In Bookbinding and the conservation of books, Roberts and Etherington define flat back case binding as, "A simple type of (library) binding which has a flat spine and is cased or has a one-piece covering. The paper and fabric is very handsome if I do say so myself :) The center of this signature shows that I should have pulled the thread more taut and boned down better! The visible thread is where the needle entered and exited the six sewing stations, while the two empty spots indicate the location of the two tapes I sewed around. We used the guillotine to trim the fore-edge for a smooth appearance and feelingĬenter of one signature. this was a premade tailbandĭetail of the text block and corners. It turned out beautifully! I am very pleased with the evenness it displays and am very fond of it.ĭetail of the tail and tailband. I ended up leaving my book in the nipping press for the week, and picked it up the following week when I came for the Limp Paper Binding workshop. I managed this step quite well, and I believe it is because of my experience repairing so many large reference books at my work - one of the most common problems is the text block sagging out of the case of commercially bound books, and I had fixed quite a few of those back when I did the reference collection evaluation and mending project. The trick is to slowly let down the cover after applying the adhesive to the end sheet - too fast and it tends to wrinkle. Lots of my classmates were stressing about this. Once the text block and case had been fully constructed, the last nerve-wracking step was gluing the text block into the case. As it turns out, this was historically accurate, as I will discuss below, in addition to being a practical consideration. Additionally, we selected our endbands and glued them on - we did not begin to learn about sewing headbands and tailbands until week 3. The workshop also presented the distinct pleasure of selecting our materials from a bright variety for the casing cover - I chose a light brown japanese silk material with a slightly yellow metallic undertone for the spine and corners, and a marbled paper for the rest of the book boards. We actually went to the length of drawing out a sort of "blue print" for the dimensions which was time consuming but very useful for future endeavors. Text blocks for bookbinding how to#The case construction was challenging and fun because we learned how to calculate the dimensions and necessary overlap for the book boards, spine construction, and cloth and paper covering (in this case a 1/2 binding style, as the spine fabric carried a short distance onto the boards, and we used the spine fabric to make corners). mohawk superfine vellum opaque paper that we used for all the text blocks. We did not use special paper for the end sheets in this one, just the 70 lb. To put it more in depth, the sewing of the text block introduced the guillotine, and we learned the french stitch to sew the text block, as well as how to back the text block. To put it simply, in this workshop we sewed a text block, constructed a case, then glued the two together. We discussed paper grain even more in depth this week, which was a reoccurring topic through all the workshops. Our second workshop was on Flat-back case binding, which incorporated some of the things we had learned in the Coptic binding workshop (composing and trimming signatures, adhering papers to the bookboards, preparing thread for sewing), and got us ready for the more advanced workshops to come. As I mentioned in my blog post about Coptic bookbinding, I took the Bookbinding Core Certificate Program at the San Francisco Center for the Book in April, 2015.
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