volumen

The papyrus roll used in ancient Egypt, Greece, and Rome, written on one side only with a reed pen. The text was in columns, the lines of which ran parallel the length of the roll. The final papyrus sheet of the volumen was rolled around a knobbed rod which served as a handle. The rolls were stored in boxes or on shelves, and, in the latter case, had an identifying label of vellum attached to the end of the roll. The label, which was sometimes colored, bore the title of the work. A wooden case (manuale) was sometimes used to protect the edges of the roll. "Volumen" is Latin for "a thing rolled up."


volute

A decorative ornament, often found on heads-in-medallions rolls, which consists of a large curl (spiral) in roughly volute form at one end, the other end having a small curl turning in the opposite direction. The volute was always used in pairs. Its use as a single tool, with a reverse partner, was common in English restoration bindings, often pointillé.

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.

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


vulcanization

1. The process of reacting rubber with sulfur or other suitable agent so as to change its physical properties in the direction of decreased plastic flow, diminished surface tackiness, and increased tensile strength. See also: SELF-VULCANIZING. 2. The cross linkage of an adhesive substance obtained by the application of heat and catalysts.

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


wagon

A hand instrument somewhat resembling a sled (with its runners) and used in the manufacture of gold leaf to trim the edges of the leaves to proper size. A finely sharpened knife made of the bark of a reed is used in conjunction with the wagon. This knife is said to be so sharp that not even the finest steel can be honed to an edge equally suitable for trimming the leaves.

Barnes, Richard H. Gilding & the making of gold leaf. n.p. 1962.


wainscot

A cover marble executed by first painting the covers with a brown coloring and then water, followed by splashes of copperas (ferrous sulfate). A solution of alum is then thrown on, followed by a bold sprinkle of dilute sulfuric acid. An alternative "wainscot" consists of brown, a coating of glair, black in large spots, brown again, this time in large spots, and finally the dilute sulfuric acid.

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

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

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


wallet edge

A type of limp binding which has the covering of the lower cover, along the entire length of the book, overlapping the fore edge of the book, terminating in a tongue which is inserted through a slot in the upper cover. See also: YAPP STYLE.

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


walnut marble

A type of TREE CALF executed by sprinkling the covers with black and brown coloring only.


walrus hide

A leather produced from the hide of a walrus, or the skin of a seal or sea lion, split, and used occasionally for covering books. Subsequent to tanning and splitting, it is difficult to distinguish between leather made from sealskin and walrus hide, and the names are often used interchangeably. "Walrus grain" is a term used to indicate a cowhide, sheepskin, or goatskin, as well as splits of various hides, embossed in imitation of walrus hide. In such cases, the proper description is "walrus-grained cowhide," etc.

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

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


warbles

A defect in leather seen as small pinholes or as tiny scars. Warbles are caused by the larvae of the grub or warble fly (family Oestridae), which develop under the skin of the animal and emerge in the area of the backbone. If the animal is slaughtered before the wounds heal, the defect is known as "open warbles," while if sufficient time elapses for the animal to develop scar tissue, they are then called closed or "blind warbles." In either case leather produced from a warbled hide is unsatisfactory in both strength and appearance.

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


warehouse work

An expression sometimes applied to the bookbinding work consisting of simple forms of binding, such as pamphlets, periodicals and booklets, as well as miscellaneous operations, such as cutting, folding, and stitching.

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


warm colors

Colors having red and yellow as the dominant hue. Yellowish or brownish grays are called the "warm grays." All warm colors lie in the red-yellow half of the color circle. Cf: COOL COLORS.

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


warp

A series of parallel yarns extended lengthwise in a loom, thereby forming the lengthwise threads of a fabric. They are usually twisted tighter than the filling yarns and are sized so as to protect them during the weaving of the filling threads.

The warp direction of a cloth is the stronger of the two directions. There is some disagreement as to which direction the warp of a book cloth should run with relation to the spine of the book. Some contend that the warp should run across the joint of a case-bound book, as this will give more strength in the joint; others maintain that the warp should run parallel to the spine because: 1) it makes a neater joint; 2) in the event the cloth becomes damp or wet there is less likelihood of the covers warping in such a manner that the head and tail pull outward thus damaging the inner hinge; and 3) the cloth will adhere better in the joint.

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


warping

The distortion of the covers of a book subsequent to binding, to the extent that the covers do not lie flat against the text block. This distortion is caused by the difference in expansion and contraction of the various components of the cover-cloth, boards board paper, and, to a lesser extent, the films of adhesive which secure these components together. Warping is found to occur in the direction of: 1) the side of the material which has the greater stretch; 2) the side of the material with the least moisture content; and 3) the side which is lined or has the greater number of layers. On newly bound books these factors are at work because of the setting and drying of the adhesives; subsequent to binding, stresses may occur because of atmospheric changes. The practical means of minimizing warping include the use of well-matured boards, cutting the boards and board papers so that the grain (machine direction) runs parallel to the spine of the book, the use of adhesives containing a minimum amount of water (and no more than the minimum amount required of plasticizer), and adequate pressing of the books after casing-in or covering. In addition, maintenance of a stable atmospheric environment is important.


WASH

If a workman is in the habit of telling improbable tales, or of asserting falsehoods, as the chapel does not allow the lie direct to be given, neither do any choose to get into a personal quarrel by doing it, it is usual, in order to express the general disbelief, to wash him, as it is termed; that is, each person with a piece of furniture, or some other substance, will strike repeatedly and quickly upon the front of his frame, upon the ledge of his lower case, or upon his bulk; and this being done by every person in the room, where there are a great number employed, it raises such a loud drumming as is deafening, more particularly when they give what they call a “good” wash: this is customary both in the composing room and the press room. For the old manner of doing this, see Ancient Customs.

Public domain (Project Gutenberg, pre-1930 text)


WASH THE FORM

If a form gets foul in working, the pressmen will take it off the press and brush it over with lye, and after that rinse it with clean water, to remove the foulness. He also washes the form when the given number is all printed.—M.


WASTE

The surplus sheets of a work.

After a work has been finished at press and dried, it is gathered, collated, the gatherings folded and pressed, and then booked, if it contain more gatherings than one; and when the regular number of copies has been made up, the surplus sheets, which vary in number, are tied up in a bundle, and termed Waste: out of this waste deficient sheets are supplied, and damaged sheets exchanged. It is always delivered to the publisher with the last copies of the work.


Waste

or Waste leaves. Part of the end papers and the blank leaves between the colored end papers and the book proper; should be part of the same lot of paper with which the book is printed. One of the waste leaves is often pasted to the loose half of the lining paper or end sheet, thus forming a doubled fly-leaf.


waste sheet

1. A sheet of paper tipped to the outside over the permanent endpaper to prevent it from becoming damaged or soiled during the binding of the book. Special instructions on binding the book may also be written on this sheet. Originally, the waste sheet was printed with an abbreviated title so that the publication could be identified. The so-called printed waste sheet is known as the half-title paper and is always found in books of any pretension to high quality. 2. An old term for the advertisements, blurbs, etc., at the front and back of some publications. 3. Sheets of paper used in press makeready and register, or the spoiled sheets resulting from errors in printing and binding.

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

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


water

A colorless or faintly blue-green liquid (H2O). Molecules of water enter into the constitution of many crystalline salts, e.g., alum—K2SO4.Al2(SO4)3 . 24H2O, in which they may be reversibly held. The outstanding chemical reactions of water are: 1) its reaction with certain metals, e.g., Na, Ca, Fe, more or less easily, with the liberation of hydrogen, such as, Na + H2O → NaOH + H; 2) its reaction with oxides of non-metals, e.g., with SO3 to form acids, such as, SO3 + H2O → H2SO4; 3) with halides of nonmetals, to form hydrogen halides and an oxyacid, such as PCl3 + 3H2O → H3PO3 + 3HCl; 4) with dissolved salts of weak acids or weak bases, forming solutions with an alkaline or acid reaction (hydrolysis), such as Na2CO3 + H2O &equil; NaOH + NaHCO3; and 5) with coke at high temperature to form water gas, C + H2O → CO + H2.

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


water glass

See: SODIUM SILICATE.


water resistance

That property of a material which enables it to resist, but not completely prevent, the action or penetration of water. A material may be made water resistant to a greater or lesser degree by the application of sizing, coating, impregnating, or other materials.


water stain

A blemish on book papers, documents, etc., caused by the movement of materials within the paper, such as coloring matter, dust, acids, and the like, resulting from the paper being wetted with water, either accidently or during washing. The water itself does not stain the paper, unless it contains impurities which leave it and enter the paper fibers. Water stains can frequently be removed or reduced by hot water or a size bath.


water-vapor permeability

A form of PERMEABILITY applied specifically to water vapor. Because the cellulosic fibers of paper have a very high affinity for water, water vapor permeability does not generally correlate with the permeability of other vapors and gases. See also: VAPOR PERMEABILITY.

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

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


watercolor inks

Thin, semi-transparent inks that contain no oils, and which are used when printing in colors from a rubber surface. As they remain water soluble, even after printing, they cannot be used where inadvertent wetting may occur, nor can papers printed with them be washed or deacidified by means of aqueous systems.


watercolor paper

A paper designed to be used with watercolors. It is a typical drawing paper, either made by hand or machine; tub sized, and machine, air, or loft dried. The paper has a hardsized surface, and a texture designed to enhance the absorption of watercolors so that they will not run or penetrate too deeply into the paper. When intended for use with oil paints, the paper is made to simulate the surface of canvas.


watered silk

A silk cloth having a wavy or damasklike pattern, i.e., a MOIRÉ EFFECT. While seldom used as a covering material, it is sometimes used for doublures and fly leaves. See also: MOIRÉ BOOK CLOTH.


waterleaf

1. A completely unsized sheet of paper, and one having low water resistance. See also: ABSORBENT PAPERS. 2. Handmade paper in its initial stage of manufacture, consisting of paper fibers spread evenly over the surface of the hand mold; they are then removed and pressed between felts. As it is unsized, it is very absorbent and has low water resistance. It is generally surface sized to make it suitable for writing or printing. See also: SIZING (1).

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


watermark

A distinguishing letter, design, symbol, etc., incorporated into a paper during manufacture. True watermarks are a localized modification of the formation and opacity of the paper while it is still wet, so that the marks can be seen in the finished sheet of paper when viewed by transmitted light. This type of sheet modification may be accomplished by means of a bronze letterpress-type dandy roll that impresses a design in the wet web, or by means of a design wired to the grid of the mold in paper that is made by hand. The place where the dandy roll impresses, or the location of the wired design, will contain less fibrous material and, therefore, will have greater translucency. Another method is to use a bronze, intaglio-type device on the dandy roll, the resulting modification being that more fibrous material is located at the point of impress. See: SHADE-CRAFT WATERMARK. A variation of the letterpress method incorporates the use of a soft rubber, letterpress-type device that impresses a design in the web of paper on the underside of the web, i.e., the wire side (where the watermark is found in handmade paper), so that it is seen through the sheet from the top. This type of watermark, which is produced at a point on the papermaking machine where the web is no longer sufficiently wet to modify the formation and opacity of the paper, is actually, therefore, a form of embossing and cannot be called a true watermark.

Forms of the watermark are generally divided into four very broad classes: 1) the very earliest, generally consisting of simple circles, crosses, knots. ovals, three-hill symbols, triangles, and the like, which were easy to construct simply by twisting and bending soft wires. (These early marks also included many pomme crosses, based on the Greek cross with balls or circles at the ends of the cross bars. A similar watermark, found on Italian paper of the 14th century, consists of a circle above which is a patriarchal or papal cross. These earliest marks were prevalent from about 1282 to 1425); 2) watermarks emphasizing man and his works. (Thousands of designs of this nature have been noted, a large number of them featuring human hands in various forms); 3) watermarks consisting of flowers, fruit, grains, trees and other plants, etc.; and 4) watermarks consisting of wild, domesticated, and legendary animals.

More recent developments of the watermark have resulted in some complicated and occasionally artistic forms, reflecting an increasing skill in design and manufacture. "Light and shade" watermarks have been used from time to time in the 20th century, but they are relatively uncommon because of the difficulty and expense of producing them.

The papermaker's initials or name, the place or date of manufacture of the paper (if included) were more likely to be found in the COUNTERMARK, which was a subsidiary and smaller mark introduced in the 17th century, and was generally located in the opposite half of the sheet to the watermark itself.

Watermarks in paper, particularly in endpapers, can provide valuable information about the history of bookbinding.

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

Hunter, Dard. Papermaking through eighteen centuries. New York. Franklin. (Burt Franklin research and source series, 735). 1971.

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


waterproof

A relative term indicating that a material has been treated, i.e., sized, coated, impregnated, etc., in such a manner as to increase its resistance to the penetration of water. The basic principle of waterproofing is that the presence of the waterproofing chemical or other material in or on a fibrous substance modifies the surface tension between water and the substances of the fiber. WATER RESISTANCE is probably a better term to use with respect to any of the materials used in book and paper conservation.


Waterproof sheets

sheets of celluloid, such as are used by photographers.


Waterproof sheets

Sheets of celluloid or waterproof cardboard sometimes laid in or between books when pressing.


Waters, Peter

An English bookbinder and conservator who studied bookbinding under William Matthews at the Guilford College of Art, Surrey after which he attended the Royal College of Art, London. He then worked for three years with Roger Powell before entering as a partner in the firm of Powell and Waters in 1956. In this same year, Waters succeeded Powell as lecturer in bookbinding at the Royal College of Art. From 1956 to 1971, he executed a number of bindings for private collectors museums. and presentation, and worked with Powell in the repair and restoration of a number of valuable books in the libraries of Trinity College, Dublin, Aberdeen and Winchester Universities. and others. In 1966 Waters served as consultant to the Biblioteca Nazionale Florence, Italy, as Technicial Director for the restoration of flood-damaged collections and was principally responsible for the design and incorporation of the restoration system employed. From 1968 to 1971 he was codirector with James Lewis of a research project at the Imperial College of Science and Technology, London, relating to the conservation of library materials. In 1971 Waters was appointed Restoration Officer in the Preservation Office of the Library of Congress. There he inaugurated new concepts and programs relating to the conservation of the Library's extensive collection of books manuscripts, maps, and other archival materials.

Waters' philosophy has been rooted in the Bauhaus tradition of "fitness for purpose" in design, which through his extensive knowledge of book structure has found expression ranging from the binding of individual books to the planning of comprehensive conservation measures culminating in his now widely followed concept of "phased preservation."


wattle (bark)

A vegetable tanning material obtained from the bark of the black wattle (Acacia mollissima), indigenous to Australia but cultivated extensively in South Africa and other areas. Large quantities of wattle are exported, much of it to England, in the form either of the bark itself, or as the extract. The tannin content of the bark ranges from 30 to 45%, with the average being about 35 to 39%. Wattle is essentially a tannin of the condensed class; it has a high pH value, a low salts and acids content, and a relatively low viscosity, especially in warm solutions. It is very astringent, penetrates the hide substance rapidly, and has a high degree of tan fixation. Like most other vegetable tannins, it is seldom used alone, but generally in mixtures with myrabolans, sumac, valonea, etc. Also known as "mimosa." See also: VEGETABLE TANNINS.

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


wave marble

A marble pattern consisting of colors drawn into an undulating form, with the points of each row meeting each other. The colors-red, yellow, blue, and green-are dropped on the size, over which the marbler beats a small quantity of white. The colors are then raked with a double rake (one having teeth 3 or 4 inches apart, those of the rear rake being adjusted so as to be exactly in the center of the spaces of the forward rake, and about 1 1/2 inches behind it). The rake is then drawn through the colors in a manner similar to that used in executing the NONPAREIL MARBLE, i.e., from left to right. The raking is done with an undulating or see-saw motion, but only enough to make the top of the last wave touch the bottom of the first, thus producing a uniformity over the entire sheet and giving the pattern the appearance of squares.

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


waved

A term used occasionally to indicate a book cover that has warped or curled.


wavelengths

The electromagnetic spectrum consisting of a continuous range of electromagnetic waves travelling at the speed of light, or approximately 186,300 miles per second. The length of these waves ranges from several miles (low frequency radio transmissions) to as short as 10^-12 cm (&ggr;-rays). Wavelengths may be expressed in centimeters; however, the shorter wavelengths are more commonly expressed in Ångstrom (Å) units, defined as 1 Å = 1 x 10^-8 cm.

Approximate wavelengths for various types are:

Wavelength

Type             in Centimeters             In Å

y-rays             10^-12     to  10^-10          0.01

X-rays             10^-9      to  10^-7           0.1 to 10

Ultraviolet light  10^-6      to  4 X 10^-5       100 to 4,000

Visible light      4 X 10^-5  to  8 X 10^-5     4,000 to 8,000

Infrared light     8 X 10^-5  to  0.1           8,000

Radio waves        1 to 10^5

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


wavy edges

An effect in book and other printing papers similar to the warping of book covers. It is usually caused by a more rapid rate of change in the moisture content of the edges of sheets in a pile as compared with the center.


wax

An animal or plant substance, such as BEESWAX or CARNAUBA WAX, that differs from fat in that it is less greasy, harder, and more brittle. Wax is essentially an ester of monohydric alcohols and fatty acids of high molecular weight, in association with some free acids and alcohols. See also: CANDELILLA WAX; CHINESE WAX; INSECT WAX; JAPAN WAX; LANOLIN; MICROCRYSTALLINE WAX; PLANT WAX; SPERMACETI WAX.

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


wax emulsion

A stable aqueous emulsion usually made of paraffin or microcrystalline wax; it sometimes contains rosin. It is prepared by means of emulsifying agents and mechanical agitation. The emulsion may be either acid- or alkali-stable, depending on the emulsifying agent employed. Wax emulsions are used for sizing and waxing paper, and in the manufacture of leather.


wax resist

A method of producing decorative end- and cover papers, similar to the process used in BATIK. The wax acts to resist the paint in the CRAYON-RESIST process. Approximately equal parts of beeswax and paraffin are used. The mixture is heated, and, if a crackled effect is desired, additional brittleness may be imparted by the addition of more paraffin. The melted wax is applied to the paper in lines, spots and/or various shapes. A water color wash is applied over the entire surface of the paper, and adheres only to the unwaxed areas. The wax is removed by placing the paper between protective sheets and pressing with a warm iron. The wax-resist process is also used at times in decorating the leather covers of books.

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

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


wax size

A sizing agent containing paraffin or as similar type of wax.


WAYZ GOOSE

A stubble goose.—Bailey. Called Way Goose, and so spelt by Moxon. See Ancient Customs.

July is the month in which the different offices in the metropolis generally have each their Way Goose, or annual dinner, and Saturday is the day commonly chosen.


WAYZ GOOSE

A term given in England to the annual dinner customary among printers there during the summer months.

The American Printer: A Manual of Typography


WEAK INK. See Soft Ink.—M

In common work, where despatch is requisite, weak ink is used; it distributes with more facility than strong ink, and enables the pressmen to make a greater riddance. It receives its name from the varnish not being made so tenacious as that for better ink.   WEIGHTS AND MEASURES

In common work, where despatch is requisite, weak ink is used; it distributes with more facility than strong ink, and enables the pressmen to make a greater riddance. It receives its name from the varnish not being made so tenacious as that for better ink.


wear resistance

A term used in the leather trade to indicate the reciprocal of the loss in thickness of a specimen of leather after a specified degree of abrasive action upon it.


web

Paper on, or as it comes from, the papermaking machine in its full width, or from a roll of paper in any converting operation. The expression "in the direction of the web" means in the direction of the run of the papermaking machine when the paper is being made. It also means the direction in which the greater proportion of the paper fibers are oriented, i.e., the grain (machine direction) of the paper. The direction of the web is important in work printed to register, as paper stretches more across the web than in the direction of it.


webbing

1. The strong, narrow fabric, closely woven of plied yarns, on which heavy blankbooks are sewn. 2. Filaments or threads that sometimes form when adhesive surfaces are separated. See also: STRINGINESS.

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

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


wedge shaped

A bound book that is thicker at the spine than at the fore edge. The condition is caused by excessive, uncompensated sewing swell, compensation guards that are too thick for the inserted material, excessive guarding of damaged folds, or by guards made of paper that is too thick. Such a condition may at times also be the reverse. where the fore edge is thicker than the spine, because of swelling of the paper, or an improperly folded map, etc. In the latter case, the fore edge swells but the spine, being fixed in position, does not.

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

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


weft

The threads or yarns in a fabric that cross the WARP and extend from selvage to selvage, i.e., the threads carried by the shuttle. The typical cloth is stronger, i.e., has a greater breaking strength, in the warp direction than in the weft. Also called "filling."

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


WEIGHTS AND MEASURES

5 & 6 W. 4. c. 63. § 31.—“And be it enacted, That from and after the First Day of January One thousand eight hundred and thirty-six, if any Person or Persons shall print, or if the Clerk of any Market or other Person shall make any Return, Price List, Price Current, or any Journal or other Paper containing Price List or Price Current, in which the Denomination of Weights and Measures quoted or referred to shall denote or imply a greater or less Weight or Measure than is denoted or implied by the same Denomination of the Imperial Weights and Measures under and according to the Provisions of this Act, such Person or Persons or Clerk of the Market shall forfeit and pay any Sum not exceeding Ten Shillings for every Copy of such Return, Price List, Price Current, Journal or other Paper which he or they shall publish.”


WELL

On the bottom side of the two cross bearers in the middle of a frame, on which the inner ends of the lower cases rest, there is frequently a bottom nailed of thin deal; this, when the ends of the cases are close together, forms a receptacle in which the compositor puts copy and other articles, and it is named a <i>Well</i>. To obtain access to it he slides one of the cases a little away from the other.


well-closed formation

A paper is said to have a well-closed formation when the paper fibers are arrayed in an even, regular manner so that the paper has a uniform appearance. It is the opposite of a WILD (1) formation.

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.


WELSH

The Welsh alphabet, as now popularly used, contains twenty-eight letters: a, b, c, ch, d, dd, e, f, ff, g, ng, h, i, l, ll, m, n, o, p, ph, rh, r, s, t, th, u, w, y.

J, q, x, and z, are not properly Welsh letters, nor are they wanted in words purely Welsh.

K and v occur frequently in old Welsh, but are now generally disused; the place of the former is supplied by c, which always has the hard sound, and that of the latter by f.

In addition to the common accented letters, the Welsh requires ŵ and ŷ to be accented likewise; as, gŵr, a man; tŷ, a house.

Of the twenty-one Welsh consonants twelve are immutable, namely, ch, dd, f, ff, ng, k, l, n, ph, r, s, th; the remaining nine, b, c, d, g, ll, m, p, rh, t, are mutable. These are divisible into three classes of three letters each. The first, containing c, t, p, is susceptible of three kinds of modification, viz. the obtuse, the liquid, and the aspirate; the second class, comprising g, d, b, is affected by two kinds, the obtuse and the liquid; and the third, comprising ll, m, rh, is susceptible of the obtuse form only.

The following table will show at one view the various changes of the mutable initial consonants:—

The following examples may be given to show more clearly the nature of these mutations:—1. Câr, a kinsman; 2. Gwâs, a servant.

The obtuse sound is assumed after—

1. All verbs, except of the infinitive mood, and interjections.

2. All personal pronouns; the possessives DY, thy; mau, mine; tau, thine; and ei (masc.) his; but not when fem.; the relatives pa, which; pwy, who; and à, that.

3. Adjectives and formative adverbs, and interjections.

4. The duals dau and dwy, two.

5. All prepositions, except yn, in, and tua, towards.

6. Pronominal prepositions.

7. The article y, the, if the object be feminine.

8. The participial sign yn.

9. The disjunctive sign neu, or.

The liquid sound is assumed after—

1. The possessive pronoun my or fy, my.

2. The word yn when used as the English preposition in.

The aspirate sound is assumed after—

1. The possessive pronoun ei (fem.) her.

2. The adverbs tra, over; and ni, and na, not.

3. The conjunctions a, and; no, than; neu, or; and oni, unless.

4. The preposition â, with.

5. The numerals tri, three; and chwe, six.

All vowel initials take h before them, after ei (fem.) her; ein, our; and eu, their.

Welsh substantives do not vary in their terminations, but the cases are distinguished by prepositions changing their initial letters, if mutable, according to their dependance on the preceding word; as, N. tŷ, a house; G. dodrefn fy nhŷ, the furniture of my house; A. prynodd dŷ, he bought a house; Ab. allan o’i thŷ, out of her house.

Deg, ten, and pymtheg, fifteen, before blynedd, years, not only change the initial of the following word into its corresponding liquid, but likewise suffer a variation themselves; thus, for deg blynedd and pymtheg blynedd we find deng mlynedd and pymtheng mlynedd; and for pump blynedd we read pum mlynedd, five years.

Authorities.—Dr. Pughe’s Welsh Grammar, 2d edit. Denbigh, 1832.—Rev. W. Gambold’s Welsh Grammar, 3d edit. Bala, 1833.—Dr. Prichard on the Celtic Languages, London, 1831.


west end marble

A marble pattern executed in much the same manner as the SPANISH MARBLE, the major difference being that the paper is laid down without shading. Aside from the veins, it consists of two hues of the same color. one of which is dark and dotted all over with small white spots, while the other, or top color, is lighter in shade. The vein colors are mixed with gall and water, as in the case of the Spanish marble. The dark color is sprinkled on full so as to drive the veins up well, and the white is then beaten on finely and evenly all over. The light or top color is sprinkled on lightly and evenly, and the paper is then laid on.

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


wet press

A dewatering unit on the Fourdrinier papermaking machine, situated between the sheet-forming equipment and the driers. It uses pressure, or a combination of pressure and suction to remove water from the wet web before it reaches the driers. The press consists of pressure nips, each formed by a pair of heavy rollers. One of each pair is usually covered with rubber and may be perforated and fitted with an internal suction device which further reduces the amount of water in the web. The paper web is carried through the nip of each wet press on a FELT (2), which itself, being both bulky and porous, absorbs and thus removes water from the paper.


wet strength

The resistance to breakage of an applied adhesive as measured immediately after removal from immersion under specified conditions of time, temperature, and pressure.

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


wet-rub resistance

The ability of the coating of a material to resist softening and abrading due to rubbing, or, in the case of a printing paper, from the combined action of fountain solution and blanket.


wet-salting

A method of curing hides and skins for storage and/or transportation subsequent to flaying. The hide is spread out, flesh side up, and well sprinkled with salt (sodium chloride). Coarse, or round salt is preferred to fine salt, as the former spreads evenly, while the latter tends to form patchy. wet cakes. A second hide is laid over the first and sprinkled with salt, a process which is repeated until a stack 5 to 8 feet high is formed, the top hide being well overlaid with salt. The pack is left for approximately 30 days, during which time the salt dissolves in the moisture of the hides and the brine thus created permeates throughout the pile. The amount of salt used is generally 1 pound of salt for each pound of hide. When the hides are ready for shipment. they are "taken up," the salt is knocked off and the hides are then bundled and tied. Also called "green salting. See also: BRINING; DRYING (1); DRY-SALTING,

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.

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

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


wet-strength paper

A paper which, even when saturated with water, has an unusually high resistance to rupture or disintegration. This property is produced by subjecting the paper or the fibers from which the paper is made to chemical treatment. Wet strength. which is most evident and significant when it occurs in absorbent papers. should not be confused with water repellency or the resistance of paper to wetting when exposed to water. Normally, a paper loses most of its strength when saturated with water, and one which retains more than 15% of its dry strength when completely saturated with water may correctly be referred to as a "wet-strength paper." A very superior wet-strength paper may retain as much as 60% of its dry strength when wet.

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


wettability

The state or condition of being wettable, or the relative affinity of liquid for the surface of a solid. such as the affinity of water for paper or leather. Wettability increases directly with increasing affinity, as measured by the contact angle formed between the liquid and the solid. This increases from non-wettability at an angle greater than 90° to complete wettability when the contact angle is 0°.


wetting

The relative capability of a liquid adhesive to display affinity for an adherend, i.e., to flow uniformly over the adherend surface.


wetting agent

A substance, usually a SURFACE-ACTIVE AGENT, which reduces the surface tension of a liquid and therefore increases its adhesion to a solid surface. Improved wettability is observed as a lower (often zero) contact angle between the solid and liquid. A wetting agent usually consists of a molecule with a hydrophilic (water attracting) group at one end and a hydrophobic (water repelling, and therefore oil attracting) group at the other. Wetting agents are used to improve absorbency of blotting papers, and for improving dispersibility of pigments. such as calcium carbonate and titanium oxide.

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

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


wetting down

The process of dampening paper before printing. Wetting down was necessary in the early days of printing because of the non-uniformity of the height of the type used, and because type was used longer and. therefore, wore down more. In addition, the early hand-operated presses were not as powerful as later presses. Slightly dampened paper takes ink more readily than dry paper. and does not require as much pressure to make the impression on the softened surface of the paper. The impression, however. makes a thicker line and may also show on the other side of the sheet. Wetting down also often resulted in uneven stretching of the paper fibers during impression, causing the book to be thicker in the printed area than in the margins. See also: CONVEX COVERS.


wetting out

The process of dipping large sheets of handmade paper into cold water so as to remove wrinkles and cockles. The paper is then again made up into packs and pressed.

Labarre, E. J. Dictionary and encyclopaedia of paper and papermaking. 2nd ed. London. Oxford University Press. 1952.


WETTING PAPER

In quoting my old pressman’s observations again, it will be perceived that he is speaking of the practice when pelt balls were in use.

“When a pressman is engaged to work in a strange office, if there be no balls for him, he puts an old and a new pelt into the pelt pot, and, while his pelts are soaking, he inquires whether he has to wet paper or not; if he has to wet it, he does it in a large trough lined with lead, containing clean water. He holds the middle of the back of each quire in one hand, and the fore edge with the other hand, and draws it quickly through the water, the back first; lays it on a clean wrapper (which is laid on a clean paper board); opens part of the quire, leaves that part on the board, and draws the remainder of the quire, and all the other quires in the same proportion, through the water as often as necessary, till he has wet all the heap; then he places another paper board on the top of the heap, and puts sufficient weight on it; in this state it continues till the paper is all properly damped, by the moisture becoming diffused through the whole heap, except it be for fine work, when he turns the paper as often as he thinks necessary, pressing it at each turning; and common work would look better if the paper were turned.

“Paper for different works being of various qualities, it is impossible to form a regular judgment of how many dips in each quire all sorts of paper require; therefore the wetter must be cautious in examining, while wetting, whether each sort is of a soft, or spongy, middling, hard, or harsh nature; also to consider whether it be for a light or a heavy form, and dip each sort accordingly.”

In large establishments the pressmen do not wet the paper, but there is one or more persons appointed to that duty solely, who also turn it and press it, so that it is delivered to the pressmen to print, more uniformly in good condition, than where they wet it. See Token. Token Sheet.


Whatman paper

A high grade quality of English hand-made paper, both laid and wove, chiefly used for drawing.


Whatman, James

An 18th century English papermaker. His father. James Whatman (1702-1759), acquired a part ownership in the Turkey Mill papermaking establishment near Maidstone in 1740 and developed it until it became one of England's leading papermaking firms. The Whatmans are credited with the first manufacture of WOVE PAPER in Europe, in about 1755, and they may also have invented the wove-wire mold (about 1756). Whatman paper is still being made, and is used for special editions and privately printed books.

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


WHEEL

Also called girt wheel, and drum; a cylinder of elm wood, with two flat broad grooves turned in it, on which the two girts wind and unwind alternately, as the carriage is run in and out. It is fixed on the spit, and one end of each girt is nailed to it; the other ends are fastened, the one that runs the carriage in to the end of the coffin, and the other to the fore end of the plank. The diameter of the wheel varies according to the size of the press.


wheeling

The process of tumbling hides and skins, or leather, in a revolving drum. Newly tanned leather is wheeled after pressing in order to remove wrinkles and creases.


whip stitching

The process of sewing single sheets into "sections," the number of sheets so sewn depending on the thickness of the paper. The "sections" are then sewn on tapes or cords in the usual manner of hand sewing.

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


whipping

The process of overseaming or overcasting an insert in a book. See also: WHIP STITCHING.


whipping

The process of overseaming plates.


whipping

Another term for overcasting, but when longer stitches are made.

The Art of Bookbinding: A Practical Treatise


whipping

Same as whipstitching or overcasting.


whistling joint

A wrinkled joint (inner hinge) caused by the board paper not adhering securely in the joint and inside edge of the board.

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


white dressing

A 19th century and earlier process of treating skins with weak organic acids during the manufacture of vellum and parchment. Subsequent to soaking, washing, and fleshing, the skins were immersed in a series of acid vats, much in the same manner skins are limed today. There were generally five such baths; the first was usually intended to cleanse the skins, the second to soften the hair and epidermis for unhairing, and the final three to swell and plump the skins and give them body. The entire process generally took 5 to 6 weeks.

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


white edges

The edges of a book which have been trimmed smooth but not colored, marbled, gilt, sprinkled, or otherwise decorated or treated in any manner. Also called "plain edges."

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


white edges

Simply cut, without being gilded or colored.


white gold

A pale gold alloy which somewhat resembles silver or platinum and usually contains nickel with or without other metals, such as copper, tin, or zinc. It is used to a limited extent for embellishing books. It is considerably thicker than regular (23 1/2 karat) gold leaf.

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


WHITE LINE

A line of quadrats.—M. So it is usually understood at present; yet it frequently happens that quadrats are not in sufficient quantity to use for white lines, even for the bottoms of the pages; reglet of a proper thickness is then substituted for quadrats, and sometimes leads, but these should never be used for this purpose—for a volume or a pamphlet may be wanted in a great hurry in the same measure, and then an inconvenience may arise from the leads being blocked up in an unnecessary manner.


WHITE LINE

A line of quadrates.


WHITE PAGE

A page that no matter comes in.—M.


WHITE PAPER

Although the first form be printed off, yet pressmen erroneously call that heap white paper, till the reiteration be printed.—M. This application of the term is now wearing away; and generally speaking, it is only used for paper not printed upon; when the pressmen are printing the first form of a sheet or the first side of a half sheet, they say they are working the white paper.


WHITE PAPER

Until the second side of a sheet is printed, pressmen call the heap white paper.


WHITE PAPER REGISTER

Pulling an impression without ink, or with a sheet of waste paper between the form and the paper for the work, for the purpose of ascertaining that the furniture is right. This is a good old custom, and it is a pity that it is now so seldom practised, as it would prevent those mistakes of wrong furniture which occasionally occur in the white paper form, and when this happens, which I have known at different times, the only remedy is, either to cancel what has been printed, or to alter the reiteration form to make it register with that which is printed, to the disfigurement of the book when it is bound.

Whole Press. See Full Press.—M.


white size

See: ACID SIZE.


white spot

A technique used in coloring the edges of a book. Drops of melted wax are spattered on the edges, which are then colored in the usual manner. When the wax is removed, the edges appear to be colored with white spots. The pattern may be varied by using two or three colors, or by sprinkling the edges before the wax is applied and then again after it is removed.

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


whiteness

The condition of being white, i.e., the degree to which the color of a material, such as paper, approaches that of "ideal white." Whiteness in paper in associated with low colorimetric purity and high luminous reflectively.

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.


whittawed leather

See: TAWING.


Whole binding

when the leather covers the back and sides of a volume.


wholesale trade binding

1. A term synonymous with TRADE BINDING (1) in the 18th and 19th centuries. 2. A term sometimes associated in England in the first half of the 19th century with bindings of wholesale booksellers, especially those who catered to the provincial and foreign book trade. The booksellers brought new books in sheets and had them bound independently of the publishers. This type of binding was prevalent before the introduction of modern EDITION BINDING (1825-30), It was most prevalent in the field of fiction, and because it continued to satisfy the demand of distributors of the novel, such publications were the last type of book, at least those published in large editions, to be bound in publisher's cloth. This was essentially the reason why equal numbers of boarded and half-cloth books of fiction were issued in wholesalers' as well as in publishers' bindings between 1820 and at least 1845. Similar (printed) labels were applied to each and it was usually very difficult to distinguish between them.

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


wide lines

See: CHAIN LINES.


WIDE SPACING,

is when en quadrats, or two thick spaces, are used between the words.   Wilkins, Beata. See Donations.   WINTER

is when en quadrats, or two thick spaces, are used between the words.

Wilkins, Beata. See Donations.


wild

1. An irregular formation of the fibers in a sheet of paper, resulting in a mottled appearance in the LOOK-THROUGH of the sheet, as opposed to a CLOSE FORMATION. It is caused by: 1) partial clotting or lumping of the fibers; and 2) high freeness or excessive vacuum at the first suction box of the papermaking machine. It is especially noticeable in long-fibered papers, although it is possible to imitate a wild formation in paper made up of short fibers by manipulating the sheet forming equipment. Also called "cloudy." 2. See: MARBLED GRAIN.


willow

1. A machine consisting essentially of two rotating drums having spikes attached to their interior surfaces. The willow is used to tear raw material, e.g., rags, waste paper, etc., for use in making paper. The willow frequently utilizes air currents to remove dust from the usable papermaking material. Also called a "devil." 2. A long grain in leather. The willow grain is produced by drawing the leather from head to butt over a dull blade.

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


willow calf

A leather produced from calfskin, usually brown in color, and generally with a typical box grain pattern It is a full chrome-tanned leather boarded either in one direction-head to butt-or in two directions, as with box calf.

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


willow side

A side of a cattle hide, i.e., cut down the backbone, full chrome, semi-chrome, or vegetable tanned, and usually colored brown but also produced in other colors, but never black. It has a grain pattern formed by BOARDING (1) in one direction (head to butt). There is some confusion concerning this leather because at times it is boarded in two directions, producing a grain pattern similar to that of BOX SIDE.

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


windows

The uncolored areas of marbled papers.


WINTER

A solid piece of wood, generally elm, similar to the head of a press, mortised into the cheeks below the carriage and the long ribs, and on which they rest.

I would recommend, contrary to the general practice, that in wooden presses the winter should lie solid in the mortises of the cheeks, and have no spring; and that all the spring should be in the head, which would not affect the perpendicular descent of the platen. This method of constructing a press would be found advantageous in all cases; but more particularly in one-pull presses, in which the platens are large:—

For it must be obvious, where an uniform impression is meant to be obtained from types, by means of the perpendicular descent of a body with a plane surface, that this surface and the surface of the types should be parallel to each other, and that every variation from these parallels must affect the equality of the pressure.

It being a necessary consequence, that the surface of the types should be horizontal; it will be equally clear, that every departure from this horizontal line will destroy the parallelism of the two surfaces, and prevent an equal pressure on all their parts.

One part of the carriage of a press lies on the winter, the other end resting on, and confined to, the forestay, which is fixed to the floor, and cannot give way; the coffin, in which is the press stone, lies on the carriage; and on the press stone the types are placed. Now, when great pressure is applied to the types, to produce an impression, it causes the winter to give way, which immediately disturbs the horizontal plane of the types, and destroys the parallel between them and the face of the platen, and causes an unequal pressure, besides straining the cords of the platen, the platen itself, and all the parts connected with it, to the injury of the workmanship, and of the whole machine; all which would be avoided by the winter being laid solid in the mortises of the cheeks, and the carriage and ribs justified by a level. It would also be attended with another advantage,—not being so liable to slur in running in; the inner tympan not being so close to the platen.

This principle is equally applicable to iron presses, as well as to wooden ones; and will tend to preserve them a longer time in good condition.


wire binding

Any form of binding in which the leaves are secured by wire. The term formerly restricted to wire-stitched pamphlets but is now applied to various forms of spiral, coil, or comb bindings.

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


wire lines

See: CHAIN LINES (1); LAID LINES.


wire sewing

A 19th century method of "sewing" the sections of a book through the folds and onto tapes, webbings, or muslin, by means of wire staples. This method of "sewing," which originated in Germany in about 1880, while strong, fell into disuse because of the development of edition (thread) sewing machines, and also because the staples rusted and disintegrated and the books came apart. See also: SADDLE STITCHING.

Bailey, Arthur Low. Library bookbinding. New York. Wilson. 1916.


wire side

That side of a sheet of paper formed in contact with the wire of the mold in handmade paper, or the wire of the papermaking machine. See also: FELT SIDE.

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


wire stabbing

See: SADDLE STITCHING; SIDE STITCHING; WIRE SEWING.


Wire staples

are used by certain machines in the place of thread for securing the sections.


Wire staples

Fine wire staples used by certain book-sewing machines in the place of thread for holding the sections to a piece of muslin. Also the staples used in place of thread in saddle-stitching a pamphlet of one signature on a machine. Used also in holding a book of several signatures together, the staple being driven through all the signatures close to their back edges.


wire thread

A very small gauge steel or brass wire in reels, which is drawn and formed into staples for use in saddle- or side-stitching pamphlets and booklets.

Latham. Firm. Monitor book wire stitchers. Chicago. Latham Machinery Co. n.d.


with the grain

Paper that has been folded in the direction in which the majority of the fibers of a machine-made paper are oriented. See also: MACHINE DIRECTION.


witherite

A naturally occurring barium carbonate (BaCO3), used as a coating material in the manufacture of paper.


without spring-back or hubs

An economical form of blankbook binding used in the United States. The book is bound without a SPRING-BACK (1) or HUBS and is usually covered in half leather with canvas or a lighter cloth on the sides. Although the book sometimes has a hollow back, it more often has a tight back, as the latter imparts additional strength to what is essentially a weak form of blankbook binding.


witness

The leaves of a book which are untrimmed and therefore show the original size of the sheet of paper. Even if the other leaves are trimmed, this leaf (or leaves) functions as a "witness" that the book has not been excessively cut. See also: UNCUT.

Zaehnsdorf, Joseph William. The art of bookbinding…London. Bell. 1890.


witness

When a volume is cut so as to show that it has not been cut as small as some of the leaves, their uncut edges prove this, and are called witness and sometimes proof.


witness

When a volume is cut so as to show that it has not been so cut down, but that some of the leaves have still rough edges. These uncut leaves are called “Witness” (*see* PROOF).


witness

When a book has been trimmed, leaving some of the leaves still rough, the latter are a witness as to the original size of the sheet and prove that it has not been cut down.


wood

A heterogeneous material consisting essentially of cellulose (the principal constituent of the cell wall of all plants), hemicelluloses, lignin, organic extratives (essential oils, resins, and the like), water, and soluble salts. It is the raw material for making mechanical and chemical pulps used in the manufacture of paper, as well as numerous other products. Wood, usually in the form of sawdust and shavings, is also used extensively as an inexpensive source of cellulose in a wide variety of chemical processes. Wood bark, and wood itself to a lesser extent. is an important source of vegetable tanning materials.

Green wood contains approximately 40 to 60% water, while dry wood consists of approximately 50O carbon, 6% hydrogen, 40 to 42.5% oxygen, 1% nitrogen, and yields 0.81 to 3.3% ash.


wood ashes

The residue of burned wood, which contains potash-a very strong alkali. The alkali is recovered by leeching the ashes with water, and either it or the ashes themselves are used in some areas of the world, in a mixture with indigo, to render the hair of a hide brittle and easily removed by scraping.


wood flour

See: FINES.


wood paste

A paste made from finely ground wood meal mixed with wheat paste, or other adhesive, and used to fill in cracks or holes in book boards, or for rebuilding damaged corners.

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


woodcut book covers

Pasteboard, or similar binder's board, covered with paper and printed from a woodblock. They were produced in Ferrara, Italy, at the end of the 15th century, and at Augsbnrg at about the same time.

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


WOODEN RIBS

That part of the frame in a wooden press on which the long ribs are fastened; in the middle they lie on the winter where the under resistance to the pressure is, and are kept in their place by the summer; and at the fore end they are supported by the fore stay; it is necessary that they should be perfectly level.


woof

See: WEFT.


WOOL CARDS

Made with strong wire; one of which is fastened to two pieces of wood that go across the wool hole, and the other has two open handles fixed to the back of it, for the purpose of carding the wool with which the balls are stuffed.


WOOL HOLE

A place boxed off sometimes under a stair case, or in any situation where the dust will not affect the press room, or other departments of the business—in which the wool is carded wherewith to make the balls.

The wool is kept in the box, over which two pieces of wood are stretched across and fastened down, lowest in the front; on these one of the cards is fixed. In the act of carding the wool the dust and refuse fall into the box, and are thus prevented from being trampled about.

Wool Hole. The workhouse. When a compositor or pressman is reduced by age or illness to take refuge in the workhouse, it is said he is in the Wool Hole.


wool wax

See: LANOLIN.


wooze

See: OOZE. See also: VEGETABLE TANNINS.


Work and turn

When a sheet is printed half-sheetwise, the paper must be turned and worked on the second side.


WORK WITH A FIGURE

In printing offices where there are a number of presses employed, it is usual to distinguish them by numbers; as 1st press, 2d press, &c.; and the pressmen put a figure into each form they work, corresponding to the number of their press, for the purpose of ascertaining readily at which press a sheet was printed in case of bad workmanship, or any accident; and in general pressmen are subject to a fine if they work without a figure, or with a wrong one: but when the same press works both the forms of a sheet, it is not necessary to have a figure in more than one form.

The figure used to be placed regularly in a white line at the bottom of an even page, about four ems from the fore edge: it was placed in an even page that it might not mislead the bookbinder; and always in a full page that did not finish a paragraph.

Working in Pocket. See Companionship.

Working on Lines. See Companionship.

Working on Time. See Companionship.

Wright, Thomas. See Donations.


worked headband

See: HEADBAND.


WORKED, or Worked-off

When a job, or the sheet of a work is printed, it is said to be Worked, or Worked-off. See Off.   WORK WITH A FIGURE

When a job, or the sheet of a work is printed, it is said to be Worked, or Worked-off. See Off.


Working in pocket

When the hands share equally their earnings on a work.


working life

The length of time during which an adhesive, after being mixed with catalyst, solvent, etc., remains suitable for use. See also: STORAGE LIFE.

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


wormhole

A hole or series of holes bored into, or through, a book or board by one or more BOOKWORMS. A book containing such holes is said to be "wormed."

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

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


Wotton, Thomas

An English bibliophile sometimes referred to as the English Grolier, not only because he adopted Grolier's motto for use on his own books, but because he also used decorative designs similar to those found on Grolier's books. See: JEAN GROLIER. The more elaborate of Wotton's bindings, which are distinguished by their painted strapwork, were collected during his youth, probably before 1553, while his later bindings are decorated only with armorial stamps. All of his elaborate bindings were probably executed in Paris for him during visits there in the period from 1545 to 1552. The Parisian bindings seem to be the work of four or five different ateliers. Some of these bindings have the motto: Thomae Wottoni et Amicorvm, while another group has the date 1552 stamped on the cover. Most of his bindings are of brown calfskin.

Most of Wotton's books, of which some 130 to 140 are extant, descended through one female line to the Earls of Chesterfield, who moved them from Kent to Derbyshire in 1747, and eventually to the 5th Earl of Carnarvon, who sold the collection in 1919.

Book manufacturers' monthly. New York. Book Manufacturers' Institute.

Fletcher, William Younger. Bookbinding in England and France. London. Seeley. 1897.


wove

The type of wire mark on a sheet of machine-made paper. Wove papers do not have the wire marks known as LAID LINES.

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.


wove paper

A paper having something of a clothlike appearance when viewed by transmitted light. The effect is produced in machine-made papers by the weave of the dandy roll. and in handmade papers by the wires of the mold. James Whatman was probably the first to produce wove paper, and it was first used by John Baskerville in 1757, for Baskerville's type, which was considered to give a superior appearance on paper that did not have chain lines. Wove paper, in addition. does not have laid lines.

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.

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


wove paper

That which does not show water-marked lines running across it; distinguished from laid paper.


wrap arounds

Units of 4 pages (2 leaves), or multiples of 4, generally consisting of illustrative matter, wrapped around a section and sewn with it.


wraparound cover

A soft cover used for pamphlets, etc. It consists of one folio that forms the spine as well as the two covers. See also: SELF-COVER.

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


wrapper binding

See: GIRDLE BOOK.


wrappers

1. Originally, a temporary paper covering for books designed to protect them until they are bound in a permanent binding. They were plain, marbled, printed, or otherwise decorated. 2. The paper cover of a book, such as the modern paperback. 3. See: BOOK JACKET.

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


wrapping

The process of attaching a paper or board cover by means of a line of glue at the spine of a side-stitched or sewn book. The book usually has a flat spine.


wrapping bands

An early form of the clasp. In its earliest form, which was on Coptic bindings, it consisted of a strap attached to the fore edge of the upper cover and wound around the book over the fore edge several times. with the end, which was fitted with an ornamental piece of bone. being tucked between the strap and the lower cover. Another strap was similarly wrapped around the head and tail. See also: CLASPS.

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


wringer

A power-driven device, consisting of two rubber rollers, through which handmade cases are passed to smooth the covering material and secure it on the outside and to the boards at the turn-ins. The wringer is used principally in library binding.

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


wringing

The process of removing the bulk of water from wet leather by passing it through a wringing machine, which consists essentially of two large. felt-covered rollers. Wringing generally follows tannage and precedes fatliquoring. Cf: PRESSING; SETTING OUT.

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


wringing down

The process of bringing the platen of a press closer to the bed plate, i.e. screwing a press shut.

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


Wrinkle

The uneven surfaces in a volume, caused by not being properly pressed or by dampness, also caused by improper backing.


Wrinkle

The uneven surface in a volume, caused by not being properly pressed or by dampness, also caused by improper backing.


writing foil

A BLOCKING FOIL backed with a pressure-sensitive adhesive. and used for writing titles or classification numbers on books with an electric pen or stylus.

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


wrong side

See: RIGHT SIDE.


X

The Roman equivalent of 10. See: ROMAN NUMERALS.


XX

A symbol indicating 23 karat, or deep GOLD LEAF.


xylographic book

See: BLOCK BOOK.


Yankee machine

A type of papermaking machine that utilizes one large steam-heated cylinder for drying the newly formed sheet of paper instead of numerous smaller cylinders. The wet paper web is pressed against the surface of the cylinder and is usually held in place by a canvas drier felt as the cylinder revolves. The Yankee drier produces a machine-glazed finish on the side next to the cylinder. The wet end of the machine may be either a cylinder or Fourdrinier machine and may have any number of presses or auxiliary driers of the conventional type. The characteristic features of the Yankee machine are its large cylinder (ranging from 9 to 15 feet in diameter) and its very smooth surface.

Calkin, John Burgess. Modern pulp and paper making. 3rd ed. New York. Reinhold. 1957.


Yapp style

See illustration</> A style of binding featuring a cover (leather, or other material, but customarily leather) that overlaps the three edges of both upper and lower covers continuously. The covers are always limp or semi-flexible, and are sometimes fitted with a zipper, which was a later refinement. Yapp books, named after the English bookseller of the second half of the 19th century, William Yapp, always have round corners, and the endpapers are frequently made from a "surface" paper, usually black. The edges are sometimes gilt, frequently over red, or are stained or otherwise colored. The Yapp style is especially associated with books of devotion (almost exclusively today), although a half century ago books of verse were sometimes bound in somewhat similar covers. See also: CIRCUIT EDGES.

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


yarn

A continuous strand, often of two or more plies, composed of carded or combed fibers twisted together by spinning filaments laid parallel or twisted together, or a single filament. It is made from natural or synthetic fibers and filaments, or blends of these, and is used for the warp and filling in weaving cloth.


yawning boards

Book cover boards that curl away from the text block of the book. See also: WARPING.


yellow edge

See: HYMNAL STYLE.


yellow prussiate of potash

See: POTASSIUM FERROCYANIDE.


yellowback

A cheap popular novel, usually of an inferior quality (although not without a certain glittering appeal), and usually sensational in nature. The name derives from the fact that such books were published in yellow enameled paper covers with an illustration is blue or green and black ink on the upper cover. Yellowbacks, which were originated by the Englishman Edmund Evans, flourished between 1855 and 1870, but their production continued until the 1890s. They sold for 1 or 2 shillings and measured 4 1/5 by 6 5/8 inches. Their yellow covers earned them the nickname of "mustard plasters."

Comparato, Frank E. Books for the millions; a history of the men whose methods and machines packaged the printed word. Harrisburg, Pa. Stackpole. 1971.


yellowing

A process or result of a gradual change from the original appearance of a material, such as paper, due to aging or environmental changes, or both. While yellowing in paper is especially pronounced in papers produced from mechanical wood pulps, it occurs to a greater or lesser degree in virtually all types of vegetable fibers. It is frequently associated with brittleness in paper (although not necessarily), and is sometimes referred to as "color reversion."

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


yield

The amount of a substance, usually expressed as a percentage of the starting material, which remains after manufacturing or processing action or actions. In papermaking, yield is the pulp obtained from pulpwood, the amount of paper produced from the pulp, etc. In leather manufacture, it is defined as the number of pounds or square feet of finished leather obtained from 100 pounds purchased weight of raw stock.


yield value

The stress (either normal or shear) at which a significant increase in deformation occurs with no increase in load.

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


Yoshino

A Japanese tissue paper produced from the fibers of the paper mulberry, and named after the town of Yoshino in central Honshu, Japan.

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Zaehnsdorf, Joseph

An Austro-Hungarian bookbinder, born in Budapest and apprenticed at the age of 15 to a Herr Knipe, a bookbinder of Stuttgart, with whom he worked for 5 years. Thereafter, he travelled to Vienna, where he worked in the shop of a Herr Stephan. Zaehnsdorf left Vienna in about 1836, travelled in Europe, and finally arrived in London in 1837. There he went to work for Messrs. Westley & Co., stayed for 3 years, and then went to work for John Mackenzie for another 3 years, 1840 to 1842. He then established his own bookbinding firm, which flourished until his death, and was then taken over by his only son, Joseph William Zaehnsdorf (1853-1930).

One of the most influential bookbinders of his time, Zaehnsdorf was considered to be an excellent craftsman, with his forwarding and finishing being of equal merit, although in the latter he copied more than he innovated, although invariably in good taste. During his lifetime, fine examples of his workmanship were to be found in libraries of all of the great English book collectors.

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

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

Zaehnsdorf, Joseph William. The art of bookbinding…London. Bell. 1890.


zebra marble

A marble pattern consisting of red, black, blue and orange raked from front to back on the size, followed by application of buff or yellow top colors in spots. The paper is either laid flat or shaded. The lines of red, blue, black, and orange are formed into irregular wavy lines by the spots of top color.

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


zero angle

A completely flattened configuration of the fiber bundles of a skin, in which the fibers are not distributed in the customary complex three-dimensional network, as in leather, but are aligned into layers parallel to the grain and flesh surfaces of the skin. A true zero angle is probably not attainable, although PARCHMENT and vellum generally have a very low angle. This type of configuration results from drying a skin under high tension.

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


zig-zag endpaper

A type of ENDPAPER devised by either Douglas Cockerell or T. J. Cobden-Sanderson toward the end of the 19th century. The zig-zag endpaper is designed to eliminate drag on the fly leaves and text block, some thing usually accomplished by sewing the endpaper below the gusset so that it can expand with the movement of the board as the book is opened. Unfortunately, sewing the endpaper at only one point is structurally unsound, as it leaves the fly leaves, as well as the leather joint (if used), secured only by tipping. If the endpaper is sewn through both the fly leaves and the made endpaper, which is the usual practice, the advantage of flexibility is negated and drag results, which the endpaper was intended to eliminate. Also called "v" endpaper, "w" endpaper.

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

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


zig-zag fold

See: CONCERTINA FOLD.


zig-zag guard

A continuous one-piece guard prepared by folding a sheet of heavy paper, linen, or Japanese copying paper concertina-wise. It is used in the construction of photograph albums and similar guard books, as well as for sewing the folios of large blankbooks and for resewing the sections of books in conservation binding. For conservation sewing, the thin Japanese copying paper is used, its purpose being to prevent the adhesive used in gluing up from reaching the sections and the inside of the book.

Woodcock, John. Binding your own books. Harmondsworth, Middlesex. Penquin. 1955.


zinc hydrosulfite

A crystalline salt (ZnS2O3), prepared by the reaction of sulfur dioxide with an aqueous suspension of powdered zinc, and used for bleaching mechanical wood pulp.

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.


zinc sulfide

A compound (ZnS), which occurs naturally as "blende," and is prepared directly from the elements and by precipitation of a zinc salt solution with ammonium sulfide. It is used as a pigment, or as a component of LITHOPONE as a loading material or coating pigment in the manufacture of paper.


zinc white

Zinc oxide (ZnO), a permanent white pigment produced by a flame process in high temperature furnaces. It is used as a white pigment in making water colors and imparting opacity and color to paper. Because of its ability to pick up, retain, and release electrostatic charges, it is also used in the manufacture of certain copying papers. While zinc white is the whitest of all pigments, it lacks the opacity of a pigment such as titanium dioxide; however, it is also less expensive.


zinco

A economical metallic substitute for BINDER'S BRASS, produced by a photomechanical process. Zinco is much less durable than brass, and impressions made with it tend to be lacking in sharpness.

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


zincs

1. Metal plates used for interleaving or for fences in casing or covering books. 2. Large sheets of metal interposed between lifts of flat printed India or other thin papers on automatic feeders of folding machines. They are used to prevent sagging of the lifts. 3. Polished sheets of zinc used in plating paper.


zirconium tanning

A method of producing leather utilizing salts of zirconium, usually under very acid conditions. The high acidity permits the zirconium salts to precipitate basic salts at lower pH values (on the order of 2.0) than either aluminum or chromium, which are also used in the production of leather. Zirconium salts tend to be very astringent, and normally produce a tight, firm leather; they also cause rapid tannage of the grain of a leather and produce a fine, short nap on suede leathers. By the use of masking salts, such as acetates, their astringency can be reduced, resulting in a softer, smooth-grained leather. Zirconium-tanned leather is usually fuller and firmer than that produced by chrome tanning and actually feels more like a vegetable-tanned leather. The leather so produced is of a pleasing white color, has good light fastness, and is superior to alum-tawed skin in that it does not wash out and has a higher (90° C) shrinkage temperature.

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.

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

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


zirconium tetrachloride

A white, crystalline solid (ZrC4), that reacts vigorously with water, and is prepared by the action of chlorine on a mixture of zircon or zirconium oxide and charcoal, or by the action of chlorine and carbon tetrachloride on the oxide at 800° C. The basic salt has tanning properties and is used in producing white leathers.


à la cathédral

See: ARCHITECTURAL STYLE.


Ève style

A style of decoration executed by the French bookbinders, Nicholas Eve (fl 1578-1582). and his son or nephew, Clovis (fl 1584-1635). They were the Court binders and booksellers to Henri III, Henri IV, and Louis XIII during the period in which they flourished. Typical designs of their bindings included a field powdered with fleur-de-lis, and, occasionally, a center piece of the Crucifixion on the Royal Arms, and, while many bindings in the FANFARE STYLE have been attributed to them, for only a few extant fanfares can this be said with certainty. The Eves were among the first bookbinders to conceive the pattern on the covers and spine as an integrated unit. Only three extant bindings are known to be their work. All three are powdered with fleurs-de-lis.

Fletcher, William Younger. Bookbinding in England and France. London. Seeley. 1897.

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

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


écrasé leather

A leather which has been crushed or flattened by mechanical means so as to give it a particular grained appearance. See also: GLACÉ.

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