plasticizer

1. A material, such as glycerin (glycerol), sorbitol, triethylene glycol, etc., incorporated into an adhesive during manufacture to increase its flexibility, workability, or distensibility. The addition of the plasticizer may cause a reduction in melt viscosity, lower the temperature of the second-order transition, or lower the elastic modulus of the solidified adhesive. 2. A material added to the stock in the manufacture of a paper such as glassine, or used in the papermaking mixtures, to impart softness and flexibility. Usual papermaking plasticizers include glycerol, sorbitol, invert sugar, phthalic acid esters, various minerals oils, organic esters of phosphoric acid, and the like.

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.

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


plate

1. An illustration printed separately from the text of the book, often on a different type of paper. Plates may be bound into a book, tipped onto a blank leaf (or a leaf bearing a printed caption), loose in a pocket or portfolio, or bound in a separate volume. Plates are not generally included in the pagination of the book. See also: PLATE ATTACHMENT. 2. A flat block of wood or metal, usually of copper, nickel or zinc, on the surface of which is a design or reproduction of a type form, and which is used for printing, engraving, embossing, etc. The method of printing may be relief, intaglio, or planographic. 3. To make an electrotype or stereotype.

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.

Barrow, William J. Manuscripts and documents, their deterioration and restoration. 2nd ed. Charlottesville, Va. University of Virginia Press. 1972.

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


plate

an illustration printed from a plate. Term often incorrectly applied to illustrations printed from woodcuts. Any full-page illustration printed on different paper to the book is usually called a “plate.”

Public domain (Project Gutenberg, pre-1930 text)


plate

An illustration printed from a plate. Term often incorrectly applied to illustrations printed from wood-cuts. Also, any full page illustration printed on paper different from that of the rest of the book is usually called a “plate.”


plate attachment

The method used to attach a plate to a leaf or section of a book. The various methods include: 1) an illustration printed on a separate sheet and pasted to a narrow guard of paper or linen which is then folded around the section and sewn with it (plate guarded and hooked); 2) a plate secured by folding the margin of the edge of the leaf on which it is printed around the section and sewing it with the section (plate hooked on own guard); 3) plates printed to form a section of two or more leaves and inserted into or folded around a section and sewn with it (plates folded in or around sections); and 4) two plates joined together by means of a strip of paper or linen, thus forming a section which is inserted into or folded around a section and sewn with it (plates guarded and joined).

Clowes, William Beaufoy. A guide to printing. London. Heineman. 1963.

Vaughan, Alexander J. Modern bookbinding; a treatise covering both letterpress and stationery branches of the trade…New ed. London. Skilton. 1960.


plate folding

An alternative name for buckle folding. See: FOLDING; PLATE ATTACHMENT.


plate mark

An impressed line denoting the boundary of a plate used in making an engraving. It is caused by the pressure applied to make the impression on the sheet. The part of the paper on which pressure was applied is depressed and smoother than the surrounding area. Occasionally faint traces of ink can be seen along the plate line if the plate was not properly cleaned before printing.


PLATE PAPER

This paper takes a good impression; but, without great care at press, owing to its thickness and softness, it is by the process pressed into the interstices between the lines, which produces an impression of more than the surface, and, of course, of more than is wanted to appear, particularly in engravings on wood: the skill of the artist is thus rendered of little avail; and the delicacy and tone of the engraving are destroyed.

To control this evil, when thick plate paper is used, I would advise that it should be very slightly wetted; when a few impressions only are wanted, putting the pieces into a heap of damp paper for a short time will be sufficient; and to have only one thickness of stout paper in the tympans. See Paper. Wetting Paper.

Play with Quadrats. See Ancient Customs.—M. Also Jeff, and Throw.


plate stamp

See: PANEL STAMP.


platen

The flat part of a printing press which presses the sheet against the form: also the movable plate of a standing or nipping press which descends and presses books or other materials against the bed of the press. plate folded in or around sections (plates guarded and joined). See: PLATE ATTACHMENT.


PLATEN

The platen is commonly made of beechen plank, two inches and an half thick, its length about fourteen inches, and its breadth about nine inches.—M. This is the description of a platen for a two pull press of the old construction: they are now always made of well seasoned hard mahogany for wooden presses, thicker, and sometimes faced with iron.

The platen is that part of the machine which comes down upon the form, and, being acted upon by the spindle, produces the impression. Iron presses have nearly superseded wooden presses, and have of course iron platens; they are all one pull presses, and the platen ought to be made large enough to cover the types of as large a form as the press will contain. Whether they be of wood or of iron, the face of the platen, that is, the under side, which produces the impression, ought to be a true plane, as the least inequality in it produces an unequal impression, which causes a great deal of trouble at press to rectify it, more particularly in fine work.


platen

The part of a printing-press which, acted upon by the lever, gives the impression to a sheet.

The American Printer: A Manual of Typography


PLATEN HOOKS

Four iron hooks screwed into the corners of the platen.—M. To tie it up by to the hose hooks. This is in wooden presses.


PLATEN PAN

A square pan on the top of the platen, in which the toe of the spindle works.—M. At present it is made round, of bell metal, with a stud of hardened steel in it, for the toe of the spindle to work on, and it fits into the platen plate with a square stem.


PLATEN PLATE

A square plate of iron inlaid on the top of the platen in wooden presses, in which is placed the platen pan.


plates volume

The volume or volumes of a set containing the illustrations pertaining to the text. The plates volume usually has no printed matter other than that which identifies it and/ or which relates specifically to the illustrations.


platina

See: PLATINUM LEAF.


plating

1. The process of imparting a smooth, glossy surface to a leather by pressing it against a highly polished, heated metal plate under very great pressure. The process is analogous to embossing except that in the latter process the plate is engraved with a "grain." The term also refers to the process of imparting a smooth and polished surface to the leather covers of a book. See also: POLISHING PLATES. 2. The process of imparting a special finish to a paper by subjecting it to heavy pressure (and sometimes slight friction) between plating rollers while it is interleaved between metal plates that are polished or covered with a material different from the paper itself. e.g., linen, thus producing on the paper an impression characteristic of the material used.

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


platinum leaf

A very heavy metallic element (Pt), that is typically grayish white, non-corroding, ductile and malleable, and which can be beaten into leaves, although not as thin as gold leaf. It is used with, or in lieu of, gold leaf in decorating bookbindings. It is suitable for the best work and, being thicker than gold leaf, is easier to handle.


pleat

Any series of folds. parallel but in alternating directions. such as the fold frequently used for large inserts. See also: CONCERTINA FOLD.


pleated corner

The folds in the cloth or leather made when the covers have rounded corners. See: ROUND CORNER.


Plough

The instrument used in cutting the edges of books and pasteboards.


Plough

The instrument used for cutting the edges when the book is in the lying press.

The Art of Bookbinding: A Practical Treatise


Plough

An instrument used in cutting the edges of books and boards.


PLOUGH KNIFE

The knife attached to the plough. |178|


plow

See illustration</> A device used for trimming the leaves of a book, usually one bound by hand. It consists of two parallel blocks of wood about 4 inches wide and 8 inches long connected by two guide rods and one threaded rod, with a cutting blade attached to the lower edge of one of the blocks. The left hand part of the plow fits into a runner on the left cheek of the LYING PRESS, while the other block is fitted with the adjustable knife. The knife is generally moved inward by the turn of a screw, cutting into the leaves as the plow is moved back and forth.

When, where, or by whom the plow was invented is unknown, but in all likelihood it was not used to any great extent before the early part of the 16th century. Its use thereafter, however, was widespread in all classes of binding until sometime around 1840, when the GUILLOTINE cutter was introduced. The plow is now used very little except in the hest of fine leather binding.

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

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

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


PLURAL

For the plural number of nouns, See Orthography.


ply

1. One of the separate layers of paper or board comprising the sheet formed on a multi-cylinder papermaking machine. Each cylinder adds one layer (web), which is then pressed to another, both or all of which adhere firmly upon drying. The thickness of the resultant board is generally expressed in the number of layers of which it is composed. The equivalent ply ratings in thousandths of an inch are given below:

Ply     Inches

2      0.012

3      0.015

4      0.018

5      0.021

6      0.024

8      0.030

10      0.036

12      0.042

14      0.048

16      0.056

2. One of the sheets laminated to build up a pasted board of given thickness.

Pratt, Guy A. Let's bind a book. Rev. ed. Milwaukee. Bruce. 1944.


pneumatic press

A type of press in which pressure is applied by means of compressed air. Such presses are used in mechanized binderies for a variety of purposes, and, although they cannot supply the extreme pressures available with the HYDRAULIC PRESS, they do offer the advantages of speed of operation and cleanliness.

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


pocket

See: BOOK POCKET.


poetical binding

A bookbinding decorated with looped banderoles impressed with poetical inscriptions in gothic type. It was a style of decoration believed to have been executed in Austria in the latter half of the 15th century.

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


point

1. One thousandth of an inch. The point is used in expressing the thickness of paper or board, as well as other materials, but not leather. See: LEATHER SUBSTANCE TABLE. 2. The expression of certain values of the properties of paper, e.g., points per pound, or pounds per point. 3. The unit of measure for printer's type. A point is approximately 1/72 inch, 12-point type, for example, being 12/72 or 1/6 inch in body. One inch equals 72.25433 points, while 72 points equal 0.9962 inch. The width of a line of type (or "measure") is determined in pica (12-point) ems. The depth of a page of type is similarly measured in picas or ems. 4. A book collector's term for a particular characteristic of text, type, form, etc., that distinguishes states, issues, and editions from one another. 5. A thin piece of metal with a point projecting from one end, and secured at its other end to the tympans of some printing presses; it is used to insure accurate register in feeding. 6. A mark or hole made on or in sheets in printing to serve as a guide in folding.

Battista, Orlando A. Synthetic fibers in papermaking. New York. Interscience. 1964.


point

Holes made in the sheets by the printer; they serve as guides in folding.


point

Two thin pieces of steel with a point at one end, adjusted to the tympan with screws, to make register.


point

Small holes made in the sheets by the printer which serve as guides in registering and folding.


POINT HOLES

The two holes the points prick in a sheet of paper.—M. These holes are made by the point spurs when the white paper is working, and are for the purpose of making register with when the reiteration is worked by fitting these holes on the spurs, on the opposite side of the sheet of paper.


POINT HOLES

Fine holes made by the points to register the second impression by


POINT SCREWS

Two square headed and square shanked bolts with a screw at the end, that go through the grooves in the tympan, with a nut on the upper side, by which the points are firmly affixed to the tympan.


pointillé

The dotted style of Le Gascon.

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


Pointille style

The dotted style of ornament of Le Gascon.


pointillé

1. A luxurious style of finishing consisting of dotted lines and curves impressed on the covers of a book. In the first half of the 17th century, pointillé was used by numerous French bookbinders and/or gilders, including Florimond Badier and Macé Ruette, although in terms of sheer magnificence of execution, it reached its pinnacle earlier in the bindings associated with the name (LE) GASCON. 2. A generic term indicating a form of dotted book decorations. 3. A small dotted finishing tool. See also: FANFARE STYLE; PINHEAD STYLE. See PLATE VIII.

Coutts, Henry T., and George A. Stephen. Manual of library bookbinding; practical and historical. London. Libraco. 1911.

Prideaux, Sarah Treverbian. An historical sketch of bookbinding. London. Lawrence & Bullen. 1893.


POINTING

When the Pressmen are working the reiteration, and have to place the point holes, made when the white paper was worked, on the points, in order to make both sides of the sheet in register, it is frequently termed <i>Pointing</i>.


POINTS

Two thin pieces of iron, with points or spurs at one end, fixed to the tympan with screws, to make register with. See Register Spur.

Points. See Typographical Points.


POINTS

, ; : . - ? ! ( ’ ) [ * § † and other marks, are all by Printers and Founders called Points.—M. We have now in addition the ‡ ‖ ¶ ☞: but when we speak of points at the present day, it is generally understood to mean those only which are used in punctuation, from the comma to the apostrophe; the parenthesis and crotchet are spoken of by their names; and the others are usually styled marks, or references. For the uses of them, See Punctuation; and each point or reference under its own name.


points per pound

A ratio derived by dividing the basis weight of a sheet of paper in pounds by its thickness in mils. It is used to describe the density of paper or board. See also: APPARENT DENSITY.

British Paper and Board Makers' Association. Paper making; a general account of its history, processes and applications. Rev. ed. London. British Paper and Board Makers' Association. 1965.


poker-work

A form of decoration involving the burning of designs into the leather with hot pokers or electrically heated tools.

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


polaire

The leather case or satchel in which monks in earlier times placed their books. Polaires were usually lacking any decoration, unless made for wealthy persons, in which case they were usually decorated with a design stamped in relief.


pole mark

See: BACK MARK.


POLES

To hang paper on to dry. They are about two inches and a half wide, made of inch white deal, and are placed across the room, about fourteen inches from the ceiling and nine or ten inches apart, resting at each end on a long piece of wood fastened to the walls of the room, in notches to retain them in their situations. They should always be kept clean, and, if they have not had paper hung on them for some time, the warehouseman should see that the dust be brushed off them before any more is hung up. See Hang up Paper. Peel.


polished calf

A calfskin bookbinding that has been polished to a high gloss.


polisher

See illustration</> A hand tool used to crush down or polish the leather covers of a book. Polishers are generally made of brass, and are either round on in the shape of a wedge, the former being used on the covers. the latter on the spine. See also: BURNISHER(S) (2); POLISHING.

Fahey, Herbert, and Peter Fahey. Finishing in hand bookbinding…  San Francisco. The authors. 1951.

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


polisher

A steel implement used in finishing.


polisher

A steel instrument for giving a gloss to the leather after finishing.


polisher

A steel instrument for giving a gloss to leather after finishing.


polishing

The process of smoothing and adding gloss to the covers of a book by mechanical means. The process involves working the leather at first with a slightly warm tool, followed by repeated workings with polishers heated to higher temperatures. Small circular motions are used to prevent wide areas of darkened streaks from showing. The technique of polishing leather covers dates back at least to the second half of the 14th century.

Hewitt-Bates, James Samuel. Bookbinding. 8th ed. Leicester. Dryad. 1967.

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


polishing iron

See: POLISHER.


polishing plates

Large smooth plates, usually of metal, used in the final pressing of a book to impart smoothness to the leather. The use of polishing plates was probably infrequent before the 19th century. Early plates were made of tin or horn, while later materials included japanned tin, iron, nickelled steel, and German silver. In more recent times, stainless steel and polished aluminum have been used. Also called "crushing plates."


POLLING BACKWARD

There are instances when a piece of work has been in the hands of a companionship, and one of them has obtained a knowledge of the following copy having some fat in it, a short page or a blank page for instance, that he has delayed his own work in order to obtain this fat; and thus lose perhaps two shillings, which he might have earned in the time, to obtain an advantage to the amount of but one shilling. This is termed polling backwards.


POLONAISE

The Polish alphabet consists of twenty-four letters, viz.:—

In addition the following letters are accented, viz., consonants, b́ ć, ł, ḿ, ń, ṕ, ś, ẃ, ż, ź; vowels, á, é, ó, ą, ę.

When b́, ḿ, ń, ṕ, are accented, it is necessary to soften them a little by adding a very soft i, as drab́ (drabi).

When ć is accented, it takes the sound of ch French.

Ł, ł, has a peculiar pronunciation of its own, nothing equivalent to it in English.

When ś is accented, it takes the sound of a very feeble French ck.

When ẃ is accented, it takes the sound of f, with a very feeble i added.

When ź is accented, it takes the sound of ś.

ż (pointed) is pronounced as s in pleasure, or French j in jamais.

á is distinguished very little in pronunciation, but it serves to show certain forms in the declensions.

ó is pronounced as oo, or French ou.

é approaches the sound of the mute e in que, je, le.

ą is pronounced as the French nasal on.

ę is pronounced as the French nasal in.

k is used in all those foreign words which have originally a c before the vowels a, o, u.

ẃ is used only at the end of words.

Q and V are used only in foreign proper names, &c. and are not strictly to be considered as Polish letters.Grammaire Abrégée de la Langue Polonaise, par Jean Séverin Vater. Halle et Strasbourg, 1807.

Some Polish grammarians assert that the q is preferable to the q̦, as being more consistent with the general sound of the letter, and some books have been printed in which the q is substituted, but still q, is by far the most generally used.


polychrome decoration

A style of decoration characterized by the use of gold and various colors painted over the design.


polychrome plaque-embossed bindings

A 15th century (Persian) style of decoration characterized by covers embossed with panel stamps or plaques, and then painted. The coloring gives the effect of cutwork tracery to the raised design.


polycondensation

See: CONDENSATION (1).


polyester fibers

Synthetic paper fibers prepared and spun by procedures similar to those used in producing nylon. The long polymer chains in the filaments are arranged randomly and have very little orientation in line with the longitudinal axis of the filament; consequently the filaments have relatively little strength. Strength is added by drawing or stretching the filaments approximately two to five times their original length. The polymer chains become oriented in this stretching, with an accompanying decrease in filament diameter along the major axis of the filament. In addition, it is possible to develop a relatively high degree of lateral order (crystallinity) of the polymer chains by means of heat or solvent treatment. The filaments assume the cross-sectional configuration of the spinneret hole, which is usually circular, although non-circular cross sections are also used. The drawing process leaves the circular cross-sectional configuration unchanged; however, it does reduce the sharpness of the non-round cross section.


polyesters

Resins, plastics, and synthetic fibers based on resins produced by condensation of polyhydric alcohols with polybasic acids. Linear polyesters, e.g., polyethylene terephthalate, are saturated thermoplastic materials that are widely applied in the form of drawn melt-spun fibers and orientated cast film. Unsaturated polyester resins, such as the polycondensate from phthalic anhydride, propylene glycol, and maleic anhydride, will copolymerize with minor proportions of styrene and methyl methacrylate under the influence of an organic peroxide catalyst, to produce thermoset materials.


polyethylene

A waxy, translucent, somewhat flexible thermoplastic, prepared by polymerizing ethylene at high pressure (1,000 to 4,000 atm) and high temperature (180 to 190° C.) in the presence of a trace of oxygen. It is one of the lightest of the plastics, having a specific gravity of 0.92 to 0.93. Below 60° C., polyethylene is insoluble in all solvents and is resistant to the action o f most reagents, other than strong oxidizing acids. Above 115° C., the polymer changes from a clear solid to a relatively low-viscosity melt. At this temperature and above, exposure to air causes relatively extensive oxidative degradation, unless antioxidants are included with the polymer.

Polyethylene is widely used as a film by itself or as a hot extrusion onto paper to provide additional strength and moisture-resistant characteristics. It is also applied to printing papers to provide finish and strength. The material is also made in sheets for use as a facing to prevent materials from sticking to a surface in operations requiring the application of pressure. The film which does not adhere permanently to waxes and many plastics in the unhardened state, is easily peeled off when the operation is completed. In sheet form, it is used in conservation work, in lieu of cellulose acetate lamination, to protect brittle paper, in which case the paper is placed between two sheets of the film, which is then sealed with double-sided adhesive tape around the edges. It may also be sealed by means of plastic welding.

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

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


polymer

A synthetic or natural substance having a structural basis of a number of identical molecules linked together. The polymer form of a particular type of molecule has both a higher molecular weight and a different set of physical properties than a monomer, which is composed of single molecules. An example of a polymer is POLYVINYL ACETATE, while another polymer, LINSEED OIL, contains triglycerides. i.e., molecules of glycerides of linolenic acid (C18H32O2) linked together in threes. Virtually every film-forming material is a polymer.


polymerization

A chemical reaction involving the linkage of the molecules of a monomer to form large(r) molecules with a molecular weight greater than that of the original monomer. When two or more monomers so react, the process is termed copolymerization or heteropolymerization. See also: CONDENSATION (1).


polyvinyl acetate

A vinyl resin, one of the clear, water-white, thermoplastic synthetic resins produced from its monomer by emulsion polymerization. Polyvinyl acetate, abbreviated PVA, has the advantage over the other resinous adhesives in that it is available in the form of an emulsion that is readily diluted with water, is easily applied, and is safe to use because it contains no flammable solvents. In addition, there is no need to use preservatives or fungicides because it does not deteriorate quickly and is unaffected by mold or fungi. The emulsion does slowly hydrolyze, however, and should not be stored for more than one or two years before use. Freezing also destroys the emulsion; therefore, precautions must be taken to avoid exposing it to temperatures near or below the freezing point.

Barrow (W. J.) Research Laboratory. Polyvinyl acetate (PVA) adhesives for use in library bookbinding. Richmond, Va. Barrow (W. J.) Research Laboratory. Permanence/ durability of the book, no. 4. 1965.

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

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


polyvinyl alcohol

A polymer obtained by alcoholysis with methanol of POLYVINYL ACETATE.

The polymer is compounded with glycol plasticizers to give thermoplastic compositions that are available in the form of clear films, sheeting, and other sections, as well as monofilaments. These materials are all distinguished by their elastomeric properties, complete resistance to hydrocarbon solvents, and ready solubility in hot water (unless specially insolubilized). Polyvinyl alcohol solutions are used as sizes, in water-based adhesives, and as aqueous suspending agents.


polyvinyl chloride

An ethenoid polymer produced as a fine white powder by both emulsion polymerization and suspension polymerization of the gas, vinyl chloride, when liquified under nitrogen pressure. The terms "PVC" and "vinyl" are commonly used with reference not only to the polymer, but to all materials of which polyvinyl chloride is a constituent. PVC compositions are prepared by hot mixing the polymer with plasticizers and small proportions of stabilizers, stearate lubricants, and coloring materials to give materials of a wide range of hardness, from rigid (with little or no plasticizer) to very soft (equal proportions of plasticizers and polymer), and in a wide range of colors, as well as crystal clear. Unplasticized flexible PVC foils are normally produced from vinyl chloride-acetate copolymers by calendering and stretching. The product is usually flexible, relatively nonflammable, hard wearing, and resistant to water and corrosion.

PVC film can be heat sealed, either by high frequency vibration (see: PLASTIC WELDING), or by means of a press equipped with a special barrier to prevent the film from adhering to the heated jaws. Another method of sealing is to sew the sheets together, which is possible because of the remarkably high tear strength of the material when properly plasticized.

PVC film has an attractive matte surface; however, in the more hardwearing grades it is slightly opaque. The grades used for the protection of archival materials are readily available in a wide range of thicknesses and widths.

As with other highly chlorinated materials, the use of PVC should be very carefully considered in view of the possibility of the formation of hydrochloric acid.


POOR LAWS AMENDMENT

4 & 5 Will. 4. c 76. s. 86. “And be it further enacted, That no Advertisement inserted by or under the Direction of the said Commissioners in the London Gazette or any Newspaper, for the Purpose of carrying into effect any Provisions of this Act, nor any Mortgage, Bond, Instrument, or any Assignment thereof, given by way of Security, in pursuance of the Rules, Orders, or Regulations of the said Commissioners, and conformable thereto, nor any Contract or Agreement, or Appointment of any Officer, made or entered into in pursuance of such Rules, Orders, or Regulations, and conformable thereto, nor any other Instrument made in pursuance of this Act, nor the Appointment of any paid Officer engaged in the Administration of the Laws for the Relief of the Poor, or in the Management or Collection of the Poor Rate, shall be charged or chargeable with any Stamp Duty whatever.”

Poor, Relief of, Ireland. 1 & 2 Vict. c. 56. “An Act for the more effectual Relief of the destitute Poor in Ireland.

s. 96. “And be it enacted, that no Advertisement inserted by or under the Direction of the Commissioners in the London or Dublin Gazette, or any Newspaper, for the Purpose of carrying into effect any Provisions of this Act, nor any Charge, Mortgage, Bond, or Instrument given by way of Security in pursuance of the Orders of the Commissioners, and conformable thereto, nor any Transfer thereof, nor any Contract or Agreement made or entered into in pursuance of such orders, and conformable thereto, nor any Conveyance, Demise, or Assignment respectively, to or by the Commissioners, nor any Receipt for Rate, nor any other Instrument made in pursuance of this Act, nor the Appointment of any paid Officer engaged in the Administration of the Laws for the Relief of the Poor, or in the Management or Collection of the Poor Rate, shall be charged or chargeable with any Stamp Duty whatever.”


porosity

That property a material has of containing interstices. It is defined as the ratio of the volume of the interstices to the volume of the mass of the material, and depends upon the number, shape and distribution of the voids, as well as their shape and orientation. The term is sometimes used incorrectly to indicate permeability.

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.

Gazurian, Johnny A. The advertising & graphic arts glossary. Los Angeles. Los Angeles Trade-Technical College. 1966.


porphyry vein marble

A cover marble consisting of black in large drops, a brown sprinkle, followed by a scarlet sprinkle, followed by large spots of yellow and weak blue. The colors are followed by applications of aqua regia, all of which is made to flow down the covers of the book to form a distinct vein.

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


portfolio

1. A case used to protect loose drawings, plates, papers, and the like. It usually consists of two sheets of board covered with paper or cloth, with a wide cloth or paper joint forming the "spine." It generally has flaps of cloth or cloth lined with paper, attached to the three edges of the lower board which turn in to contain the material enclosed. Tapes are attached at the head, tail, and fore edge, or at the fore edge alone, to secure the contents. Abbreviated pf. 2. A size of board 27 by 34 inches. (102, 156, )

Cunha, George Daniel Martin. Conservation of library materials. Metuchen, N.J. Scarecrow. 1967.

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

Johnson, Pauline. Creative bookbinding. Seattle. University of Washington Press. 1963.


portrait

A leaf that is taller than it is wide, i.e., the ordinary upright or folio leaf. Also called "long way."

Practical printing and binding; Odhams complete guide to the printer's craft, edited by Harry Whetton. 3rd ed. London. Odhams Books. 1965.


PORTUGUESE

The Portuguese alphabet contains twenty-four letters, being the same as the English, with the exception of K and W, which are not in their alphabet.

The tittle, or little dash, which the Portuguese call til, is set by them over some letters instead of m; as bẽ instead of bem; convẽ instead of convém; hũa instead of huma.

They also set their til ~ over the vowels ao, aa, in the end of words, thus aõ aã.

It may be observed that the curved mark ~ is the most perfect, though it is found necessary, in English types, frequently to substitute the plain ‾ instead of the curved.—Vieyra’s Portuguese Grammar, 9th edit.


post

1. A pile of WATERLEAF (2) sheets. fresh from the mold. The post is built up of recently formed sheets couched with alternate felts, which are then pressed. The "post" is actually the quantity, which varies with the area of the sheets, that can be conveniently pressed, and usually ranges from 130 to 144 sheets. A "white post" is a pile of several posts of pressed paper after the removal of the felts. 2. The solid or sectional device, usually threaded, used in a POST BINDER.

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

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


post binder

See illustration</> A form of loose-leaf (mechanical) binder. The screw posts for the hinders may be either solid or sectional, the former being used for storage binders, the latter for books being actively used. As the volume of the book increases, half-inch or inch-long sections are added to the posts.

The typical binder has two posts, which may either be self-locking or locked by caps or knurled thumb screws. In the so-called flexible chain post binder, the book is compressed by a link mechanism operated by a key or crank. It is also possible to construct post binders that cannot be tampered with. A lock in the back of the binder which must be opened with its own key is provided for this purpose.

Post binders use punched or slotted leaves, the latter allowing exchange of sheets without the binding having to be removed. A superior type of post binder has the top and bottom strips of metal, with the posts fastened to the bottom plate, the top plate sliding on them. The top plate has a lock which grips both posts, which can be released by turning a key or sliding a latch. Also called "transfer binder."

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

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


POST HORSES

Penalty for forging Turnpike Tickets. By the Act 4 Geo. 4. c. 62. s. 41. it is enacted, “That if any Person shall falsely make, forge, or counterfeit, or cause or procure to be falsely made, forged, or counterfeited, or wilfully aid or assist in the false making, forging, or counterfeiting, any Ticket or Certificate by this Act authorized or directed to be used, with an Intent to defraud His Majesty, His Heirs and Successors, or any Person or Persons, of any of the said Duties, or shall utter or publish as true any false, forged, or counterfeited Ticket or Certificate, with an Intent to defraud His Majesty, His Heirs and Successors, or any Person or Persons, of any of the said Duties, every Person so offending in any or either of the Cases aforesaid shall forfeit and pay the Sum of Fifty Pounds.”


post-mortem changes

Chemical and structural changes that occur naturally in a hide or skin between the time the animal is slaughtered and the curing or other preservative operation. See also: PUTREFACTIVE DAMAGE.

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


pot life

See: WORKING LIFE.


potassium carbonate

A white deliquescent salt (K2CO3), which dissolves readily in water to give a strong alkaline solution. It was used in the execution of BEDFORD STYLE bindings, TREE CALF bindings, etc. Also known as "pearl ash," and "salts of tartar."


potassium ferrocyanide

A yellow, crystalline salt (K4Fe(CN)6), prepared by the reaction of potassium cyanide with ferrous salts, and used in combination with other substances as a paper fungicide. Although only slightly toxic under normal circumstances, it can form extremely toxic gases if heated strongly or mixed with hot, concentrated acids. Also called "yellow prussiate of potash."


potassium lactate

A potassium salt of lactic acid (KC3H5O3 . H2O), used to treat leather in order to counteract acid present in the leather due to manufacturing processes or because of air pollution (sulfur dioxide), or as a safeguard against the future incursion of acid or acid-forming materials. It is used in an aqueous solution of 7% potassium lactate, 0.25% paranitrophenol (to inhibit mold growth), and distilled water. The potassium lactate is said to act as a buffering agent, e.g., 2KC3H5O3 + H2SO4 → K2SO4 (potassium sulfate) +2C3H6)3 (lactic acid).

There is some controversy over the use of this salt as a leather/acid buffer. The major arguments against it seem to be that it may cause a whitish discoloration to appear on the surface of the leather (potassium sulfate discoloration) and, unless applied to the flesh and grain sides of the leather, it is ineffectual. If the latter argument is correct, it would mean that leathers used for bookbinding could be treated only one time.

Potassium lactate should not be applied to powdery (red rot) leathers, nor to suede leathers, as it will result in the blackening of both.

Horton, Carolyn. Cleaning and preserving bindings and related materials. Chicago. American Library Association. (Conservation of library materials pamphlet no. l; Library Technology Project publications, no. 16). 1969.

Plenderleith, Harold James, and A. E. A. Werner. The conservation of antiquities and works of art; treatment, repair and restoration. 2nd ed. London. Oxford University Press. 1971.

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.


potassium metabisulfite

A white, crystalline salt (K2S2O5) used (infrequently) in bleaching paper, and also in conjunction with sodium hypochlorite to neutralize any residual chlorine in paper.


pouch binding

See: GIRDLE BOOK.


pounce

A finely ground powder, generally prepared from GUM SANDARAC mixed with pumice or cuttlefish bone. Originally, it was used to prevent ink from spreading on unsized paper or over an erasure, as well as to prepare vellum to take writing ink. See: POUNCING, It is now sometimes used as an adhesive in gold tooling and in the coloring of the edges of books. 2. See: REPOUSÉ


pouncing

The process of roughening the surface of vellum or parchment with POUNCE (1) or pumice to counteract the natural greasiness of the material and enable it to take ink readily. Pouncing, which has a tendency to spoil the grain surface of vellum, has been made less necessary by the use of special sizes.


powdered

A background decoration consisting of minute dots in gold. See also: GOLD-POWDERED BINDINGS; SEMÉ.


powdering

A printing defect caused by the vehicle and pigment separating during or following printing. The vehicle penetrates the paper but the pigment is left lying loosely on the surface. The defect is caused either by an ink that is too mobile, or by a paper that is too absorbent.


Powell, Roger

An English bookbinder and restorer, born in London and educated at Bedales. Powell did not become seriously interested in bookbinding until 1930, when he studied for a year at the Central School of Arts and Crafts under Douglas Cockerell and others. In 1931 he established his own bindery in Welwyn Garden City and maintained it for 4 years, before joining the firm of Douglas Cockerell & Son in 1935. The following year he became a partner, continuing on with the firm until 1947. He succeeded Douglas Cockerell as tutor in charge of bookbinding at the Royal College of Art, remaining there until 1956, when he left formal teaching to devote himself full time to his bookbinding and restoration business.

Powell has maintained a long standing interest in the field of restoration and repair, together with an abiding interest in problems relating to the durability and permanence of materials, sewing methods, and forwarding in general. Because of this, as well as his outstanding craftsmanship, he has been commissioned to restore many priceless (and irreplaceable) volumes, including The Book of Kells, for the Trinity College Library in Dublin (1953), The Book of Durrow (1954), The Book of Armagh and The Book of Dimma (1956-1957), as well as numerous comparatively early books in the Aberdeen University Library. In recognition of his outstanding service, he was awarded the degree of Master of Arts, <i>honoris causa</i> (1961), from Trinity College, Dublin, and the O.B.E. (Officer of the Order of the British Empire) in 1976.

Roger Powell places soundness of construction, in both materials and method, ahead of decorative design. He believes that the actual design of a binding must be an integral part of the binding itself, because a book is a tangible object meant to be used. His desire to make bookbinding a work of artistic merit, and his ability to carry out this desire have made him one of England's outstanding bookbinders.

Book collector. London. Queen Anne Press.

The library; a quarterly review of bibliography. London. Milford.


practice block

A device on which to practice lettering and decoration of the spine of a book. It consists of a block of wood, the edge of which is rounded to simulate the curved spine of a book. This edge is covered with leather that has been pasted over a strip of board the width of the spine. The board gives a resiliency and response to the pressure of the finishing tool similar to that of the spine of a book.

Fahey, Herbert, and Peter Fahey. Finishing in hand bookbinding…  San Francisco. The authors. 1951.


PRE-ANTEPENULTIMATE

The last syllable but three of a word.


pre-bound

See: PRE-LIBRARY BOUND.


pre-forwarding

The processes in bookbinding preliminary to the gluing-up of the spine, including folding, gathering, insertion of illustrations, collating, and sewing. Sewing is often considered to be a forwarding operation, rather than a pre-forwarding one.

Harrop, Dorothy. Modern book production. London. Bingley. 1968.


pre-library bound

A new book either in soft or hard covers, which has been bound by a library binder prior to, or at the time of, the original sale, but in either case before being placed in use. Abbreviated "pre-bound"

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.

Emerson, Gilbert D. Bookbinding for libraries. Philadelphia. n.p. 1909.

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


preliminary leaf

Any leaf preceding the text of the book, whether numbered (often with Roman numerals) or not. Many times a preliminary leaf will be blank, although it is a part of the first gathering of the book as issued.


Preparing

Comprising all the preliminary operations up to “forwarding,” including folding, gathering, collating, and sewing.


presentation copy

A copy of a book having an inscription of presentation, usually by the author. The term is also applied to a copy of a book presented by the publisher.


preservatives

Chemical additives that prevent or inhibit the development of spoilage organisms in paper, glue, leather, cloth, etc., or prevent or retard the deterioration of leather or paper.


press

1. A relatively simple piece of machinery used to apply pressure evenly over the surface of a material, e.g., one of the various screw presses used to keep a book or books in position under pressure to effect adhesion of pasted or glued adherends, or for some other purpose. See: ARMING PRESS; BACKING PRESS; BUNDLING PRESS; FINISHING PRESS; HYDRAULIC PRESS; LYING PRESS; NIPPING PRESS; PNEUMATIC PRESS; REMOVABLE PRESS;

STANDING PRESS. 2. The machine, or apparatus, used to press paper onto the type, plate, engraving, or block. 3. In a papermaking machine, a pair of rolls between which the web of paper is passed in order to: remove water in the wet press, smooth and level the sheet in the smoothing press, or apply surface treatments to the sheet in the size press.

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.

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


PRESS

The machine by means of which a printed impression of types and engravings in relief is obtained.

It is a curious circumstance, that from the first introduction of the art of printing in Europe, about 1440, till Earl Stanhope made a great improvement, the principle of the press remained the same, and even the construction of it underwent little alteration. The principle is simple; a level surface attached to the end of a screw, by which it is pressed upon the types with a sheet of paper interposed to receive the impression. The improvements that Lord Stanhope introduced were an increased power, by means of a compound lever attached to the screw: this increased power was the means of producing larger presses, which enabled the printers to print larger sheets of paper than before, with one pull, even to the extent of a double royal; and these new presses, being made of iron, produced better workmanship than wooden ones, with less trouble, the wooden platen being subject to be indented, which occasioned the impression to be irregular; this required much time and trouble to equalize it, particularly in fine work. This iron platen wears out types sooner than the wooden platen. Many of our most splendid books were printed with wooden presses. For some account of the most approved iron presses, see under their respective names.

Although there are but few wooden printing presses now made, iron presses having superseded them, yet, as there are many still in being, it may be useful to retain the knowledge of fixing them in a proper manner, on which account I shall give an old pressman’s directions for this purpose.

“To erect a Press.—The feet must be horizontal, and the cheeks perpendicular; then put the cap on the cheeks, and fix the stays as firmly as possible between the cap and a solid wall, or a strong beam: while the joiner is doing this, the pressman rubs well with black lead the tenons of the head and winter, the mortises in the cheeks, and all other parts where friction occurs. Place the winter horizontally, and on it put the carriage which contains the ribs; the joiner shortens or lengthens the fore stay under the carriage till the ribs become horizontal; lay the coffin on the ribs; bed the stone, which is a very particular point, as it must be perfectly horizontal, and ought to be of equal thickness, and as smooth on the under side as on the upper surface, so that if the face should be at any time so indented as not to be fit for work, the same stone will do by turning it over, and occasion very little trouble in bedding it, and will not be so liable to break in working down as a new one. Cartridge paper is the safest bedding, and stout tape laid even under the stone is preferable to cords, as I know it is a preventive to the stone breaking; and after it is bedded, the ends of the tape are easier put between the coffin and the stone than cord.

“The head being put in, and the box with the spindle in it, fix the shelves; then fix the platen; this must be done so exact as to touch the face of all the type at one and the same time: the way to know this, is by cutting four narrow slips of paper about six inches long, and, taking care that there is no dirt on the stone nor on the bottom of the form, plane it well down, place the four slips of paper, one on each of the four corner pages; bring down the platen so gently, that the corners of it may barely touch the slips of paper, with very little pressure; if they all bind alike at one instant, the platen hangs right; if not, alter the fixing till they equally bind.

“The rounce being set, and the upper and under bolsters made, the pressman lays on a heavy form without blank pages, if he can get one; and if it be a new press, he brings down the bar to the near cheek regularly, until the press be properly wrought down. As he goes on, the new scaleboards work close, and cause the press to lose power; the pressman must continue adding more, until there be a sufficient quantity in the head. If it be really necessary, put some scaleboards under the winter, but the fewer the better. Pieces of felt hat are preferable to scaleboards for loading the head of a press.

“I have always found the least slurring in presses that have solid fixed winters, and have often abolished slurring and mackling in old presses, by taking out all the scaleboard from beneath the winter, and substituting solid blocks of wood. The mortises which contain the tenons of the head ought always to be made long enough to contain all the spring that is necessary for a good press.

“Attention being required, and much time lost in working down a new press, two guineas are paid for doing justice to it.”


press

There are various kinds of presses,—viz.: laying or cutting, standing, stamping, embossing, gilding, and finishing.


press

Of various kinds, viz.: lying, cutting, standing, blocking, finishing, etc.


press

There are several kinds of presses, viz.: plough and press, for cutting, and standing, stamping, embossing, gilding, and finishing presses.


PRESS BAR

A curved bar of iron, one end of which goes through an opening in the spindle, and is secured by a screw in general, but sometimes by a square iron bolt which goes through an opening in the end of the bar, and as there is a shoulder that abuts against the square part of the spindle, both these methods draw it tight up, and attach it firmly to the spindle; at the other end there is a long, thick, tapering, wooden handle, through which the bar goes, and it is either secured by a screw, or the bar rivetted at the end with a collar round it. The bar to screw the book press down with is also called a Press Bar.


PRESS BOARDS

Boards made of deal, beech, elm, or mahogany, to place between paper in the book press. They are made smooth on both sides, and it is preferable to have them without a joint when it is practicable.


PRESS GOES

When the pressmen are at work, the press is said to go.—M.

Press goes Easy, Light. See Easy Pull.

Press goes Hard, Heavy. See Hard Pull.—M.


Press goes Hard

*Heavy*. See § 24. ¶ 5. and *Press goes Easie*, *Light*.


press mark

1. A design impressed into a wet web of paper, usually at the second or third roll of the papermaking machine, by means of a rubber collar which carries the design. See also: WATERMARK.

2. The symbol given to a book to indicate its location in British (rarely American) usage. In the late medieval period manuscripts were often kept in large chests (presses), and when books later came to be shelved in book cases, the term press continued to be used. The press mark is still used in some older libraries to indicate the "press," and often the shelf and the numerical position of the volume on the shelf. As a location system it indicates the precise position of the volume (and it can also be used to maximize the number of volumes that can be shelved in a given area), but it lacks flexibility and is completely useless as a browsing system. The simplest form is a letter followed by two numbers, indicating the section, the shelf, and the volume on the shelf, as A.2.13, or section A, second shelf, thirteenth volume. Other, more complex, systems are also used, sometimes to indicate subjects, sizes, etc. Press marks are found on the spine of the volume, on a label attached to the spine, on the flyleaf or the pastedown, on the title page or its verso, or on the fore edge of books that were at one time shelved fore edge outward (usually because they were chained). Press marks can often be a valuable indication of provenance.


press pin

An iron bar used to tighten a large standing or lying press. Such pins come in two sizes—a short pin used by one man, and a long pin operated by two or more persons. The long pin permits the application of very great pressure.

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

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


PRESS PIN

A small iron bar, wherewith to screw the book press down in the warehouse, till there is some pressure on the paper, when it is wrung down with the press bar.


press pin

A bar of iron used as a lever for standing presses; a smaller kind for lying presses.


press pin

an iron bar used for turning the screws of presses.


PRESS PROOF

A good impression of a sheet of a work, or of a job, to read it carefully by, and to mark the errors, previous to its being put to press.


PRESS STANDS STILL

When the pressmen are not at work, or have nothing to do, the press is said to stand still.


PRESS STONE

A stone fitted into the coffin, on which the form is placed to be printed. See Press.


pressboard

A tough, dense, highly glazed rag or chemical wood pulp board used where strength and stiffness are required of a relatively thin sheet. It is produced in several colors, including brown, black, red, and gray, with a mottled surface that is smooth and highly polished. It is almost as hard as a sheet of fiber board and is used for the covers of notebooks and tablets.


pressing

1. The process in leather manufacture of removing the bulk of water from wet leather by means of a hydraulic press. 2. A paper, usually machine glazed, used for the covers of pamphlets, notebooks, etc.


pressing blocks

Blocks of wood used to fill up the space in a standing press, for the purpose of reducing the effective DAYLIGHT of the press and thereby the distance the platen must be lowered.


pressing blocks

Blocks of wood used for filling up a standing press when there are not enough books.


pressing boards

Flat boards of solid or laminated wood, or fiberboard, used to insure even pressure when books are pressed. Since they are placed between covered books, they must be smooth and lined with clean waste. See also: CASING-IN BOARDS.


pressing boards

Boards used for pressing books between.


pressing boards

Boards put between books when they are pressed. They are usually made of carefully seasoned wood, and have a heavy strip of brass about their edges, which projects a little above the board’s surface. Books are laid on the boards with their backs projecting over this band enough to bring the latter exactly into the groove of the joint. Another board is laid on these books in the same position as the first, and so on. All are then pressed.


Pressing plates

plates of metal japanned or nickelled, used for giving finish to the leather on a book.


Pressing plates

Thin plates of metal, japanned or nickeled, used to give a finish or polish to the leather on a book by placing them next to the leather and then subjecting book and plates to heavy pressure.


pressing tins

1. Sheets of tin or zinc used to separate gatherings that are to be compressed before sewing. 2. The thin sheets of metal used between the free endpapers and the board paper during final pressing to insure even pressure of the entire surface of the text block, to prevent any dampness from the adhesive used in pasting down the board papers from reaching the flyleaves, and to prevent indentation of the turn-ins into the text block.

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


PRESSMAN

The man who executes printing at the press, and produces impressions from types and engravings in relief.

Pressmen’s Prices. See Scale.


pressure bulker

An instrument used to determine the bulk, or the ratio of weight to thickness, of paper, or to determine the number of leaves of a stipulated stock that will be required to make a book bulk to a specified thickness, under application of a specified pressure.

Porte, Roy Trewin. Dictionary of printing terms. 4th ed. Salt Lake City. Porte. 1941.


pressure-sensitive adhesive

An adhesive that will adhere to a surface at room temperature by means of briefly applied pressure only.

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


pressure-sensitive tape

Strips of paper, plastic, etc., opaque or transparent, coated or impregnated on one or both sides (usually the former except for use in encapsulation) with a pressure-sensitive adhesive. In the form of cellophane tape, which is a clear plastic that is glossy on one side and coated with adhesive on the other, it is sometimes used in the repair of torn leaves, documents, etc., and for encapsulating archival papers. In the usual case it darkens with age, is difficult to remove, removes the print when it is detached, and stains the paper to which it adheres. The acetate tape, or transparent mending tape, which has a matte surface and appears colorless when in the roll, has a much higher degree of permanence and does not change color; however, it, too can be damaging to archival materials. Masking tape is strong brown paper tape of crinkly texture, made in rolls of various widths. Its pressure-sensitive adhesive secures the tape firmly to any hard, dry, non-fibrous surface, and it is easily peeled away. It is used to mask areas that are not to be treated. Masking tape generally becomes difficult to remove if left in place for more than a few days or if exposed to high temperature. Benzene or ether, both of which are toxic (especially the former), flammable, and therefore dangerous to use, are solvents capable of removing pressure-sensitive tapes.

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


PRESSWORK

Under the articles Engravings on Wood and Fine Presswork I have gone into detail respecting the manner of producing superior workmanship; it will not therefore be necessary to dwell at any great length upon presswork generally. As the finest presswork is the impression from the face of the types, and the face only, and there being little elastic substance between the platen and the types, those which are new, or not much worn, can only be used for this purpose. But as the greater number of books, and other articles, are printed at a much lower rate, the printer finds it necessary to use types that are often much worn, with the angles rounded off by use; the pressman is then obliged to have more blanket in the tympans, that their elasticity may penetrate between the types, and produce an impression from the rounded parts; he is obliged also to use a weaker ink, which distributes easily and readily; it also requires less beating and rolling; he is thus enabled to make greater despatch. The process of making ready is the same in both, but in this instance is not carried out to so much nicety, for the additional blankets preclude the necessity; still the impression must be pretty equal; the making of register is the same in both cases—page must fall exactly upon page; neither does it require so great a pull; yet it is requisite that the pressman should preserve the work of a proper colour, and that that colour should be uniform.

Prices Current. See Newspaper Postage.

First 5 PRICE tables

William Savage, A Dictionary of the Art of Printing, 1841


primary binding

The earliest of any different publisher's binding styles found on copies of the same edition. The term is applied only to edition bindings, and, as a matter of practice, is seldom used with reference to anything other than publisher's cloth, although it could perhaps be applied to a "boards-and-label" copy of a book published between 1820 and 1830, assuming copies issued later were bound in gilt-lettered cloths, i.e., after 1832.

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


primary colors

The three chromatic colors—red, yellow, and blue—from which all other hues, tones, and shades may theoretically be obtained by mixing, sometimes with the addition of black and white. To obtain another color, however, it is necessary to use secondary and intermediate colors, e.g., green and violet, as well as red, yellow, and blue pigments of various shades to obtain many hues because pigment is not pure color. See also: COLOR.

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


Princeton file

A free-standing, boxlike container open at the top and back, as well as the lower half of the front. It is used to hold pamphlets, single sheets, etc., usually for storage on the book shelves. See also: CUT CORNER PAMPHLET FILE.


print

1. A copy (reproduction) of a drawing, photograph, etc., done by any printing process. The term is generally applied to etchings, engravings, mezzotints, etc. 2. To apply ink and then paper to blocks, plates, or type to make an "impression" or a "print" of an image. 3. See: NEWSPRINT.


print finishing processes

A generic term for the wide range of pre-printing and post-printing operations involved in converting paper into the printed book, or other salable item. These include: 1) actual print finishing processes, such as the storage and preparation of unprinted paper, the cutting to correct size of unprinted and printed sheets, the production of booklets and periodicals (pamphlet binding, stationery and file material, stationery, miscellaneous binding, etc.), the production of labels, posters, calendars, etc., assembly work (boxing, set-making, etc.), as well as gumming, varnishing, laminating, packing, and shipping; 2) BOOKBINDING; and 3) box and carton manufacture.

Martin, A. G. Finishing processes in printing. New York. Focal Press. 1972.


printability

That characteristic of a material, such as paper, which permits high quality printing, and which, though not capable of precise definition, is generally judged visually in terms of uniformity of color of the printed areas, uniformity of ink transfer, quality of "black on white," and rate of ink setting and drying. In paper, hardness, smoothness, opacity, color, and pick resistance are some characteristics which lend themselves to good printability.

Gazurian, Johnny A. The advertising & graphic arts glossary. Los Angeles. Los Angeles Trade-Technical College. 1966.


printed edges

The edges of a book that have been printed by means of rubber type. This is done at times on the fore edge as a means of indexing, and is frequently done on one or more edges of directories, and the like, for purposes of advertising.

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


printed paper warehouse

The area in which printed sheets are stored while awaiting instructions for binding. In book printing, it is not unusual for a number of printed sheets to be left unbound, so as to avoid the additional expense of binding (and costs of inventorying) if the full quantity of books should not be required. Printed sheets were stored from an early date by their printers, and later by booksellers. There were professional warehousemen who were employed sometimes by several booksellers to store their sheets. Usually they were stored unfolded, but there are many indications that they were sometimes stored folded and gathered.

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


printed papers

Decorative end- and cover papers printed or stencilled with designs, figures, borders, etc. Many of these original papers, printed in the 18th century by the dominotiers (from the Italian domino, little cloak or hood, part of the costume of the men who did marbling) of France, had their origin in early wall papers, except that most had smaller designs than those used for wall decorations. They were printed on small sheets of paper in a wide variety of designs, ranging from simple, almost crude woodcuts in one color only to patterns printed in two or more colors. There were papers in a multitude of stripes, including wide bands of color with a floral stripe between, horizontal lines broken up with sprays of flowers tied in knots of ribbon, designs of small flowers on cream backgrounds, bold patterns with conventional carnations, grapes, roses, intricate strapwork in three colors, etc.

Johnson, Pauline. Creative bookbinding. Seattle. University of Washington Press. 1963.

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