extra-illustrated

A book illustrated by means of engravings, variant title pages, and the like, which were not included in the book by the publisher, but added later. This additional matter may consist of original drawings, manuscripts, etc., but it may also consist of leaves taken from other books. The added material may be mounted, inlaid, or trimmed to conform to the size of the other leaves of the book. Also called "Grangerized" (a term derived from the vogue begun by the publication of James Granger's Biographical history of England, in 1769, in which Granger had blank leaves included so that the owner could insert desired illustrations).


extracted bone glue

See: BONE GLUE.

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.


eyelet

A fastener, made of plastic or metal, and used on looseleaf papers, stiff covers, etc. to protect apertures from tearing o ut where cords, thongs, or fasteners are inserted.


eyelet crusher

A hand-operated, pliers-like device used for fastening a reinforcing grommet in an eyelet.


eyelet punch

A punch and die used to make eyelets in cloth, leather or paper, generally for hanging purposes.


eyeletting

The process of reinforcing punched holes with plastic or metal grommets. This work is generally done by firms specializing in calendar work, and the like. <!-- BEGIN F -->


f

Abbreviation for feint, which, when applied to ruling, signifies feint ruling, i.e., the fine, pale horizontal lines ruled on a sheet of blankbook paper by means of a ruling machine; vertical feint lines would be indicated by d. & f. (q.v.), or downs and feints.

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


f.t.p

Abbreviation of folded, trimmed, and packed, a term applied to books, pamphlets, etc., to indicate that the printed sheets have been folded, trimmed and packed for shipment, usually to a bookbinder.


fabric

See: BOOK CLOTH; CLOTH.


fabric bindings

A general term occasionally applied to a binding having a covering material consisting mainly of cloth. Specifically, the term refers to EMBROIDERED BINDINGS.


fabric book cloth

A term sometimes applied to a BOOK CLOTH that has had its reverse side surfaced with a soy-bean starch, and which is not calendered. The starch prevents adhesive penetration, while at the same time preserving the natural texture of the fabric.


fabrikoid

The trade name for a type of pyroxylin-coated BOOK CLOTH, although it is also at times used in a general sense. In the early period of its use, it was often referred to as IMITATION LEATHER.

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

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


FAC

Before the introduction of printing into Europe, and its application to the production of books, the Librarii or writers of books, in Rome, were a regular company who had several immunities: their business was a trade, and they were regulated by certain laws. Besides these writers of books, there were artists whose profession was to ornament and paint manuscripts, who were called Illuminators; the writers of books first finished their part, and the illuminators embellished them with ornamented letters and paintings. We frequently find blanks left in manuscripts for the illuminators which were never filled up. Some of the ancient manuscripts are gilt and burnished in a style superior to later times. Their colours were excellent, and their skill in preparing them was very great.

This practice, of introducing ornaments, drawings, emblematical figures, and even portraits into manuscripts, is of great antiquity. Varro wrote the lives of seven hundred illustrious Romans, which he enriched with their portraits, as Pliny attests in his Natural History. Pomponius Atticus, the friend of Cicero, was the author of a work on the actions of the great men amongst the Romans, which he ornamented with their portraits, as appears in his life by Cornelius Nepos; but these have not been transmitted to posterity. However there are many precious documents remaining, which exhibit the advancement and decline of the arts in different ages and countries. These inestimable paintings and illuminations, display the manners, customs, habits, ecclesiastical, civil, and military, weapons and instruments of war, utensils and architecture of the ancients; they are of the greatest use in illustrating many important facts, relating to the history of the times in which they were executed. In these treasures of antiquity are preserved a great number of specimens of Grecian and Roman art, which were executed before the arts and sciences fell into neglect and contempt. The manuscripts containing these specimens, form a valuable part of the riches preserved in the principal libraries of Europe. The Royal, Cottonian, and Harleian libraries, as also those in the two Universities in England, the Vatican at Rome, the Imperial at Vienna, the Royal at Paris, St. Mark’s at Venice, and many others.

When the art of printing was first applied in Europe to the production of books, they were in imitation of, and sold as, manuscripts; and blanks were left at the commencement of the respective divisions of the work, for the illuminator to fill in with the proper letters, and ornaments, as was usual in manuscripts, and so close was the imitation that, even in our own time, it has required the assistance of a chemical test to ascertain which was manuscript and which was printed. When the secret of printing was divulged, and the deception could not be continued, ornamental letters of a large size were introduced, and printed with two colours, generally red and blue, the letter being of one colour, and flourishes, extending the whole length of the page, in the other, so as to have the appearance of being done with a pen; then succeeded various grotesque figures, in attitudes to resemble letters; afterwards small Roman Capital Letters, with ornaments round them forming a square design; subsequently the block was pierced so that any letter could be introduced, and the ornamented part could be used for any initial; the next descent was for the letter founders to cast the ornament in type metal, and pierce it for general use, and these cast ornaments for letters were called Facs, as an abbreviation, I believe, for Facsimile. The last descent was to the extreme, to put a plain Roman Capital Letter, frequently extending four or five lines in depth; and this is the substitute for a beautiful coloured drawing.

Public domain (Project Gutenberg, pre-1930 text)


face

1. That part of a cowhide, between the ears and eyes to the nose, excluding the cheeks. It is of no use in bookbinding, and is actually generally removed before tanning. It is used in the manufacture of glue. 2. That part of a type character that appears in relief on the printing end of the type and which produces the impression in printing, blocking, etc. 3. The printing surface of a plate. 4. A particular design or style of a font of type. See also: TYPE FACE.

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

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

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


FACE OF A LETTER

The surface of that extremity of the type which bears the letter.


Face of a Page

or Form.* The Superficies of a *Page* or *Form*, where the *Faces* of every *Letter* lies in the same Plain.


FACE OF A PAGE,

or Form. The superficies of a page or form, where the faces of every letter lie in the same plain.—M.


faced

A method of folding used for books made up of DUPLEX (1) paper, in which the sheets are folded in such a manner that the same shades face each other throughout the volume. It is a term used mainly with reference to the binding of blankbooks, which are frequently made up of duplex papers.

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


faced cloth

A cloth that is finished (coated and glazed) on one side only. As only one side of the cloth used in covering books is visible when on the book, most book cloths are "faced," in distinction to those in which the cloths are finished on both sides.

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


facsimile binding

A bookbinding which closely resembles a binding style of previous times. See also: CONTEMPORARY BINDING. (2)


facsimile leaf

A leaf (or leaves) prepared so as to closely imitate and replace that missing from a book, usually an older and generally valuable book.


facsimilist

One who restores a book or binding in such a manner that it retains its contemporary appearance. See also: CONTEMPORARY BINDING.


fadeometer

An accelerated aging testing device which exposes samples of colored materials or coatings to a carbon arc to determine their resistance to fading. The arc emits an intense actinic light which in a matter of hours approximates the destructive effect of a much longer period of ordinary daylight. Although it does not exactly duplicate the effect of prolonged exposure to natural light, it is still an effective indicator of the degree of light stability that can be expected of a material, and of the comparative resistance to fading of a number of samples. See also: ACCELERATED AGING TEST.

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

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


fading

The gradual loss of color of a pigment or dye that is chemically unstable. Unstable dyes or pigments become colorless (or at least less highly colored) compounds when they undergo chemical reactions upon exposure to the ultraviolet radiations of natural light, and to the oxygen, moisture, and other elements of the atmosphere. Dyes and pigments subject to these reactions are generally referred to as FUGITIVE COLORS.

There is no known way of preventing the fading of unstable colors.

Grant, Julius. Books & documents; dating, permanence and preservation. London. Grafton. 1937.


fair agate

A marble pattern consisting principally of black in small widely spaced spots, supplemented by large drops produced by sprinkling potash on the marbling size.

Hannett, John. An inquiry into the nature and form of the books of the ancients…London. Groombridge. 1837.


fair calf

See: LAW CALF.


fall in

The condition of a book in which the spine has collapsed inward after some use, usually because of inadequate or improper rounding, backing, lining of the spine, or combinations thereof.

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


FALLING OUT

The same as Dropping out, which see. But this term is more generally applied to a page, a quarter, or a whole form, when any one of them falls out of a chase from the shrinking of the quoins and furniture.

In summer time particularly, forms in chase require to be frequently examined, and the quoins tightened, to prevent this accident, and more especially when they have been imposed in wet furniture. Compositors should neither be negligent, nor forgetful of this, as in the progress of a work the forms are in their charge, and if the whole of a form, or part of it, falls out, they not only have to distribute the pie, but to recompose the matter gratuitously.


false back

A somewhat misleading term applied to a HOLLOW BACK.

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


false bands

The imitation raised cords (bands) found on some books. They consist of narrow strips of leather (or other material, e.g., vellum) attached directly to the hollow of the cover, or in the case of a tight back binding, directly to the spine of the book. The false bands stand out in imitation of a book sewn on raised cords. In England, they were introduced as early as the 17th century. Cf: HUBS. See also: FLEXIBLE SEWING.

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

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


fan style

A style of decorating a book characteristic of Italian bindings of the 17th century, and also Scottish bindings of the 18th century (usually referred to as Scottish "wheel" bindings). In this style a design in the likeness of a fan is tooled on the covers of the book making a full circle in the center of the cover, and often quarter circles in the corners. It represents a development of center and cornerpiece bindings. See also: SCOTTISH STYLE.

Toldo, Vittorio de. The Italian art of bookbinding. London. Batsford. (Monographs of decorative arts, 3). 1925.


fancy Dutch marble

A modification of the WAVE MARBLE, consisting of red, black, and any one of a variety of shades of blue. The red is dropped on first, followed by the black in the same proportion but somewhat thicker, and with more ox gall so that it spreads and produces larger spots. The blue is made still thicker so that with still more gall it spreads even more than the black. The surface is finished with more gall and water, which must be spread more than any of the colors. The surface of the size is then raked as for the "wave," and the design is finished with a double comb.


fancy hand tools

See: UNIT TOOLS.


fancy marble

An edge marble produced by spreading a finely ground vegetable coloring matter mixed with spirits of wine (a solution of 90% ethyl alcohol in water). The alcohol causes the coloring matter to spread in a diversity of forms, which are then transferred to the edges of the book.

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


fanfare style

An elaborate style of decoration consisting generally of geometrically formed compartments of varying sizes, each bounded by a ribbon consisting of a single fillet on one side and a double fillet on the other, each of which, with the exception of the center compartment (which is larger or otherwise distinguished), being filled with leafy spirals, branches of laurel, and other sprays, floral tools, rare in the last fifty years or so. See and the like. Fanfare was a rich and luxurious style and called for the greatest skill on the part of the bookbinder. It was imitated, with varying degrees of fidelity, throughout Europe from about 1570 until well into the 17th century, although its elements were largely imitative of previous styles of embellishment. Originally, the style was attributed exclusively to Nicholas and Clovis Ève, but it is more likely that a number of Parisian finishers executed many of these binding. The name "fanfare," which originated long after the style was first executed, derives from a binding of the 19th century binder, JOSEPH THOUVENIN, who revived the style on a volume he bound in 1829, Les Fanfares et Corvees abbadesques. See PLATE VI.

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

Harthan, John P. Bookbindings. 2nd ed. London. H. M. Stationery Office. (Victoria & Albert Museum illustrated booklet no. 2). 1961.

Oxford University. Bodleian Library. Fine bindings 1500-1700 from Oxford libraries: catalogue of an exhibition. Oxford. Bodleian Library. 1968. 254.


fanfare style

When the compartments on a decorated corner formed by fillets or curves, or both, are filled with little branches, vines, etc., the style of decoration is said to be fanfare—from its first having been used on a book of which this word formed the principal part of the title.


FANNING

This is a term used in the Warehouse, in counting paper. It consists of taking hold of the right hand lower corner of a portion of the paper between the flat side of the fore finger and the end of the thumb, and pinching it tolerably tight; then with a twist of the wrist turning the right hand edge of the paper up, and running the left hand over the surface of the paper, it separates the sheets at the top corner, so as to have somewhat the appearance of a fan, and enables the person to count it with facility.


fanning out

The process of working out the ends of a pile of sheets for pasting, preparatory to tipping, or for counting, folding, etc. Also called "run out," or "running out."

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


fascicle

Sections of a work which, for various reasons, including the economics of publishing and the convenience of printing, are issued in installments. They are frequently incomplete in themselves and do not necessarily coincide with the formal divisions of the publication. They usually consist of sections, or groups of plates, protected by temporary (sometimes printed) wrappers, and may or may not be numbered or designated as part, fascicle, etc. They present binding problems, particularly in that they do not necessarily coincide with the divisions of the work, and they must either be bound as odd units or held until publication or printing has been completed. Publication in parts, or fascicles, began in England in the early 17th century, become common in the 18th century, and has become relatively also: PARTS OF A BOOK.


fast back

See: TIGHT BACK.


fast colors

Those colors which are resistant to the action of external influences, such as light, acids, alkalies, etc. In textile dyeing and other industrial processes, fast colors are those which will satisfactorily resist fading for the useful life of the product in which they are used. In book cloths, the term refers to nonfading over long exposure to artificial light,- but not to natural light. Also called "lightfast," and, inappropriately, "sunfast." See also: FADING; FUGITIVE COLORS.

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.


FAT

With compositors, short pages, blank pages, and light open matter: with pressmen, light forms, forms that only require one pull at wooded presses; and very small numbers, such as five, ten, fifteen, or twenty copies each, are termed Fat.

Fat. See Beat Fat.—M.


FAT

Poetry and leaded matter.

The American Printer: A Manual of Typography


Fat Face

or *Fat Letter*, is a broad Stemmed *Letter*.


Fat Face

or *Fat letter*.—Broad stemmed letter.


FAT FACE,

or Fat Letter, is a letter with a broad stem. For observations on them and specimens, see Type.

Fat Form. See Fat.

Fat Work. See Fat.


fat tanning

A process of converting hides and skins into a stable, imputrecible material by means of treatments involving the incorporation of soft animal fats which undergo chemical changes while in contact with the fibers of the skin, leading to the fixation of fatty matter. See also: OIL TANNING.

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


Father of the chapel

President or chairman of a composing-room or press-room chosen by the hands.


fatigue failure

The failure of a material, such as an adhesive or paper, resulting from a number of repetitions of load (or strain), e.g., folding or flexing, in distinction from CREEP, which is a deformation caused by the continuous application of load over an extended period of time.


fatliquoring

The process of introducing oil into a skin following tannage but before the leather is dried. In fatliquoring, which is usually applied to light leathers, the oil is introduced into the leather in such a manner that the individual fibers of the skin are uniformly coated. The actual percentage of oil on the weight of the leather is relatively small, being about 3 to 10%.

The principal function of fatliquoring is to influence the degree of fiber cohesion which takes place before drying. If there were no cohesion whatsoever, the skin would separate into its constituent fibrils, leaving no leather structure. On the other hand, if all the fibrils and fibers cohered, the skin would then take the form of a hard and horny material having no value as leather. Somewhere between these two extremes there is an ideal degree of cohesion for any given purpose for which the leather is to be used.

The fatliquoring process probably acts to control the differential shrinkage of grain versus corium (dermis) of the leather during drying, thus playing an important role in controlling the degree of tightness of BREAK of the leather. In addition, it also influences the handle, drape, flexibility, durability, stretch, and water resistance of leather, and also adds greatly to its strength. These are factors of primary importance in leather used for covering books.

Fatliquoring is usually carried out in a drum at the highest temperature practical for the type of leather, or about 45° C. for vegetable tanned leather and 60 to 65° C. for full chrome tanned leather. The skins are run in a drum for 30 to 40 minutes. After drumming, the leathers are usually struck out on the flesh side, carefully set out to smooth the grain, nailed or toggled out flat to dry, or paste dried.

To allow a small amount of oil to be spread uniformly over the very large surface area of the leather fibers, it is necessary first to dilute the oil. Although this could be done by means of a solvent, e.g., benzine, it is more economical, safer, and more convenient to emulsify the oil. In an EMULSION with water, the oil is dispersed in microscopically small droplets. It is important that the drops of oil in the water remain as an emulsion until they penetrate the leather, and not separate out as large drops or as a layer of oil, which could not penetrate the leather fiber and result in merely a greasy surface layer.

The properties of the finished leather can be varied by controlling the degree to which the emulsion penetrates before it "breaks," depositing the oil on the fibers. Relatively shallow penetration, which leaves the inner layers of the leather with comparatively little oil, gives a leather that has a tight break and is soft and resilient. On the other hand, if the oil is allowed to penetrate uniformly through the leather, the result will be a leather that is soft and stretchy, with any natural grain looseness accentuated.

The liquors incorporated into the leather are called fatliquors, of which there are several types. One of the earliest was the soap fatliquor, consisting of neatsfoot oil and common soap. When a vegetable-tanned leather is drummed in such a fatliquor, the slight acidity of the tannage neutralized the soap, causing fine drops of oil to be deposited on the fibers. The greater the acidity of the leather, the more rapidly this occurs, so that the oil may be deposited before it has penetrated sufficiently. Consequently, soap fatliquors are described as having poor emulsion stability, and are generally used where a fairly heavy surface fatliquoring is required. It is possible, however, to modify many types of oils chemically so that they become miscible with water without the use of emulsifying agents.

Sulfated oils are used frequently because they give good, fine-oil dispersions and are less sensitive to acid than soap fatliquors. This results in deeper penetration of the oils into the leather before they are deposited. Sulfated oils are prepared by treating fish, animal, or vegetable oils with sulfuric acid at a temperature of 10 to 20° C. The resultant product is washed with a strong brine solution to remove excess acid. The salt is necessary to prevent the sulfated oil from emulsifying with the water. Soda ash is then added to form the sodium salt of the sulfated oil and to neutralize the last traces of the acid. The more the oil is sulfated, which is to say, the more sulfuric acid that has been fixed, the greater will be its stability to acid and the more thorough its penetration into the leather. Conversely, the more acid the leather, the less the penetration. However, increasing the amount of sulfation or water miscibility, decreases the "oiliness" of the oil and therefore its lubricating powers.

Sulfonated oils are prepared by a similar process, usually at a higher temperature; the fatliquor contains the sulfonic group which gives greater stability and emulsions which penetrate deeper into the leather under acid conditions.

Still another method of obtaining emulsifying properties is to sulfite the oil. In this process, the oil is mixed well with a strong solution of sodium bisulfite (NaHSO3), while the mixture is thoroughly aerated by means of compressed air. Sulfited oils behave in a manner similar to sulfated oils, but are usually said to be more acid stable and to afford deeper lubrication.

In addition to the emulsifying element of the fatliquor, a raw oil, such as mineral, castor, neatsfoot, cod or coconut oil is frequently included in the formulation. See also: CURRYING; STUFFING (2).

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.

Post, Daniel. Chemical treatment of hides and leather, by John Partridge. Park Ridge, N. J. Noyes Data Corp. 1972.

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

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

Wilson, John Arthur. Analysis of Leather and materials used in making it. New York. McGraw-Hill. 1931.

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


fats

The esters of fatty acids with glycerol. They are generally insoluble in water and are not very soluble in cold alcohol. They are soluble in hot alcohol, as well as ether, acetone, carbon disulfide, chloroform, carbon tetrachloride, benzene, as well as other organic solvents. Fats may be hydrolized to glycerol and fatty acids by boiling them with acids and alkalies, by superheated steam, and by the action of certain enzymes, notably the lipases. When alkalies are used for hydrolysis, the fatty acids combine with the alkali to form soap; therefore, alkaline hydrolysis is sometimes referred to as saponification. Fats are used in the tannage of some leathers, in the FATLIQUORING of light leathers, in leather dressings, etc. See also: FAT TANNING; WAX.


fatty acids

Monobasic acids which contain only carbon, hydrogen, and oxygen. They consist of an alkyl radical attached to the carboxyl group, and when saturated have the general formula (C_nH_2nO_2) Formic and acetic acids are the two lowest members of this saturated series. Unsaturated fatty acids follow several series, including: 1) the oleic acid series (C_nH_2n-2O_2); 2) the linoleic acid series (C_nH_2n-4O_2); and 3) the linolenic acid series (C_nH_2n-6O_2). There are also other naturally occurring fatty acids that are found in nature mainly as glycerides, which constitute the most important part of the fats and oils, and as esters of other alcohols and the waxes.


faulty margin

An unequal margin, one generally resulting from imperfect REGISTER (3). Such a margin may result in part of the printed matter being obscured by oversewing, or cropped unintentionally during trimming.

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


feather edge

The finely pared edge of a piece of leather, or a thin, rough edge, such as deckle edge. See also: EDGING (1).

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


feather ornament

An engraved finishing tool resembling a feather. It is found mainly on clasps and catches, but also at times, in the form of a tool used in decorating leather bindings.

Oldham, James Basil. English blind-stamped bindings. Cambridge. Cambridge University Press. 1952.


feather stitch

An embroidery stitch consisting of a line of diagonal blanket stitches worked alternately to the left and right.

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


feather work

A style of decoration, originally used on Irish bindings of the 18th century, emphasizing curved lines probably made with a gouge, which radiate outward from a central point producing a delicate and very rich featherlike pattern.


feathering

1. See: EDGING (1). 2. A printing fault seen as the spreading or feathering of the ink outside the printing area and generally along the direction in which the fibers lie. It may be a result of excess solvent in the ink, an unsuitable paper, or both.


featherweight

1. Papers which are extremely light in proportion to their bulk. Pure esparto papers are the bulkiest, but are difficult to handle, as they are soft and spongy. Paper of standard bulk or above is termed featherweight, while the same grade of paper under the standard bulk is called ANTIQUE BOOK PAPER. 2. A general term indicating lightweight book paper, thin opaque writing paper, etc.


featherweight book paper

Paper used mainly for fiction, especially where bulkiness is desired for a given number of leaves. The standard basis weights range from 50 to 80 pounds (25 X 38—500). In England, such papers are made largely from ESPARTO (GRASS). Featherweight book papers are porous and difficult to handle.

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


Feed guide

An implement attached to a press to aid in correct feeding.


feeder

An apparatus for feeding paper into a printing press, ruling machine or folding machine, gathered sections into a sewing machine, sewn books into a casing-in machine, etc. It may also be the device on automatically fed machines performing the same function. The first feeders moved the sheet forward and adjusted it, while the sheets in the pile were still separated by hand. From this early "semi-automatic" feeder, which still exists in numerous machines, particularly in library binding, the modern completely automatic feeders were developed.

Three classes of automatic feeders are in general use: 1) the pile feeder, which operates by means of a jet of air which raises the sheet and brings it into contact with a suction wheel which moves it forward into the feed table. As the sheets feed off the top of the pile, the entire pile is raised to keep the top sheet always at the same level. Some pile feeders separate the sheets by means of push fingers that buckle up the corners of the paper and move it forward one sheet at a time; 2) the continuous feeder, which uses bands of webbing to carry the sheets which are previously fanned out and placed on the feeder. The bands carry the sheets around a roller and up to the feed wheels where a combing wheel advances the top sheet to a guide. At the correct moment, the guide drops and another wheel drops on the edge of the paper and carries it forward. Some continuous feeders use an air jet and suction wheel to advance the sheets; 3) the friction feeder, which operates in a manner similar to the continuous, expect that the sheets are not carried around a roller; in this case each new lift of paper must be slipped under the edge of the previous lift.

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

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

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


Feeding

Supplying the press with sheets.


feel

The qualities or properties of texture, finish, bulk, grain, smoothness, suppleness, stretchiness, softness, etc., of leather, paper, cloth, etc., as judged by the sense of touch. Although purely subjective in nature, "feel" is nonetheless one of the properties by which leather and paper are judged.

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


FEET OF A PRESS

The frame of a wooden press that lies horizontally on the floor, into which the cheeks and hind posts are inserted by means of mortises and tenons.


felt

1. The blanket of absorbent material, e.g., wool, placed between sheets of handmade paper that have just been removed from the mold. The purpose of the felt is to absorb water from the wet sheets. See also: COUCH (1, 2). 2. A continuous belt on a papermaking machine, generally made of wool, but also as a combination of wool, cotton, asbestos. and synthetic fibers. Felts perform the function of mechanical conveyors or transmission belts, provide a cushion between the press rolls, and serve as a medium for the removal of water from the wet web. 3. The blanket of a printing press used to soften the impression. 4. The inside lining found in some book boxes. 5. A cloth produced from matted fibers of wool, or wool and fur or hair, and made into a compact material by compression, usually while wet

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.

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


FELT

Pieces of felted hats. This is the best substitute for scaleboard, when there is a deficiency of that article, to use as cards in the head of a press; and even when there is no scarcity of scaleboard, a few pieces put in improve the pull. See Cards.


felt side

The side of a sheet of paper that has not been in contact with the Fourdrinier wire, and which therefore is the smooth side of the sheet rather than the WIRE SIDE. The felt side is considered to be the "top" of the sheet.

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

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


felted

1. A term sometimes applied to the characteristic of firmness or solidity of a book that has been heavily pressed several times during the course of binding, thus compacting the leaves. 2. See: FELTING.

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


felted fibers

A material used in the manufacture of book-cloth substitutes, as a basis for imitation leathers, and in lieu of spine lining fabric in edition binding. It consists of synthetic fibers felted together into sheets and laminated to impart strength. One of these fiber-bonded fabrics is made from regenerated cellulose, the finished product being reasonably strong and durable. It is impregnated with appropriate fillers for use as a substitute for book cloth and leather. Untreated, the material is much cheaper than spine lining fabric and stronger than paper. Some edition binders use the parallel laid bonded fiber fabric to form the joint between the case and text block. As a book-covering material, this substitute is said to be easy to work and block, but most are aesthetically unappealing, lacking the texture and appearance of substance of cloth and buckram. They are decidedly inferior to leather in virtually every respect. They are marketed under a number of trade names.

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


felting

The process of intermingling the fibers during the manufacture of paper, either on the wire of the machine, or on the mold when making paper by hand.


Female Gage

*Screws*, &c. The *Hollow Gage*, or *Hollow Screw* that receives its *Match Gage* or *Screw*, &c.


fence

1. The movable guide attachment of a card or board cutter that controls the location and extent of the cut. See also: BACK GAUGE. 2. The thin cards placed between the boards and fly leaves of a book to prevent marking by the turn-ins or tongue of the split boards when pressing, and also, in books having excessive swell after sewing, to facilitate smashing without "throwing out" the sections at the spine. See also: PRESSING TINS (2). 3. An endpaper of a blankbook.

Gray, Niel. Paper-cutting machines…Chicago. United Typothetae of America. (Typographical technical series for apprentices, pt. 1, no. 10). c. 1918.

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


fenders

See: FENCE (2) ; PRESSING TINS (2).


Ferrar, Nicholas

One of the more interesting figures in the history of English bookbinding. Ferrar and his relative, John Collet (as well as Collet's wife and 14 children), and Ferrar's mother, established a semi-religious community called the English Protestant Nunnery, at Little Gidding, in Huntingdonshire, in about 1625. Ferrar employed a bookbinder, who taught the family the craft, as well as gilding and the so-called pasting-printing by means of a rolling press. The members of the community produced the remarkable "Harmonies" of the Scriptures, one of which was produced by Mary Collet for King Charles 1. Some of their bindings were in gold-tooled leather, some were in velvet which had a considerable amount of gold tooling, and one was in red parchment with the center and corners of each cover ornamented with pieces of white parchment, pierced and gilded. Some of the embroidered bindings of this period have also been attributed to the so-called nuns of Little Gidding.

Book collector. London. Queen Anne Press.

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


ferrous sulfate

An astringent salt (FeSO4), usually obtained in the form of the pale green efflorescent, crystalline heptahydrate (FeSO4 .7H2O) as a byproduct, and used extensively in the 19th century in the production of SPRINKLED CALF, MOTTLED CALF, and TREE CALF bindings. Unfortunately, its use resulted in severe deterioration of the leather in most cases. It was also used in the execution of the JAPAN MARBLE.

It is sometimes used today in dyeing or finishing with dyewoods to impart a blue-black shade to leather, in the manufacture of writing inks, and in engraving and lithography. Also called "copperas," or "green vitriol."

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


festoon drying

A method of air drying paper. The paper is hung in loops (festoons) over rods which move slowly through a drying chamber in which the temperature and humidity are controlled. This type of drying is used for paper that has been tub sized or coated.

Ainsworth, John H. Paper; the fifth wonder. 2nd ed. Kaukauna, Wisc. Thomas. 1959.


fiber

1. A small, slender tube which is the unit cell of vegetable growth and the basic unit of paper pulps. Fibers are sometimes considered to be of two classes, i.e., bast and wood, but they are more appropriately designated by reference to the tissue or region in which they occur. e.g., cortical fibers, pericyclic fibers, phloem fibers, wood fibers, leaf fibers, etc. Other types of fiber, such as mineral, animal and synthetic, are also used to a certain extent in paper manufacture.

The longest natural fibers normally encountered in papers are about one fourth of an inch in length and the shortest about one-sixteenth of an inch. Fibers are generally about 100 times longer than they are wide, although some fibers, such as cotton, have a length to diameter ratio of more than 1,000 to 1. The walls of all fibers are composed of small strands called FIBRILS.

Chemically the fibrils are composed of a number of cellulose chains. Other chemical components in fibers other than cellulose include hemicelluloses and lignin.

The physical properties of length, diameter, wall thickness, and FINES content are the most significant in determining the characteristics of paper made from natural fibers. The approximate relationships between fiber characteristics and paper properties are:

Property of

the Paper:          Increased by:           Decreased by:

tensile strength    long fiber              large diameter

stretch             long fiber              thick cell wall

tearing resistance  long fiber,

thick cell wall

folding endurance   long fiber              thick cell wall

opacity             thick cell wall,        long fiber

high fines content

bulk                long fiber,

thick cell wall

porosity            long fiber,             large diameter

thick cell wall

formation           thick cell wall,        long fiber

high fines,

large diameter

The chemical characteristics also have a significant effect on the properties of the paper. The length of the CELLULOSE CHAIN, for example, which is the basic unit in a fiber, contributes greatly to the strength of the fiber. If these chains are naturally short, or have been shortened either by chemical or mechanical treatment or influences, the strength of the fibers will be naturally lower or else reduced; therefore the paper will be weaker. In addition, the paper loses strength if the cellulose chains are shortened due to chemical action subsequent to manufacture of the paper.

Paper pulps that contain a high degree of hemicelluloses are easy to refine, have good bonding strength and low tearing resistance, and good RATTLE.

Excessive bleaching of the fibrous stock, especially when done with strong caustic extractions, results in removal of hemicelluloses. The fibers then have greater flexibility but do not bond together effectively, resulting in a paper that is soft and absorbent.

Unbleached paper pulps tend to contain more lignin than is found in bleached pulps. The presence of lignin results in stiffer, tougher fibers which do not collapse against each other very well, resulting in fewer interfiber bonds being formed during manufacture. Bleached fibers, on the other hand, conform better and afford greater contact between fibers, resulting in a stronger paper. While bleached fibers conform better than unbleached, improper bleaching may result in the loss of hemicelluloses and damage to the cellulose chains. 2. The complex proteinaceous structure, composed of ropelike bundles of fibrils organized in long, wavy bundles that vary in diameter from approximately 1 to 20 microns. These proteinaceous fibers make up the principal constituent of COLLAGEN.

American Society for Testing and Materials. Committee D-6 on paper and paper products. Paper and paperboard; characteristics, nomenclature, and significance of tests. 3rd ed. Philadelphia. American Society for Testing and Materials. (Special technical publication 60B). 1963.

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

Sutermeister, Edwin. Chemistry of pulp and pa per making. 3rd ed. New York. Wiley. 1941.

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


fiber boards

1. Pressing boards made up of laminated sheets of heavily pressed fiber. 2. Pressing boards made of hard wood that have flanges of hard pressed fiber instead of brass or other metal.


fiber composition

The various types of fibers making up a sheet of paper or board, generally expressed in percentages. Fiber physiology and various staining methods are generally used to determine fiber composition.


fiber orientation

The direction in which the greater proportion of the fibers of a paper have their larger dimension, which is their length. Handmade papers have the least degree of lengthwise orientation due to the multiple shaking of the mold when it is lifted from the vat, which causes the fibers to settle in various directions. Machine-made papers have the greater proportion of their fibers oriented in the longer or MACHINE DIRECTION of the paper; however, some Fourdrinier papermaking machines are equipped with shaking wires that cause more fibers to shift away from the direction of movement of the wire.

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

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


fiberize

A process used to reduce wood chips, reclaimed paper stock, dry broke, and other papermaking fibrous materials to individual fibers. The equipment used for this includes disc mills, conical refiners, etc. Sometimes the materials are first softened with water or steam, or by chemical treatment before the mechanical action.

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.

Crown Zellerbach Corp. Making pulp and paper. San Francisco. Crown Zellerbach Corp. 1958. 1 vol.


fibrilae

See: FIBRILS.


fibrillation

The process of loosening the threadlike elements known as FIBRILS from the wall of the fiber, thus providing greater surface area for the formation of fiber-to-fiber bonds. Also called "brushing out"


fibrils

The fine, threadlike elements that make up the structure of fibers of certain natural and synthetic materials and which are considered to be made up ultimately of long-chain molecules oriented in a bundle in one direction. In vegetable fibers they are the threadlike elements of the wall of the native cellulose fiber, consisting of still finer microscopic microfibrils. In animal fibers they are the long proteinaceous filaments consisting of bundles of submicroscopic micelles, which in turn are made up of very long molecules of collagen twisted together. Fibrils are the smallest physical unit encountered in fibers; at this point the physical area ends and the chemical area begins.

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


fibroblasts

Cellular structures which are thought to participate in the formation of the fibers of connective tissue in animals, i.e., FIBRILS, and which may also be responsible for the formation of ground substance.

Bailey, Frederick T. Textbook on histology. 16th ed. Ed. by Wilfred M. Copenhaven, and others. Baltimore. Williams & Wilkins. 1971.

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.


fiddle stitching

A term applied somewhat inaccurately to a method of lacing, rather than stitching, executed by winding thread or cord in and around v-shaped cleats of slots sawn at regular intervals in the spine of the gathered sections. See also: SMYTH-CLEAT SEWING.

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.

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


filigree doublures

A DOUBLURE (1) consisting of ornamental openwork of an intricate design, frequently of hairlike arabesques, intricate backgrounds of flowering vines with delicate spiraling stems, cut from leather and laid over a contrasting background. See also: ONLAY,

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


fill

1. The heavy paper pasted to the insides of the boards within the edges of the turn-ins. See also: FILLING IN (1). 2. The paper used to fill out albums bound with stubs so as to make the book of equal thickness from fore edge to spine for purposes of trimming, casing-in, etc. 3. The material used to fill a fabric. See: BOOK CLOTH; BUCKRAM 4. See: FENCE (2). 5. See: SPINE LINING (1). 6. See: LOADING (2). 7. See: WEFT. , 341)

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


filled

A BOOK CLOTH treated with a chemical compound which fills the interstices and/or covers the fibers of the fabric to give it body, color or other desirable physical or chemical characteristics.

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


filler

1. A material, such as acrylic, starch or pyroxylin, used to fill the interstices of a base fabric. The principal characteristics desired include cheapness, flexibility, water resistance, durability, printability, mold and fungi resistance, and resistance to insects and other vermin. See also: BOOK CLOTH; BUCKRAM. 2. Usually, a non-fibrous material added to the fiber furnish of paper. The major characteristics desired include cheapness, opacity, printability, color, and flatness. See also: LOADING (2). 3. The inner ply or plies of a board made up of multiple layers. 4. An ornamented outline or border in gold or color. 5. A relatively nonadhesive substance. such as clay, diatomaceous earth, walnut shell flour, etc., used to extend an adhesive or to provide increased bulk. and/or to improve its working properties, strength, permanence, or other characteristics. See a1so: BINDER (4); EXTENDER (1). 6. See: PADDING (t).

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

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

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

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


filler clay

A type of CLAY incorporated into the papermaking furnish before sheet formation. Its purpose is to fill the voids between the paper fibers so as to improve printability, opacity, brightness. etc. Filler clays, such as KAOLIN, may be of a larger particle size than those clays used as COATING CLAY.


fillet

See illustration</> 1. A wheel-shaped finishing tool having one or more raised bands on its circumference. It is used to impress a line or parallel lines on the covering material of a book, usually one bound in leather. The lines may be continuous or the fillets may have a wedge-shaped gap in the circumference to facilitate starting and stopping lines and also to enable lines to be joined evenly at corners.

It is not known when the fillet first came into use. Bindings of the 12th century, and even earlier, have impressed lines that could have been made with a fillet, but they may also have been impressed with a pallet, or similar tool, dragged across the leather rather than rolled. It is argued that it probably did not precede the roll, which was introduced in about 1470. by any great length of time, because once a wheel-type tool was introduced, it would soon be patterned. It is sometimes called a "roulette" in the United States.

2. The plain line or lines impressed on a book cover. The so-called French fillet is a triple fillet (always in gold) having unevenly spaced lines. (69, 161. 172, 236, 335)

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

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

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

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


fillet

The cylindrical ornament used in finishing upon which simple lines are engraved.


fillet

A cylindrical tool used in finishing, upon which a line or lines are engraved.

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


fillet

A cylindrical tool upon which a line, lines, or figures are engraved. Used in finishing.


fillet pad

A mechanical device which unwinds ribbon gold (leaf) when gilding by means of a fillet or roll.

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


fillet rolls

Finishing tools consisting of brass rolls approximately 3 1/2 to 4 1/2 inches in diameter, with 1, 2, or 3 lines on the circumference. See also: FILLET (1).


filling

See: WEFT; PADDING (1).


filling in

1. The operation of pasting heavy paper to the insides of the boards of a book within the turn-ins of the covering material. The purpose of filling in is to prevent the thickness of the turn-ins from being noticeable under the board papers. Filling in is done only in craft bookbinding. 2. A fault in blocking, printing, etc., in which the spaces in types, or the spaces between the dots of a halftone block, fill with gold, coloring, or ink. In blocking it may be caused by worn or damaged type, or by a type holder that is too hot; in printing, it may be caused by too much ink, or an ink that is unsuitable for the job, by the form being too high, the rollers being set incorrectly, or by the use of an unsuitable paper, especially one which fluffs.

Corderoy, John. Bookbinding for beginners. New York. Watson-Guptill. 1967.

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

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


film forming

That property of an adhesive which enables it to cast a continuous dimensionally stable film. Film forming also refers to the relative strength of the cast adhesive film. Adhesives with good film forming characteristics are those which tend to deposit more uniform films of high structural strength.

McGuire, Edward Patrick. American adhesive index. Mountainside, N. J. Padric. 1962.


fine paper copy

A book printed on paper of a superior quality (which often but not always is larger in size) than the balance of the edition, which is printed on ordinary paper.


FINE PRESSWORK

This is the technical term for presswork of superior quality; it is in some measure indefinite, for, as presswork is paid a certain price for a given number, and the price advances according to the time and care bestowed on it, that for which the lowest price is paid is termed common work, and after the price has advanced about one half in addition, it is styled fine work; although it may advance gradually to six times the lowest price, or more, it is still called fine work.

In aiming at excellence in printing, it will be found that Presswork deserves particular consideration, as a part on which the beauty of a book so much depends.

It will be necessary, in the first instance, to endeavour to define more particularly what is meant by the term Fine Presswork, for except this be understood, we shall come to no satisfactory conclusion, as workmen vary in their opinions respecting it, and frequently produce sheets of different shades of colour in the same volume, when it is done at different presses, and all under the name of the finest work; and when the same person either actually prints the whole, or superintends it, the work will be executed according to his criterion, without any fixed rule whereby to decide; thus one man shall produce the finest work, according to his opinion, of a pale grey colour, while another will produce it so black and surcharged with colour, that if the ink be not of a very good quality, it will not only smear, but the paper at the edges of the letters, nay, even the whole page, will be tinged with the oil which separates from the colouring matter of the ink, to the entire destruction of all beauty of workmanship.

Fine Presswork is the art of printing perfect impressions from the surface of engravings in relief.

By obtaining perfect impressions, I would be understood that the subject transferred to paper should be an impression from the surface and the surface only of the engraved lines, of such a tone as to produce all the effect of which the subject is capable, without either superfluity or deficiency of colour.

Having thus defined my meaning of the term Fine Presswork, I shall speak of the means by which it is to be produced, which may be of use to those who have not had opportunities of printing splendid books.

The press ought to be in the best condition, otherwise there will be no certainty of the impression being equal, except with great trouble and loss of time. The joints of the tympan should not have any play; if they have, it will affect the register, which being out disfigures the appearance of the book; it also causes a great risk of producing slurs and doubles: the most certain way of having them without play is to construct them on centres, so that if they should work a little loose, they can at any time, with the greatest ease, be tightened by means of the screws on which the centres are formed.

The parchments on the tympans should be thin, and of a uniform thickness, and stretched on the tympans so as not to be flaccid. It is said that the French printers in their finest works used silk on the tympans, on account of its thinness, its smoothness, and uniformity.

The face of the platen ought to be a true plane, and parallel to the press stone, or table. It will be found in practice that an iron platen is superior to a wooden one for producing a sharp clear impression, where fine work is wanted; for, by discarding woollen blankets, the pressure must be increased to obtain this effect, which indents wood, and then requires so many overlays to make a uniform impression, that they produce nearly the same effect as blankets, and it becomes necessary to new face the surface frequently, which is inconvenient and expensive: the iron platen is not subject to this inconvenience; but it is more liable to injure the types, as it will not yield; and should there be any inequality on the surface of the form, owing to it not being well planed down, or to any extraneous matter being upon it or under it, the types must give way, and be destroyed. Generally speaking, the iron platen wears the types more than a wooden one.

The head of the press should be so justified as to produce what is termed a soaking pull; that is, the form should begin to feel the pressure of the platen when about two thirds down; then, when the bar is pulled home, or what is technically called cheeked, which I would always recommend to be done in good work, as it keeps the pull regular and uniform, the power slowly increases, and the paper has time to be pressed gradually on the types, which causes it to receive the ink on all its parts, and produces a clear impression.

This justifying the head relates to wooden presses, where the head and the winter are allowed some play, which is filled up with pieces of scaleboard, called cards, cut to the size of the mortises in the cheeks, and inserted in them upon the tenons of the head, and under the tenons of the winter, allowing the pull to have some elasticity. For my own part, I would have the winter lie solid, and the spring be confined to the head. See Winter.

In the iron presses constructed on the late Earl Stanhope’s principle, where increased power is produced by means of a compound lever applied to the screw, and where there is no elasticity in the pull, this effect is produced in a greater degree than in a press of the common construction; for, as the platen descends on the form, the power increases considerably, but the motion is slower; thus the effect of the soaking pull is preserved, with a considerable addition of power, owing to the combined action of the screw and the compound lever.

In Ruthven’s press, where the platen is suspended from the head, and brought over the form by means of small wheels with grooves in their edges running on the ribs, the pull is regulated by screws on the locking pieces, and also through the springs by which it rests on the ribs, that bring it nearer to, or remove it from the form.

In Clymer’s Columbian press, where the power is obtained by a compound lever, the pull is regulated by a screw that connects the bar with the lever, and additionally by thin plates of iron placed upon the top of the platen under the bottom of the spindle. It is also regulated in the same way, in the Albion press, as originally constructed by R. W. Cope.

In Sherwin and Cope’s Imperial press the pull is justified by a wedge above the head of the spindle or bolt in the front, which has a screw attached to it with a projecting head, by which the pull is adjusted to the greatest nicety, with ease and facility. Mr. Hopkinson has adopted the same plan in the Albion press since it came under his management on the death of Mr. Cope.

The advantage of having a good press will be unavailing for the production of fine work, if the types are much worn; for it will be found impossible to produce a sharp clear impression if the perfect shape of the letter and the fine lines are rounded and worn away by much use, as, in consequence of this roundness of the letter from wear, it will be necessary to use much blanket in the tympan to bring up the shape of the whole letter, which will produce a gross and indelicate impression of more than the surface.

I have been told that Didot, of Paris, in his most splendid works, never printed more than three sheets from the same fount of letter, when it was sent to the melting pot, and replaced by a new fount.

The colour of the ink must depend on the taste or fancy of the master printer;—but no, I am mistaken, for, unless he prepares his own ink, he is obliged to use that only which is manufactured for general use; and there is little if any choice in purchasing this article, when it is wanted of a superior quality. Leaving the particular shade or tone out of the question, I will state my opinion as to what the qualities of black printing ink ought to be for fine work.

Intenseness of colour.

Impalpability.

Covering the surface perfectly of the type or engraving.

Quitting the surface of the type or engraving, when the paper is pressed on it, and adhering to the paper.

Not smearing after it is printed.

Retaining its first appearance without any change.

Ink ought to be reduced to an impalpable smoothness, either in a mill or on a stone with a mullar; and this is essentially necessary, as the process gives it the next quality—of completely covering the surface of the type, or the lines of the engraving, and that with the smallest quantity; and, with proper care in printing, presents to the eye an impression, in which the edges of the lines are smooth and perfect, and the surface of the impression on the paper is completely covered with ink, without any superfluity; which constitute the perfection of presswork with types.

Another property required in ink is, that it shall not only cover the surface of the lines on the paper printed, but that it shall also quit the face of the type or engraving, and leave it quite clean when the paper is impressed on it, and attach itself to the paper, so as to give a perfect impression of the subject represented, without the colour of the paper appearing through the ink; and that this property, of quitting the type or engraving, and becoming attached to the paper, shall continue the same through any number of impressions, without any accumulation of ink on the surface printed from.

After having obtained these results, and when the printing is as perfect as it can be made by workmanship, still something more is requisite, viz. that the ink shall not smear on being slightly rubbed; and that it shall retain its colour and appearance, without the oil in the ink spreading at the edges, or tinging the paper—in short, that it shall continue unchanged for any length of time, thus preserving and continuing the beauty of the work.

The balls should be in good condition, otherwise the pressman may exert his skill in vain, with a great loss of time and waste of paper, without the intended effect. They are made smaller and stuffed tighter with wool than those used for common work, which enables the pressman to distribute the strong ink that is used with more facility; they also cover the surface with ink better than if they were softer, and are easier for the workman; for large soft balls, used with ink made very strong with varnish and colour, would be almost unmanageable.

The quality of the paper is of great consequence in fine printing, but it is frequently overlooked by the printer’s employers, who are too apt to pay more attention to a showy appearance and a low price, than to quality.

The best paper for receiving an impression, as I have observed in the article Engravings on Wood, is India paper; but as that which comes to England is thin, it is not used for bookwork, neither would it be durable, as it wants toughness to enable it to sustain much wear.

The next best paper for printing is French plate paper, which is superior to English plate paper, as the latter has a good deal of gypsum in its composition, which causes it to be very uncertain in the wetting; for having given it a sufficient quantity of water, judging from appearances and by comparison, and expecting to have it in good condition, the pressman shall find it, when wanted for use, nearly dry, and harsh, and the water unequally diffused; it has then to be wetted again, and particular attention must be paid to the turning and pressing of it, before it is in a proper state for printing on. I attribute this effect to the gypsum, which has had its water of crystallization driven off by fire in preparing it, and the water which it takes up in wetting crystallizes to supply its place. I do not say that all English plate paper is affected in this manner by water, but I have repeatedly experienced it in practice; and in the second wetting, if great care be not taken, the gypsum being already saturated, it will imbibe too much water, which will squeeze out in printing, and prevent the paper from taking the ink uniformly, so as to spoil the impression.

The best English paper for printing on is that which is made of fine linen rags, and moderately sized, without the use of acids in bleaching, and without being adulterated with cotton rags: this paper takes water kindly, is easily got into good condition, receives a good impression, is durable, preserves its colour, and does not act upon the ink.

Messrs. J. Dickinson and Co. have made great improvements in the quality of paper, and manufacture one kind which is admirably adapted for printing, being made by a peculiar process which gives it a particular affinity for the ink. They have also introduced improvements in the manufacture which have superseded the use of French paper with us, and have also nearly done so with the Chinese or India paper.

Having thus spoken of what I mean by fine presswork, and of the materials by which it is to be produced, I shall now proceed to describe the process; for when a printing office is provided with materials of the best quality, and the master of it is desirous of producing superior workmanship, there is something more required—he must resolve to lay in a fund of patience, as well as to submit to a great and continued expense of materials, or else he will never excel.

A good pressman will, as a matter of course, be well acquainted with the whole of the usual routine of presswork; in addition to which, to form his judgment, he should make himself acquainted with the most splendid books, and study them as patterns of workmanship.

In making ready it must be evident, that when a clear sharp impression is wanted, the pressure should be on the surface only, without penetrating into the interstices; of course the tympan ought not to be very soft, neither should any woollen blanket be used: the most perfect impression will be obtained when fine thick paper alone is used in the tympans, and even of this article I would not recommend many thicknesses.

After an impression is printed, the pressman examines if it be uniform throughout; if it be, which is very rarely the case, he goes on with the work; if not, he proceeds to overlay, in order to produce regularity of pressure, and of colour, over the whole form.

To effect this object, he takes thin smooth paper, and wherever the impression is weak he pastes a bit of it, of the size and shape of the imperfect part, on the tympan sheet, and proceeds in the same manner with every part that is imperfect; he then pulls another impression to examine the effect of his overlays, and continues to add to them where wanted, till the pressure of the platen is the same in every part, and the impression is uniformly of one shade of colour.

If the impression come off too strong in parts, or at the edges or corners of the pages, or on the head lines, it will be necessary to cut away the tympan sheet in those parts, and, if that does not ease the pressure sufficiently, to cut away the same parts from one or more of the sheets that are within the tympans.

It is generally preferable to overlay on a sheet of stout smooth paper inside the tympan, and particularly where the same press does the whole or great part of a work: this sheet is cut to fit the interior of the tympan, so as not to slip about, and has overlays pasted on it where wanted, to bring up the impression till it is very nearly equal; in all succeeding sheets it saves the pressman a great deal of time, as he will be certain that when he pulls a sheet of another form of the same work it will be nearly right, and he will only have to place thin overlays on occasional parts to make the impression perfect, with very little trouble. On the same principle, where this method is not adopted, preserving and using the same tympan sheet with its overlays, will be more expeditious than having to repeat the operation with every form.

Where short pages occur in a form, the bottoms of them and the edges of the adjoining pages will print too hard, and not prove a clear impression; it will therefore be necessary to have bearers to protect them, which are generally of double pica reglet pasted on the frisket, so as to bear on some part of the furniture or chase; but high bearers, made to the height of the types, are better, when they can be placed so that the balls do not touch them during the process of beating: in such a case they are liable to tear the frisket, from their closely adhering to it by their inky surface and the pressure. They may be placed where the regular foot of the page would have been had it been a full one, to prevent those hard edges which would otherwise be produced. This principle will hold good in all cases of short pages, blank pages, and the edges of wood cuts; but where it happens that some of the edges, or a particular page of a full form, come off too hard, and where there is not room to place a high bearer, then a piece of double pica reglet pasted on the frisket in the usual way will answer the purpose.

It is not necessary that these bearers should be placed close to the part requiring to be eased; they will produce the same effect if placed at a distance, keeping the direction, so that they take a good bearing on the platen, avoiding the frame of the frisket and the points; in using reglet as low bearers, I would recommend that the flat side of the furniture should be turned uppermost to receive the pressure of the bearers, provided they do not bear upon the chase.

When a high bearer does not ease the pull sufficiently on particular parts, its effect may be increased by pasting slips of stout paper on it, as overlays or underlays, and a bearer of reglet may be amended in a similar manner.

It happens occasionally that the tympan causes the paper to touch the form partially on being turned down, and occasions slurs, and this may occur from the parchment being slack or the paper being thin and soft. To prevent this inconvenience it is customary to roll up a piece of paper, similar to bookbinders headbands, and paste it on the frisket adjoining the part; this roll of paper takes a slight bearing on the furniture, and is a remedy. Many pressmen prefer pieces of cork cut to about the thickness of double pica, and pasted on the frisket.

It is neither customary nor advisable to fly the frisket in the best work, and more particularly when large heavy paper is used; it is a convenience in such cases to have a button screwed on the off side of the frame of the tympan, to confine the frisket flat to the tympan; it keeps the paper in its place, assists it in rising from the face of the form, to which it adheres owing to the strength of the ink; it helps to prevent slurring, and the paper from slipping, which occasions waste when it happens: altogether the button is of consequence in preventing accidents in the impression.

In working the white paper, instead of pins stuck into the tympan, to prevent the paper slipping, a duck’s bill is frequently used: it is pasted to the tympan at the bottom of the tympan sheet, and the tongue projects in front of it, indeed the tympan sheet appears to rest in it. The bottom of each sheet is placed behind this tongue, which supports it while turning down the tympan. See Duck’s Bill.

In proceeding with the work the balls should be well cleaned, that no dirt or extraneous matter may be on their surface. They should not be too moist, which would prevent the ink distributing equally on them, and would also prevent it lying equally on the surface of the types or engraving; nor should they be too dry, as in that case they will not dispose of the ink so smoothly as to produce a fine impression; neither will they retain particles of dirt on their surface, but part with them to the form, which will cause picks. The moisture ought to be just so much as to make the pelt or composition soft, when the ink will distribute kindly and equally, which will be perceived by their lugging; they will also part with it to the form equally where they touch, so that the impression will be sharp and clear.

The ink ought to be rubbed out thin and regular on the ink block, so that in taking ink it shall at the very first be diffused tolerably smooth on the surface of the balls, which causes a greater probability of producing good impressions. It is likewise advisable to keep rubbing the ink out on the block with the brayer, as also to be almost constantly distributing the balls; the consequent friction produces a small degree of warmth, which is of advantage, particularly in cold weather.

As uniformity of colour is requisite for beauty in printing, I would recommend that the pressman should take ink for every impression where the form is large; this I am aware will be thought too troublesome, but I am decidedly of opinion that it is advantageous in producing regularity of colour: it is unpleasant to the eye to see in a splendid book two pages that face each other, the one of a full black, rather surcharged with ink, the other rather deficient in quantity and of a grey colour; yet this must happen when, as is frequently the case, three or four sheets are printed with one taking of ink.

Beating for fine work should not by any means be slighted. The form ought to be gone over two or three times, not with heavy thumps, but slowly and regularly with a firm hand, just raising the balls each time completely clear of the types, and advancing but a little way, so that in fact each part will be beat five or six times over, or more; the face of the type will then be completely covered with ink: but the pressman should be careful not to beat too far over the edges of the pages, nor, if the margin be wide, to let the balls scrape against the edges of another page, as in both cases ink or extraneous matter will be scraped from the balls, and accumulate about the types at the extremities, and thus cause picks and rough lines.

In splendid books, and particularly where the paper is large and heavy and the type large, set-off sheets are used to interleave the whole impression while working, and are continued in it till the printed paper is taken down from the poles, when they are removed by the warehouseman. These set-off sheets are put in when the white paper is working, and moved from one heap to the other during the working of the reiteration. They prevent the ink from setting off from one sheet to another while they are newly printed, which it would otherwise do from the weight of the paper, and also from fine printing being usually worked of a full colour.

For the uniformity of impression I would advise that the pull should be adjusted in the first instance so as to cause a proper degree of pressure on the form to produce a good impression when the bar is pulled home, and then invariably to cheek the bar, and allow it to rest in that position during a short pause; this is easily done in the Stanhope, the Ruthven, the Columbian, and Sherwin and Cope’s presses, as the increased power is obtained by a compound lever, which is generally so adjusted as that the lever shall come a small portion beyond the centre of the circle it partially describes when the bar is pulled home, and as it has then reached a point beyond its maximum power, it is easily retained in this position to rest on the pull: the same observation applies to all other presses having, what is usually termed, the increased power, which is the application of a compound lever to a press on the common construction; but in a one pull wooden press, instead of this application, which I must acknowledge I never knew to answer well when applied to these presses, I would recommend when fine work is doing a simple contrivance that I adopted in two presses, which answered the purpose uncommonly well, and enabled the pressmen to rest on the pull uniformly, without too much effort to keep the bar to the cheek, which with a heavy form and a large platen becomes very fatiguing to continue through a number of impressions, if not impossible, with the unaided exertion of the arm. See Catch of the Bar.

It will thus be perceived, that to produce presswork of a highly superior character, great expense and much time are required; and that it is requisite to have a good press, and that press to be in good condition; to have new types, or types the faces of which are not rounded by wear; to have good balls, and those balls in good condition; the ink should be strong, of a full black colour, the oil well boiled, to prevent it separating from the colouring matter and tinging the paper, and it should be ground so fine as to be impalpable; the paper should be of the best quality, made of linen rags, and not bleached by means of an acid which has a tendency to decompose the ink; the beating should be carefully and well done, not in a hurried manner, the face of the type should be completely covered with ink, without any superfluity, so as to produce a full colour; and the pull should be so regulated as to have a slow and great pressure, and to pause at its maximum in order to fix the ink firmly upon the paper; these particulars observed, with paper only in the tympans, perfect impressions of the face of the type only will be obtained in the most superior manner, and a splendid book will thus be produced in the best style of printing.


fine red

A marbling color used before the introduction of synthetic dyestuffs, and prepared by boiling Brazil dust, nutgalls, alum, sal ammoniac (ammonium chloride) and hydrochloric acid in water, or by dissolving Brazil wood in hydrochloric acid.

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


fines

The very short fibers or fiber fragments and ray cells. Both types are very short, consequently they reduce the strength of the paper. The fines from broken fibers have thicker cell walls and larger diameters than those from ray cells, which leads to differences in the final sheet depending upon which types are present. Sometimes also called "flour" or "wood flour."


finish

1. The degree of brilliance, pliability and working qualities of cloth, leather, or paper. 2. To letter and/or decorate a book. See: FINISHING.

3. the surface properties of a sheet of paper as determined by its surface contour, gloss, and general appearance. It is a property which is usually determined visually. In uncoated printing papers, there are five major finishes recognized under the general terminology of machine-finish papers; in order of decreasing degree of smoothness, they are: English, machine, vellum, eggshell, and antique. For papers of higher finish, see: SUPERCALENDER finish.

Writing papers, including bonds, ledges, and manilas, generally have finishes called cockle, glazed, machine, supercalendered, and vellum. The finishes used for cover paper include antique, machine, plate, supercalendered, and vellum. The principal finishes for bristols are antique, eggshell, plate, and vellum.

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

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


finish break

A CRUSTY BREAK of a leather—one which can be attributed to improper finishing.


finisher

1. The bookbinder or gilder who performs the processes of polishing the leather, lettering. and embellishing, which are carried out on a hand-bound book subsequent to forwarding. In France, it is not unusual for the two operations—i.e., forwarding and finishing—to he performed by different persons: in England and the United States. on the other hand, the two are usually done by the same craftsman. except in commercial hand binding. 2. A machine used to apply varnish, lacquer, or other fluid to covering materials by means of a spray or roller, or a printing or blocking plate. 3. A term sometimes applied to flat or cylindrical polishing tools, e.g., a BURNISHER (2). (158. 173)

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.


Finishers' Press

Is the same as a laying-press, only much smaller.


finishing

1. The art or process of polishing, lettering, and embellishing the spine, covers. insides of the covers. and sometimes the edges of a book. as well as inlaying, onlaying, varnishing, and otherwise decorating and/or protecting the finished bookbinding.

The purpose of finishing is to identify (letter) and beautify the book. but, at least in the latter case, in such a manner as not to interfere with the strength of the binding. The degree of finishing, depends upon the nature of the book, the craftsmanship of the binder or finisher (gilder. as he is traditionally called), whether another craftsman did the forwarding, and, at times, the wishes of the customer.

Finishing has assumed a very important role in the craft of bookbinding since the earliest times. Almost all early finishing, at least in Europe, was in blind until the latter half of the 15th century, when GOLD TOOLING was introduced into Italy. See also: BLIND TOOLING.

In modern finishing. all but the simplest designs are measured out and drawn or tooled on thin paper. This is then positioned on the cover and heated tools are pressed through. The paper is then removed, and the blind impressions are again blinded-in. This sharpens and deepens the impressions, and, if gold is to be used, provides a smooth flat surface for the metal. In addition to making it possible to execute extremely difficult patterns without making errors on the leather itself, the use of a paper pattern eliminates the necessity of making basic guide lines in blind upon which the design is then built, and which almost invariably show beyond the tooling. It is uncertain when paper patterns were introduced, but they probably were not used much before 1830.

Not all leathers can be tooled successfully. Aside from the great difficulty encountered in tooling chrome-tanned leathers, only those vegetable-tanned (or tawed) leathers with surfaces firm enough to hold a line, such as goatskin, calfskin, pigskin, etc., are suitable. With the exception of sheepskin, leathers that are loose and stretchy do not retain impressions very well.

Library bindings are seldom "finished" to any greater degree than lettering of the spine, although gold lines and/or symbols are sometimes blocked on the spine. Edition bindings vary widely in the degree of their ornamentation. Whatever ornamentation they may have is usually done by means of blocking or printing. Whichever the case. they are "finished" only in the very broadest sense of the term. See also: BLOCKING (1); GOLD BLOCKING; INLAY (4); ONLAY; POLISHING.

2. The various operations in paper manufacture performed after it leaves the papermaking machine. Finishing operations include supercalendering, plating, slitting, rewinding, sheeting, trimming, sorting, counting, and packaging. Ruling, punching, pasting, folding and embossing are also at times considered to be paper finishing operations.

3. The processes in leather manufacture following tannage, including shaving or splitting, dyeing, fatliquoring, setting out, drying, staking, finishing or seasoning, glazing (or plating or embossing), and measuring.

Donnelley (R. R.) & Sons Co. Extra binding at the Lakeside Press. Chicago. Donnelley. 1925.

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

Kinder, Louis Herman. Formulas for bookbinders…London. Putnam. 1905.

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

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

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


finishing

Is that department that receives the volumes after they are put in leather, and ornaments them as required. One who works at this branch is termed a finisher.


finishing

Comprises tooling, lettering, polishing, etc.


finishing

The department that receives the volumes after they are put in leather. The ornaments placed on the volume. The person who works at this branch is termed a finisher.

The Art of Bookbinding: A Practical Treatise


finishing

comprises lettering, tooling, and polishing, &c.


finishing

The department which receives books after they are put in leather, and ornaments them as required. It includes lettering, tooling, polishing, etc. Also, the ornaments placed on a book. One who works at this branch is termed a finisher.


finishing press

A small press consisting essentially of two wooden cheeks, connected by a screw at each end. with handles for turning. A press pin is not required for this type of press. The finishing press is similar to the cutting- or lying-press, but is smaller and generally has no runners. It came into use as long ago as the early 19th century, and no basic changes were made in this basic press until a completely different type came into use in the 1880s. This new press consisted of two small cheeks, somewhat like rounded-off backing boards, which moved on joints.


finishing press

A small press, used for holding books when being finished.


finishing press

a small press used for holding books when they are being tooled (see Fig. 84).


finishing press

A small press with which a book is held firmly with its back upward and exposed for work.


finishing stand

1. A revolving stand consisting of a flat, circular board, covered with a soft, smooth material, mounted on another board. The lower board is stationary and rests on rubber knobs which are attached to its lower surface to raise it and prevent slipping. Ball bearings between the two boards allow the top one to revolve easily, thus making it possible to shift the position of the book with minimum effort. 2. A stand with a sliding shelf and an arm clamp which can be attached to the bench to hold a book while finishing. See also: FINISHING PRESS.


finishing stove

A small stove used for heating finishing and lettering tools. Such stoves generally have a circular plate in the center which is heated. and an outer notched ring to support the handles of the tools. Modern finishing stoves are heated by gas or electricity, and some are controlled by a thermostat.

While little is known of the form of early finishing stoves, many different types were probably used, because they were frequently fabricated according to the bookbinder's own specifications. A great variety were in use during the early years of the 19th century, all of which burned charcoal or coke, as they must have done for centuries. The gas-heated stove was probably introduced in the 1830s, while the electric stove has been in use since the early part of the 20th century.

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

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


finishing stove

A heating box or fire used for warming the various tools used in finishing.


finishing stove

used for heating finishing tools.


finishing stove

A small gas heater, similar to a “hot plate,” for heating finishing tools.


finishing tools

See: BAND PALLET; CIRCLES; CREASER (2); FILLET (1); GOUGE; HAND LETTERS; PALLET (1); POLISHER; ROLL. (1); STAMP (1); UNIT TOOLS.


FIRE EATER

Compositors who are expeditious workmen are styled Fire Eaters, and also Swifts.


firmness of leather

That property of a leather reflected in the force required to bend a standard strip of heavy leather through an arc of given radius of curvature. so that the grain surface of the leather forms an arc of a circle of given radius.


FIRST

The pressman who has wrought the longest at that press, except an apprentice, for he must allow any journeyman, though new come, that style, is distinguished by the name of First, the other his Second, these call one another companions: generally the master printer reposes the greatest trust upon the care and curiosity for good work of the First; although both are equally liable to perform it. All the privilege that the First has above the Second is, that the First takes his choice to pull or beat the agreed stint first: and that the Second knocks up the balls, washes the forms, teazes wool, and does the other more servile work, while the First is employed about making register, ordering the tympan, frisket, and points, &c., or otherwise making ready the form, &c.—M.

At the present day there is no such distinction; both the pressmen are equal, are equally responsible for the work, and take all the respective parts without any distinction; unless one of them be an acknowledged superior workman, and then he will, as a matter of course, take the lead in making ready, but in nothing else.


first binding

The original binding of a library book. The term is not generally used with reference to the binding of serial publications. but to the binding of pamphlets in self-covers, paperback books, sewn books in temporary covers, or books in gatherings.

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


first edition

The entire number of copies of a book or other publication printed from the same setting of type. The books may be printed at any time. A new edition does not come into being until there have been substantial changes in the type, i.e., a corrected edition, additions to the text (which is a revised edition), or until the type has been reset, which would be a new edition, 2nd edition, etc.

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

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


FIRST FORM

The form the white paper is printed on, which generally by rule ought to have the first page of the sheet in it.—M. This is the reverse of the present custom, which is invariably to lay on the inner form first, viz. the one that has the second page in it; except it is directed to the contrary, for some particular reason. See Lay on.


FIRST FORM

The form first printed, which generally contains the first page of a sheet.


first impression

1. The initial application of a finishing tool or hand letter to the covering material of a book. 2. All of the copies of a book printed during the first printing operation and before any alterations or additions are made. Subsequent printings following the first, producing reprints, are called "second impression," "third impression," etc.

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


first lining

The initial strip of material attached to the spine of a book subsequent to rounding and backing. In edition and library binding, it is generally the only lining. See also: SECOND LINING; SPINE LINING (1).

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


FIRST PAGE

First page of the sheet, which is always placed to the left hand in the first or outer form on the stone, when imposing.—M. In Hebrew works it is placed to the right hand, as in books printed in that language the order of the pages is reversed.


FIRST PROOF

The first impression of any matter after it is composed, for the purpose of comparing it with the copy; it is usually printed on a cheap hard sized paper, that will bear writing ink well, to mark the literal errors, and any variations from the copy that may have occurred, in order to assist their correction in the metal.


FIRST PULL

In a two pull press of the common construction, the platen only covers half a full form, and to obtain an impression of the whole, the carriage is run in at twice; the first pull prints one half, and the second pull the other half.


firsts

1. Hides and skins that are, or at least are designated as, perfect, i.e., free from holes, tears, putrefactive damage, etc. See also: GOOD SECONDS. 2. A term applied at times to the FIRST EDITION of a book.


fish glue

An adhesive obtained by boiling the skins of certain fish, particularly the cod fish, and used cold mainly in the liquid form. It works easily and is used in bookbinding for tipping-in and casemaking. See also: ISINGLASS

Katz, Irving. Adhesive materials, their properties and usage. Long Beach, Calif. Foster. 1971.

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


fish grained split

A sheepskin split, dyed and finished by embossing with a small "gunpowder" grain.

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


fish scales

A particular grain pattern in a leather resembling the scales of a fish. Leather with this type of grain was at one time used by bookbinders who wanted a leather giving the effect of being blind tooled.


fixation value

The relative speed with which different vegetable tannins combine with hide substance as measured by the relative amounts which combine under specified conditions.

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.


fixative

A clear solution, such as a synthetic resin in xylene (C8H10) sprayed or coated on a work of art, a reproduction copy, etc., that "fixes" or stabilizes the image, thus making it more resistant to wear, smudging, etc. Fixatives protect and preserve, but they also at times change the refractive index and may also impart an unnatural sheen to the colors, possibly one not intended by the artist.

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


fixed back

See: TIGHT BACK.


fixed tannin

See: COMBINED TANNIN IN LEATHER.


flag

1. A marker, such as a small strip of colored paper, placed so as to protrude from between the leaves of a book. Its purpose is either to show the position of the book on the shelf, or to indicate that the leaf marked (or the entire book) requires special attention. 2. A slip placed in the center of each section to facilitate sewing of the headband.

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

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.


flaking

The separating of the coating material from a coated sheet of paper or cloth, appearing in the form of flakes. Art paper and the cheaper grades of coated cloth are particularly subject to this problem.

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.


flange

The projection on either side of the spine of a text block that has been rounded and backed. It is commonly, and more accurately, referred to as the SHOULDER (1).

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.

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


FLARING A FORM

In working by candle light, when imposing, correcting, or laying a form on the press, it sometimes happens that melted tallow will be spilt on the pages and choke up the letter. To get rid of this tallow, and clean the form again, the compositor lights a piece of paper and puts it on the grease, to melt it; he then brushes it with the letter brush, and, if necessary, repeats the operation.


FLARING BALLS

When pelt balls are too soft, from having imbibed too much moisture, and are wanted for immediate use, they are flared; that is, the pressman will take a sheet of waste paper, and having rolled it up slightly, will light it, and holding the face of one of the balls downwards, will pass it backwards and forwards over the flame, and then treat the other ball in a similar manner: this not only evaporates the moisture, but also communicates a small degree of warmth to the balls, which causes them both to take ink and to distribute it better than before the operation.

Composition balls are liable to crack, both in distributing, and also when separating them after they have been left in the rack upon each other, particularly when they are new and soft; to remedy this, they are flared, which, when it is judiciously done, melts the surface of the composition and fills up the cracks. They are also flared when the face begins to fail, which melts the composition, and forms a new and smooth surface.