tambour

1. A form of embroidery consisting of looped stitches similar to a chain stitch and worked with a fine hook. Tambour was used on embroidered bindings. 2. A metallic embroidery thread either worked through the material or sewn to it with silk of the same color. It was sometimes sewn flat and sometimes raised over thread or cord if the relief was to be high; however, this technique was never employed on silk, only on satin and velvet. It was usually double, the lines being laid down side by side with only the ends being taken through the hack. Occasionally, it was sewn down with a bright lustrous red silk. See also: COUCHING (2).

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


TAMUL

THE TAMUL ALPHABET.

க—As a medial, this letter has, when single, the sound of gh; when double, of kk. As an initial also it represents gh in certain words derived from the Sanscrit.

ச—This letter has, when single, the sound of s, sh, and the French g in âge; when double, it has the sound of ch. In words of Sanscrit origin, it represents the ja and cha of the Sanscrit alphabet.

த—This letter, when combined with [#], has the sound of the French n in Ange.

ட—This letter has, when single, the sound of d; when double, of tt, with a strong cerebral articulation.

த—As a medial, this letter has, when single, the sound of d; when double of tt. As an initial, also, it represents d in certain words of Sanscrit origin.

ந—This is the initial n. It is medial only before த.

ப—As a medial, this letter has, when single, the sound of b; when double, of pp. And in certain words of Sanscrit origin it has, as an initial also, the sound of b.

ழ—This letter is articulated somewhat like the hard ṛ of the Hindustani alphabet. It may be said to possess generally as a medial, the sound of r, and as a final, that of l, with a cerebral articulation.

ற—This letter has, when single, the sound of rr; and, when double, the sound of a double tt.

The word “soul,” is used metaphorically in Tamul for a vowel; the word “body,” for a consonant; and the compound word “soul and body,” for a syllable. In the same metaphorical language, a consonant is termed “a dead letter.”

It will be seen, in the foregoing scheme, that when the short vowel a is employed to give utterance, or (to adopt the metaphor of the Tamul grammarians) animation to the consonants, no additional character is required; it being considered to be inherent in each consonant, as essential to its original articulation. The removal of this originally inherent vowel is usually denoted by a dot or a small circle placed over the consonant, as ன் (n), ர் (r).

In the elegant dialect, a character written thus ஃ, and termed āyadam, is used in addition to the ordinary letters of the alphabet. It is not, strictly speaking, either a vowel or a consonant; but it has the power of a consonant; it is pronounced gutturally, and it lengthens the preceding syllable if short by nature: as இஃது (ighdu) “this,” instead of இது (idu).

இ before the cerebrals, viz. ட, ண, ழ, ள, ற, has an obscure sound, best expressed by a short u, and may be considered as nearly lost.

ஈ before the cerebrals, possesses nearly the sound of long u, though a practised ear distinguishes a peculiarity in its utterance.

In Tamul, a measure of time, termed māttirei, which is described as occupying the period of the twinkling of an eye, or the snap of a finger, is assigned to the letters in the manner following; viz. to a consonant is assigned half a measure; to a short vowel, one measure; and to a long vowel, two measures.

The character [#] is the consonant s of the Grandonic alphabet.

It will be observed that, in many instances, the letters of the alphabet are employed, as in Greek and Latin, to express numerical value.

From “Rudiments of Tamŭl Grammar.” By Robert Anderson, Assistant Professor of Oriental Languages at the East India Company’s College. 4to. 1821.

Tamul in British Founderies.

English. Fry; to Thorowgood and Besley; for the College of Madras. Oxford.

Pica. Fry; to Thorowgood and Besley.

The Tamul Alphabet

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

Public domain (Project Gutenberg, pre-1930 text)


tan

1. To convert a hide or skin into leather. 2. Tannage, which is the act, process, or result of tanning a hide or skin. 3. A tanned hide or skin, i.e., one which has been converted into leather.

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.


tannery

The establishment or place in which the processes involved in converting raw hide or skin into leather take place.


tannic acid

A tannin, usually in the form of a yellowish-white or pale brown powder, obtained from fermented oak galls by extraction with water-saturated ether. Tannic acid is soluble in water, alcohol, and acetone, and gives precipitates with most metallic salts, proteins, and alkaloids. Chemically, it is a penta-m-digalloyl-glucose having a high molecular weight. Upon hydrolysis with sulfuric acid, it gives gallic acid and glucose. See also: VEGETABLE TANNINS.


tanning

See: CHROME TANNING; VEGETABLE TANNING.


tapa cloth

A coarse type of "cloth" produced in the Far East from the mashed bark of the paper mulberry and breadfruit trees and used as a covering material for books. It is usually decorated with geometric patterns.

Thompson, Lawrence Sidney. Bibliopegia fantastica. New York. New York Public Library. 1947.


Tape

Cotton tape on which many books are best sewn. It should be stout but flexible.


tape sewing

1. A method of fold sewing which utilizes strips of cloth, vellum, etc., in lieu of raised or recessed cords. In this method of sewing, the tapes rest against the backs of the gathered sections and the thread passes across but does not loop around them. The width of the tapes, which should be in proportion to the size of the book, generally ranges from 38 to 3/4 inch. In general, a larger number of narrow tapes is probably superior to a smaller number of wide tapes, as the former reduces the possibility of the thread loosening between tapes. It is recognized, however, that the problem of looseness of sewing thread can be overcome by the use of the CATCH STITCH.

The use of 3/4 inch tapes has long been the standard method employed in sewing blankbooks (stationery binding), and was also the accepted method of sewing library books (on /2 inch tapes) in the United States until superseded by OVERSEWING. Tape sewing library books is still done in Great Britain and on the Continent of Europe.

2. A method of machine sewing in which the sections of a book are sewn by the conventional edition sewing method, on a machine adapted for the use of tapes. The sewing proceeds from section to section in the usual manner of machine sewing but through tapes rather than simply through the folds of the sections. This results in sewing that is considerably stronger than the ordinary edition sewing, although, because the threads are secured to the tapes (and not around them, as in hand sewing), flexibility in the spine of the book is somewhat reduced.

3. A method of sewing single leaves in lieu of conventional oversewing or side sewing. Groups of leaves are overcast (or oversewn) to form "sections," which are then sewn to tapes in the usual manner. While this method does not enable the book to be opened any better than does oversewing, it does provide slips to help secure the boards to the text block.

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

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


tape slotting

A form of stabbing performed by hand or machine, invented by the Englishmen F. C. Gould and Thomas Harrison, in whose names a patent was granted in 1934 for a tape slotting machine. The purpose of tape slotting is to enable tapes to be passed through slots near the spine of the leaves, thus securing them as one unit. The advantage of this method over stabbing (with cords) is that the width of the tapes not only provides support to the leaves of the book, but also imparts strength without the bulk that would result from the use of cords.

Grooves are first cut across the spine, and then parallel to the spine, producing a shape something like that of an inverted T with a long bar and a very short stem. When done by machine, the slots may be punched through the leaves, thus eliminating the grooves. The latter method, however, makes it more difficult to insert the tapes through the slots. In the hand method, the grooves can be filled in with cord or other material after the tapes have been inserted.

Tape slotting is particularly suitable for large books printed on thin paper, e.g., unabridged dictionaries, encyclopedias, etc., which lack the margin required for side sewing. At times, two tapes are put through each slot for additional strength.

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


tapes

The strips of cloth (usually linen), vellum, nylon, etc., to which the sections of a book are sewn, and whose free ends, or SLIPS (1), are attached to the boards, or are glued between SPLIT BOARDS to impart additional strength to the binding structure. Cf: BANDS (1); CORDS; WEBBING(S) (1).

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

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


tapestry stitch

An embroidery stitch on canvas that somewhat resembles tapestry.

Davenport, Cyril James Humphries. English embroidered bookbindings. London. Kegan Paul, Trench, Trubner. 1899.


taping

A technique used to impart additional strength to blankbooks; it involves pasting strips of linen to the folds of certain folios within a section. Each section is taped inside the fold of the outside folio and outside the fold of the inside folio. The number of sections to be taped depends on the size of the book, but generally the first and last six sections are so treated. Strips of linen are also attached between the first and last three or four sections so as to fill in any gaps that may appear when the book is rounded, especially when the sections are very thick.

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.


tar board

A tough, strong, heavy MILLBOARD (1), manufactured from old tarred rope, sail cloth, sacking, etc. It is virtually impossible to obtain today, except as discarded hoards from old books.

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


tara

A vegetable tanning material obtained from the dried pods of a tree or shrub, Caesalpinia spinosa, which is found in widespread areas of north western South America. The tannin content of the pods is said to range from 35 to 55%. The principal value of tara is in the tanning of light leathers, and, under certain circumstances, it may also be used as a substitute for sumac or gambier to produce light-colored leathers. Tara is of the pyrogallol class of tannins, somewhat similar to, but more astringent than, sumac. Its major shortcoming seems to he the presence in it of diffusion-inhibiting mucilaginous material. It is also used to some extent in dyeing and the manufacture of ink. See also: VEGETABLE TANNINS.

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


tarnish

To dull or discolor the surface of a mineral or metal, either by chemical reaction, such as the tarnishing of silver by oxidation, or by the deposition of a thin film of grime.

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


tawing

An ancient process of treating prepared hide or skin (usually pigskin or goatskin) with aluminum salts and (usually) other materials, such as egg yolk, flour, salt, etc. A skin may actually be tawed simply by immersing it in an aqueous solution of potash alum at a temperature between 20 and 30° C; however, salt is usually included in the alum solution because it improves the substance (thickness) of the final product. After treatment the skin is dried in air (crusted) and held in this condition for several weeks to allow the development of stabilization or "aging" effects. Tawed skins also undergo STAKING to impart of soft, flexible handle. Apart from this soft, warm handle, the tawed skins have a high degree of stretch. Handle and stretch may also be improved by the addition of egg yolk and flour to the basic alum and salt solution. A tawed skin is usually white in color but may yellow slightly with age.

Tawing does not actually produce a skin that is stable in the wet condition, i.e., imputrescible in the wet state, and therefore cannot accurately be described as having been tanned; consequently, in a strict sense, a tawed skin is not leather.

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

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

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


TAYLOR AND MARTINEAU’S PRESS

This is an iron press, the frame of which forms two upright cheeks and the head. The power is not obtained by a screw, but by a cylinder with a knee-joint in the middle, which is bent when not pulling; this allows the platen to rise from the form, which is accomplished by a weight behind, that counter-balances the platen. The pull is effected by a bar, in the usual manner, that brings the knee-joint straight, depresses the platen, and produces the impression. The power is regulated by a screw through the head, that acts upon the cylinder.


tear ratio

The relationship between the machine direction and cross direction tearing resistance of paper, or the warp and filling direction of a fabric.


tearing resistance

1. The force required to tear a specimen of paper under specified controlled conditions. In archival work, the two most important measures of tearing resistance are: 1) internal (or continuing) tearing resistance, where the edge of the sheet is cut before the actual tear is made, and 2) edge tearing resistance, i.e., the resistance offered by the sheet to the onset of tearing at the edge, and which appears to be dependent on both the extensibility and the tensile strength of the paper.

The Library Binding Institute specifications for library binding call for endpapers (60 pound basis weight, 24 X 36—500) to have a tearing resistance with the machine direction of the paper of 140 pounds per one-inch strip and 160 pounds in the cross direction; the test being conducted on the Elmendorf tester. 2. The force in pounds required to tear a specimen of leather at a place where the specimen is cut before the actual tear.

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.

Britt, Kenneth W., ed. Handbook of pulp and paper technology. 2nd ed. New York. Van Nostrand Reinhold. 1970.

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

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


TEASE WOOL, or Hair

Teasing the hard and almost matted knots in the wool, or hair, with which the balls are stuffed.—M. Wool only is now used for stuffing balls, which is combed with strong wool combs, previous to knocking up balls. It appears by this extract, that hair was used for this purpose as well as wool in the seventeenth century.   TESTAMENT

Teasing the hard and almost matted knots in the wool, or hair, with which the balls are stuffed.—M. Wool only is now used for stuffing balls, which is combed with strong wool combs, previous to knocking up balls. It appears by this extract, that hair was used for this purpose as well as wool in the seventeenth century.


tellers

The small right angle marks printed on a page to indicate to the binder the proper position for tipping plates or mounts.

Simon, Oliver. Introduction to typography. 2nd ed. London. Faber and Faber. 1963.


temper

The resistance offered by a light leather to bending, and the extent to which it recovers its shape after release of the bending force. Quickness of rebound to its original shape is an indication of good temper in a leather, which is a property closely associated with resilience and elasticity.

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.


temperature conversion

Centigrade is converted to Fahrenheit by multiplying the Centigrade figure by 9, dividing by 5, and adding 32, or by multiplying the Centigrade figure by 1.8 and adding 32. Fahrenheit is converted to Centigrade by subtracting 32 from the Fahrenheit figure, multiplying by 5 and dividing by 9. In the chart below, the center figure represents the temperature one has read; the figure to the left is the conversion of that figure into Centigrade if read in Fahrenheit, while that to the right represents the conversion to Fahrenheit if read in Centigrade, e.g., the temperature 88 (Fahrenheit) converts to 31.1 C., while the temperature 88 (Centigrade) converts to 190.4 F.

C.                  F.

-17.8        0       32.0

-17.2        1       33.8

-16.7        2       35.6

-16.1        3       37.4

-15.6        4       39.2

-15.0        5       41.0

-14.4        6       42.8

-13.9        7       44.6

-13.3        8       46.4

-12.8        9       48.2

-12.2       10       50.0

-11.7       11       51.8

-11.1       12       53.6

-10.6       13       55.4

-10.0       14       57.2

- 9.4       15       59.0

- 8.9       16       60.8

- 8.3       17       62.6

- 7.8       18       64.4

- 7.2       19       66.2

- 6.7       20       68.0

- 6.1       21       69.8

- 5.6       22       71.6

- 5.0       23       73.4

- 4.4       24       75.2

- 3.9       25       77.0

- 3.3       26       78.8

- 2.8       27       80.6

- 2.2       28       82.4

- 1.7       29       84.2

- 1.1       30       86.0

- 0.6       31       87.8

- 0.0       32       89.6

0.6       33       91.4

1.1       34       93.2

1.7       35       95.0

2.2       36       96.8

2.8       37       98.6

3.3       38      100.4

3.9       39      102.2

4.4       40      104.0

5.0       41      105.8

5.6       42      107.6

6.1       43      109.4

6.7       44      111.2

7.2       45      113.0

7.8       46      114.8

8.3       47      116.6

8.9       48      118.4

9.4       49      120.2

10.0       50      122.0

10.6       51      123.8

11.1       52      125.6

11.7       53      127.4

12.2       54      129.2

12.8       55      131.0

13.3       56      132.8

13.9       57      134.6

14.4       58      136.4

15.0       59      138.2

15.6       60      140.0

16.1       61      141.8

16.7       62      143.6

17.2       63      145.4

17.8       64      147.2

18.3       65      149.0

18.9       66      150.8

19.4       67      152.6

20.0       68      154.4

20.6       69      156.2

21.1       70      158.0

21.7       71      159.8

22.2       72      161.6

22.8       73      163.4

23.3       74      165.2

23.9       75      167.0

24.4       76      168.8

25.0       77      170.6

25.6       78      172.4

26.1       79      174.2

26.7       80      176.0

27.2       81      177.8

27.8       82      179.6

28.3       83      181.4

28.9       84      183.2

29.4       85      185.0

30.0       86      186.8

30.6       87      188.6

31.1       88      190.4

31.7       89      192.2

32.2       90      194.0

32.8       91      195.8

33.3       92      197.6

33.9       93      199.4

34.4       94      201.2

35.0       95      203.0

35.6       96      204.8

36.1       97      206.8

36.7       98      208.4

37.2       99      210.2

37.8      100      212.0


template

A pattern made of board, metal, or plastic and used as a guide in cutting leather for covers or spines and corners, or cases for library or hand edition bindings. Before the days of machine edition binding, a template made to the proper size for the edition being bound, when positioned on the sides, level with the outer edge of the cover, could be marked to give the trimming positions, which not only saved time by eliminating the necessity of making hundreds of marks with dividers, but also made it possible to cut all siding papers together to one size.

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


tender

Sometimes said of a paper which is lacking or has lost a certain amount of its strength, ether because of some aspect of its manufacture, or as a result of deterioration. 17)


tenon saw

See: BACK SAW.


tenon saw

A small saw used by bookbinders for sawing the books for sewing. More strictly speaking a carpenter’s tool.

The Art of Bookbinding: A Practical Treatise


tensile energy absorption

The ability of a material, such as paper, to absorb energy in tension. The property is proportional to the area between the load-elongation curve and the elongation axis, and is expressed in energy units per unit area of material, e.g., foot-pounds/square foot, kilograms-centimeter/square centimeter, etc. Measurement of tensile energy absorption has been recommended as an effective means of determining the deterioration of paper; to date, however, it has not received widespread acceptance.


tensile strength

1. That property of a material, such as paper, which enables it to resist rupture under tension. The force used to cause rupture is applied parallel to the plane of a paper specimen of specified width and length and under specified conditions of loading. Tensile strength of paper is expressed as load per unit width or as BREAKING LENGTH, and of cloth as the breaking load or force in pounds per inch, or BURSTING STRENGTH.

The Library Binding Institute specifications for endpapers used in library binding call for a paper having a tensile strength in the machine direction of not less than 44 pounds (1 inch strip and in the cross direction of not less than 25 pounds (1 inch strip) for 60 pound basis weight paper (24 x 36-500)

2. In leather, tensile strength is defined as the force per unit area of cross section required to produce failure. Numerous factors affect the tensile strength of any given leather, including the kind of tannage, the length of the tannage, the species and age of the animal, the degree of splitting, and so on. Most leathers will show a tensile strength of between 2,000 and 6.000 pounds per square inch.


tension

The degree of firmness with which the thread used in sewing a book is drawn from section to section. The tension of all stitches should be equal.

Horne, Herbert Percy. The binding of books; an essay in the history of gold-tooled bindings. 2nd ed. New York. Haskell House. 1970.

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


ternion

A gathering consisting of three sheets folded once and insetted. This was the form in which some manuscripts and early printed books, especially those of vellum, were assembled. with the first and sixth, second and fifth, etc., leaves being conjugate. See also: QUATERNION; QUINTERNION; SEXTERNION.

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


terra alba

See: GYPSUM.


tertiary colors

Any hue produced by a mixture of secondary colors. In pigment mixtures, such colors tend to be subtle and blackish, and are usually chromatic variations of grays and browns. See also: COLOR (1).


terylene

A generic name for a synthetic thread which has the advantages of nylon thread, but does not have the undesirable high degree of elasticity. Because of its lower elasticity, it does not present the problem of thread retraction after cutting. As with nylon thread, it is highly resistant to moisture and retains a large part of its dry strength when wet. Terylene is also almost entirely free from contaminating metals which might tend to cause degradation. It is also used in sheet form in the repair of documents and the leaves of books.

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


TESTAMENT

For the allowance of the duty on paper used in the printing of Testaments, see Paper.


texodern

One of the earliest of the imitation leathers. It was said to be strong, durable, as well as resistant to water, stains, and insects.

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


text block

The body of a book, consisting of the leaves, or sections, making up the unit to be bound, rebound, or restored. It excludes all papers added by the bookbinder, including board papers, endpapers, doublures, etc.


textile bindings

A very ornate style of fabric binding, popular in England and France during the Renaissance, and in England into the 18th century. The books were sumptuously bound in satin and velvet of various colors, and were often embellished with needlework in multi-colored silks, as well as gold and silver threads.

Oxford University. Bodleian Library. Textile and embroidered bindings. Oxford. Bodleian library. (Bodleian picture books, special series, no. 2). 1971.

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


texture

A term applied to the general identifying characteristics of paper, cloth, leather, etc., pertaining to the feel and appearance of the material. See also: FEEL; FINISH  ; FORMATION; GRAIN; HANDLE;

LOOK-THROUGH; WILD (1).

Abbey, John Roland. English bindings, 1490-1940, in the library of J. R. Abbey. Edited by G. D. Hobson. London. Privately printed at the Chiswick Press. 1940.

French and Italian collectors and their bindings, illustrated from examples in the library of J. R. Abbey. Edited by A. R. A. Hobson. Oxford. Printed for presentation to the members of the Roxburghe Club. 1953.


Teze Wooll

or Hair*. See § 24. ¶ 18.


Thames board

A binder's board made in England and used to a considerable extent in edition binding. It is a soft gray board and is sometimes lined with kraft paper to impart stiffness, provide equal surface tension, and a firm, smooth surface.

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


THEFT

For the penalty for printing advertisements with “No Questions Asked,” see Stolen Property.


thermoplastic binding

See: ADHESIVE BINDING; ADHESIVE BINDING MACHINE.


thermoplastic resins

Resins composed of separate linear non-reactive macromolecules which, upon being heated, become plastic due to the reduction of intermolecular forces. Such resins can be made to flow under pressure in this state; upon cooling they regain their original physical properties. The heating-cooling cycle can be repeated as long as there is no thermal degradation of the polymer. Most thermoplastic resins are produced by forcing the heated material into a mold or through a die under pressure, followed by cooling. The important thermoplastic processing techniques include injection molding, extrusion, and calendering. Many such resins are also soluble in various organic solvents, with the same intermolecular cohesive forces being overcome in the process of solution. The more important thermoplastic resins include polyvinyl chloride, polyethylene, polystyrene, and cellulose acetate.

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


thermosetting

That property which enables a material to be hardened, or fused and hardened, by means of heat. Materials having this property are called "thermosets." Once hardened they cannot subsequently be softened by reheating. The synthetic resins, according to the manner in which they react to heat, are classified as either thermosetting or thermoplastic.

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


THICK SPACE

A space, three of which are equal to the body of the letter to which it belongs; it is the thickest space that is cast, the next in thickness being the en quadrat.


thickness

The smallest of the three dimensions of a material, such as leather or paper, usually expressed in thousandths of an inch, or, in the metric system, in millimeters. The thickness of leather is measured in millimeters, or in fractions of an inch, e.g., OUNCE or IRON (2). In the measurement of paper it is also called CALIPER (1).


THIN SPACE

ought, by a strict orderly and methodical measure, to be made of the thickness of the seventh part of the body, though Founders make them indifferently thicker or thinner.—M. Six thin spaces are now equal to the body.


Thin Space

ought by a strict orderly and methodical measure to be made of the Thickness of the seventh part of the *Body*; though *Founders* make them indifferently Thicker or Thinner.


thinner

A volatile liquid added to an adhesive ink. or other substrate. to modify tl-e consistency or other properties. See also: DILUENT.

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


thirty-sixmo

A rarely encountered gathering consisting of 36 leaves or 72 pages. The 36mo can be obtained by folding three sheets each with two parallel folds followed by two right angle folds. resulting in three 4-page sections which are then insetted. The 36mo is used when an OBLONG format is required. Written as 36mo or 36.


THIRTY-SIXMO

A sheet of paper folded into thirty-six leaves, seventy-two pages, is termed thirty-sixmo.


thirty-twomo

An uncommon gathering consisting of 32 leaves or 64 pages. Although such a section may be formed by making five consecutive right angle folds, in practice it is unusual to fold a sheet with more than three consecutive right angle folds, because of buckling, trapped air, etc.; therefore the 32mo is generally formed by folding a full sheet with two parallel folds, followed by three right angle folds, and a half sheet with two parallel and two right angle folds, and insetting the latter. Written as 32mo or 32°.


THIRTY-TWOMO

A sheet of paper folded into thirty-two leaves, sixty-four pages, is termed thirty-twomo.


thirty-twomo

A sheet of paper folded into thirty-two leaves; usually written 32mo.


thixotropy

1. A phenomenon exhibited by various gels, in which the system displays the mechanical properties of a gel when undisturbed, but becomes a liquid when mechanically agitated and again becomes a gel when allowed to stand. This "reduction in viscosity" is due to a temporary breaking down of an internal structure of a system under shear. The viscosity of thixotropic systems depends on the "shear history," i.e., the extent of previous mechanical agitation to which the material has been subjected. The property is important in paper coating colors because it allows the mixing of color formulation to a viscosity which permits the color to be applied and allows surface leveling due to after flow of the color on the material. 2. A property of adhesive systems which causes them to thin upon isothermal agitation and thicken when allowed to stand.

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.


thong binder

A binding consisting of two specially constructed wooden hoards joined together by woven cotton or nylon thongs. One end of each thong is fastened to a clamping bar which is hinged to the back edge of the upper board, while the other end is fastened to a movable bar enclosed in the lower board. A key allows the thongs to be slackened between the clamping bars, enabling the punched leaves to be added or removed from the binder. The clamping bar, together with the oval T-shaped punching, secures the leaves firmly. A relatively extensive binding margin is required for this type of binder, which is equally as strong and usually lighter in weight than the POST BINDER, and is reasonably durable.

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


thongs

1. Narrow strips of leather, alum-tawed skin, etc., used to attach vellum covers in limp bindings, as well as to hold the covers of books closed. Thongs were used before the invention of CLASPS and were, in fact, used on COPTIC BINDINGS. 2. The narrow strips of vellum, leather, or alum-tawed skin used in the early days of FLEXIBLE SEWING. Thongs had begun to be replaced by cords in this use by the latter part of the 16th century.


Thou, Jacques Auguste de

The French historian, statesman, royal librarian, and perhaps the most famous bibliophile since JEAN GROLIER. Thou inherited his father's library of (rare) books in 1583. Many of his books were simply bound in red, olive, or citron colored morocco, with plain boards, a few border lines in gilt, and his coat of arms in the center of the upper cover, surrounded by laurel branches, but with only the title and his cipher on the spine. Other volumes were bound in the celebrated FANFARE STYLE. Thou had books printed on paper made especially for him, and by the time of his death had accumulated a library of some 1,000 manuscripts and 8,000 books. His library was sold in a series of sales by several owners from 1680 to 1789. Because of the high quality of his books and the ease with which they can be recognized, their survival rate is very high.

Thou is generally called de Thou and is often indexed under D, although his Latin name, and the one under which he wrote, was and is Thuanus.

Book collector. London. Queen Anne Press.

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

Quayle, Eric. The collector's book of books. New York. Potter. 1971.


Thouvenin, Joseph

A 19th century French bookbinder (gilder), Thouvenin (l'aine), as he was often called, was the oldest of three brothers, all bookbinders active during the French Restoration, or thereafter. Joseph Thouvenin actually did most of his work during the period of the Empire, starting his apprenticeship with the younger Bozerian in 1802. Although he is generally credited with raising the standards of French bookbinding from the depths to which it had declined during the Revolution and thereafter, he is probably best remembered for his revival of a style of binding, which, because of him, came to be known as the FANFARE STYLE, taking that name from his binding of Fanfares et Corvées abbadesques. He is also credited with the introduction of the FLY EMBOSSING PRESS.

Ramsden, Charles. French bookbinders, 1789-1848. London. Humphries. 1950.


Thread

The thread with which books are sewn is usually made of linen, unbleached. It comes in several sizes. If of good quality, say Hayes’s Standard linen, it costs about $1.25 per pound for No. 18 2-cord.


thread count

The number of warp and filling yarns per inch in a woven fabric. The Library Binding Institute standards for library binding call for 110 threads in the warp (grade F buckram) for pyroxylin impregnated covering fabric, 45 in the warp and 38 in the filling for spine lining cloth for books more than 1/2 inch thick, and 33 in the warp and 25 in the filling for books 1/2 inch thick or less.

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

U.S. National Bureau of Standards. Fabrics for book covers. Washington, D.C. U.S. Government Printing Office. (Product Standard PS 9-68). 1968.


threadless binding

See: ADHESIVE BINDING; SADDLE STITCHING; SIDE STITCHING,


three and one half times the width method

A technique used in applying a second (paper) lining to the spine of a book. A heavy piece of paper three and one-half times the width of the rounded spine is cut and glued across the spine from a line approximately 3/16 inch in from the edge of the spine. The paper is then folded back on itself and glued to the remaining 6 inch of the cloth spine lining. Finally, the paper is folded back and glued to itself. It is a somewhat poor technique as it does not provide for a HOLLOW at the 3/16 inch area.

Perry, Kenneth Frederick, and Clarence T. Babb. The binding of books. Rev. ed. Bloomington, 111. McKnight & McKnight. 1967.


three on

See notes on the electronic edition

A method of sewing a book by hand in which three sections are sewn on one length of thread from kettle stitch to kettle stitch. The technique is designed to reduce sewing swell in the spine and is generally used only when sewing books made up of a relatively large number of thin sections. See also: ALL ALONG; TWO ON.

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


three times the width method

A form of the HOLLOW consisting of a length of paper cut three times the width of the rounded spine of the book. The paper is folded into thirds, the center third is glued to the spine, and the two wings are glued to each other. It is a superior form of the hollow to the THREE AND ONE HALF TIMES THE WIDTH METHOD.


three up

A method of imposing periodical issues which results in three issues (in a line) folded and saddle stitched together and then cut apart in the trimming operation.

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


three-dimensional appliques

A form of book decoration consisting of textured and raised-surface designs on the covers. They are in the form of collages, appliques, mosaics, sculptured forms, onlays, etc. Common materials, such as string, yarn, cloth, and the like, are used in the execution of such bindings today, along with fired enamel, glazed clay, metals, and glass.

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


three-knife trimmer

A cutting machine designed to trim all three edges of a book in two cuts but with only one handling of the book. The stack of books to be cut is placed in the machine and secured by the clamp. The fore edge knife makes the first cut, returns to its raised position, and the other two knives simultaneously cut the head and tail. If a book has too much sewing swell, a shaped piece of chipboard must be glued to the clamp to compensate for it, so that the same pressure is applied to both the fore edge and spine of the pile, otherwise the pull of the knives may cause the pile to shift due to the shearing action of the knives exerting a diagonal pressure. The three-knife trimmer is designed for relatively large numbers of books of the same dimensions, as in edition binding. See also: GUILLOTINE.


three-plane watermark

A WATERMARK showing three thicknesses in the same sheet of paper.


three-quarter binding

1. A binding having one type of material, e.g., vellum or cloth, covering the spine and part of the sides, as well as enlarged corners, and a different material, e.g., paper, covering the remainder of the sides. The material extends almost to the corners on the sides, i.e., much more than in the case of a HALF BINDING. Since it is difficult to imagine that the three-quarter binding was originated to economize on the more expensive covering material (cloth, or even vellum or leather), the three-quarter binding may have been developed simply as a new style. In the eyes of many, it is a style that appears badly proportioned on the sides. 2. In stationery (blankbook) binding, a three-quarter binding is one having a spine of Russia leather, with leather corners extending over the edges, a spring-back and raised bands, tar board sides covered with cloth, and gold lettering on the spine. See also: QUARTER BINDING.

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


three-quarter leather

A term applied specifically to a book having the spine and part of the sides, as well as enlarged corners, covered with leather, and the remainder of the sides covered with cloth or paper. The leather on the sides extends almost to the corners, i.e., much more than in the case of a HALF LEATHER binding. See also: QUARTER LEATHER; THREE-QUARTER BINDING.


THROW

Both compositors and pressmen, when they gamble in the office, or take a chance for any advantage arising in work, generally throw for it; that is, they take nine em quadrats, usually English, and, shaking them well together in the hollow of both their hands, throw them upon the imposing stone, or press stone, and he who throws most nicks upward in three times is the winner. They choose quadrats with three deep nicks in each, when such a fount is in the office, as being most easily distinguished.

Thumb Piece. See Ear of the Frisket.


throw out

See illustration</> A map, table, diagram, etc., designed to be consulted regardless of the page of the text the reader is consulting. It is done by means of an extended guard (the size of the leaf of the book), to which the map, etc., is attached at the outer edge. If the map is to be folded, a compensation guard may be required to compensate for the thickness of the map. The map and its guard are usually printed on paper that differs from that of the text.

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

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


throw up

The rising up or buckling of the spine of a book when it is opened. It is a characteristic of the HOLLOW BACK, and because of it the leaves lie flatter than they ordinarily would. "Throw up" is especially important in library binding, where the sewing, which is usually oversewing, is relatively tight and inflexible. See also: SPRING-BACK (1).


throwing colors

See: DROPPING COLORS.


thumb index

A type of INDEX which utilizes a series of rounded notches cut into the fore edge of the book. Each generally has a label bearing a letter or letters indicating the arrangement. The index proceeds from head to tail and front to back of the volume. The maximum number of thumb cuts, and therefore the number of letters represented by each, depends on the height and thickness of the book. The thumb index is used principally for Bibles and dictionaries. The cuts are usually made by a machine designed for the purpose. Also called "cut-in index."

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


thumbhole

A semi-circular or triangular cut in the sides of a slipcase designed to facilitate removal of the enclosed book. The semi-circular cut is used in the best work, while the triangular cut, which is used principally by library and edition binders in the United States, is much more economical, especially since it is usually made after the case has been covered.


thymol

A colorless, crystalline compound (C10H13 . OH), obtained from origanum and other oils, or prepared synthetically by the hydrogenation of piperidine, obtained from Eucalyptus dives and E. piperita. Thymol is very slightly soluble in water, and is soluble in alcohol and chloroform. It is used as a preservative in paste and also as a fungicide. It can he applied as a solution in alcohol or vaporized for use as a fungicide.

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


tide marks

Markings on the grain surface of a leather caused by paste soaking through from the flesh side in areas which happen to he thinner or more porous than others. Tide marks generally occur only when the grain side has not been moistened or has been inadequately moistened.

Lewis, Arthur William. Basic bookbinding. New York. Dover, 1957.


tidying

A 19th century practice of issuing paper-boarded and cloth-cased books untrimmed, hut with the longest leaves trimmed or "tidied" to the general level of the other leaves. Early in the 19th century, this was done with trimming shears which were fixed to the press: however, by about 1830 the shears had been superseded by trimming knives. This type of trimming was also done in the better binderies. usually in combination with a gilt top.


tie down

The stitch which is carried under the kettle stitch when working headbands. Its purpose is to secure the band solidly to the text block.

Cockerell, Douglas. Bookbinding, and the care of books; a textbook for bookbinders and librarians. 5th ed. London. Pitman. 1971.

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


tied down

A simple binding ornamentation consisting of lines impressed along either side of each raised hand, which continued onto. and were joined part way across, the sides. A small floral or leaf design was used to terminate the lines. The lines were either in gilt or blind and were executed with a pallet. The decoration is derived from the early technique of TYING DOWN the bands. Also called "ties."


ties

1. Tapes or ribbons, sometimes made of leather, and usually in pairs, attached to the sides of a book close to the fore edge, and occasionally at head, tail, and fore edge, and designed to prevent the covers from warping or gaping. They often consisted of linen, about 3/4 inch wide, and were generally of a drab green color, although brown and blue were also used at times. Ties were usually threaded through a hole (not a slot) in the board and, on the inside of the cover, the end was frayed out and attached to the leather turn-in. They were frequently used on fine bindings from about 1530 to 1640, and elaborate silk ties were used on Bibles and devotional books well into the 18th century. Their use today is largely restricted to portfolios. See also: CLASPS. 2. See: TIED DOWN.

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


tight back

A book which has the covering material, usually leather, glued directly to the spine or to the (leather) lining on the spine. In the early days of the English codex, the leather cover was not attached directly to the spine, nor, for that matter, was the spine glued up at all. Aside from these early bindings, however, as well as limp (vellum) bindings and some vellum-covered stationery bindings, the use of the tight hack was virtually universal until the times of the Deromes in France (see: DEROME STYLE). It was at this time that the HOLLOW BACK began to be used in France.

Until about the last quarter of the 18th century, it was not unusual to line the spines before covering, and bindings that did not have raised bands were often lined with three or more layers of paper, or, at times, canvas. Craft bookbinders in 17th and 18th century France generally lined the spines of books with strips of parchment manuscripts which overlapped the joints and were pasted down under the endpapers. See: SPINE LINING (1).

The use of the tight back declined dramatically after about 1820, except by fine binders who often used it along with false raised bands. See: MOCK FLEXIBLE. Similarly, all so-called boarded books had tight backs and boards that were laced in this practice continued from the 1770s, when the style was first used, until the 1820s, when casing-in was introduced. Others had tight backs until the late 1830s, when "boards" more or less passed out of existence.

The tight back was revived in craft bookbinding, at least to a certain extent, by T.J. Cobden-Sanderson and Douglas Cockerell, who influenced a host of amateur fine binders for several decades.

The objection to the tight back, other than the fact that it is a more expensive technique, is that if the leaves of the book are relatively thick in relation to their area, they will not lie flat by themselves, but, because of the inflexibility of the spine, will tend to open like a fan. This tendency may be lessened by having the grain direction of the paper run parallel to the spine. In addition, some bookbinders object to the tight back because it causes the leather on the spine to flex every time the book is opened, which can cause cracking of the gold tooling on the spine. Also called "fast back."


tight back

See Back, tight and loose.


tight fit

The case of a book which is too small for the text block, resulting in a tendency for the covers to gape. It is caused by an error in the measurement of the boards resulting in an INLAY (1) that is too narrow, with the consequence that the covering material on the spine is not the full width of the spine.


tight joint

See: CLOSED JOINT.


TIGHTENING THE QUOINS

This is necessary, particularly in summer time, as also with forms that are placed contiguous to the fire in winter, to prevent the matter from falling out. Examining the forms occasionally that have been some time in chase should not be neglected; for if they have been imposed when the furniture was wet, the matter is very likely to fall out, from the gutters and other pieces shrinking. The quoins are generally tightened with an old cross bar, with the fire poker, or the claw end of a sheep’s foot, as being heavier and more efficacious than a piece of light furniture; but the best method, after securing them in this manner, is to lay them upon the imposing stone, plane them down, and then lock them up afresh in a regular manner. See Falling Out.


TILL, or Shelf

A mahogany shelf, in wooden presses, divided in two longitudinally, that clasps the hose, and causes it and the spindle to come down perpendicularly without any play. It is dovetailed at both ends, and fits into the cheeks, with block wedges underneath to keep it up in its situation; the dovetails also keep the cheeks together, and answer the same purpose that the summer formerly did. The opening that the hose works in is lined with brass, and is made to fit it accurately.   TITHES COMMUTATION

A mahogany shelf, in wooden presses, divided in two longitudinally, that clasps the hose, and causes it and the spindle to come down perpendicularly without any play. It is dovetailed at both ends, and fits into the cheeks, with block wedges underneath to keep it up in its situation; the dovetails also keep the cheeks together, and answer the same purpose that the summer formerly did. The opening that the hose works in is lined with brass, and is made to fit it accurately.


tinny

An expression used to describe a leather that is "empty," i.e., lacking in substance, and weak. The defect is caused when BATING is carried too far, resulting in excessive "digestion" of the collagen of the leather.

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


tip

1. The thinnest available MILLBOARD (1). It is used in some instances for making the SPRING-BACK (1) of a blankbook, as the inner boards of SPLIT BOARDS, and to a considerable extent as a lining board. 2. A thin, flat brush consisting of a relatively small number of camel or squirrel hairs fixed between two pieces of card. It is used by some gilders for picking up gold leaf and placing it on the surface to be gilded. 3. See: TIP-ON.

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

Hasluck, Paul Nooncree, ed. Bookbinding. Philadelphia. McKay. 1903.

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


tip-on

A leaf that has been pasted onto the stub of another leaf, e.g., a CANCEL (1)


tipped endpapers

Endpapers tipped onto the first and last sections (leaves) of a book. The technique is used frequently in edition binding. See also: SELF-ENDPAPERS.

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


tipped in

A separately printed illustration, etc., cut to the size of the leaf of a book and pasted along the inner margin of the appropriate text page prior to gathering. Such an illustration is said to be a "paste in." Tipping is a time-consuming, and therefore costly, aspect of book production.

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


tipping

1. The process of pasting the edges of a section to adjacent sections. 2. The operation of tipping on an INSET (2) around or in a larger section.

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

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


tipping front and back

The process of placing a narrow line of adhesive on the sides of a sewn pamphlet near the spine, for the purpose of securing the cover of the publication along the sides instead of simply at the spine, which may have insufficient surface area to hold the cover securely. However, it is usually necessary to score the covers at the edge of the line of adhesive, otherwise there is the risk that the cover paper will break at the adhesive line. 2. The process of attaching endpapers in edition binding.

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


tipping machine

A machine used for gluing plates or endpapers to sections of a book. In the usual case, the sections and endpapers are fed into the machine, edged with adhesive along the binding edge, and pressed together. A plate is generally tipped along the left or right edge and pressed onto the leaf.

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

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


tips

Tiny corners, usually of vellum when leather is used on the spine, and employed mainly by French bookbinders. tissued plate. See: BARRIER SHEET.


tissue papers

A class of papers, made in basis weights lighter than 18 pounds (24 X 36—500). These papers are made on any type of papermaking machine, from any type of pulp, including reclaimed paper stock, and may be glazed or unglazed. Some tissues are relatively transparent. See also: BARRIER SHEET.


titanium dioxide

A white compound, the oxide of titanium (TiO2). It occurs naturally in the rutile, anatase, and brookite crystalline forms. The rutile form is used in the manufacture of pigmented paper coatings, while the anatase form is used as a filler pigment in paper manufacture. Both types (as used in papermaking) are important because of their whiteness, high brightness, and high refractive index (2.52 to 2.76), all of which results in a paper of improved brightness and opacity.

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.


titanium potassium oxalate

A white, crystalline substance (K2TiC2O5 . 2H2O), that is soluble in water. It precipitates vegetable tannin materials and acts as a mordant with the dyes and dyewoods used in coloring leather.

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


TITHES COMMUTATION

6 & 7 Will. 4. c. 71. “An Act for the Commutation of Tithes in England and Wales.”

s. 91. “And be it enacted, That no Advertisement inserted by Direction of the Commissioners or any Assistant Commissioner, or by any Tithe Owner or Land Owner, in the London Gazette, or in any Newspaper, for the Purpose of carrying into effect any Provision of this Act, and no Agreement, Award, or Power of Attorney made or confirmed or used under this Act, shall be chargeable with any Stamp Duty.”

TOE of the Spindle.

The very bottom of the spindle.—M. It is of hardened steel, and works in the platen stud.


title

1. The inscription printed on the title page of a book or other publication, and usually intended to describe the contents of the publication. Tn its broadest use, it includes the sub-title, alternative title, or associated descriptive matter, but not the author and/or editor, translator, etc., unless the name forms a grammatically inseparable part of the title. See also: BINDER'S TITLE; COVER TITLE (1). 2. In hand binding, usually the space or panel between the first two raised bands (from the head) on the spine of a book, on which the title is lettered.

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

Nicholson, James B. A manual of the art of bookbinding… Philadelphia. Baird. 1856.


title

The space between bands, upon which the lettering is placed.


title

The space between the bands upon which the lettering is placed. The leaf in the beginning of a book describing the subject.


title

The space between the bands upon which the title is lettered.


title leather

A highly polished, very thin SKIVER attached to the title panel of a book, and lettered with the title of the book. See also: LABEL.

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


title mounted

A title page that has become frayed or otherwise damaged, and has been mounted on another leaf to preserve it.

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


title page

In the usual case the recto of the second leaf of a book, displaying the full title, the sub-title (if any), and usually the name of the author, the edition, the publisher and date of publication (sometimes the date is printed on the verso of the same leaf). The verso may also give particulars of the edition, i.e., the printer (and perhaps his address), the binder, specifications of type and paper, registration of copyright, as well as (in the United States) the Library of Congress card number, ISBN number, and >CIP information. In cases where more than one page giving particulars of the title are present, that giving the fullest information is the title page.


title roll

See: ROLL (1).


titled

See: PIECED (1).


tizra

A vegetable tanning material obtained from the roots and heartwood of a shrub or small tree, Rhus pentaphylla, occurring throughout the western part of North Africa. The heartwood may he expected to produce 20 to 23 o tannin, while the roots may have a tannin content as high as 28 to 29. Tizra, which is of the condensed class of tannins. closely resembles QUEBRACHO both in chemical properties and tanning qualities. It has long been used in Morocco in the tanning of MOROCCO leathers. See also: VEGETABLE TANNINS.

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


To DISTRIBUTE

To replace the types in their respective boxes in the cases after printing therewith, in order to their being used again. This is done in a very expeditious manner by the compositor, who, placing his composing rule against the head of a page, with his thumbs against it, pressing the sides of both his third fingers against the sides of the matter, and his forefingers against the bottom line of the quantity which he means to lift, takes up what is termed a handful, and keeping the face of the letter towards him, rests one end of the composing rule against the ball of the thumb of his left hand, and pressing the other end of the rule with the third finger, steadies the matter with his forefinger, and thus has his right hand at liberty, with which he takes a word or part of a word from the uppermost line as he holds it in his hand, and drops the several letters into their particular boxes. Matter is always wetted when distributed, to render it slightly cohesive, as the operation is thus performed with more facility than when dry. When the form has not been well rinsed in laying-up, and the types have been much used, the ends of the fingers are apt to get smooth, so as to lose the command, in some measure, of dropping the types into their places with quickness and certainty; in this case compositors frequently keep a piece of alum in some part of the case, and occasionally touch it with their thumb and two fingers, which gives them a little roughness, and restores their command of the types.

If a compositor is desirous of producing his first proofs free from literal errors, he should be particular in distributing clean, that is, depositing each letter in its proper box.

When new letter remains in chase, locked up for any considerable time, it becomes what is termed, baked. See Bake.

Distributing Stick.—M. See Composing Stick.


toggling

The operation of stretching damp leather and securing it in place for drying in a smooth and stretched condition by means of toggles, which are metal clamps equipped with jaws to grip the leather and prongs to hold it in place in a slotted metal frame. See also: TACKING.

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


TOKEN

Ten quires of paper.—M. It is now ten quires eighteen sheets, or half a ream of perfect paper, and contains 258 sheets. All paper for book work is given out in tokens to wet, the quires in each token are placed the same way, and the tokens arranged one upon the other, back and fore edge, for the person who has to wet the paper to take away. It has become a practice in many houses, for the warehouseman to give out the paper in tokens alternately of ten quires and a half and eleven quires; this in my opinion should never be done, for I have known many serious mistakes arise from it; for instance, in a book that is a long number, a pressman who is working a sheet, will borrow a token of paper from another sheet, or three or five, or more, on account of being in better condition, or for some other cause; he takes the tokens indiscriminately as they arise, and they are replaced in the same manner; and not unfrequently ten quires and a half are returned for eleven quires borrowed; the consequence is, that one signature has an overplus number and the other is deficient, and has to be reprinted at the expense of the master printer: these mistakes would not occur if the paper were given out in regular tokens of ten quires eighteen sheets.


TOKEN

Two hundred and fifty sheets.

The American Printer: A Manual of Typography


TOKEN SHEET

In wetting paper the last sheet of each token is doubled down, so that the corner projects, when there is a pile of paper wetted; this projecting sheet marks the division of the pile into tokens, and is styled the <i>token sheet</i>.


toluene

A colorless, refractive, aromatic liquid hydrocarbon (C7H8), obtained from coal-tar light oil by cracking, by heating toluic acid with lime, and by other processes. It is used as a solvent to remove pressure sensitive tape from paper, in finishing leather, and in removing grease from leather.

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.


tongue and slot

One of the techniques used to attach the covers to a book. The tongue is formed by covering the spine of the book and carrying the leather onto the waste sheet of the endpapers, together with the spine lining and slips. The leather or cloth hinges are also glued to the same sheet. The laminated flange (tongue) thus formed is cut to shape to fit a slot (not unlike an enclosed split hoard) cut into the back edge of the hoard. The board is then covered and finished in whatever manner is required, separate from the book, and is attached to it by gluing the tongue into the slot. The entire assembly is then pressed to insure proper adhesion.

The tongue and slot technique is said to offer the following advantages: 1) the boards can be finished, e.g., doublures attached, more easily off the boo; 2) large and/or very heavy books can be handled more easily; 3) more than one skin can be used in covering; 4) a design which calls for blocking the covers can be handled with greater facility; 5) attachment of the covers in this manner facilitates removal by a future restorer for work on the text block; and 6) at least part of the original bookbinder's design can he preserved if and when a more or less complete restoration of the book is required.

Smith, Philip. New directions in bookbinding. New York. Van Nostrand Reinhold. 1974.


toning

The process of reducing the shade (whiteness) of a document or leaf as nearly as possible to its original color following washing and/or deacidification. The "toner" may he the gelatin size itself, which will reduce whiteness to a slight extent, or, if a greater toning effect is required, a surface active (cationic) vegetable dye in very dilute solution may be used.

Harrison, T. The bookbinding craft and industry; an outline of its history, development, and technique. London. Pitman. 1926.


tooling

See: BLIND TOOLING; FINISHING (1); GOLD TOOLING.


tooling

Impressing the design or pattern in gold leaf, with finishing tools, by hand.

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


tooling leaf

See: ALUMINUM LEAF; DUTCH GOLD; GOLD LEAF; PLATINUM LEAF; SILVER LEAF.


Tools

Applied particularly to the hand-stamps and tools used in finishing.


Tools

Brass stamps used for impressing gold leaf on leather. Applied particularly to the hand stamps and tools used in finishing.


tooth

A characteristic of the grain surface of various papers. Tooth is often a result of the wove marks impressed on the underside of the web of paper by the Fourdrinier wire of the papermaking machine, but it may also be caused by very small depressions between fibers or groups of fibers in the surface of the paper, or by the impression of the mesh of the felt fabric on the web of paper as it travels through the press rolls. Tooth is a characteristic of low finish in drawing papers, and is characteristic of virtually all handmade papers. The "tooth," meaning the roughness of a paper, expresses its ability to take pencil and crayon writing or drawing. Also called BITE (2).

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


top

1. See: HEAD (1-4). 2. The felt side of a machine-made paper. 3. The side of superior quality of hoards composed of different grades of stock. See also: TOP OF THE HIDE.


top combs

See: MARBLING COMBS.


top cover

See: UPPER COVER.


top cover

The upper or front cover of a book in binding.


top edge gilt

The head edge of a book which has been cut smooth and gilded. The other two edges, which are not gilded, may be cut smooth, trimmed slightly, or left uncut. Abbreviated "g.t." or "g.t.e." Also called "gilt top." See also: TRIMMED BEFORE SEWING.

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


Top edges

The head or top of a book, in contradistinction to fore-edge or tail.


top finished

A leather which has been given a final coating of a finish for the purpose of imparting special properties, such as gloss, level color, fastness to wet rubbing, water resistance. etc.

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


Top gilt

Used in speaking of a book of which the top edge only is gilded.


top margin

The area between the top line of print and the upper edge of the leaf. See also: MARGIN (1).

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


top of the hide

The finest grade of leather used for the covering of a book. Literally, it means the area of the skin on the top, i.e., the back of the animal. This seldom used expression is somewhat inaccurate in that, although the hest part of a hide or skin is located on the back. the very best is found in the butt area of the back.

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


Top side

The front side of the cover of a book in binding.


TOPS

In piling the printed sheets of a work away, after they have been dried and taken from the poles, the warehouseman takes a few sheets of each signature, and lays them at the top of the pile; these are called Tops, and enable him, with little trouble, to deliver a copy as far as it is printed, when required, which frequently occurs in the progress of a work, without having to take down all the piles.

Towns, ancient Names of. See Names.


torn paper designs

A collage technique of decorating a binding, using designs produced by tearing paper into shapes and pasting them to the covers of the book.


tortoise shell

A cover sprinkle executed by washing the leather with yellow dye and, when dry, sprinkling heavily with black. When this is dry the cover is then spotted with blue, red and black.

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


tortoise shell covers

A 17th century technique which used tortoise shell to decorate the covers of a book. Additional decoration sometimes consisted simply of a border of silver corners and clasps, but more often included inlays of silver and mother of pearl.


Tory, Geoffrey

A French printer, wood engraver, designer, and royal printer to Francis 1. For the embellishment of bindings, he designed two panels in the form of arabesques in the contemporary Italian style, of which the famous pot cassé device forms a part. In his smaller stamps, only the broken pitcher appears, hut in his larger panel the vase is pierced by a wimble (gimlet, drill, auger, or "tore"). The device apparently was employed in allusion to the death of his daughter; however, it may have been a pun on the name Tory, although he used the device on his own publication.

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

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


total transmittance

A special form of TRANSMITTANCE of a material. It is measured by means of a special instrument designed for the purpose. Total transmittance. in conjunction with PARALLEL TRANSMITTANCE, is useful in determining the degree of transparency of a transparent 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.


tracing paper

A paper used for duplicating drawings, figures, etc. It may be either a translucent, greaseproof paper, or a bond or manifold paper treated chemically or oiled so as to increase its transparency. It is produced from cotton fiber, chemical wood pulps, or combinations thereof, in basis weights ranging from 7 1/4 to 16 pounds (17 X 22—500). Important properties include proper receptivity to drawing ink and transparency, so that prints from the tracings can be made.


trade binding

Plain calfskin or sheepskin bindings issued by publishers in England from the 15th to the 18th centuries. They were rarely lettered.

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


traditional format

A term used occasionally to indicate the format of some Oriental books consisting of double leaves with the folds at the fore edge and with the free edges serving as the binding edge.


TRAFALGAR

The name of a type, the next size larger than Two Line Double Pica, and smaller than Canon. It is a size that has been introduced of late years.


tragacanth

See: GUM TRAGACANTH.


tranchfille chapiteau

A type of double HEADBAND of French origin.

Diehl, Edith. Bookbinding; its background and technique. New York. Rinehart. 1946. 2 vol.


transfer binder

See: POST BINDER.


transfer box

A box similar to a PAMPHLET BOX but not of as sturdy construction. It is used for storage of lesser used pamphlet or sheet material.


transfer marble

See: MARBLE TRANSFER.


transitory materials

Library materials designated by the Library Binding Institute as being: 1) materials subject to "normal library usage" that are complete but which may at some later date be discarded and thus are not considered to be a permanent part of the library's collection; and 2) materials not subject to normal library usage, so little used that completeness is not a factor of importance, and not considered to he part of the permanent collection. For the former category, the L. B. 1. recommends that such materials be considered permanent insofar as binding is concerned and therefore bound according to the L. B. 1. standards; for the latter, treatment would depend on the purpose of the library. the physical condition of the materials, and reader requirements. Such materials do not require library binding in accordance with L. B. 1. standards; however, Certified Library Binders (L. B. 1. members), will either develop a type of binding meeting the library's particular requirements, or hind according to the specifications for lesser used materials. See: LUMSPECS.

Library Binding Institute. Library binding handbook. Rev. ed. Boston. Library Binding Institute. 1971.


translucency

The property of partial transparency that indicates the ability of a material to transmit strongly scattered light waves. A translucent material admits light but does not transmit sharp images.


transmittance

The fraction of incident light that can be seen through a material. The fraction actually has meaning only when the nature of the incident light and the design of the measuring instrument are specified. See also: PARALLEL TRANSMITTANCE; TOTAL TRANSMITTANCE.


transparency

That property of a material which permits the passage of light. The more transparent the material, the more clearly objects can be seen on the other side.


transparency ratio

One of the measures of TRANSPARENCY (1), being the ratio of parallel transmittance to total transmittance, and generally expressed as a percentage.


transparent marble

A cover marble prepared by first executing the usual TREE CALF, placing an oval of paper on each cover, and blackening the covers around the ovals. When this color is dry, the areas are sponged with basil water, and then red is thrown on in spots. When the red is dry, the ovals are removed and the red spots are washed with water. As a further embellishment, the ovals are sometimes colored with a mixture of wine and powdered tumeric. Also called "variegated."

Cowie's bookbinder's manual; containing a full description of leather and vellum binding…7th ed. London. Strange. (186-).


transparent vellum

VELLUM rendered transparent by any of several processes, some of which date hack to medieval times (when vellum was sometimes used in lieu of window glass). The most common method of making vellum transparent seems to have involved treating a wet (thin) skin with fluid substances of high water-binding capacity, such as egg white, gum arabic, animal glue or size. before drying the skin on the stretching frame. Other methods included smearing olive oil or cedar wood oil over both sides of the skin. or steeping the skin in very hot water for a brief period of time. In the 18th century EDWARDS OF HALIFAX patented a method (1785) which proved to be the simplest of all the methods. He soaked ordinary vellum in a weak solution of potassium carbonate (pearl ash) and, stretching it tightly, placed the skin under considerable pressure.

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


TRANSPOSE

In imposing, to place the pages in a wrong order, when it is said the pages are transposed: in composing, if letters, or words, or lines, do not follow in their proper order, they are said to be transposed.—M. We use the word also when we correct the arrangement, and put the pages or the matter in their proper order, by saying we have transposed the pages, the words, or the lines.


TRANSPOSITION OF PAGES

Many sizes, after the white paper in a half sheet has been worked off, require some of the pages to be transposed, before the reiteration is worked; for those sizes, see Imposing.


transverse porosity

See: LATERAL POROSITY.


Trautz, Georges

A German bookbinder who emigrated to Paris in 1830 and entered the employ of Antoine Bauzonnet. Bindings produced in Bauzonnet-s workshop before 1848 were signed Bauzonnet-Trautz. It was possibly in this year that Trautz assumed control of the bindery, changed the name to Trautz-Bauzonnet, and rapidly became one of the leading bookbinders of 19th century France. Many of the books. which are exceptionally well bound, are in the style of JOSEPH THOUVENIN. The forwarding is good, the tooling delicate, and the materials excellent. Many of Trautz's tools were modelled on the work of previous binders, and he was highly successful in incorporating the styles of such bookbinders (or gilders) as Le Gascon, Padeloup, and Derome. In fact, he was one of the most important of the RETROSPECTIVE BINDERS. Trautz always varied his designs, so that no two bindings were alike. In addition. aside from being an excellent craftsman in gold tooling, he was an expert in the art of inlaying. See: PLATES VI, VII, VIII.

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


TREADING PELT

Trampling on the pelt, to make it soft and pliable, after it has been soaked in the pelt pot, and to get rid of the superfluous moisture, previous to knocking-up. This is usually done when the pressmen are at work, and by him who is beating.

This is an inconvenient process when a man is working at half press; but it may be dispensed with; for a pelt well curried will answer equally well: it appears as if treading was the ancient practice, before the currying iron was introduced.


tree calf

A form of cover decoration consisting of a smooth, light-colored calfskin treated with chemicals in such a manner as to represent a tree trunk with branches. In the usual manner, a dual design appears on upper and lower covers. The leather is first paste-washed, and the book is then hung between two rods which keep the covers flat. The book is tilted so that it inclines upward towards its head. In order to bend the boards outwards, i.e., warp slightly to a concave shape, so that the solutions will run properly, the insides of the hoards are not filled in until the decoration is done. A small amount of water is applied to the center of both covers to form the trunk, then more water is thrown on the covers so that it runs down to the trunk and to a central point at the lower edge of the hoards. Copperas (a green hydrated ferrous sulfate) is then sprinkled in fine drops on the covers, followed by potassium carbonate (salts of tartar). which causes the chemical reaction that etches the leather to form a permanent pattern in shades of gray, ranging from faint to very dark. Calfskin was used for this decoration in preference to sheepskin (although 19th century examples of sheepskin tree do exist) because in addition to being a much superior leather, it takes a better polish, which suits this style of decoration admirably.

The spine of the book is protected during the marbling so that it will not be touched by the water or chemicals. The entire process calls for considerable experience and dexterity of execution, because if the result is to be effective the copperas and potassium carbonate must be applied in the correct amounts, as well as in the proper manner, while the initial water is still running down the covers; otherwise the effect will be little more than sprinkling.

Late in the 19th century attempts were made to produce the tree calf effect with the use of an engraved block, which was used to print a design on the covers in black, but the results were ineffective because the block did not provide the shading which the genuine method achieved. The popularity of tree calf began to decline before the First World War, and by the late 1920s this once very popular form of decoration had virtually passed from existence. The first known tree calf decoration dates from about 1775. See: PLATE V.

Cockerell, Douglas. Bookbinding, and the care of books; a textbook for bookbinders and librarians. 5th ed. London. Pitman. 1971.

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


tree calf

A bright brown calf stained by acids in conventional imitation of the trunk and branches of a tree.


trial binding

A term descriptive of a tentative cover design for a book submitted to the publisher by the publisher's (edition) binder. Such bindings have been produced regularly since the early days of edition cloth bindings. Today, the bindings are generally dummies made up of blank leaves. See: DUMMY (1). In the 19th century, however, finished copies were often used, as there are examples of books with identical contents but different bindings from that of the version offered for sale. Some publishers used trial bindings to fulfill copyright obligations or gave them as free copies to the author.


triethanolamine

One of the ethanolamines ((HOCH2CH2)3N), used in conjunction with fatty acids to produce fine, stable emulsions of oils and waxes in water. It is used in the manufacture of leather.

Pierpont Morgan Library. A guide to an exhibition of armorial and related bookbindings, 1500-1800. New York. Pierpont Morgan Library. 1935.


trim

1. A term applied to the widest sheet of machine-made paper, trimmed of its deckle edges, that can be produced on a given papermaking machine. 2. To cut a sheet of paper to an exact size. 3. The paper that is trimmed off of the edges of a leaf, or group of leaves of a book. 4. To cut the edges of a leaf, or group of leaves of a book. 5. The operation of cutting off the bleeds or bolts of a book. 6. The excess of paper allowed around a printed sheet for bleeds.

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.


trimmed

1. Paper which has been trimmed on one or more sides to insure exactness of corner angles and to reduce the sheet to the size required. 2. A book which has had one or more of its edges cut in the guillotine, three-knife trimmer, or with the plow, so that they are smooth, even and solid. Usually all three edges are so cut, hut sometimes only the head edge.

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


trimmed

The edges of a book are said to be trimmed when the edges of the larger (or projecting) leaves only have been cut.


trimmed before sewing

A book that has had its edges cut before it is sewn. Trimming before sewing is a technique employed when the book is to he rough gilt. Trimming is usually done section by section in a paper cutter, so as to provide a degree of roughness if only the head is to be gilt.


trimmed four sides

Lifts of paper, usually printing paper, that have been trimmed in the guillotine on all four sides. This is done because paper as it comes from the papermaking mill is not uniform in size as required for the proper registration in two-side printing, as well as folding. Abbreviated T4S.

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


trimmed in the round

A book that is trimmed after rounding. Books that are to be gilded on all three edges are sometimes trimmed in this manner to facilitate the work of the gilder. In order to trim the fore edge in the round, the round must first be removed temporarily by forcing the spine against the guide of the cutting machine, or by the use of TRINDLES, if the book has laced-on boards and is to be trimmed with the plow. It is very difficult and frequently impossible to remove all of the round by either method. If the book is to be trimmed in the guillotine, the concave fore edge is filled in with CHIPBOARD to keep the paper from breaking away when the head and tail are trimmed. Cf: TRIMMED IN THE SQUARE.

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


trimmed in the square

The most common method of cutting a sewn book, in which the edges are trimmed before the book is rounded. In cutting the head and tail, the spine of the book is placed in the cutter against the guide so as to avoid breaking pieces out of the folds. If there is much sewing swell in the spine, it may be necessary to build under the clamp of the cutter to compensate for the swell, otherwise the book may slip under the clamp because of the shearing action of the guillotine knife. Cf: TRIMMED IN THE ROUND.


trimmed size

The final dimensions of a sheet of paper or the text block 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.


trimming

1. The operation in which bound books and other printed materials are reduced to their final size before casing or attachment of the hoards. Trimming a book removes the folds at head and fore edge (bolts), thus freeing the leaves for turning; it also smooths the edges, and divides two-up or three-up books or periodical issues into individual units, the latter operation usually being referred to as "splitting" or "cutting apart," even though it may he done as part of trimming. In edition- and library-binding, trimming is done after smashing or nipping, while in hand binding it may come either before or after rounding. See: TRIMMED IN THE ROUND; TRIMMED IN THE SQUARE.

In the manufacture of cut flush books, the book and covers are trimmed together, and. as most paperback books and periodical issues are within this category, trimming is, in such cases, the final step in binding.

Many devices are used for trimming books, including the GUILLOTINE, PLOW, THREE-KNIFE TRIMMER, knife, shears, or even a chisel. One of the earliest methods was to cut each leaf separately (in all likelihood before sewing) and probably with shears instead of a knife and straight edge. The Library Binding Institute specifies that when volumes are trimmed, the trimming shall be as slight as possible. and that periodicals shall be trimmed to sample, or recorded size, where possible-otherwise, as slightly as possible. In practice the standard trim in library binding is 1/8 inch at head, tail, and fore edge.

2. In leather manufacture, the process of cutting away unwanted or unsightly parts of hides, skins, or the leather itself.

Darley, Lionel S. Bookbinding, then and now…London. Faber and Faber. 1959.

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

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

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

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

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


trimming

Shaving the rough edge of the leaves of a book that is not to be cut.


trimming out

The operation of cleaning surplus leather. cloth, etc., from the inside of the boards of a book bound by hand before filling-in or pasting down. Trimming out the sides of half leather bindings before attaching the paper sides was virtually unknown until approximately the middle of the 19th century. consequently the edges of the leather spine and corners are ragged, and the raggedness is usually emphasized by the abrasion and darkening of the paper over the humps. Not until about the 1870s, when superior craftsmanship was applied to some half leather bindings, did trimming out become customary, except in economy bindings. The outside finish of half bindings was also improved by "filling-in" with a layer or layers of paper under the marbled paper or cloth sides, making them level with the leather.


trimming to recorded size

A volume, usually a periodical, that has been trimmed to the extent that the hound volume is of the same height as that of previously bound volumes of the run. See: MATCHING SETS.


Trindle

A strip of thin wood or iron.


Trindle

A thin strip of wood or iron.


Trindle

A strip of thin wood or iron used to take the round out of a book when it is cut.


trindles

The U-shaped pieces of metal or wood placed between the cords and the hoards at the spine of a book to remove the round. and thus flatten the spine when the book is to be TRIMMED IN THE ROUND.


triple liner and headbanding machine

An edition binding machine used for applying the spine linings and headbands to a book. The machine receives the books from the rounding and backing machine and inserts them spine down into spring-loaded pockets by means of a formed lifting bar corresponding to the shape of the spines of the book being processed. When the book is properly oriented in the pocket, the machine then applies one cloth and one or two paper linings, with or without headbands. It operates at speeds up to 40 books per minute.


triple lining

A procedure for lining the spine of a book, generally used for higher quality edition bindings. The triple lining consists of the customary cloth lining, a crepe manila lining, and the headbands, which represent the "third" lining.

In some cases the headbands are glued to the crepe manila lining and a second cloth lining is glued over the first, the crepe manila then becoming the third lining. This is unusual, however, as two consecutive cloth linings are seldom encountered in bookbinding.


tripoli

An inferior grade of ESPARTO (GRASS), grown in North Africa. See also: SPANISH,


triptych

An ancient hinged writing tablet consisting of three tablets of wood, metal, or ivory, covered with wax on the inside surfaces, on which writing was done with a stylus.

Zahn, Otto. On art binding, a monograph. Memphis. Toof. 1904.


true skin

A term used in the leather trade to denote the derma or corium of a hide or skin.


trypsin

A crystalline proteinase produced in the pancreas of an animal and used in BATING hides and skins. It is usually obtained from the pancreas of the sheep or pig.

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


tub

The stand which supports the LYING PRESS, and also catches the shavings from the PLOW.


tub

the stand which supports the lying press. Originally an actual tub to catch the shavings.


tub sized

Paper that has been sized by passing the web through a size press. or by dipping the waterleaf sheet into a tub of size by hand, or by carrying it through the size bath between two felts, which are either perforated or have an open weave so as to allow the excess size to run off during passing through the squeeze rolls. Most papers of high rag content are tub sized and the sizing is sometimes done with the use of 100% animal gelatin, followed by air drying. If done properly. a tub-sized paper is stronger than a similar paper that is internally sized.

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.

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


tub-size press

A sizing device that is usually part of the papermaking machine. It is essentially a vat (tub) which contains the size, and a set of vertically oriented rolls. the lower part of the unit being immersed in the size. The paper is sized as it travels through the papermaking machine. Sometimes a set of horizontally oriented rolls is used and the size solution is then pumped into the "valley" created on both sides of the paper. The tub-size press is designed for relatively heavy applications of size to paper. See also: SURFACE-SIZE PRESS.


tuck

A flap on the edge of a book cover designed to be inserted into the edge of the other cover. Its purpose is to keep the covers of the book closed. The extension is usually on the lower cover, and tucks into a slit in the upper. The tuck was a common feature of the bindings of mid-19th century Bibles and prayer books, although it was rarely used for the larger sizes. See also: CLASPS; WALLET EDGE.

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


tumbling drum

A device designed to test aspects of a binding. It consists of a revolving octagon-shaped drum equipped with a pocket that lifts the book to the top of the drum and lets it free-fall (about 2 feet) to strike the lower sides. The number of impacts required to produce failure of the joints is recorded. The tumbling drum was developed by the United States Testing Company. See also: UNIVERSAL BOOK TESTER.


tumeric

A yellow or saffron coloring material prepared form the roots of the East Indian perennial herb, Curcuma longa, and used in dyeing and as a coloring material for certain marbles. See also: TRANSPARENT MARBLE.


Turkey leather

A vague and obsolete expression used variously at times to indicate a leather-perhaps an early morocco-or for the color of leather, for instance, Turkey red, a brilliant madder red used in the dyeing of cotton.

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


Turkey marble

A vein marble featuring white streaks, and executed by dropping blue color on a weak size of sprinkling water (which allows the blue to expand), followed by green sprinkled on the blue. The ox-gall used to produce the white veins is then sprinkled on the blue and green, followed by the ground color in large drops. Also called "stone marble."


Turkey morocco

1. Reputedly, a strong, durable leather produced in the 18th century in Turkey from goatskin, with the characteristic MOROCCO grain. 2. A term applied to a leather, frequently produced from calfskin, embossed with a hard grain or bold cross grain in imitation of a Turkey morocco.

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

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


Turkey morocco

Made of goatskins from Turkey. It is very strong, durable leather; expensive, but worth the money.


Turkey papers

An early name for marbled papers, so called because at one time it was thought that the art of marbling was introduced into Europe by way of Turkey.


TURN FOR A LETTER

It often happens that when matter runs upon sorts, especially in capitals, or some other sorts seldom used, that the compositor wants that sort the matter runs on; wherefore he is loth to distribute letter for that sort; or perhaps his case is otherwise full. Wherefore, instead of that letter or sort, he turns a letter of the same thickness, with the foot of the shank upwards, and the face downwards; which turned letter being easy to be seen, he afterwards, when he can accommodate himself with the right sort, takes out, and puts the right letter in its room. It is also a word used jocosely in the chapel, when any of the workmen complain of want of money, or any thing else, it shall by another workman be answered, <i>Turn for it</i>; viz. Make shift for it.—M.


TURN FOR A LETTER

When a sort runs short, a letter of the same thickness is substituted, placed bottom upward.


turn-ins

1. The extra length and width of the covering material of a book overlapping the head, tail, and fore edge of the cover, and turned over the edges of the board and glued to the inside surface. In leather binding, the leather is usually pared around these edges so as to make it thinner on the inside of the boards. The extent of the turn-in varies according to the SQUARES of the book, the taste of the times, or the judgment of the binder. 2. The extensions of a book jacket which fold over the fore edges of covers of a book and in over the inside of the covers.

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


turnaround time

The time interval (or time required) between the pick-up of unbound books from the library, including loading and unloading, and their return to the library. The commonly stated turnaround time for library binding is anywhere from four to six weeks.


Turning Up

The process of cutting the fore-edges in such a manner as to throw the round out of the back until the edge is cut.


Turning Up

The process of cutting the foredge in such a manner as to throw the round out of the back until the edge is cut. All books that are cut in boards have a pair of trindles thrust between the boards and across the back to assist the operation.


Turning Up

The process of taking the round out of a book when the edge is cut. All books that are cut in boards have a pair of trindles thrust between the boards and across the back to assist in this operation.


turning-in steel

A thin length of steel about 8 inches long and 2 1/2 inches wide, rounded at the ends, and used to turn in and rub down the cloth when making cases by hand.


turpentine

A light, volatile essential oil obtained as an exudate from coniferous trees. Turpentine is a mixture of cyclic terpene hydrocarbons. It is used in place of ox-gall in the execution of stormont marbles.

Woolnough, Charles W. The art of marbling as applied to book edges and paper. 2nd ed. London. Heylin. 1854.


twelvemo

A sheet folded to form 12 leaves or 24 pages. Although two parallel folds followed by two right angle folds will produce this gathering, the more common method is to print the sheet 12 up on each side, and then cut the sheet into 2 sheets of 8 and 4 leaves. The larger sheet if folded three times, and the smaller twice, the latter being insetted. The insetted section may be given a sub-signature, e.g., B1 or B*, which the binder notes when binding the book. If the printer imposes 2 rows of 6 pages (on each side), the result is known as "long twelves," but if 3 by 4, "short" or "square" twelves. Where the width of the leaf is greater than the height, the term "broad twelves" is used. Also written 12mo or 12. See also: OBLONG.