newsprint

A generic term applied to the type of paper generally used in printing newspapers. The paper is machine finished and slack sized and has little or no mineral loading. It is made in basis weights of 30 to 35 pounds (24 X 36—500). Thirty-two-pound basis weight, which has proven to be the most satisfactory in that it represents a practical compromise between cost and printability, is the most commonly produced weight.

Newsprint is produced at very high machine speeds, which causes the fibers of the sheet to be very directional; however, the fact that the majority of the fibers are oriented in one direction is actually an advantage from the point of view of printing, because it helps the paper take the strain of the highspeed press run, and, from the point of view of production, "runability" is the most important characteristic in newsprint. Other important characteristics include: smoothness, which is the controlling factor for halftone fineness in all direct-printing methods; softness, which is especially important in newsprint because the image carrier forces the ink into the pores of the paper during impression; opacity, which is important in all lightweight paper and particularly so in newspaper relief printing where the ink does not remain on the surface but is forced deep into the paper; and brightness, or whiteness, which is important because it contributes to good contrast between ink and paper in black-and-white printing and is of great importance in fullcolor printing.

The usual furnish for newsprint is 75 to 85% mechanical pulp, and 15 to 25% unbleached or semibleached chemical pulp.

The mechanical pulp adds the desired properties of high opacity, smooth surface, and high oil (ink) absorption, while the chemical pulp adds the necessary strength required to run the paper through fast rotary presses without breaking.

The high percentage of mechanical pulp in newsprint, which makes it very satisfactory for newspaper printing, makes it unsatisfactory from the point of view of permanence.

Bookbinding and the Conservation of Books: A Dictionary of Descriptive Terminology

US Government publication (Library of Congress), published openly in electronic edition by CoOL. Not a Gutenberg/pre-1930 public-domain text -- verify rights before reprinting rather than quoting.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.

Casey, James P. Pulp and pa per: chemistry and chemical technology. 2nd ed. New York. Interscience. 1960-61. 3 vol.

Radford, Richard George. Letterpress machine work. New York. Staples Press. 1951. 2 vol.

Strauss, Victor. The printing industry…Washington, D.C. Printing Industries in America. 1967.


nibbed

See: LIPPED.


NICK

A nick is a hollow cast crossways in the shanks of types, to make a distinction readily between different sorts and sizes; and to enable the compositor to perceive quickly the bottom of the letter as it lies in the case, when composing; as nicks are always cast on that side of the shank on which the bottom of the face of the letter is placed.

A great deal of inconvenience frequently arises, owing to the founders casting different founts of types with a similar nick in each. Although this may, at the first sight, appear of little moment, yet it is attended with much trouble: and works are frequently disfigured by it, notwithstanding all the care of the compositor and the reader, as will appear from the following statement.

A printer has cast a fount, we will suppose of Pica, in addition to another he had in the house, and this new Pica is of a different face from his old one; but not having given any particular directions, the founder casts it with a nick precisely the same as the other. The consequence is, when a compositor is distributing head lines, lines of italic, small capitals, or small jobs—in the hurry of business—through inadvertency—or carelessness—he frequently distributes them into the wrong cases, when it is almost impossible for another compositor who has occasion to use these cases next, to detect the error till he sees the proof; unless he is in the habit of reading his lines in the stick, which many are not. He has then a great deal of trouble to change the letters; and, with all the attention that the reader can bestow, a letter of the wrong fount will frequently escape his eye, and disfigure the page.

Even in founts that are next in size to each other; for instance,—Bourgeois and Long Primer, Long Primer and Small Pica, Small Pica and Pica, and Pica and English, head lines, &c., are not unfrequently distributed into wrong cases, where the nick is the same; and always occasion loss of time in correcting the mistakes, and sometimes pass undiscovered.

I would recommend, in furnishing a new office with types, that every fount, commencing with the smallest, should have a different nick from that of the next size: thus Brevier, supposing it to be the smallest, might have three wide nicks, Bourgeois two closer ones, and Long Primer one; Small Pica the same as Brevier, Pica as Bourgeois, English as Long Primer; and here it might stop, for there is difference enough in the sizes above English for the eye to distinguish them readily, without varying the nick.

By going as far as three nicks, which is now generally done, a sufficient variety may be obtained to distinguish one fount from another without hesitation; but I would strongly advise that the nicks should be deep, as it allows the compositor to see quickly how the letters lie in the box, and enables him to pick them up with greater facility, particularly by candlelight.

A single nick may be—low on the shank, in the middle, or nearer the top; two nicks may be close together—at the bottom, in the middle, or at the top, or they may be wide apart; three nicks may be—two at bottom and one at top, two at top and one at bottom, or the three close together, at the bottom, the middle, or the top, or wide apart. Where there are a great number of founts, it would add to the distinguishing mark, if consisting of more than one nick, that one of them should be cast shallow: but where there is only one nick it ought always to be cast deep.

Niskhi. See Persian.

Public domain (Project Gutenberg, pre-1930 text)


NICK

Hollows cast in the front of the lower part of the shank of a type, to show the compositor how to place it in his stick.

The American Printer: A Manual of Typography


nicked corner

The corner of the cover of a book which has the turn-in on the fore edge overlapping the turn-in at head and tail. This type of corner is made by cutting the covering material at a 45° angle at a distance of about three times the thickness of the board from the corner. The head and tail are turned over first, followed by the fore edge. A small tuck forms a smooth edge at the corner.

Hague, Clifford Wilson. Printing and allied graphic arts. Milwaukee. Bruce. 1957.


Niger

A soft vegetable tanned goatskin that has a natural grain pattern resulting from the nature of the skin, the tanning processes employed, and, especially, boarding in the wet condition. Niger, which is now difficult to obtain, is tanned and finished from native skins in Nigeria and surrounding districts by primitive methods, usually employing babul bark as the principal tanning material. The most common colors, which are seldom uniform, include crimson, orange to brick-red, green, as well as the natural huff. The slight variations in grain surface and color which give Niger its characteristic appearance, are seldom successfully imitated in other skins, such as that of the sheep, which is being increasingly offered as genuine Niger. See also: GOATSKIN; MOROCCO.

British Standards Institution. British standard glossary of leather terms. B. S. 2780: 1956. London. British Standards Institution.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.


Niger goatskin

Brought from Africa by the Royal Niger Company. A native production. It has a very beautiful color and texture, with no grain. It has stood all the tests given it without serious deterioration. It does not keep clean under handling as well as a good coarse-grained morocco. Especially recommended by the committee appointed to investigate leather by the Society of Arts, of England.


nip

The point of contact between two rolls, as in a folding machine, rolling press, calender stack, etc.


nipped-in

A term sometimes applied to hand sewing that has been drawn too tightly, resulting in the sections being unduly compressed at the points of the kettle stitches. When the book is subsequently rounded and backed, the hammering may cause the kettle stitches to break.

Town, Laurence. Bookbinding by hand, for students and craftsmen. New York. Pitman. 1950 (1951).


nipper

1. A machine used in edition binding to compress the spine of a newly sewn book and in library binding to remove the original backing shoulders of a book that is to be rebound (and usually when it is to be resewn through the folds). The nipping machine in a library bindery is usually a hand-operated, power-driven device, while \n the edition bindery it is usually a\ continuously running, power-operated machine. In its typical design and operation, the book is secured by a spring-operated clamp to prevent the sections from slipping. The front jaw of the nipper is split lengthwise, the top half being held open by heavy springs. It projects beyond the lower half and can be slipped back flush with it. When the book is inserted and the jaws are closed, the upper half catches it and secures it while the lower half applies pressure to the sewing swell or shoulders at the spine.

The first nipper, a hand-operated and power machine, was introduced in 1882.

2. The flanges of a BUILDING-IN MACHINE which form the joints of the book.

3. See: BAND NIPPERS.

U.S. Government Printing Office. Theory and practice of bookbinding. Rev. ed. Washington, D.C. U.S. Government Printing Office. 1962.


nipping

1. The process of reducing the swell caused by the sewing of a book. or the removal of the backing shoulders of a book to be rebound, by applying pressure to the book at the spine only, usually between the jaws of a NIPPER (1). See also: KNOCKING OUT THE GROOVE; KNOCKING OUT THE SWELL.

2. The process of applying heavy pressure of short duration to a case-bound book for the purpose of setting the joints before the adhesive used in casing-in sets. See also: BUILDING-IN MACHINE.

Hutchings, Ernest A. D. A survey of printing processes. London. Heinemann. 1970.


nipping press

A small press consisting essentially of a fixed, horizontal iron base plate, and an upper, movable platen that is raised and lowered by means of a relatively long, vertical screw. The nipping press is used to apply quick and uniform pressure in a variety of bookbinding operations. While the nipping press does not have the available DAYLIGHT or the pressing power of the STANDING PRESS, it is relatively easy to open and close which makes it very useful for a quick pressing operations. The true nipping press does not release its pressure until released by the turning of the screw; however, substitute "nipping presses," which are really "letter-presses" or "copying presses," once used in business offices for "copying" letters, are limited in their ability to apply pressure because they have a tendency to ease the pressure when the handle is released.

Leighton, Douglas. Modern bookbinding: a survey and a prospect. New York. Oxford University Press. 1935.


nipping up

A covering technique which involves pressing the leather around the raised bands after it has been drawn over the spine of the book. BAND NIPPERS or a BANDSTICK (1) are usually used for this operation.


nitric acid

A corrosive, non-volatile, inorganic acid (HNO3). It is a strong acid, with most of its important reactions being due to its oxidizing action. Nitric acid reacts violently with cellulosic materials, and can be formed in them by the conversion of nitric oxide (an air pollutant) into nitrogen dioxide, and then into nitric acid: 2NO + O2 → 2NO2; 3NO2 + H2O → 2HNO3 + NO.

As the amount of nitric oxide in the atmosphere is very small, relative to sulfur dioxide, the formation of nitric acid in archival materials is relatively slow; however, it also functions as a catalyst in the conversion of sulfur dioxide into sulfuric acid.


nitrocellulose

See: CELLULOSE NITRATE.


non-aqueous deacidification

A method of deacidifying paper which utilizes alcohol, or some other non-aqueous solvent, for the deacidifying chemical. Aqueous methods cannot be used to treat archival materials in cases in which the ink is susceptible to the action of water; therefore, in such cases a non-aqueous method is essential. One such method involves treating the document with a solution prepared by dissolving 19 gm of crystalline barium hydroxide octahydrate (Ba(OH)2 . 8H2O) in one liter of methyl alcohol (which corresponds to a 1% solution of barium hydroxide as a free base). The normal procedure is non-commingled to immerse the document in the solution, but it may be brushed or sprayed on if the document is too fragile for immersion. While drying, any excess barium hydroxide is converted into barium carbonate (BaCO3) by the action of atmospheric carbon dioxide, giving a final pH of approximately 8.0. Another method is to treat the document with a 1.0 to 1.5% solution of magnesium methoxide in methyl alcohol. In this process the magnesium methoxide is converted by the moisture in the paper into magnesium hydroxide (Mg(OH2) , which is the effective deacidifying agent. Excess magnesium hydroxide is converted into magnesium carbonate (MgCO3) by the action of carbon dioxide in the atmosphere. The final pH is approximately 8.5 to 9.0. See also: ALKALINE RESERVE; DEACIDIFICATION; DOUBLE DECOMPOSITION; VAPOR-PHASE DEACIDIFICATION.

Langwell, William Herbert. The conservation of books and documents. London. Pitman. 1957

Winger, Howard W., and Richard D. Smith, eds. Deterioration and preservation of library materials…Chicago. University of Chicago Press. (34th Annual Conference of the Graduate Library School). 1970.


non-commingled

A term used with reference to the transportation of unbound or bound books by a library or binder on an unmixed, or separate basis. Binderies which do not operate their own trucks, but rely instead on a common carrier, may be instructed by the library to ship the library's books on a separate basis, that is, not together with other materials not destined for or owned by the library.


non-curling gum

An adhesive used for PADDING work, consisting of gum arabic dissolved in water and mixed with small quantities of glycerin and honey.


non-sewn binding

See: ADHESIVE BINDING.


non-tannin

That portion of the water-soluble matter in a vegetable tanning material, other than the tannin, that is non-volatile. Non-tannins, or nontans, as they are usually called, may include hydrolysis products of the tannins, starches, gums, hemicelluloses, polysaccharides, hexoses, pentoses, uronic acids, organic acids, including lactic and acetic, together with their salts, inorganic salts, proteins and zymoproteins (enzymes), if the temperature is not too high, as well as coloring matters such as brasilin, fisetin, and quercetin.

O'Flaherty, Fred, and others, eds. The chemistry and technology of leather. New York. Reinhold. (American Chemical Society monograph series, no. 134. 1956-65. 4 vol.

Reed, Ronald. Ancient skin, parchments and leathers. London. Seminar Press. 1972.

Sharphouse, John Henry. The leatherworker's handbook. London. Leather Producers' Association. 1963.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


non-woody fibrous material

Vegetable and synthetic materials used in the manufacture of paper and board. Of the many such materials, both organic and inorganic, the most important today are cotton, esparto linen and straw. For a number of reasons the types of fiber which have proved commercially worthwhile are somewhat limited, and have become even more so as the size and productive capacity of papermaking mills have increased. Among the qualifications which satisfactory materials must possess are: 1) sufficient fiber length to provide the desired strength in the paper; 2) ready reducibility to the fiber form, and separation from accompanying impurities and ingredients which might be harmful to the paper; 3) availability in very large quantities and within a reasonable distance from the mill; 4) not too great bulk per unit of fiber produced; and 5) low cost per ton of fiber produced.

Sutermeister, Edwin. The story of papermaking. Boston. Warren. 1954.


non-woven covering materials

1. See: LEATHER.

2. Natural and synthetic materials used in the manufacture of covering materials for books. They include granulated leathers and paper fibers bonded with latex, impregnated paper fibers, matted polyethylene fibers, and the like. 3. A clothlike material composed of paper fibers longer than those normally used in papermaking, but which are not woven but matted by felting on a fine mesh screen from a suspension of water or air, and with or without binders.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.

McDonald, Margaret. Nonwoven fabric technology. Park Ridge, N. J. Noyes Data Corp. 1971.


NONPAREIL

The name of a type, one size larger than Pearl and one smaller than Minion. Moxon spelt the name Nomparel, and the French to this day spell it Nompareille.


nonpareil marble

A marble pattern consisting or red, black, yellow, blue, and buff, executed on a size of gum tragacanth. The red is dropped first so as to cover the entire surface of the size, followed by the black, yellow, blue, and buff. A peg rake the length of the trough is drawn across the surface, followed by a fine comb drawn from left to right across the width of the trough. The paper is then laid on. The reversed nonpareil is executed in the same manner except that the comb is drawn from left to right and then back again.

The nonpareil marble represents a revival of the early comb pattern. It came into use in about 1838 and was used throughout the middle of the 19th century for endpapers and later for cover papers on all classes of stationery bindings. It was also used for edge marbling from about 1840 to the 1920s when edge marbling virtually went out of existence. Nonpareil marbles were less artistic than the earlier combs, and, although executed by hand, suffered from a sort of mechanical appearance.

Loring, Rosamond Bowditch. Decorated book papers…1st ed. 1942; 2nd ed. 1952. Cambridge, Mass. Harvard University Press.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.

Woolnough, Charles W. The whole art of marbling as applied to paper, book edges…Rev. ed. London. Bell. 1881.


normal moisture

See: AIR DRY.


NORTHERN LANGUAGES

For the allowance of the duty on paper used in the printing of books in the Northern languages within the universities of Oxford and Cambridge, the universities of Scotland, and the university of Trinity College, Dublin, see Paper.

A great deal of information respecting the Northern languages will be found in Recherches sur les Langues Tartares, par M. Abel Remusat.

Norton, William. See Donations.

Notation, Chemical. See Formulæ.


nose

A term sometimes applied to the point at either side of the top of a text block caused by the head being knocked up out of square.

Crane, W. J. E. Bookbinding for amateurs…New York. Scribner. 1903.


NOTES

Quotations down the side of a page are called Notes.—M. At the present day we term these Marginal Notes; and usually mean, when we speak of notes, those at the bottom of a page, although they are sometimes termed Bottom Notes, or Foot Notes, which see.

Notice for entering printing press, types, &c., with Clerk of the Peace, see Certificate.

Number Laid On. See Lay On.—M.


novel paper

A class of paper once used extensively in the production of so-called pulp magazines, and now popular in the manufacture of paperbacks and children's coloring books. It is produced from 75 to 85% mechanical wood pulp plus 15 to 25% chemical wood pulp, and in such a manner to provide a rough surface and maximum bulk. The usual basis weight is 32 pounds (24 X 36—500). Thickness ranges from a minimum of 0.004 inch to as high as 0.0055 inch.


numbering

The process of printing or stamping figures in consecutive or other order, on sheets, leaves of a book, or the spines of bound volumes. Numbering in this context is one of the processes of stationery binding, principally that of blankbooks and manifold books, including check books. Blankbooks are usually numbered subsequent to sewing and trimming. Where every page contains a separate record, the pages are numbered consecutively throughout the book and the book is said to be "paged." Where facing pages are used for the record, the two pages are numbered as one and the book is said to be "folioed."

Numbering bound books is more difficult than numbering sheets, and may be done by machine only where the figures are to be located at the top corner of the leaves.

If the numbers must be located elsewhere, the book is numbered before binding. Numbering before binding may be done either as a separate operation in the bindery after the sheets have been ruled or printed, or on the printing press by means of a numbering machine in the form, a process called "numbering at press."

Sheets on which the same number appears two, three, or more times are described as double-numbered, triple-numbered, etc., while sheets on which the same number repeats on more than one sheet are described as being numbered in duplicate, triplicate, etc.

Numbering machines may be designed to impress the same number over and over, consecutive numbers, or, in the case of the skip-wheel numbering machine, may omit numbers as desired.

Pleger, John J. Bookbinding. Rev. ed. Chicago. Inland Printer. 1924.

Strauss, Victor. The printing industry…Washington, D.C. Printing Industries in America. 1967.


NUMERALS

The names of numerals are very different, not only in several parts of Asia, but in both North and South America.

“Small stones were used amongst uncivilized nations: hence the words calculate and calculation appear to have been derived from calculus, the Latin for a pebble-stone. Alphabetic letters had also a certain numerical value assigned them, and several Greek characters were employed to express particular numbers.

“The combination of Greek numerical characters was not well known to the Latins before the thirteenth century, although Greek numerical characters were frequently used in France and Germany, in episcopal letters, and continued to the eleventh century. But of all the Greek ciphers the Episema ϐαῦ was most in use with the Latins: it gradually assumed the form of G with a tail, for so it appears in a Latin inscription of the year 296. It is found to have been used in the fifth century in Latin MSS. It was reckoned for 6, and this value has been evinced by such a number of monumental proofs, that there is no room to give it any other. Some of the learned, with even Mabillon, have been mistaken in estimating it as 5, but in a posthumous work he acknowledges his error.

“Those authors were led into this error by the medals of the Emperor Justinian having the episema for 5; but it is a certain fact that the coiners had been mistaken and confounded it with the tailed U, for the episema was still in use in the fourth century, and among the Latins was estimated as six, but under a form somewhat different. Whenever it appears in other monuments of the western nations of Europe of that very century, and the following, it is rarely used to express any number except 5.

“The Etruscans also used their letters for indicating numbers by writing them from right to left, and the ancient Danes copied the example in the application of their letters.

“The Romans, when they borrowed arts and sciences from the Greeks, learned also their method of using alphabetical numeration. This custom however was not very ancient among them. Before writing was yet current with them they made use of nails for reckoning years, and the method of driving those nails became in process of time a ceremony of their religion. The first eight Roman numerals were composed of the I and the V. The Roman ten was composed of the V proper, and the V inverted (Ʌ), which characters served to reckon as far as forty, but when writing became more general, I, V, X, L, C, D, and M, were the only characters appropriated to the indication of numbers. The above seven letters, in their most extensive combination, produce six hundred and sixty-six thousand ranged thus, DCLXVIM. Some however pretend that the Romans were strangers to any higher number than 100,000. The want of ciphers obliged them to double, treble, and multiply their numerical characters four-fold; according as they had occasion to make them express units, tens, hundreds, &c. &c. For the sake of brevity they had recourse to another expedient; by drawing a small line over any of their numeral characters they made them stand for as many thousands as they contained units. Thus a small line over Ī made it 1000, and over X̄ expressed 10,000, &c.

“When the Romans wrote several units following, the first and last were longer than the rest IiiiiI: thus vir after those six units, signified sex-vir. D stood for 500, and the perpendicular line of this letter was sometimes separated from the body thus (IƆ,) without lessening its value. M, whether capital or uncial, expressed 1000. In the uncial form it sometimes assumed that of one of those figures, CIƆ, CD, ∞, ო. The cumbent X was also used to signify a similar number.

“As often as a figure of less value appears before a higher number, it denotes that so much must be deducted from the greater number: thus, I before V makes but four, I before X gives only nine, X preceding C produces only 90, and even two XX before C reckons for no more than 80. Such was the general practice with the ancient Romans with respect to their numerical letters, which is still continued in recording accounts in our Exchequer.

“In ancient MSS. 4 is written IIII and not IV, 9 thus VIIII, and not IX, &c. Instead of V five units IIIII were sometimes used in the eighth century. Half was expressed by an S at the end of the figures, CIIS was put 102 and a half. This S sometimes appeared in the form of our 5.

“In some old MSS. those numerical figures LXL are used to express 90. The Roman numeral letters were generally used both in England, France, Italy, and Germany, from the earliest times to the middle of the fifteenth century.

“The ancient people of Spain made use of the same Roman ciphers as we do. The X with the top of the right hand stroke in form of a semi-circle reckoned for 40; it merits the more particular notice as it has misled many of the learned. The Roman ciphers however were continued in use with the Spaniards until the fifteenth century. The Germans used the Roman ciphers for a long time, nearly in the same manner as the French.”

“The points after the Roman ciphers were exceedingly various, and never rightly fixed. It is not known when the ancient custom was first introduced of placing an O at top immediately after the Roman characters, as Ao Mo Lo VIo &c.”—Astle.

If the lesser number is placed before the greater, the lesser is to be deducted from the greater; thus IV signifies one less than five, i. e. four; IX, nine; XC, ninety.

If the lesser number be placed after the greater, the lesser is to be added to the greater; thus VI signifies one more than five, i. e. six; XI, eleven; CX, one hundred and ten.

An horizontal stroke over a numeral denotes a thousand: thus V̄ signifies five thousand; L̄, fifty thousand: M̄, a thousand times a thousand, or a million.

I, signifies one, because it is the smallest letter.

V, five, because it is sometimes used for U, the fifth vowel.

X, ten, because it represents two Vs.

L, fifty, from its resemblance to the lower half of C.

C, a hundred, centum.

IƆ or D, five hundred, the half of CIƆ.

M or CIƆ, a thousand, from mille. The latter figures joined at the top ო formed the ancient M.—Latin Vocabulary, 18mo. Lond. Valpy, 1823.

Nustaleek. See Persian.


NUT BOLTS

Two bolts that pass through the head: they have square return heads, which clasp the under side of the nut of the spindle to keep it firm in its place.

Nut of the Spindle. It is also called the Box, which see.


nylon

Synthetic materials developed by E. I. du Pont de Nemours & Company in 1938, consisting of polyamides prepared from a dicarboxylic acid and a diamine, or from omega-amino acid or its lactone, that can be formed from a melt or solution in fibers, fabrics, filaments, or sheets.

Soluble nylon is a chemically modified form of nylon produced by treating nylon with formaldehyde. It is soluble in alcohol, or alcohol and water, and is particularly useful when flexibility and penetration are required, as in an adhesive. Soluble nylon film is used in archival restoration as an adhesive backing for fragile documents, in which case it is applied by heat. It is also used in resizing paper. See also: NYLON SIZE; SEWING THREAD.

Miall, Laurence Mackenzie, and D. W. A. Sharp, eds. A new dictionary of chemistry. 4th ed. New York. Wiley. 1968.


nylon size

A size for paper prepared from soluble nylon dissolved in an industrial methylated spirit. A 2% solution is used for sizing very weak paper, and as a fixative for water colors and manuscript inks when paper is being bleached or subjected to other aqueous treatment. See also: SIZING; RESIZING.

Middleton, Bernard C. The restoration of leather bindings. Chicago. American Library Association. (A. L. A. Library Technology Project, LTP publication no. 18). 1972.


nylon thread

See: SEWING THREAD.


oak

The bark and wood, principally the former, of several species of Quercus, including the pedunculate oak (Q. robur) and sessile oak (Q. petraea) in England and Europe; the evergreen oak (Q. cerris), wooly oak (Q. pubescens) and kermes oak (Q. coccifera) in Europe; and the white oak (Q. alba), chestnut oak (Q. prinus), tanbark oak (Q. densiflora), and black oak (Q. kelloggi) in the United States. As the bark has a much higher tannin content than the wood, generally only it is used for tannin extraction, but at times both the heartwood and bark are utilized.

Oak bark is not as high in tannin content as many other materials, and its use, which has extended over many centuries, has been due more to its ready availability than to any other factor. A high quality oak bark will contain 12 to 14% tannin, while old oak heartwood will contain 6 to 9%.

Despite its relatively low tannin content, oak bark was at one time used extensively in the manufacture of some very fine leathers, especially in England. In fact, the English leathers of the past, which were known throughout the world for their high quality, were produced largely by means of high quality stock and a long, slow, oak tannage. Slowness of penetration, however, along with declining availability, are important reasons why its use is not nearly so extensive as in the past.

Oak tannin is a combination of the pyrogallol and condensed tannins, in the ratio of one to two, but the real nature of the tannin is still somewhat obscure. The tanning has a medium pH and moderate salts and acid content. See also: VEGETABLE TANNINS.

Frank Norman. Howes, Frank Norman. Vegetable tanning materials. London. Butterworth. 1953.


oak-bark tanned

A lightweight, unbleached, bark-tanned leather, which is defined as having been pit-tanned, without hot-pitting, for not less than 5 to 6 months. The process involves layering the skins for not less than 6 months, with OAK bark being used as the basis for tannage.

British Standards Institution. British standard glossary of leather terms. B. S. 2780: 1956. London. British Standards Institution.


oakum board

A loosely twisted fiber, usually of hemp or jute, impregnated with tar and used up until about the Second World War to produce a better quality binder's board. See also: MILLBOARD (1); TAR BOARD.

Buffum, Clara. Hand-bound books…Providence, R.I. 1935.


oasis

A trade name for a second quality NIGER goatskin tanned and processed in England. It has a smoother surface than the usual goatskin.


OBELISK,

marked thus †, is used as a reference to notes in the margin, or at the bottom of the page.

In printing it is technically called a <i>dagger</i>; and is the second reference used, when more than one occurs in a page.


oblique corners

A half-leather binding with corners at an angle other than 45. Oblique corners are usually associated with oblong books.

Collins, Arthur Frederick. Book crafts for senior pupils; a handbook for teachers and students. Leicester. Dryad Press. 1938.

Melcher, Daniel, and Nancy Larrick. Printing and promotion handbook …3rd ed. New York. McGraw-Hill. 1966.


oblong

A book of a width greater than its height. This can result from folding a sheet of paper across the long way, i.e., halving the short side, or by putting together a THIRTY-SIXMO gathering. Also called "cabinet size" or "landscape."

American Library Association. Editorial Committee. Subcommittee on library terminology. A. L. A. glossary of library terms, with a selection of terms in related fields. Compiled by Elizabeth H. Thompson. Chicago. American Library Association. 1943.


octavo

The book size resulting from folding a sheet of paper with three right angle folds, thus producing a leaf one-eighth the size of the sheet and forming a 16-page section. To define fully, the paper size must also be stated. The typical book paper, for example, which is 25 by 38 inches, will give an untrimmed book size of 12 1/2 by 9 1/2 inches. Also called 8vo or 8°.


OCTAVO

A sheet of paper folded into eight leaves or sixteen pages is termed an octavo or 8vo.


octavo

or *8vo.*—Eight pages to a form.


octavo

A sheet of paper folded into eight leaves, being, when folded, about 8½ × 5½ inches; usually written 8vo.


octodecimo

See: EIGHTEEN-MO.


octodecimo

or *18mo.*—Eighteen pages to a form.


ODD PAGE

The first, third, fifth, seventh, and all uneven numbered pages, are <i>Odd Pages</i>.—M.


OFF

A pressman usually says, I am off, meaning he has wrought off his token, his heap, his form.—M. It is used also for part of the whole number that is to be worked; as, when a ream, or two reams are worked of a large number, he says, A ream’s off, Two reams off.


OFF

Signifies that the pressman has worked off the form.


off and on

See: TWO ON.


OFF CHEEK

That cheek of the press which is on the opposite side to that at which the pressmen stand to beat and pull; the catch of the bar is fixed to the off cheek.


Off its feet

When matter does not stand upright.


OFF-SET

The impression made by the print against the opposite page, when a book has been rolled or beaten before the ink be dried. (*Also* SET-OFF.)

The Art of Bookbinding: A Practical Treatise


OFF-SET

The impression made by print against the opposite page, when a book has been rolled or beaten before the ink is dried; also called Set-off.


offal

The leather trade term for the shoulders, bellies, cheeks, face, or tail rounded from the choicer parts of a cowhide.


OFFCUT

That part of a sheet which, when printed, cuts off, and when folded is inserted in the middle of the other part, which together form a regular and orderly succession of all the pages in the signature.


OFFCUT

A portion of a sheet that is cut off before folding.


offset

1. A printing process which involves the transferral of the image from a litho stone or a plate to a rubber-covered cylinder, which is then offset by pressure onto the paper. The image area of the plate is receptive to ink, whereas the balance of the plate is water receptive. 2. The inadvertent transfer of (printing) ink from one printed sheet or illustration to another sheet. Offsetting of this nature may occur during printing, in the printing warehouse storage area, during folding of the sheets, or during binding (pressing) before the ink is completely dry.

Offsetting from illustrative matter onto text matter is probably more common than that from text sheet to text sheet. Also frequently called "rub off" or set off. See also: BARRIER SHEET. 3. The result of undried ink or excess ink accumulating on some part of the printing press after the paper leaves the impression cylinder. This ink is transferred to the paper at the second impression and, if the registration is not absolutely accurate, the offset will give a shaded edge effect to the print. See also: DOUBLING.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.

Stevenson, George A. Graphic arts encyclopedia. New York. McGraw-Hill. 1968.


offset ink

An ink used for offset lithography. Such an ink is very finely ground, free from water soluble particles, and contains only lithographic varnish or certain lacquers as the binding medium. It is necessary that the ink be insensitive to sulfur, since this is one of the ingredients of the rubber printing rollers.

Glaister, Geoffrey Ashall. An encyclopedia of the book. Cleveland. World. 1960.


offset paper

A printing paper designed for use in offset lithography. The offset printing process is based on the antipathy of grease (ink) for water, consequently offset paper must be free from excess water soluble chemicals and particularly surface active agents. The paper, which may be coated or uncoated, is produced in basis weights of 50 to 150 pounds (25 X 38—500). Uncoated offset paper may be used for periodicals, brochures, etc., and for single or multi-color work.

Book Manufacturers' Institute. Helpful aids in book production. New York. Book Manufacturers' Institute. 1953.

British Federation of Master Printers. Preliminary technical course in printing. London. British Federation of Master Printers. 1967. 7 vol.

Jennett, Sean. The making of books. 4th ed. New York. Praeger. 1967.


OIL

The best oil for presses is neats foot oil, which does not candy nor become glutinous, as almost all other oils do. On this account it is used in the machinery employed in cotton manufactories, where it is necessary to have as little friction as possible.

Old English. See Black Letter.

Opening of the Quoins.—M. See Unlock the Form.


oil of egg

A leather dressing obtained by extracting egg yolks with ether or chloroform. When oil of egg is used, it is usually followed by a dressing of beeswax to impart a polished surface. Oil of egg is seldom used today as the sole ingredient of a leather dressing, although LEATHER DRESSINGS making use of it are still used to a limited extent.

Lydenherg, Harry Miller, and John Archer. The care and repair of books. 4th ed. New York. Bowker. 1960.


oil of neroli

A fragrant, pale yellow essential oil obtained by steam distillation from fresh blossoms of Citrus aurantium, and at one time used to perfume books.

Hannett, John. Bibliopegia; or, the art of bookbinding… London. Simkim, Marshall. 1848.


oil tanning

A "tannage" which involves the incorporation of fish or marine mammal oils into inner splits or frizzed-grain skins, usually wooled sheepskins. The tanning agent is generally raw cod liver oil, which, subsequent to being incorporated into the skin, is induced to undergo oxidation and other chemical changes while in contact with the fibers, leading to a chemical combination of oil derivatives with the fibers. The liberation of heat accompanies and speeds up these chemical reactions; however, there is the danger of the oiled skins being heated to the point where they may smoulder or even burn. Cod liver oil is not readily taken up by the skins; therefore, for the success of this process, it is essential to bring the oil into the closest possible contact with the fibers; this is accomplished by vigorous mechanical action. Oil tanning is used principally in the manufacture of chamois leather. At one time it was referred to as "chamoising."

O'Flaherty, Fred, and others, eds. The chemistry and technology of leather. New York. Reinhold. (American Chemical Society monograph series, no. 134. 1956-65. 4 vol.

Reed, Ronald. Ancient skin, parchments and leathers. London. Seminar Press. 1972.

Sharphouse, John Henry. The leatherworker's handbook. London. Leather Producers' Association. 1963.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


oiling off

The process of coating the grain surface of a wet leather with oil before drying.


old Dutch marble

A comb marble pattern executed by placing the colors on the size in a particular sequence and manner. The four colors, red, yellow, green, and blue, are placed in a series of small pots which are set in a frame so that they stand in a row about 3 inches apart from center to center. The total number of pots of color is determined by the length of the rake, which must be as long as the trough is wide. Two rakes are used in the execution of this marble; the first takes up the colors so they may be dropped on the size with precision, while the second is used to put the Chinese white on the size. The red is dropped first, and the second rake is then dipped in the Chinese white and lowered onto the surface of the size, each peg of the rake dropping a spot of the white onto the red, which has already spread out. The points of the first rake are then dipped into the pots of color and then placed on the surface of the size so that a single drop of color is placed as near the center of the white spots as possible. A stylus is then drawn through the center of the colors from front to back of the trough, followed by a fine or coarse comb which is drawn through the colors from left to right, causing the pattern to form with well distributed colors in even scales of red, white, yellow, green, and blue. Although probably a more mechanical pattern than virtually any other marble, the Old Dutch has been used since about the middle of the 17th century. The marble is executed on a size of GUM TRAGACANTH. See also: DUTCH MARBLE.

Loring, Rosamond Bowditch. Decorated book papers…1st ed. 1942; 2nd ed. 1952. Cambridge, Mass. Harvard University Press.

Pocket encyclopedia of paper & graphic art terms. 2nd ed. Kaukauna, Wisc. Thomas. 1965.


oleic acid

A colorless liquid (C18H34O2), soluble in alcohol and ether, but insoluble in water. It occurs naturally in greater quantities than any other fatty acid, being present as glycerides in most fats and oils. It is used in determining the oil penetrability resistance of book cloths, especially buckram.

Library Association. Library Binding Institute standard for library binding. 5th ed. Boston. Library Binding Institute. 1971.


one on

See: ALL ALONG.


one on and one off

One of the simplest forms of the HOLLOW, consisting of a strip of paper, linen, jaconet, etc., twice the width of the spine of the book, one half of which is glued to the spine, the other half being folded over the first and glued to it only along the edge. The one on and one off method does not give fully adequate support to the spine in most cases, but it is useful when fastening a book back into a tight cloth case. Additional strength may be gained by folding the paper across the grain. See also: ONE ON AND TWO OFF; TWO ON AND ONE OFF.

U.S. Government Printing Office. Theory and practice of bookbinding. Rev. ed. Washington, D.C. U.S. Government Printing Office. 1962.


one on and two off

A method of constructing a tube for a HOLLOW, in which a strip of paper, linen, cambric, etc., three times the width of the spine of the book is cut, the middle width of which is glued to the spine, the two end widths being folded over the middle and glued to each other. This method is generally superior to ONE ON AND ONE OFF, and, although it does not offer adequate support to the spine of a large book, it is adequate for some light, thin volumes, depending upon the weight of the paper. See also: TWO ON AND ONE OFF.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.

Town, Laurence. Bookbinding by hand, for students and craftsmen. New York. Pitman. 1950 (1951).


one piece cover

A term used in edition binding to indicate a book completely covered in one type and color fabric only.

Teigen, Kit. Graphic arts, an introduction…Wayne, Pa. Management Development Institute. 1968.


one sheet on

See: ALL ALONG.


one-letter index

An INDEX consisting of 24, 26, or (rarely) 27 divisions for the letters of the alphabet. The 24division index generally omits the letter X and either omits I or combines it with J; the 26-division index includes all the letters, or adds Mac and omits X; while the 27-division index includes X along with Mac. See also: TWO-LETTER INDEX.

Pleger, John J. Bookbinding. Rev. ed. Chicago. Inland Printer. 1924.


one-shot method

1. The trade name for a method of applying adhesive in highspeed paperback binding, in which one application of a hot-melt adhesive is applied to the spine of each book, in distinction to the application of both hot and cold adhesives. The one-shot method is extremely rapid, as the adhesive begins to set almost as soon as it is removed from the source of heat and has practically fully set within a matter of seconds, depending on the type of adhesive used. This allows the book to be handled and trimmed straight from the adhesive binding machine. Problems develop, however, when the one-shot method is used in binding heavily coated or loaded papers, because if all of the coating or loading dust is not removed from the paper, the adhesive may not adhere well to the leaves. 2. A colloquial term for the process of deacidifying paper through the use of one alkaline solution, as opposed to methods requiring the use of double treatments. See also: ADHESIVE BINDING; DEACIDIFICATION; DOUBLE DECOMPOSITION; HOT-MELT ADHESIVE; TWO-SHOT METHOD.

Research and Engineering Council of the Graphic Arts Industry. Committee on Binding and Finishing. Proceedings of seminar on perfect binding…Washington, D.C. Research and Engineering Council of the Graphic Arts Industry. 1963.


onion skin

A durable lightweight paper that is thin and usually nearly transparent—so called because of its resemblance to the dry outer skin of an onion. It is used for making duplicate copies of typewritten material, permanent records where low bulk is important, and for airmail correspondence. It is produced entirely from cotton fibers, bleached chemical wood pulps, or combinations of these. The fibers of the paper are long and the paper is sized with rosin, starch or glue; it is usually supercalendered or plated to a high finish, or is given a cockle finish. Basis weights range from 7 to 10 pounds (17 x 22—500). See also: MANIFOLD PAPER.

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.

Stevenson, George A. Graphic arts encyclopedia. New York. McGraw-Hill. 1968.


onlay

A method of decorating a leather binding by means of thin, variously colored pieces of leather, usually of a different color than the covering leather, which are attached by means of paste or P.V.A. to the surface of the covering leather, thus giving it a kind of mosaic effect. The pieces of leather are usually, but not necessarily, of the same type of leather as that covering the book. The onlay was certainly in use in England by the 17th century and was also a technique occasionally adapted to publisher's cloth bindings between 1840 and 1860, with onlays sometimes made of paper. Cf: INLAY (4), for which the onlay is often mistaken.

Carter, John. A B C for book collectors. 5th ed. London. Hart Davis. 1972.


ooze

An obsolete term for the vegetable tanning liquor used in converting hides and skins into leather. Also called WOOZE. (See also: VEGETABLE TANNING. )


ooze leather

Originally, a leather produced from calfskin by forcing OOZE through the skin by mechanical means, producing a soft, finely grained finish like velvet or suede on the flesh side. The term is also used incorrectly with reference to sheepskin. Today, ooze leather is a vegetable- or chrome-tanned skin of bovine origin. generally calfskin, with a very soft, glovelike feel and a natural grain, which is sometimes accentuated by BOARDING (1).

British Standards Institution. British standard glossary of leather terms. B. S. 2780: 1956. London. British Standards Institution.


opacimeter

An instrument used to measure opacity. It is, in effect, a reflectometer designed especially to measure the opacity of paper. The reflectance of the sheet is first measured using a black background and then with a standard white background behind it. The instrument can be designed to give the ratio of the two measurements directly.

Coupe, Raymond Richard. Science of printing technology. London. Cassell. 1966.


opacity

That property of a material which restricts the passage of light and thus prevents one from seeing through it or seeing objects on or in contact with the reverse side. Opacity is of considerable importance in paper that is to be used for printing. Tn printing papers opacity is measured in percentages. e.g., a lightweight bond paper may have an opacity as low as 79%, i.e., 21o of the light that strikes it passes through, while a 24-pound bond paper of high opacity may rate a percentage of 93, meaning that only 75 of the light penetrates it. Different opacities may be obtained by: 1) varying the paper pulp; 2) varying the degree of hydration; or 3) using loading materials and special opacifying agents.

Warren (S. D.) Co. Boston. Facts and views of papermaking at S. D. Warren Company. Boston. S. D. Warren Co. 1965.


opaque

The property of being impervious to light, i.e., non-transparent. See: OPACITY.


open assembly time

The time interval between the spreading of an adhesive on the adherend and the completion of the assembly of the parts for bonding. In general, the use of paste and glue allows a greater assembly time than does the use of the polyvinyl adhesives. See also: ASSEMBLY TIME; CLOSED ASSEMBLY TIME.

Skeist, Irving. Handbook of adhesives. New York. Reinhold. 1962.


open joint

See: FRENCH JOINT.


OPEN MATTER

Full of breaks and whites.—M.


OPEN MATTER

Matter widely leaded or containing numerous break-lines.


OPEN THE FORM

In laying-up a form to wash it, the compositor, after unlocking the quoins, opens the matter with his fingers so as to suffer the water to penetrate among the letters and wash away the lye and ink.—M.


open warbles

See: WARBLES.


openability

That characteristic of a bound book which allows the leaves to lie relatively flat when the book is open, with no weight or pressure applied (especially along the binding edge). Openability depends to a certain degree on the size of the book, and to a considerable degree on the weight and thickness of the paper, its grain direction in the book (which should be parallel to the spine), the method of sewing, and the overall quality and structure of the binding. Cf: LYING FLAT.


opened

A book which has not had the bolts cut during the binding process but which has had the leaves separated with a paper knife, or other instrument. Cf: UNOPENED.


opening boards

The operation in hand binding of opening the boards of a book when the leather covering is well set but not completely dry. As each board is opened it is pressed toward the joint, both being pressed at the same time so that the boards will open just at the top of the shoulders.


opening up

The process of "opening" a newly bound book (other than an edition binding), in order to improve its flexibility. The usual method is to hold the book fore edge up, then by regular, uniform motions, a few leaves at a time, pressing the leaves down, first at the front, then at back, and then repeating, until the center of the book has been reached. "Opening up" helps avert strain on the binding and also permits freer opening of the book. See also: BREAK (1).

Eggeling, Arthur, and associates. Bookbinding by hand. New York. Eggeling Bookbindery. 1925.


opisthograph

An ancient manuscript inscribed or written on both sides of the leaves. The term was also applied to early printed books bearing letterpress on both sides of the leaves.

Harrod, Leonard Montague. The librarians' glossary of terms used in librarianship and the book crafts, and reference book. 3rd ed. London. Deutsch. 1971.

Kenyon, Frederick George. Books and their readers in ancient Greece and Rome. 2nd ed. Folcroft, Pa. Folcroft Library Editions. 1971.


OPISTHOGRAPHIC

The first productions of the press were printed on one side of the paper only; as the art improved among the early printers they impressed both sides: and those early productions, when they are printed on both sides of the paper, are styled Opisthographic.


optical spacing

1. The spacing of the raised bands on the spine of a book in such a manner that the bottom panel is slightly larger (the amount depending on the size of the book) than the other panels, so as to give the spine a balanced appearance. If the bands were so spaced that all of the panels were in fact the same size, the lowest (bottom) panel would appear to be much smaller. The bottom panel usually has the date, or extra (and different) tooling of some nature, at the very tail of the spine, and the size of the panel above this tooling is the same as the panels above it. 2. The spacing of the lettering on the spine of a book in such a manner as to make all of the letters of a word appear as though they are the same distance apart. In the combinations OO, OL and NN, for example, the OO combination would be spaced closer together than the OL, which in turn would be closer together than the NN, in the relative distance of 1 to 1 1/2 to 2 spaces. optimum binding method. An expression some times applied to the method used to secure the leaves or sections of a book, e.g., fold sewing, oversewing, adhesive binding, side sewing, etc., which will offer the best (optimum) binding for a given book in terms of usability, including openability and durability (strength and longevity). It is conceded that there is no one method which can satisfy all requirements for all books.


orderbook style

A style of blankbook binding in which the book has a leather spine and rounded corners. canvas sides, ink blocking on the sides. and gold blocking on the spine.

Palmer, Elbridge Woodman. A course in bookbinding for vocational training. New York. Employing bookbinders of America. 1927.


ordinary book-volume

A book defined by the Library Binding Institute to be an ordinary-sized graphic work consisting of an appreciable number of leaves or sections produced originally as a unit and submitted for binding, rebinding, or prebinding as such a unit and not requiring special handling. An ordinary book-volume ranges in height from approximately 6 to 12 inches, a proportional width and a thickness not exceeding 2 inches.

Library Association. Library Binding Institute standard for library binding. 5th ed. Boston. Library Binding Institute. 1971.


ordinary periodical-volume

A (periodical) volume defined by the Library Binding Institute to be a series of multi-leaved, like-constituted, serially numbered graphic units submitted for binding or rebinding into a scheduled multi-unit volume and not requiring special handling. An ordinary periodical volume ranges in height from about 8 to 16 inches, a proportional width and a thickness not exceeding 2 1/2 inches.


organic acids

The class of acids, such as acetic, formic, lactic. oxalic, tannic, etc., which are usually found in living organisms or which can be made from them. These acids are characterized by being relatively volatile and weak, consequently they are considered to he less harmful to archival materials. especially paper and leather, than the more powerful inorganic acids; however, they can be very destructive if allowed to remain in contact with leather or paper, especially the latter. for long periods of time.


organic pigments

Originally, pigments obtained from vegetable or animal materials, as distinguished from the inorganic pigments obtained from minerals. More recently, however, pigments have been classed as organic if they contain the element carbon in their composition. Most modern organic pigments are prepared synthetically from coal-tar derivatives, such as phthalocyanine blue, alizarin crimson, and the lakes produced from synthetic dyes.

Mayer, Ralph. A dictionary of art terms and techniques. New York. Crowell. 1969.


ORGANIC REMAINS

Abbreviations of Authors’ Names on Organic Remains.


ORIENTAL LANGUAGES

For the allowance of the duty on paper used in the printing of books in the Oriental languages within the universities of Oxford and Cambridge, the universities of Scotland, and the university of Trinity College, Dublin, see Paper.


oriental leaf

A type of imitation GOLD LEAF composed of brass and bronze. See also: DUTCH GOLD.

Holden, John Allen. The bookman's glossary…3rd ed. New York. Bowker. 1951.


original binding

The binding of a book which has been bound only once, or, in edition binding, the earliest of several bindings used for a particular edition of a book.


orihon

See notes on the electronic edition

1. A strip of paper, papyrus or vellum accordion folded so that writing or printing, which appears on only one side, is formed into pages or columns. The resulting "book" is then secured by cord passed through holes punched along the length of the binding edge. Covers were also at times laced on. Single sheets, folded but also uncut, were also at times treated in this manner. 2. A "stabbed" binding of Oriental origin. See: JAPANESE SEWING.

Young, John Lockwood. Books; from ms. to the bookseller. 3rd ed. London. Pitman. 1947.


ornamental inside lining

See: DOUBLURE.


ORTHOGRAPHY

The orthography of the English Language is attended with much uncertainty and perplexity. But a considerable part of this inconvenience may be remedied, by attending to the general laws of formation; and, for this end, the reader is presented with a view of such general maxims in spelling primitive and derivative words, as have been almost universally received.

Rule I.—Monosyllables ending with f, l, or s, preceded by a single vowel, double the final consonant; as staff, mill, pass, &c. The only exceptions are, of, if, as, is, has, was, yes, his, this, us, and thus.

Rule II.—Monosyllables ending with any consonant but f, l, or s, and preceded by a single vowel, never double the final consonant; excepting only, add, ebb, butt, egg, odd, err, inn, bunn, purr, and buzz.

Rule III.—Words ending with y, preceded by a consonant, form the plural of nouns, the persons of verbs, verbal nouns, past participles, comparatives, and superlatives, by changing y into i; as, spy, spies; I carry, thou carriest; he carrieth or carries; carrier, carried; happy, happier, happiest.

The present participle in ing, retains the y, that i may not be doubled; as, carry, carrying; bury, burying, &c.

But y, preceded by a vowel, in such instances as the above, is not changed; as, boy, boys; I cloy, he cloys, cloyed, &c; except in lay, pay, and say; from which are formed, laid, paid, and said; and their compounds, unlaid, unpaid, unsaid, &c.

Rule IV.—Words ending with y, preceded by a consonant, upon assuming an additional syllable beginning with a consonant, commonly change y into i; as, happy, happily, happiness. But when y is preceded by a vowel, it is very rarely changed in the additional syllable; as, coy, coyly; boy, boyish, boyhood; annoy, annoyed, annoyance; joy, joyless, joyful, &c.

Rule V.—Monosyllables, and words accented on the last syllable, ending with a single consonant preceded by a single vowel, double that consonant, when they take another syllable beginning with a vowel: as, wit, witty; thin, thinnish; to abet, an abettor; to begin, a beginner.

But if a diphthong precedes, or the accent is on the preceding syllable, the consonant remains single: as, to toil, toiling; to offer, an offering; maid, maiden, &c.

Rule VI.—Words ending with any double letter but l, and taking ness, less, ly, or ful, after them, preserve the letter double: as, harmlessness, carelessness, carelessly, stiffly, successful, distressful, &c. But those words which end with double l, and take ness, less, ly, or ful, after them, generally omit one l, as, fulness, skilless, fully, skilful, &c.

Rule VII.—Ness, less, ly, and ful, added to words ending with silent e, do not cut it off: as, paleness, guileless, closely, peaceful; except in a few words: as, duly, truly, awful.

Rule VIII.—Ment, added to words ending with silent e, generally preserves the e from elision: as, abatement, chastisement, incitement, &c. The words judgment, abridgment, acknowledgment, are deviations from the rule.

Like other terminations it changes y into i, when preceded by a consonant: as, accompany, accompaniment; merry, merriment.

Rule IX.—Able and ible, when incorporated into words ending with silent e, almost always cut it off: as, blame, blamable; cure, curable; sense, sensible, &c.; but if c or g soft comes before e in the original word, the e is then preserved in words compounded with able: as, change, changeable; peace, peaceable, &c.

Rule X.—When ing or ish is added to words ending with silent e, the e is almost universally omitted: as, place, placing; lodge, lodging; slave, slavish; prude, prudish.

Rule XI.—Words taken into composition, often drop those letters which were superfluous in their simples; as, handful, dunghil, withal; also, chilblain, foretel.

The orthography of a great number of English words, is far from being uniform, even amongst writers of distinction. Thus, honour and honor, inquire and enquire, negotiate and negociate, control and controul, expense and expence, allege and alledge, surprise and surprize, abridgment and abridgement, and many other orthographical variations, are to be met with in the best modern publications. Some authority for deciding differences of this nature appears to be necessary; and where can we find one of equal pretensions with Dr. Johnson’s Dictionary? though a few of his decisions do not appear to be warranted by the principles of etymology and analogy, the stable foundations of his improvements.—“As the weight of truth and reason,” (says Nares in his ‘Elements of Orthoepy,’) “is irresistible, Dr. Johnson’s Dictionary has nearly fixed the external form of our language. Indeed, so convenient is it to have one acknowledged standard to recur to; so much preferable, in matters of this nature, is a trifling degree of irregularity, to a continual change, and fruitless pursuit of unattainable perfection; that it is earnestly to be hoped, that no author will henceforth, on light grounds, be tempted to innovate.”

The plural number of nouns is generally formed by adding s to the singular: as, dove, doves; face, faces; thought, thoughts. But when the substantive singular ends in x, ch soft, sh, ss, or s, we add es in the plural: as, box, boxes; church, churches; lash, lashes; kiss, kisses; rebus, rebusses. If the singular ends in ch hard, the plural is formed by adding s; as, monarch, monarchs; distich, distichs.

Nouns which end in o, have sometimes es added to the plural; as, cargo, echo, hero, negro, manifesto, potato, volcano, wo: and sometimes only s; as, folio, grotto, junto, nuncio, portico, punctilio, tyro.

Nouns ending in f, or fe, are rendered plural by the change of those terminations into ves: as, loaf, loaves; half, halves; wife, wives; except grief, relief, reproof, and several others, which form the plural by the addition of s. Those which end in ff, have the regular plural: as, ruff, ruffs; except, staff, staves.

Nouns which have y in the singular, with no other vowel in the same syllable, change it into ies in the plural: as, beauty, beauties; fly, flies. But the y is not changed, when there is another vowel in the syllable: as, key, keys; delay, delays; attorney, attorneys.

Some nouns become plural by changing the a of the singular into e: as, man, men; woman, women; alderman, aldermen. The words, ox and child, form oxen and children: brother, makes either brothers, or brethren. Sometimes the diphthong oo is changed into ee in the plural: as, foot, feet; goose, geese; tooth, teeth. Louse and mouse make lice and mice. Penny makes pence, or pennies, when the coin is meant; die, dice (for play); die, dies (for coining).

The following words, which have been adopted from the Hebrew, Greek, and Latin languages, are thus distinguished with respect to number.

* Genii, when denoting aërial spirits: Geniuses, when signifying persons of genius.

† Indexes, when it signifies pointers, or Tables of contents: Indices, when referring to algebraic quantities.—Murray.

The following observations relate to English and Scotch orthography, temp. Hen. VIII.:—

A is frequently used in Scottish orthography for o; as, aith for oath, ane for one, twa for two, hame for home, quha for who.

Qu is in Scottish commonly substituted for w, as, quha for who, quhair for where, quhilk for which.

U is in Scottish usually substituted for the English oo, as, guid or gude for good, stude for stood.

V and W, at the commencement of words and syllables, are used indiscriminately, and sometimes also at their termination, as, foryew for foryeve; w is in Scottish also substituted for u in the middle of syllables, as, swt for suit.

Y is in Scottish almost always used for th (being corrupted from the Anglo-Saxon þ), and its place supplied by z.

Z is in Scottish constantly used for y, being corrupted from the Anglo-Saxon ȝ.

Verbs.—The following are some of the most commonly used irregular verbs, having a preterite and participle varying from those in use at the present time:—

To Be—in the second person singular Bes; in the third person Beis, Beth, or Beeth; in the third person plural Arn, Be, Ben, Been, Bene, Byn, or Er; in the third person plural of the preterite Werne.

To Bid—in the preterite Bode; in the participle Bode, Boden.

To Bind—in the preterite Bonde; in the participle Band, Bond, Bounde, Bounden.

To Bite—in the preterite Bote.

To Con or Can, to be able—in the third person singular Conith.—Michel can, to be powerful.

To Climb—in the preterite Clomb, Clame, Clambe, Clombe, Clomben.

To Cling—in the preterite Clong.

To Ferme (Sc.) to establish—in the participle Fermen.

To Fet, to fetch—in the preterite Fetten; in the participle Fette.—Ferfett, farfetched.

To Flete (Sc.) to float—in the preterite Flet.

To Forbede or Forbid—in the preterite Forbod; in the participle Forboden, Forbode, Forbodden.

To Gar or Ger (Sc.) to cause—in the preterite and participle Gart, Gert.

To Geve, Gif, or Gyf, to give—in the preterite Gaf; in the participle Giffin, Goue, Gouun, or Gyffen.

To Glide—in the preterite Glode.

To Kithe (Sc.) to prove—in the preterite Kidde.

Man, Mone, or Moten (Sc.)—must.

To Mow, Moue, or May, to be able—in the preterite Mot, Mought, Moght, or Mowght; in the future Shall mow or may; subjunctive May mow; To mow in the infinitive.

To Owe—preterite Ought; as “He oweth to pay,” “They owe to come,”—“D. ought him thirty shillings,” “He ought suit,” “Kindness ought to us.”

To Preif or Pryve (Sc.) to prove—in the preterite and participle Prewit or Pryved.

To Recet or Receipt (Sc.) to harbour a criminal—in the participle Reset, Resettit, or Receipted.

To Rede, to advise—in the preterite Radde.

To Reve, Reffe, or Riffe (Sc.) to rob—in the preterite Reft; in the participle Reft, Reved, or Revin.

To Tyne, Tyin, Tyn, or Tynte (Sc.) to lose—in the participle Tint, Tynt.

To Vys or Wis, to know—in the preterite Vyst or Wist.

To Wete, Wite, or Wit, to know—in the preterite Wote; in the imperative Wateth, Witeth, know thou.

To Will—in the preterite Willed, Woled, Wold, or Wolde; preterpluperfect Had wold; future Shall will.

To Yeve, Yew, or Yeove, to give—in the preterite Yaf, Yave; future Shall or will Yeve; active participle Yeving; passive participle Yeven, frequently, and sometimes Yewin, Yoven, Yeoven, Yevin, and Yevyn.

Yede, Yode, went, preterite of A. S. gán to go.

To Yield—in the preterite Yald, Yalt, or Yold; in the participle Yelde, Yold, Yolde, Yolden.

His, or sometimes Is, is used after a masculine substantive as the sign of the genitive case, and occasionally united with the substantive, as, Kinghis. It occurs sometimes, though rarely, after a feminine substantive, as, “The Queen his affairs,” “The Queen is favour;” but her is more commonly used in that case, as, “Elizabeth Holland her house.”


ounce

A measurement of the thickness of leather, one ounce being equal to 1/ 64 inch. Originally, it meant the thickness of 1 square foot of finished leather that weighed 1 ounce avoirdupois. See also: LEATHER SUBSTANCE TABLE.

Tanners' Council of America, Inc. Dictionary of leather terminology. 6th ed. New York. Tanners' Council of America. 1969.

Wilson, John Arthur. Modern practice in leather 367. manufacture. New York. Reinhold. 1941.


OUT

A compositor usually says, I am out, meaning he has set out his page, form, or copy.—M.

When a compositor has omitted a word or words, a line, a sentence, a paragraph, a page or a leaf of copy, which sometimes does happen, each of these omissions is called an Out: thus we say, <i>An out of a word—of two words—of a line</i>, &c.


OUT

An omission marked in a proof by the reader.


out of boards

A book that is cut (trimmed) before the boards are secured to the text block. It is an abbreviation of "cut out of boards." Cf: IN BOARDS.

Town, Laurence. Bookbinding by hand, for students and craftsmen. New York. Pitman. 1950 (1951).


out of boards

When a volume is cut before the boards are affixed, it is said to be done out of boards.


out of boards

When a volume is cut before the boards are affixed, it is done out of boards. Nearly the whole of common work is done out of boards.


out of boards

When a volume is cut before the boards are affixed it is done “out of boards.” Nearly all work is now done out of boards.


OUT OF COPY

A compositor is said to be out of copy when he has composed all that is in his possession, and there is no supply for him to go on with. It is also termed standing still for copy.


OUT OF LETTER

When a compositor has no letter in his cases, and none to distribute, he is said to be out of letter.


out of register

An imperfect REGISTER (3), meaning that the two sides of a printed sheet do not back each other perfectly, or the impression is not in correct position in relation to the other matter already ruled or printed on the sheet. See also: FOLD TO PRINT.

Winans, Leonard G. The book from manuscript to market. New 370. York. Grosset 8 Dunlap. 1941.


OUT OF REGISTER

Bad Register.—M. When the pages on both sides of a sheet do not print exactly upon each other; or when line does not fall upon line, where they are intended to do so; or folios are not justified in the middle of the line; or when any thing on one side of a sheet does not print exactly on the back of a similar thing on the opposite side, which it is meant to do, it is said to be Out of Register, or Out, or It does not Register, or It is not in Register.


out of register

When the pages do not back each other.


OUT OF TRUTH

When a book is not cut square.


OUT-PAGE

In octavos, twelves, sixteens, every outside page in a sheet is called an Out-Page; the rest are called In-Pages.—M.


OUTER FORM

The form that has the first page of the sheet in it. It is usual to work this form the last. See Lay on.


outer joint

The grooves in the covering material at which the boards open. Also called (outer) hinge. The term "joint" is sometimes used to indicate the ridge or abutment formed by the backing operation to accommodate the boards; however, this ridge is more appropriately referred to as the SHOULDER(S) (1) of the book. See also: FRENCH JOINT.

Middleton, Bernard C. The restoration of leather bindings. Chicago. American Library Association. (A. L. A. Library Technology Project, LTP publication no. 18). 1972.


outsert

An additional folio placed around the outside of a section.


outside margin

See: FORE-EDGE MARGIN.


OUTSIDE QUIRES

The two quires on the outside of every ream of paper delivered from the maker; they have never more than twenty sheets in each, all of which are either damaged or torn, more or less. These quires are also called Cassie Quires, and Cording Quires. It is now uncommon to send any outside quires to letter-press printers; the paper sent to them for use being what is termed Perfect.

Outsiders. See Newspapers.

Overflowing Case. See Case Runs Over.


ovals, in

An oval arabesque centerpiece decoration blocked or tooled on both covers of a book. This was a popular method of decoration of the late 16th and early 17th centuries, and was executed in both gilt and blind.


over-tanned

A condition in which the grain and flesh sides of a hide or skin have received an excess of tannin in relation to the interior, or corium, of the skin. It results from the grain and flesh sides being exposed to a strong tannin liquor and becoming over-tanned while the corium has had insufficient exposure. The problem can be avoided by using weaker liquors initially, and building to stronger solutions as tanning progresses. Over tanning produces a hard, thin leather, often with a cracky, distorted (drawn) grain. See also: CASE-HARDENING.

Sharphouse, John Henry. The leatherworker's handbook. London. Leather Producers' Association. 1963.


overbands

See: BANDS (2).


overcast cloth joint

A reinforcement used to strengthen the attachment of the cover to a text block. One side of a strip of cloth is sewn to the shoulder of the text block and the other side is pasted to the inside of the board.


overcasting

See illustration</> A method of hand sewing in which groups of single sheets are sewn together using a single length of thread which passes through the paper and over the back edges of the leaves. Overcasting is sometimes used when sewing a book made up of single sheets, the "sections" created being sewn flexibly. It is also a method used by library binders when attaching new endpapers to a book being recased, or to reinforce the first and last sections of a book being rebound without resewing.

Overcasting is a strong form of sewing, but it results in considerable strain on the leaves and frequently cuts the paper, partly because of the diagonal at which the thread passes through the paper. In addition, when groups of leaves are overcast and then sewn on cords or tapes, unsightly gaps are seen between the "sections."

Cockerell, Douglas. Some notes on bookbinding. Oxford. Oxford University Press. 1929.


overcasting

An operation in sewing, when the work consists of single leaves or plates.


overcasting

Oversewing the back edges of single leaves of weak sections; also called whipstitching or whipping.

Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books


overcasting

An operation in sewing, when the work consists of single leaves or plates. Over-sewing.


overcasting

over-sewing the back edges of single leaves or weak sections.


overcasting

Sewing the leaves or signatures of a book together over and over. Usually done only when the book consists of single leaves or plates; but is quite commonly employed now in rebinding books, especially on the last two or three signatures front and back. Also called whip-stitching. Probably 90 per cent. of the books published today will stand wear better if they are properly overcast than if they are sewed in the ordinary way.


overcharged

A leather or other binding having too much ornamentation, usually gilt, giving the entire decoration a crowded and overburdened appearance.

Leighton, Douglas. Modern bookbinding: a survey and a prospect. New York. Oxford University Press. 1935.


overdried

Paper which has been dried to the point of brittleness and loss of strength. It is usually assumed that the term applies to paper which is dried excessively during manufacture, but it may also be applied to paper, i.e., books, documents, etc., stored in an excessively dry (and usually very hot) environment. The expression "brittleness" is appropriate here even though in a strict sense brittleness refers to a breakdown of the cellulose linkages in a paper, generally as a result of chemical degradation.

Casey, James P. Pulp and pa per: chemistry and chemical technology. 2nd ed. New York. Interscience. 1960-61. 3 vol.


Overlay

A scrap of paper pasted on the tympan-sheet to bring up the impression.


OVERLAYS

Pieces of paper pasted on the tympan sheet, or on a sheet between the tympans, to increase the pressure on particular parts of a form, to make the impression more regular, or more perfect. See Engravings on Wood. Fine Presswork. Making Ready.

Overplus. See Waste.


OVERRUN

If in a proof any matter is marked to be taken out, or to be inserted, in a page, or pages, it will be necessary to take matter from one page to another, to preserve them of a proper length, this is termed overrunning: it may be a few words only in a paragraph, and not extending beyond it; in this case it is termed overrunning a paragraph.

The best method of overrunning matter is to take the lines into a composing stick; the spacing and the justifying of the lines are better preserved by this means, than by spacing out upon the stone in the form, and feeling the ends of the lines with the fingers.


Overrunning

Carrying words backward or forward in correcting.


OVERSEER

The manager or superintendent of a printing office. The duties of an overseer vary according to the size of the establishment, and the part that his principal takes in its management; but, generally speaking, he has the sole conducting of the practical department, receiving his general directions from the principal, and seeing that they are carried into execution in a proper manner. It is requisite, as a matter of course, that he should be intimately and practically acquainted with the business in all its details. It is of importance to the concern where he has the management, that he should blend urbanity with firmness; and show judgment and impartiality in giving out work, so that the business should proceed with regularity, and with satisfaction to all parties.


oversewing

A method of sewing the leaves of a book by hand or machine, almost always the latter in library binding. The sewing thread passes through the edges of each "section," in consecutive order, using pre-punched holes through which the sewing needles pass.

The oversewing process generally entails the removal of the original spine lining cloth. glue, original sewing, and the folds of the sections, which is usually accomplished by planing, grinding, sawing, or cutting the spine of the book, thus removing an eighth of an inch or more of the binding margin. Sometimes the spine is first nipped to remove the original backing shoulders before the folds are removed. The book, having been reduced to individual leaves, is then jogged, and a very light coat of glue is applied along the binding edge to hold the leaves together temporarily. A number of leaves, or a "section," between 0.055 and 0.065 inch in thickness (depending upon the thickness of the paper) is then sewn, either by hand, or, more commonly, in an oversewing machine. The thread passes through the section perpendicular to the plane of the paper (Holloway method) or obliquely. This later, diagonal method is known as the CHIVERS method, which is employed in oversewing machines. Altogether, about 5/16 or 6/16th inch of the binding margin is consumed by the process.

Hand oversewing was in common use by the end of the 18th century and the beginning of the 19th, particularly for large books and those with loose plates. The oversewing machine, which was invented and perfected in the first quarter of the 20th century, is the principal sewing machine employed by library binders in the United States.

Atkins, J. Howard. Tying the future to a thread. Medford, Mass. Oversewing Machine Co. of America. 1968.

Middleton, Bernard C. A history of English craft bookbinding technique. New York. Hafner. 1963.

Pacific bindery talk. Los Angeles. Pacific Library Binding Co.


oversize

1. A book which is too large to he shelved in normal sequence in the bookstack. In the United States, books over 30 cm. (11.81 inches) are generally included in this category. 2. Paper made to allow for trimming to the size offered.


overstitching

See: OVERCASTING.


overweight kip

A cattle hide weighing from 25 to 30 pounds in the green. salted state.


ownership mark

A bookplate, rubber stamp, label, perforation, or other means of marking the ownership of a book.

Harrod, Leonard Montague. The librarians' glossary of terms used in librarianship and the book crafts, and reference book. 3rd ed. London. Deutsch. 1971.


ox hide

Leather made from the hides of domestic cattle. See: COWHIDE.


ox-gall

The bile obtained from the gall bladder of a bovine animal, usually a domesticated cow. It consists of a ropy. mucous, semi-transparent liquid, and contains sodium salts of taurocholic and glycocholic acids, cholesterol, lecithin, etc. Ox-gall is used as the expanding and binding medium for the colors used in MARBLING.

It is necessary in all marbling, and it is important that it be pure and free from water. When in its original state it is yellowish or greenish brown, but becomes clear and dark brown when allowed to settle. The liquid is then drawn off and mixed with alcohol. Its effect on the colors is to make them spread out in large flat rings when they are dropped on the size Ox-gall is also used in engraving and lithography.

Loring, Rosamond Bowditch. Decorated book papers…1st ed. 1942; 2nd ed. 1952. Cambridge, Mass. Harvard University Press.

Pleger, John J. Bookbinding. Rev. ed. Chicago. Inland Printer. 1924.

Woolnough, Charles W. The whole art of marbling as applied to paper, book edges…Rev. ed. London. Bell. 1881.


oxalic acid

A dibasic, highly toxic acid (H2C2O4) soluble in water and alcohol, and slightly soluble in ether. It occurs as the free acid in beet leaves, and as potassium hydrogen oxalate in wood sorrel and rhubarb. Commercially, oxalic acid is prepared from sodium formate (HCO2Na) It can also be obtained as a byproduct in the manufacture of citric acid and by the oxidation of carbohydrates with nitric acid (HNO3) in the presence of vanadium pentoxide (V2O5). It is used by some bookbinders to clear the leather before applying paste for tooling. It must be applied in very dilute solution, otherwise it will bleach the leather. It is also used in the manufacture of dyestuffs for cloth, in bleaching cotton linters and in the manufacture of ink. Potassium hydrogen oxalate is sometimes used to remove ink stains from paper. (15, 195)

American Library Association. Library Technology Program. Development of performance standards for library binding, phase 1". Chicago. American Library Association. (L. T. P. publications no. 2). 1961.

Kingzett, Charles Thomas. Kingzett's chemical encyclopedia; a digest of chemistry & its industrial applications. Ed. by D. H. Hey, and others. 9th ed. London. Baillière, Tindell and Cassell. 1966.


Oxford corners

Border lines that cross and project beyond each other, as on title pages and (sometimes) book covers.

Clough, Eric A. Bookbinding for librarians. London. Association of Assistant Librarians. 1957.


Oxford hollow

A particular form of the HOLLOW consisting of a simple flat paper tube which is glued to the spine of the text block on one side, and to the inside of the spine of the covers, leaving a hollow opening between. The term presumably derives from the fact that Oxford binders were the first to use it, namely for leather-bound Bibles. It is actually a ONE ON AND ONE OFF hollow.

Glaister, Geoffrey Ashall. An encyclopedia of the book. Cleveland. World. 1960.


Oxford style

See: DIVINITY CALF (1).


oxidation

See notes on the electronic edition

The chemical reaction in which a material combines with oxygen to form an oxide, i.e., the positive valence of the material increases. Oxidation results in the deterioration of an adhesive due to atmospheric exposure. to the breakdown of a hot-melt adhesive because of prolonged heating. and to the deterioration of paper due to an excessive amount of alkali which results in an excessively high pH. See also: HYDROGEN-ION CONCENTRATION.


oycelluloses

A degraded form of cellulose produced by oxidation. Oxycelluloses vary in chemical nature according to the oxidation agent used.

<!-- BEGIN P -->

American Paper and Pulp Association. The dictionary of paper, including pulp, paperboard, paper properties and related papermaking terms. 3rd ed. New York. American Paper and Pulp Association. 1965.


p.c.p.

Abbreviation for PENTA-CHLOROPHENOL.


P.I.R.A. tested

An accelerated deterioration (decay) test designed for vegetable-tanned bookbinding leathers, and developed by the Printing Industries Research Association of Great Britain. Essentially, the test involves treating a specimen of leather with sulfuric acid and hydrogen peroxide. The P.I.R.A. test is actually an ACCELERATED AGING TEST and it is said that it will reveal (in the course of seven days) whether the leather is likely to undergo greater deterioration in a polluted atmosphere than in one that is not polluted.

A sample of leather 2 1/2 inches square and weighing from 2 to 6 grams is placed on a glass plate, flesh side up, and evenly dampened with a So solution of sulfuric acid in the proportion of 1 ml of acid solution per gram of air dry leather.

After remaining at room temperature overnight, hydrogen peroxide (10 vol. strength) is applied uniformly to the specimen, in the proportion of 0.6 ml per gram of leather. The specimen is then given additional treatments with hydrogen peroxide every 24 hours. This procedure is said to cause unsatisfactory leather (leather lacking in permanence) to become blackened and gelatinized whereas satisfactory (permanent) leather will be unaffected, except for possible discoloration of the edges. Changes in the color of dyestuffs are said to he immaterial.

Middleton, Bernard C. The restoration of leather bindings. Chicago. American Library Association. (A. L. A. Library Technology Project, LTP publication no. 18). 1972.

Waterer, John William. A guide to the conservation and restoration of objects made wholly or in part of leather. 2nd ed. London. Bell. 1973.


Pablos, Juan

An Italian printer (Giovanni Paoli), appointed by Juan Comberger, the leading printer of Seville, to serve as compositor and manager of a printing establishment in Mexico. Pablos thus became the first known printer in the Western Hemisphere. The first book issued by the press, of which there is any definite record, was dated 1539, the same year the press was established. Records do not indicate that r any bookbinder was associated with the press; therefore it is possible that Pablos himself did the binding.

Some authorities contend that printing in the Western Hemisphere began even before 1539. Early Mexican records mention a printer by the name of Estaban Martin, but there is no record of anything he may have printed. An early letter from the Archbishop to the King of Spain, however, would seem to indicate that attempts were made to establish a press before Pablos arrived in Mexico.

Miall, Laurence Mackenzie, and D. W. A. Sharp, eds. A new dictionary of chemistry. 4th ed. New York. Wiley. 1968.


packing

See STUFFING (1).


packthread

A strong thread or small twine over which the PURL was sewn on embroidered bindings.


pad

A number of sheets of paper (printed, ruled, or blank), generally backed with thin board, secured at one edge (frequently the top) with a padding compound, and sometimes reinforced with a cloth or other type of lining. See also: PADDING (2).


pad counter

1. A simple type of gauge used to divide the leaves of a book into "sections" of the appropriate thickness for oversewing. Two gauges are generally used, one to divide the leaves into sections 0.055 inch in thickness, the other to divide bulkier paper into sections 0.065 inch thick. 2. A device consisting of two flat blades, one of which is adjustable to any distance from the other, and used to determine the number of sheets in a pad. The number of sheets wanted in each pad of a production run is counted out (five extra sheets being added to allow for a snug fit when setting the gauge). The counted pile is placed between the two blades and the movable blade is tightened, following which the five extra sheets are removed. If the fixed blade is placed directly on top of the pile of stock and firm pressure is applied as the adjustable blade is slid into the pile, the counter will pick up approximately the number of sheets desired. See also: CHECK PILE.

Chidester, Otis Holden. First year graphic arts. Tucson, Ariz. Graphic Arts Press. 1949.

Hitchcock, Frederick H. The building of a book…2nd ed. New York. Bowker. 1929.


padded boards

A book which has boards padded with cotton batting, blotting paper, or other compressible material, so that they are thicker than normal boards, especially toward the center, and are soft to the touch. Such boards are generally covered in genuine or imitation leather, and are used for diaries, presentation books, and the like.


padding

1. The blank leaves added at the end of a thin publication so as to form a volume with sufficient thickness to be rounded and backed and/or to be lettered on the spine. Unfortunately, the paper used for this purpose is usually of an inferior quality, and becomes embrittled and transfers its acidity to the leaves of the publication. Also called "filler," or "filling." 2. A method of securing ruled, printed or blank leaves by the application of a padding compound, and sometimes a cloth or other reinforcing liner, to one edge (frequently the top) of the sheets which have been jogged even on the binding edge and placed under pressure. Special padding troughs, clamps and presses are used to facilitate padding large quantities at one time. See also: PAD COUNTER (2); PADDING COMPOUND. 3. A method of applying dyestuff to the grain surface of a leather or tawed skin, particularly the latter, in cases where it is not feasible to immerse the skins in the dyestuff liquor because of the increased fullness and decreased stretch which will result from such immersion.

Hutchings, Ernest A. D. A survey of printing processes. London. Heinemann. 1970.

Klinefelter, Lee Miller. Bookbinding made easy. Rev. ed. Milwaukee. Bruce. 1960.

Melcher, Daniel, and Nancy Larrick. Printing and promotion handbook …3rd ed. New York. McGraw-Hill. 1966.

Reed, Ronald. Ancient skin, parchments and leathers. London. Seminar Press. 1972.


padding clamp

A compression table clamp designed to secure pads on two edges, leaving either of two edges, one long and one short, available for PADDING (2).


padding compound

A liquid adhesive, usually consisting of gum arabic plasticized with glycerin, glycol, or sorbitol, and used in PADDING (2) work.

Goodwin, Bancroft L. Pamphlet binding…Chicago. United Typothetae of America. (Typographic technical series for apprentices, pt. 5, no. 30). 1925.

Pocket encyclopedia of paper & graphic art terms. 2nd ed. Kaukauna, Wisc. Thomas. 1965.


paddle dyeing

A method employed in dyeing the more fragile leathers, including bookbinding leathers, skivers, etc., that might otherwise be damaged by the vigorous mechanical action involved in drum dyeing. Paddle dyeing requires considerably higher ratios of dye solution to weight of leather than are used in drum dyeing, and utilizes the dyes less effectively; however, it does have the advantage that the leather is visible during dyeing and adjustments to shade and strength can be made continuously.

O'Flaherty, Fred, and others, eds. The chemistry and technology of leather. New York. Reinhold. (American Chemical Society monograph series, no. 134. 1956-65. 4 vol.


Padeloup, Antoine Michel

See illustration</> A French bookbinder who was probably the outstanding craftsman of a distinguished family that was associated with the craft for more than 150 years. Padeloup was apprenticed to his father, Michel (c 1654-1725), and probably became a master bookbinder in about 1712. More commonly known as Padeloupe "le jeune," he was appointed royal binder to Louis XV in 1733, succeeding Luc Antoine Boyet. Padeloup was esteemed both for the solidity of his forwarding and the embellishment of his bindings. He had an eclectic taste and most of his bindings displayed several diverse styles of ornamentation mingled together. Padeloup often decorated his books with DENTELLE (lace-work) borders, and has even been credited by some with the introduction of this border, although there is no real proof of this. He also executed, but with less success, several bindings with onlaid work in different colored leathers. Although these mosaics were well executed, the tilelike design of many of them is considered by some authorities to be too feeble. He is also credited with the introduction of the "repetition" design. Some of Padeloup's bindings are in imitation of the work of FLORIMOND BADIER, sometimes repeating the silver-threaded headbands of that period. Padeloup was also one of the first binders to "sign" his bindings, by means of a ticket bearing his name and address.

Davenport, Cyril James Humphries. The book; its history and development. New York. Smith. 1930.

Uzanne, Louis Octave. The French bookbinders of the eighteenth century. Translated by Mabel McIlvaine. Chicago. Caxton Club. 1904.

Walters Art Gallery, Baltimore. The history of bookbinding 525-1950 A.D. Compiled by Dorothy Miner. Baltimore. Trustees of the Walters Art Gallery. 1957.


page

One side of a leaf, whether blank or containing letterpress or writing, and regardless of sequential arrangement.


PAGE CORD

Small twine with which the pages are tied round, to secure them temporarily till they are imposed. Small net twine is the best, as being stronger and more uniform in thickness than any other cord that I have seen used for the purpose.


PAGE CORD

Twine used for tying up pages.


page flex test

A binding endurance test designed to determine the number of times a leaf of a bound book can be flexed under light tension before it becomes detached from the book. The book is placed open on a flat plate, with both covers flat on the surface. A single leaf is selected and held in a vertical position, while the remaining leaves on either side are clamped down. The vertical leaf is passed between two bars approximately 3/16 inch in diameter, 1/4 inch apart, and longer than the leaf, and positioned at a fixed distance of 2 inches above the gutter of the book. A clamp is attached to the leaf to hold it in a vertical position, as well as to exert an upward force of 3 to 5 pounds. The bars on either side of the leaf are moved back and forth a distance of 3 1/2 inches, causing the leaf to flex at an angle of 45° to either side of the vertical, or a total of 90°. The flexing is at the rate of 88 per minute, and the test continues until failure of the leaf, or a maximum of 1,000 flexes. To accelerate the test, the upward force exerted on the leaf can be increased.


PAGE PAPER

Stout paper cut up to the proper size, on which to place pages, till they are wanted to be imposed.

The wrappers that come round bundles of paper are generally used, for which the compositor applies to the warehouseman, who when he has no wrappers, gives some of the stoutest waste paper that he has; when it is not strong enough single the compositor uses it double. Page papers are cut longer than a page of the work they are for, and should be about an inch and a half broader than the width of the page and turned up to the sides of it, so that when the compositor has occasion to move his pages, he takes hold of both sides with one hand including the sides of the page paper which supports the bottom of the page.

Except the page papers be very stout, it would be running a risk to place large quarto pages on them: in this case it will be better to keep them on slices.


page pull test

A binding endurance test designed to determine the force required to pull a leaf from a bound book; its purpose is to determine the strength of the method used to secure the leaves or sections of the book. The leaf is pulled with uniform force along its entire length, Usually by means of an Instron tester. The book is clamped into position by the bottom jaw of the testing device with a single leaf held in a vertical position by the top jaw. The jaws are separated and the force required to tear the leaf or pull it from the adhesive or adhesive-thread layer is measured. The total force in pounds is divided by the length of the leaf in inches to give the page-pull unit of measurement as pounds per linear inch. The page-pull test does not measure individually the binding strength of a book, e.g., an adhesive binding, having a stiff, high-bulking paper, may display a satisfactory page-pull test of 5 to 7 pounds, yet if the volume is subjected first to the SUBWAY TEST, and then the page-pull test, it may show a much lower value, even as low as 1 to 2 pounds.


pagination

A system of numerals or other characters, or a combination thereof, assigned to the pages of a book or manuscript to indicate their order. Numbering of the leaves of both manuscripts and printed books began in about 1470, and by 1480 the practice had become general. Page numbering, however, was comparatively rare until 1500, and did not become general until 1590. See also: FOLIATION (3).


painted edges

See: FORE-EDGE PAINTING.


painted papers

Decorative cover papers or endpapers produced by painting designs directly onto the paper, either freestyle or in a controlled and organized plan. Paint alone, or paint mixed with black or colored inks, is generally used in the execution of these papers.


pale

Sixteen karat gold leaf. Because of the alloys used to reduce the gold from 24 to 16 karat, "pale" leaf is much lighter in color and somewhat thicker than the customary 23 to 23 1/2 karat gold leaf. See also: LEMON.


PALE COLOUR

If there be not Blacking enough in the ink, or the form be beaten with too lean balls, the work will be said to have a <i>Pale Colour</i>.—M. The term is now applied only when there is a deficiency of ink, so that the surface of the paper is not completely covered on the impression of the types.


palette knife

A blunt-tipped knife with a very flexible steel blade having no cutting edge, and used for mixing the colors, paste, etc., for marbling, decorative endpapers, etc.

Philip, Alexander John. The business of bookbinding for librarians …Gravesend. A. J. Philip. 1935.