AY Honors/Bookbinding/Answer Key/es

Encuadernación

Nivel de destreza

3

Año

1935

Version

24.11.2024

Autoridad de aprobación

Asociación General

1

Ser capaz de identificar los siguientes términos:

1a

Borde lateral interior de la portada

1b

Centro de páginas

1c

Borde inferior de la portada

1d

Volante

1e

Cuadernillo/sección

1f

Mull/pulverizar

1g

Columna

1h

Cabeza

1i

Pie

1j

Borde rústico

1k

Guardias

1l

Cinta capitel

1m

Ensamblado

1n

Tela bocací (bucarán)

2

Describir la diferencia entre los siguientes métodos de encuadernación:

2a

Encuadernado perfecto

2b

Encuadernado duro

2c

Cuadernillo sencillo (uno solo)

2d

Espiral (metal y plástico)

2e

Puntada de silla (cosido)

3

Realizar lo siguiente:

3a

Encuadernar un solo cuadernillo a mano.

In order to bind a manuscript, it must be converted into a form suitable for folio binding - that is, the binder needs at least two leaves per sheet. So instead of 8.5" x 11" sheets of paper, the binder needs 11" x 17" sheets. This is accomplished by pasting the sheets together in what will form the gutter. Once the sheets are pasted together, they can be sewn though the overlapping section and bound normally.

In binding a 16-sheet single-sided manuscript, the right edge of sheet 1 is pasted to the left edge of sheet 16. Similarly, sheets 2 and 15 are pasted together, 3 and 14, 4 and 13, etc. An even sheet number is always pasted to an odd so that the middle sheet is not left standing alone. If there are an odd number of sheets, the first sheet should be pasted to a blank sheet.

When a book is opened, the page on the left side always has an even page number, and the page on the right has an odd page number. Care should be taken to observe this convention when pasting double-sided sheet together. Again, for a 16-sheet, 32-page manuscript, page 1 should be laid on the table face down. Page 32 should be laid face down to the right of it, and the bookbinder should then see pages 2 and 31. These are then pasted together.

Once the paste has dried, each sheet is carefully folded along the center of the overlapping sections. The manuscript will resist folding at this seam because the paper is double-thick there. Nonetheless, this is where the fold should be made. A bone folder makes this task easier. The folded sheets are then nested together to form a signature, and the signature is then ready to sew to a cover made of a single sheet of heavier paper.

3b

Encuadernar un libro en blanco utilizando al menos cuatro cuadernillos y una encuadernación de tela permanente con tapa dura, utilizando un método de «ensamblado».

Follow the steps outlined and illustrated in requirement 7, using four signatures of blank pages.

3c

La forma correcto de «domar» una encuadernación nueva.

3d

Hacer una «cubierta deslizante» para el libro en blanco de cuatro cuadernillos.

Layout of Slipcase

You will want to make the slip case slightly larger than the book's dimensions so that it can be easily inserted and removed. Once the layout has been drawn on the poster board, cut it as shown in the drawing. Then carefully make creases where the dotted lines are drawn. You may use a bone folder to help in doing this, or you may use a ruler. The folds must be crisp and accurate.

The design shown here calls for an extra fold-in which makes the slipcase walls double thick. Apply a thin coat of glue to the inside surface of the fold-in, then fold it on top of the slipcase wall. You may wish to let the glue dry at this point.

Next, apply a light coat of white glue to the back side of tab 1, and another thin layer of glue to the back side of tab 3. Do the same for the bottom tabs. Then assemble the slip case by gluing tab 3 to tab 1, and then gluing tabs 1 and 3 to tab 2. Clamp the tabs with clothes pins while the glue drys. Do not insert your book into the slip case until the glue is completely dry, or you may transfer glue to your book!

Once the glue dries, the slip case is finished. You may decorate the slip case using decoupage (see the decoupage chapter for instructions) if you like, or some other method as you see fit.

4

Identificar y describir los usos de las siguientes herramientas de encuadernación:

4a

Hueso doblador

4b

Prensa

4c

Aguja plegable

4d

Punzón

4e

Marco de coser

4f

Tarjeta cuadrada

4g

Perforadora

5

Definir la diferencia de gramaje del papel en relación con una resma de papel.

The standard dimensions and sheet count of a ream vary according to the type of paper. These "uncut" basis sizes are not normally labeled on the product, are not formally standardized, and therefore have to be guessed or inferred somehow from trading practice. Historically, this convention is the product of pragmatic considerations such as the size of a sheet mold.

By using the same basis sheet size for the same type of paper, consumers can easily compare papers of differing brands. 20 pound bond paper is always lighter and thinner than 32 pound bond, no matter what its cut size. And 20 pound bond letter size and 20 pound bond legal size papers are the same weight paper having different cut size.

However, a sheet of common copy paper that has a basis weight of 20 pounds does not have the same mass as the same size sheet of coarse paper (newsprint). In the former case, the standard ream is 500 sheets of 17 by 22 inch paper, and in the latter, 500 sheets of 24 by 36 inch paper. Here are some basic ream sizes for various types of paper. Units are inches except where noted.

Paper Type	Paper Size		- Number of sheets
Bond, writing, ledger	17	× 22	- 500 sheets
Manuscript cover	18	× 31	- 500 sheets
Blotting	19	× 24	- 500 sheets
Box cover	20	× 24	- 500 sheets
Cover	20	× 26	- 500 or 1000 sheets
Bristol and tag	22½	× 28½	- 500 sheets
Tissue	24	× 36	- 480 sheets
Newsprint	24	× 36	- 500 sheets
Hanging, waxing, bag, etc.	24	× 36	- 500 sheets
Book, Text, Offset	25	× 38	- 500 sheets
Index bristol	25½	× 30½	- 500 sheets
Paperboard (all types)	12	× 12	- 1000 sheets (1,000 square feet per ream)

Sheets 17 by 22 inches can be cut into four 8½ by 11 inch sheets, a standard for business stationery known conventionally as letter sized paper. So, the 17 by 22 inch ream became commonly used. The 25 by 38 inch book-paper ream developed because such a size can easily be cut into sixteen 6 by 9 inch book-sized sheets without significant waste.

Early newsprint presses printed sheets 2 by 3 feet in size, and so the ream dimensions for newsprint became 24 by 36 inches, with 500 sheets to a ream. Newsprint was made from ground wood pulp, and ground wood hanging paper (wallpaper) was made on newsprint machines. Newsprint was used as wrapping paper, and the first paper bags were made from newsprint. The newsprint ream standard also became the standard for packaging papers, even though in packaging papers kraft pulp rather than ground wood was used for greater strength.

Paper weight is sometimes stated using the "#" symbol. For example, "20#" means "20 pounds per basis ream of 500 sheets".

When the density of a ream of paper is given in pounds, it is often accompanied by its "M weight". The M weight is the weight (in pounds) of 1000 cut sheets. Paper suppliers will often charge by M weight, since it is always consistent within a specific paper size, and because it allows a simple weight calculation for shipping charges.

For example, a 500-sheet ream of 20# copy paper may specify "10 M". Therefore, 1000 sheets (or two reams) will weigh 10 lb (≈4.54 kg).

6

Describir el color y las propiedades de los tres tipos de adhesivos utilizados en el proceso de encuadernación y dónde se utilizan:

6a

Pegamento caliente derretido

6b

Pasta de ensamblado

6c

Pegamento de resina

7

Conocer y hacer una lista de las cinco principales etapas de la encuadernación a mano.

7a

Preparación de los cuadernillos

If making a non-blank book, you need to print the pages in a certain way so that they appear in the proper order and right-side up. Folding a sheet of paper into quarters will produce eight pages. Try this on a blank sheet of paper first, number the pages, unfold, and look at how the pages orient themselves on the unfolded paper. When making a blank book, this step can obviously be skipped. You can also use the pictures below as a guide. Note that with the quarto folding scheme, some of the pages need to be printed upside-down.

• 

  Quarto (one sheet, 8 pages)
• 

  Folio (four sheets, 16 pages)
• 

  Folio (one sheet, four pages)

Once the folding is done, the bone folder or a knife can be used to cut the folds apart at the top, bottom, and outer edge of the pages. Do not cut the fold along the spine! The signatures are then ready to be sewn, and the sewing will bind them to a cloth tape. An even number of signatures will place the final stitch on the same end of the book as the initial stitch, and this will help when it comes to tying it off.

Folding the Signatures

Cut the Folds

7b

Costura de los cuadernillos

Prepare the Tapes

Make three to five cloth strips about a half inch wide. The length of these cloth strips should be a bit less than twice the width of the pages. The cloth itself should be a fine cotton or linen. An old pillowcase has been suggested, but any thin cloth will work. These strips of cloth are called tapes. Fewer tapes will make the sewing process go faster, but more tapes will yield a better book.

Stitching

Mark one of the outside signatures to indicate where the tapes will lie as shown in the photograph.

Mark the Signatures

Note that the photographs show a very dark thread being used. This was done to make the thread easier to see for the purpose of illustrating the techniques. When binding your book, you will want to use white thread so that it won't be easy to see in the finished book. Begin stitching by passing the needle and thread through the fold from the outside to the inside. It will be easier to make the hole from the inside of the fold with either an awl or the needle, but the thread should pass from the outside to the inside. This stitch should be made near the edge of the page, but not too near the edge. Leave a couple of inches of thread so you can tie it off when all the sewing is done. Then pass the needle back through the fold so that it comes out on the other side of the cloth tape. Do not run the thread through the tape. Pass the thread over the tape and back into the fold again. Repeat this process until all the tapes are sewn to the signature. Then slip the next signature between the tape and the first signature. Catch the previous stitch as shown in the photograph, and begin stitching the second signature.

Making pilot holes in the signature

Catching the Previous Stitch

Use the same technique for it as for the first signature. Stitch in the rest of the signatures, tighten the thread, and tie it off.

7c

Empaste de la parte posterior

Once the signatures have been sewn together, pull the tapes tight and apply a thin layer of glue to the spine. You can use a small artist's paint brush for this. Work the glue into the cracks between the signatures, but do not let it go too deep or the pages will stick together when you try to open the finished book. The book is then placed in a press, but you can use a heavy weight, two wooden boards and a few C-clamps, or a shop vise to get the same effect.

If you use weights to compress the signatures, be careful not to glue the weights to the book's pages. The idea is to squeeze the pages together as tight as possible while the glue sets.

If you use wooden boards and C-clamps, sandwich the pages between the two boards and clamp them together with the C-clamps.

If using a shop vise, be sure to pad the vise's jaws so you do not damage the pages. The glue will strengthen the spine and adhere the threads to the pages.

Glue-up the Spine

Pressing the Text Block

The finished product from this stage is called a text block.

7d

Fijar las tapas (cubiertas)

Make the Boards

The "boards" are the book's covers. Use either a very stiff non-corrugated cardboard or eighth-inch mason board (available at most lumber yards). Guide Magazine is usually shipped with cardboard liners, so if your church subscribes to it, ask your Junior Sabbath School teacher to save them for you. Cut the boards such that they are slightly larger (about an eighth inch) than the text block on three sides. Make sure the boards are square.

Next, get some heavy cloth or heavy paper - whatever you want to use as the outside surface of the book cover. The remainder of this discussion assumes a cloth cover. Lay the boards on the cloth with a gap between them. The width of this gap should be equal to the width of the text block's spine plus triple the thickness of the boards (three eighths of an inch). Mark the cloth around the boards leaving about a one-inch border. Cut the cloth, and then clip the corners to within a quarter inch of the corners of the boards:

Laying out the cover

Coat the outside surface of the boards with a thin, even layer of glue, lay them on the cloth, and stretch the cloth smooth. Be sure the gap between the boards is as wide as the text block's spine plus three times the thickness of the boards. Glue a strip of cloth across the spine, bridging the two boards. You may also glue a piece of card stock on top of this strip of cloth to further strengthen the spine. If you do not have card stock, a manila folder or an index card can be pressed into service instead. This strip of card stock should be as long as the text block's spine. Be careful not to glue the cover to your worktable. Ideally, you do not want any of the glue to penetrate the cloth cover, but just in case, you may wish to place a large piece of plastic beneath the cloth when doing this (use the lid from a large plastic storage tub, a plastic bag, or cellophane wrap). Now place as much weight on the boards as you can muster and leave it there until the glue dries.

Attach the Covers

When the glue dries from the previous step, remove it from the press (or remove the weights from the cover) and apply another thin layer of glue to the inside of the book cover. Then fold the top of the cloth cover over and glue it in place. Do the same for the bottom, and then fold over the left and right sides.

Get some wax paper or some plastic and insert two layers of it beneath the first page of the text block. Apply a thin layer of glue around the edge of the paper using a small paint brush. It's OK to brush the glue onto the wax paper. Cover all four edges of the text block, and then add a little more glue to hold down the tapes. Spread out some more wax paper and turn the text block over onto it. Repeat the processes for the back of the book, adding glue to the edges of the page. When you have coated the edges of the back page with glue, remove the layer of waxpaper that the glue was brushed onto, but leave the first layer of waxpaper in place. This layer will prevent the glue from bonding to the next page and keep moisture out of the rest of the book.

Now carefully lift the text block and place it on the back cover. Be sure to center it well. If you misalign it, carefully lift it off and make another attempt. Now fold the front cover closed onto the front page and make sure the text block is well centered. Finally, place the book back in the press again (or under a heavy weight) and shape the spine as best you can. Then let the glue dry. Don't be impatient at this point. If the book still smells like glue when you're ready to remove it, it is still too soon, and removing it will cause the pages to wrinkle and curl.

7e

Acabado

The "finishing" step in bookbinding pertains to books with leather covers. The first step in finishing a leather-bound book is to go over the covers with a polishing tool to smooth out any irregularities. The book can then be placed in a finishing press with a set of embossing plates which will embed a pattern in the cover. (Alternately, the cover can be tooled by hand in the same way that a leather worker decorates leather.) When the book comes out of the finishing press, it may be gilded - that is, have a design tooled into it with gold leaf. Finally, the leather may be varnished.

Historical Notes

The Bookbinding honor was introduced in 1935, and discontinued in 1951. It was reintroduced as an Antique Honor in 1986. It was revised and returned to the Vocational category in 2002.

References

• Wikipedia Article on Bookbinding
• How to make a simple hardcover book
• The Art of Bookbinding 1897 online
• Bookbinding and the Care of books 1902
• glossary of book terms
• Bookbinding and the Conservation of books, A Dictionary of Descriptive Terminology
• Bookbinding for Beginners
• Ten-minute Slipcase