupils are engaged SUBJECT.
HENRY METZGER RAYMOND L LINK
Hawthorne Mother’s Club
Meets Tuesday Chicago Automobile Co.
September 23, 1913 AUTOMOBILES
3:15 o’clock and Accessories
1221 North State St. CHICAGO
------------------------------------------------------------------------
=Series 1, Senior Eighth.=—Print Shop: _Ye Highe Schoole_.
=HISTORY=
=Senior Eighth Grade, December 1, 1913
9:30 to 11:30 A. M.=
NOTE: Answer any ten of the following twelve questions.
I. For what are the following places to be remembered?
_a._ Jamestown. _c._ Harper’s Ferry.
_b._ Vicksburg. _d._ Yorktown.
* * * * *
[Illustration:
+---------------------------------------+
| THE SERVICE |
| PHILOSOPHY |
| |
| =================== |
| |
| _I Believe in_ |
| SINCERITY—That Power of the |
| personality that wins confidence, |
| and establishes satisfaction. |
| |
| ENDURANCE—The essence of vitality |
| derived from Health and |
| strength. |
+---------------------------------------+
]
------------------------------------------------------------------------
BOOKBINDING
_and_
A COURSE OF INSTRUCTION FOR EACH GRADE OF THE ELEMENTARY SCHOOL
_By_
S. J. VAUGHN
Head Department of Manual Arts, State Normal School, DeKalb, Illinois.
1914
PUBLIC SCHOOL PUBLISHING CO.,
BLOOMINGTON, ILL.
_Copyright 1912
by the Public School Publishing Co._
TABLE OF CONTENTS:
PAGE
Introduction 106
Classes of Bindings 109
Case Binding 111
Library Binding 122
Extra Binding 131
Rebinding 140
Equipment 145
Suggestive Course 147
First Grade 151
Second Grade 152
Third Grade 153
Fourth Grade 155
Fifth Grade 157
Sixth Grade 160
Seventh Grade 164
Eighth Grade 166
[Illustration: books]
INTRODUCTION
There are a number of well defined reasons why bookbinding may justly
claim recognition as an educational factor in our schools.
In the first place, the permanent and vital character of the book in one
form or another has given it a place of respect in all civilizations.
The book is the final form of all enduring literature and indeed of all
enduring thought. It is the epitome of the printer’s, the engraver’s,
the illustrator’s, the designer’s, and the binder’s art, and is the
meeting point of all the crafts.
So the book idea appeals very strongly to people both in and out of
school. Bookbinding is perhaps the most logical and consistent of all
the crafts, in its development from the simple to the more complex
forms. In this easy gradation, is repeated the history of the book
itself and of its development.
From this point of view, books fall into four rather distinct classes.
1. The simplest idea of binding is the holding together in some manner,
a number of single leaves. So the attention is directed simply to
methods of fastening together leaves of related matter for convenience
in handling.
2. After this simple convenience has been met, the matter of protecting
the leaves forces itself upon us, and the attention is turned almost
wholly to devising ways of making durable and beautiful covers. The
various forms of separate covers are made to accomplish these ends.
3. Later, the attention turns back to the book proper and the different
methods of putting together a number of sections which become necessary
in larger books made of folded printed sheets. The emphasis now
naturally falls upon this new feature of fastening sections together,
and so, various methods of sewing are developed.
4. In the fourth division, the emphasis goes upon the covers and the
decoration. Here come in the tooling, lettering, inlaying and such
processes as are usually included in the term finishing.
APPLY TO CHILDREN’S WORK.
Not only is the book idea enduring and vital, and its development
logical and consistent, but the book work may be intimately related to
the other activities of the school, the pupil bringing about with his
own effort the satisfaction of his own distinct needs.
In making books for spelling, reading, language, nature study, art,
etc., these needs and relations are evident.
These books with their stories, their covers, and their end papers,
offer abundant material for illustration, design, lettering, etc., in
the art work.
Again, the bookbinding work in its elementary aspects of construction is
peculiarly adapted to children. This is evidenced by the fact, easily
demonstrated, that children do as well in their particular grades of
work as matured but inexperienced people can do in the same grades of
work.
Aside from the logical development and the genuineness of the problems
presented and their intimate relations to the other work, perhaps the
strongest argument in favor of bookbinding in the schools, is the fact
of its adaptability to the conditions of the ordinary school room, with
but little equipment and hence but little expense.
The work may be carried on in the primary and intermediate grades with
as small, but practically the same equipment, as is necessary for such
activities as “cardboard construction” and kindred work.
It will be seen by reference to page 45 how inexpensive even a good
equipment for upper grade and high school work is.
[Illustration: Bookbinder workers]
CLASSES OF BINDINGS.
Forwarding—Finishing.
In advanced bookbinding, there are the two general divisions of
work:—Forwarding, which includes in new books, sewing, backing, putting
on boards, and covering; and finishing, which has to do with the
lettering, tooling, inlaying, and general decorative treatment.
The elementary and high school treatment of the subject of bookbinding,
such a treatment as is undertaken in the present volume, is almost
wholly concerned with the various processes included in the term
Forwarding, which in rebinding includes a number of other steps not
mentioned above.
Case Binding; Library Binding; Extra Binding.
Based upon their methods of sewing, backing, covering, finishing, etc.,
there may be said to be three general classes of bindings:—Case Binding,
Library Binding, and Extra Binding. These are arbitrary terms applied to
methods of binding which have been fully established and recognized.
In the modern commercial binderies, all kinds of modifications,
combinations and imitations are made, so that it is often difficult to
tell by external appearances of bindings to what types they belong.
It is a common thing to see a case binding in full leather.
The proper way to have a book bound or rebound is to have written
specifications which indicate details of methods, materials, etc.
The following are typical specifications for Case Binding:—
1. Plates guarded.
2. Sewed all along with five punctures and kettlestitches.
3. Full or half buckram.
4. Glued and backed.
5. Attached back.
6. Commercial silk headband.
7. First and last leaves used as pastedowns.
8. Edges uncut.
II.
CASE BINDING.
Case Bindings or casings (for the craft binder refuses to call them
bindings) are those covers which are made separately from the books and
laid on. These covers have the characteristics enumerated in the
specifications and are the unsubstantial covers usually found on modern
cheap, temporary books.
If the book is to be bound from original sheets, each sheet is folded
into a section. Such a section is called a signature. The number of
leaves in a folded sheet or section gives the name to the book. A sheet
folded once, making two leaves, is a folio; twice, making four leaves, a
quarto or 4to; three times, making eight leaves, an octavo or 8vo; four
times, making sixteen leaves, a 16mo; etc. It is seen by this that owing
to the varying sizes of paper, any form of book may vary greatly in
size. However, the following may be taken as a general standard of
sizes:—
16mo 5×7 inches.
Octavo (8vo) 6×9 inches.
Quarto (4to) 10×12½ inches.
End Paper
If there have not been left an abundance of blank leaves at the first
and last of the book, at least four folios are cut—two for each end—and
these become the first and last sections of the book.
The sections are now assembled in proper order, a tin is placed between
sections at several places in the book and all are put under heavy
pressure. This is usually done at the last of a recitation, and the book
left in press over night, so that the sections may be perfectly flat.
Mark Up—Puncture.
After the book is carefully evened up by knocking the back and head
against the table, it is marked up; that is, a mark is put on each
outside endpaper near the head, so that the head of the book may be
recognized without opening; and then places are marked for five
punctures along the back. The top puncture may be put about
three-fourths of an inch or an inch from the head, and the bottom one
about one and one-fourth or one and one-half inches from the foot. It is
considered that the head should be somewhat stronger, since it must bear
the strain of pulling the book from the shelf.
Then with a small saw or a sharp-edged file, punctures are made across
the back at the marks. These should be just deep enough to reach through
the inside folio of each section.
Sewing First Two Sections.
Now the book is ready to sew. It is placed on the table to the left of
the workman with the back toward him and the head to the left. With a
linen thread and a long, slim needle ready, the workman takes up the
section of endpapers lying on top and turns it entirely over, laying it
exactly in front of him with the head to his right. Fig. 14. With his
right hand he inserts the needle into the head puncture, while with his
left hand in the middle of the section between the leaves, he draws the
needle through to the inside and runs it out at the foot puncture. “In
at the head puncture and out at the foot.” The second section is turned
over upon the first, and the needle run in at the foot puncture and out
at the second puncture from the foot. Then it is inserted at the second
puncture from the foot of the first section and immediately run out at
the same puncture but on the opposite side of the thread which runs
along inside the first section. Then apply this unfailing rule when in
doubt as to what puncture to go into:—“Put the needle into a puncture so
located that it will not undo work already done, and that the thread
will not be left exposed on the outside of the book.”
Applying this rule, it is seen that the needle must be put into the
second puncture of the second section. This operation is repeated at
each puncture until the head is reached. When the needle has been drawn
from the head puncture of the second section, the threads coming out of
the two head punctures are pulled up tight and are tied into a double
knot. a Fig. 14. Care must be used in pulling the thread so as not to
tear the paper.
Kettlestitch;—Sewing All along.
The third section is now laid on and the needle run in at the head
puncture and out at the second puncture from the head. Now comes the
elusive “kettlestitch.” The needle is run _under_ the second section at
the right of the second puncture and out at the left of the same
puncture, as at b Fig. 14. The thread is drawn loosely so as to leave a
small loop through which the needle is passed. It is now drawn taut and
the needle run back into the second puncture of the third section. This
stitch is made every time the needle comes _out_ of a puncture until the
sewing is finished. When the last puncture is reached, a double
kettlestitch is made and the thread cut a half inch from the knot. This
is what is meant by “sewing all along.” If the original thread should
not be long enough or should break, a new thread is tied on with a
weaver’s knot, Fig. 15, always inside the book and as closely as
possible to the puncture to avoid pulling the knot through the next
puncture.
[Illustration:
_Fig. 14. Sewing all along.
a. first two sections tied.
b. Kettlestitch._
]
[Illustration:
_Fig. 15._
]
[Illustration:
_Fig. 16._
]
[Illustration:
_Fig. 17. Marking of cloth for Case Binding._
]
[Illustration: Book]
[Illustration:
_Fig. 18. Laying on of the cover._
]
[Illustration:
_Fig. 19. Half cloth cover showing turn-ins at a._
]
Backing boards—Backing.
The book is now placed between backing boards with only a small portion
of the book projecting above the boards and then put into the lying
press (1. Plate 1), and clamped up tightly. The part projecting should
about equal the thickness of the cardboard used for the cover.
This book is not to be rounded any more than is absolutely necessary in
the backing. The process of backing is necessary because of a thickened
condition of the back as a result of the numerous threads and perhaps a
few guards that have been added to it. By clamping the book tightly and
hammering the back, the thickness can be reduced by forcing the edges
over the boards as at Fig. 16.
After the book is firmly fastened in the press, the back is covered with
thin glue, which is rubbed in with a stiff brush and then wiped off, so
that it remains only in the little depressions between the sections.
Within about fifteen minutes, the glue reaches a kind of elastic
condition, and then the hammer is brought into use.
By light strokes along the center of the back, and then gradually
farther out toward the end sections, the edges of the sections are
forced away from the center and made to project finally over the edges
of the backing boards, making the joint.
[Illustration:
PLATE I
1. Lying Press
2. Backing Boards
3. Bone Folder
4. Paper Cutter
5. Head Knife
6. Sewing Frame
7. Backing Sticks
8. Letter Press used as Standing Press
9. Back Saw
10. Joint Rods
11. Pressing Tin
12. Pressing Board
]
Super;—Headband;—Back Strip.
When the book is dry, a piece of super or thin canvas is glued to the
back and about one and one-half inches down the endpapers, which are
then cut off along the edges of this super. This forms what is called
the slip. The super should be a little shorter than the book and about
two or three inches wider than the back of the book.
A piece of cotton or silk stock headband is now glued to the back at the
head and projecting about one-eighth of an inch above it. Then a strip
of thick, tough paper, just large enough to cover the back, is glued on.
This finishes the book ready for the cover.
Squares;—Foredge.
During the processes just described, while waiting for the glue to dry,
the materials are gotten for the cover. Two boards are cut as wide as
the book and from one-fourth to three-eighths of an inch longer. This
makes the squares one-eighth or three-sixteenths of an inch and
determines the width of the joint at the back, since the board must go
forward sufficiently to make the projection at the foredge the same as
at the head and foot. This projection is called the squares.
Several things must be considered in determining the size of the
squares. The most important are protection, strength, and beauty. From
the standpoint of good proportion, of course, the large, thick book
would demand large squares, whereas protection of the edges may not
require them so long; while the strength and durability of the binding
would suggest shorter squares still.
A large book set upon a shelf is forced by its own weight down between
the boards against the shelf, straining or breaking the cover at the
back.
Turn-in;—Size of Cover Cloth.
In cutting leather, cloth, and paper, it is a rule to allow
three-fourths of an inch for each turn-in. So this is observed in
cutting material for this cover. To find the size of the cloth for a
full cloth cover, it is necessary to add together the widths of the two
boards, the thickness of the back, the two joints and one and one-half
inches for the turn-ins at the foredge. This sum gives the dimension, of
course, from the foredge of one cover around the back to the foredge of
the other cover. The dimension of the cloth lengthwise of the book is
one and one-half inches greater than the length of the board.
To make the cover, the cloth is laid wrong side up on the table, Fig.
17. Three-fourths of an inch is measured down from the top and a pencil
line is drawn, a, a´. Then the middle of the cloth from left to right is
found and marked as indicated by the crosses. From these central points,
the lines b b´ and c c´ are located which mark the positions of the back
edges of the boards and of course, are as far apart as the thickness of
the book plus the two joints. Then the boards are placed so that they
fit into the right angles formed by lines bb´ and cc´ and aa´, and a
pencil mark as dd´ is made along the foredge and bottom of each board,
completing the rectangles. The strips of cloth outside these rectangles
are the turn-ins.
Mitres.
With scissors or a knife the corners are clipped out as at e, which is
called making the mitres. It is clear that if the corner were cut
entirely up to the corner of the rectangle, there would be danger of
exposing the corner of the board, so a distance is left about equal to
the thickness of the board.
Pasting.