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LIBRARY BOOKBINDING
Library Bookbinding
by Arthur L. Bailey
_Librarian Wilmington_ (_Delaware_) _Institute Free Library_
Illustration
THE H. W. WILSON COMPANY
White Plains, N. Y., and New York City
1916
Published May, 1916
Copyright, 1916
By The H. W. Wilson Company
PREFACE
It has been the purpose of the writer in these chapters on library
bookbinding to set forth as clearly as possible the best information
relating to processes, materials, routine and various other lesser
matters pertaining to bookbinding which must be taken into consideration
by librarians, or by assistants in charge of binding departments.
Although much of this information exists elsewhere in printed form, it
is scattered through various books and articles. In some respects,
therefore, this book is a gathering together of scattered material. It
is hoped, however, that there is enough new material to make the book of
interest to those who deal daily with binding problems, and that the
book as a whole may help to solve some of the questions relating to
binding in libraries both large and small.
Most books on binding and all books on library binding have devoted some
space to paper, its composition, manufacture, finish and use. As the
subject is so fully dealt with elsewhere it has not been included here.
Those who are interested will find full information in the technical
books on paper, in Mr. Dana's "Notes on book binding for libraries," and
in Messrs. Coutts and Stephen's "Manual of library binding." There is
also an excellent article on wood pulp paper in the Scientific American
of October 4, 1913.
Nor has it seemed desirable to include chapters on commercial binding
nor on historical bindings. Both of these subjects are treated
adequately in Coutts and Stephen's "Manual." The present writer has
limited his discussion to matters dealing directly with the binding of
books for libraries.
In one or two cases the same subject has been treated in two different
chapters because the subject matter belonged in both places, and in
neither case would the discussion be complete without it.
A. L. B.
December 9, 1915.
TABLE OF CONTENTS
Chapter I. Introduction 3
II. Selection of a binder 9
III. Processes 13
IV. Materials 51
V. Specifications 87
VI. Binding before purchase and reinforcing 103
VII. Cost 115
VIII. Preparing for the bindery 125
IX. Binding records and routine 149
X. Repairing, recasing, recovering etc. 165
XI. Magazine binders 199
XII. Pamphlets 205
XIII. Bindery in the library building 209
Appendix A. Specifications of the U. S. Bureau
of Standards for book cloths 217
B. Reading list on binding 221
C. List of technical terms 225
Index 245
LIBRARY BOOKBINDING
LIBRARY BOOKBINDING
CHAPTER I
INTRODUCTION
An examination of the annual reports of libraries in the United States
shows that from four to eight per cent of the total income is spent for
binding; the amounts ranging from $2,000 to over $40,000 a year for this
one item. It must be admitted that these are large sums and that a
knowledge of binding materials and processes is necessary in order to
spend this money wisely. In many libraries the appropriation for books
includes binding and periodicals. It is evident, therefore, that every
dollar saved on binding can be devoted to the purchase of books. And
what librarian does not desire more money for new books?
In spite of the importance of the subject a great deal of ignorance has
prevailed in years past, and far too many librarians of the present day
fail to realize that here is one place where money can be easily wasted.
Possibly one reason for the ignorance about binding is that, except in a
minor degree, it does not directly affect the public, for librarians
are quick to make changes which will increase the interest of the public
in the library. Another reason is that experiments are necessary; and
since it takes time to draw conclusions from experiments, definite rules
have not been formulated.
In fact, experiments are still being tried. But while in the past they
were along the line of making books stronger, the experiments of the
present are rather along the line of adapting different methods to
different books, according to the paper on which they are printed, or
according to the kind of use they will receive. It is reasonably safe to
say that present methods of the best library binders make a book as
strong as it is possible to make it. Progress no longer lies along the
line of strength.
In order to administer a binding department wisely, the librarian or
assistant in charge of binding must know materials, processes, and
books; and especially must he know how books should be bound to meet the
use they are to receive. For example, fiction that is very popular
should be bound differently from fiction which must be kept on the
shelves, but which is not popular; it is easily apparent that
McCutcheon's "Graustark" should be bound differently from Henry James'
"Golden bowl." Heavy reference books constantly consulted should be
bound differently from reference books used only occasionally, while it
may be wise to bind magazines differently from either. A librarian of a
reference library will adopt methods differing from those which are used
in public libraries. A good working knowledge of materials and processes
can be easily obtained. The saving of expense comes in applying them to
use.
A recent advertisement of a binder stated that his books were rebound
more times than the books of any other binder. This statement is a sad
commentary on the serviceability of his books and calls to mind a
practice of twenty years ago which is too prevalent even at the present
time. At that time it was the recognized custom to bind as cheaply as
possible books which circulated rapidly and wore out quickly. Those who
favor this custom fail to realize that in the case of books which are
constantly used the actual cost of binding does not depend on the
initial cost per volume, but on the ratio of cost to circulation. This
is a point first brought out by Mr. J. C. Dana in his "Notes on
bookbinding for libraries," and one on which it is impossible to lay too
much emphasis. A book which costs 35c. to bind and which circulates 35
times has cost one cent for each time it has been issued after
rebinding; while a book which has cost 50c. to bind and has been issued
100 times (a fair average for a 50c. binding) costs one half cent for
each time it has been issued. Obviously the 50c. binding is much
cheaper. It is probable that the 35c. book must either be rebound at an
additional expense of 35c. or else a new copy must be purchased at a
cost of $1, while the 50c. binding may carry the book to a point where
it can be discarded absolutely. Certainly it should never be rebound
again. It is important, therefore, that the librarian who does not know
what his binding is costing per issue should keep statistics of
circulation for a sufficient length of time to obtain general averages
which will be fairly accurate.
While a very strong binding is necessary for fiction and juvenile books
in public libraries, it is probable that on many books of a serious
character some of the strengthening processes which must be used on
fiction and juveniles may be omitted. It should be noted that while this
is true of public libraries, the reverse would probably be true in
college and reference libraries where a much larger proportion of
serious books should be bound as strongly as possible.
There are three general kinds of binding:
(_a_) Commercial, or edition binding.
(_b_) Artistic binding.
(_c_) Library binding.
Commercial binding is that in which practically all books come from the
publishers. For the most part it is the product of machinery from
beginning to end, and the material used is generally poor. Apparently
the sole object in view of most publishers is to turn out a book that
will attract the eye. Strength is not an element for which they strive.
From their point of view they cannot be severely blamed for making
strength a secondary consideration. By far the largest part of their
product is sold to individuals, and the strength of the binding is
adequate for the amount of use that these books will receive. From the
library point of view, however, publishers' bindings are entirely
inadequate. One cannot expect, of course, that the publisher will put a
popular novel into a binding strong enough to meet the demands of
library use. On the other hand, one cannot blame librarians for being
exasperated when heavy books of travel, history, or biography part from
their covers when they have been in the hands of less than ten readers.
The distinguishing characteristics of commercial binding, and at the
same time its greatest weaknesses, are the machine sewing and the
insecure way in which the book is fastened into the cover. Very little
extra expense either in material, care, or workmanship, would make most
books outside of fiction sufficiently strong to withstand all the wear
that they will receive. Unfortunately the publishers fail to realize
this, and books by the thousands come from the binderies covered on the
back with the coarsest kind of super which does not even extend to the
head or tail of the book. A stouter cloth, carefully applied, running
the entire length of the back would cost very little more per volume,
but would strengthen it materially.
While practically all commercial binding is lacking in strength, this is
due almost wholly to trade conditions, for commercial binding can be
made exceedingly strong. One has only to turn to the 1912 edition of the
Century Dictionary or to the United States Catalog, which are
practically machine bound throughout, to realize this fact. However,
until librarians are united in their demands for stronger bindings, we
can expect to see the present poor work turned out in as large
quantities as ever.
There is another kind of binding which is, if possible, even more
unsuitable for libraries. This is artistic binding which is done
exclusively for individuals, beauty of appearance being the chief object
in view. It differs from commercial binding in being all hand work
instead of machine work. Since hand work is used and the main object in
view is beauty, it follows, of course, that such books are much stronger
than those bound by publishers. But the strength of these books is in
many cases not proof against the wear that they would receive in
libraries. No special methods of sewing or strengthening the first and
last sections are used. Practically all artistic books are bound in
leather and frequently in full leather. Whenever the leather used is
anything other than good morocco, it is an element of weakness rather
than strength. In addition to these objections, artistic bindings are
usually so expensive as to be beyond the reach of any library.
In library binding the main consideration is strength. Not only is
beauty a secondary consideration, it is scarcely taken into
consideration at all. For it must be confessed that library bindings are
seldom attractive. No library can afford to pay for ornamentation of
backs and sides of books. Library binding is all hand work. Although
machine binding can be made exceedingly strong, machines cannot be used
on library binding, because the books vary so much in size and
lettering. The main reason why commercial binding can be done by
machinery is because a large number of books are bound exactly alike. In
library binding it seldom happens that more than two volumes, the same
in size and lettering, are bound at the same time. Library binding also
differs from other bindings in that the use the book is to receive is
made the basis of selection of materials and methods.