defoamers

norm: defoamers

text: Agents which inhibit the build up of foam, or which reduce foam or entrapped air by causing the bubbles to burst, thus releasing the air. Most commercial defoamers are mixtures of surface-active agents, hydro-carbons, alcohols, polymers, etc., to increase their effectiveness in multiple applications. Defoamers are used in papermaking operations. Also called "anti-foam agents. "

citations: 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.


degrain

norm: degrain

kind: definition

letter: D

letter_raw: D

text: 1. To remove the grain from a leather, generally by pressing or rolling the hide or skin under pressure. See: CRUSHED (1). 2. SUEDE LEATHER finished on the flesh side, the grain layer having been entirely or partially removed, following tannage, by splitting or abrasion.

siglum: RE

author: Roberts, Matt T.; Etherington, Don

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

rights: 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.

rights_tier: us-government-flagged

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


degreasing

norm: degreasing

text:
The removal of excess natural grease from skins, mainly sheepskins, but also other skins which may happen to be particularly greasy. Degreasing may be necessary because excessive amounts of grease in a skin may interfere with uniform penetration of tannins or dyes, cause difficulties in finishing processes, and/or show as dark, greasy patches in the finished leather.

A typical method of degreasing is with the use of paraffin. The well-drained, but still damp, pickled skins are drummed vigorously with about half their weight of paraffin oil (or kerosine, water, and salt), which loosens the grease. To aid penetration of the paraffin into the wet skin, a small amount of a wetting agent, e.g., 5% of a non-ionic wetting agent, may be added. The loosening of the grease is hastened by heating the paraffin beforehand. At the conclusion of the paraffin drumming, the now greasy paraffin is drained off. A considerable amount of greasy paraffin may still be held in the skins and can be removed by squeezing processes, such as SETTING OUT, or by centrifuging. However, as these processes are difficult and expensive to carry out, it is more usual to wash the skins in a 5% salt solution. Salt must be used as water alone would result in acid swelling.

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

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


degree of tannage

norm: degree of tannage

text: The number of pounds of tannin that are combined with 100 pounds of hide protein.


delamination

norm: delamination

text: 1. The splitting apart of one or more of the layers of a laminate due to failure of the adhesive, or cohesive failure of the laminate. 2. The removal of the laminating material from a document. Delamination of cellulose acetate film may be accomplished by soaking the sandwiched document in a solution of acetone, assuming proper tests have indicated that the ink on the document will not be affected by the solvent. Delamination is difficult to accomplish and generally more than one treatment is required to remove all traces of the laminate. See also: LAMINATION; SUNDEX PROCESS.

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

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


Dele

norm: dele

text: ₰.*—A proof-reader’s mark, signifying to take out.

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography

rights: Public domain (Project Gutenberg, pre-1930 text)

rights_tier: public-domain


DELE,

norm: dele,

text: Lat. The second person singular, imperative mood, of the active verb deleo, to blot out, to expunge. This is a word that is much used in a printing office; and its initial, with a round top, [#] or [#], is the regular mark in proofs to expunge a letter, word, or words that are redundant. See Correcting.

siglum: DAP

author: Savage, William

work: A Dictionary of the Art of Printing


delignification

norm: delignification

text: The process by which LIGNIN is removed from cellulosic materials by means of chemical treatment. The residue that remains consists of cellulose, hemicelluloses, and other carbohydrate materials.


deliming

norm: deliming

text: The process of neutralizing the alkali, e.g., calcium hydroxide, used in liming and unhairing hides and skins. Deliming, which usually takes place in conjunction with BATING, is accomplished by running the hides or skins in a drum or paddle to which has been added water and a proprietary compound consisting of a mixture of an ammonium salt (preferably ammonium sulfate) and proteolytic enzymes at a water temperature of 80 to 90° F. For more efficient control, and to produce a particularly fine grain in the leather, the ammonium sulfate (or boric acid), in the amount necessary to neutralize the lime, is added before the addition of the bating enzymes.

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


delivered flat

norm: delivered flat

text: Printed sheets delivered to the binder unfolded, as they come from the press. The term relates largely to edition binding, but is also applicable in many cases to pamphlet and stationery binding.


DELIVERING BOOKS

norm: delivering books

text: It is the general practice with publishers to leave a work when finished, in the warehouse of the printer, and to send written orders for the delivery of a part, as occasion or convenience suits; the warehouseman should always be prepared to deliver copies to these orders at the moment, otherwise complaint will be made against him, and he will incur blame; but he ought not on any account to deliver copies without a written order, for should there happen a mistake, or an omission in the publishers making an entry, credit will not be given for them, and he will become responsible. He ought invariably to enter them instanter, and take the person’s signature to the entry, and file the order. He will then be enabled, when an account of the delivery is called for, to prove its correctness.


deluxe binding

norm: deluxe binding

text: A somewhat abused term originally indicating a book bound by hand in leather, the implication being that superior materials and methods were used throughout. The term is also used by edition binders (or publishers) to indicate a book covered in a superior grade of cloth (or imitation leather, or a book supplied with a box or case. See also: EXTRA BINDING.

citations: 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.

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

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


deluxe edition

norm: deluxe edition

text: An edition of a work produced on a grade of paper superior to that of the standard edition, more-or-less expensively bound, sometimes printed with special type, and often limited in number. At times, however, the term is used merely as a selling term with little or no justification.

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


dendritic growths

norm: dendritic growths

text: Minute to relatively large discolorations in a sheet of paper due to oxidation of minute particles of metal present in the paper. The presence of the metal is generally believed to be due to the use of metal beaters. etc., in the manufacture of the paper. With the passage of time, irregular fern-shaped designs radiate from the particles. See also: FOXING.


denier

norm: denier

text: A unit of fineness of silk, rayon, or nylon yarn, equal to the fineness of a yarn weighing 1 gram for each 9,000 meters. Denier increases with the square of the fiber diameter.

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


denim

norm: denim

text: A firm, durable, twilled fabric, usually cotton, woven with colored warp and white filling threads and sometimes used in bookbinding for covering large books, e.g., blankbooks, where additional strength and durability are required.

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

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


density

norm: density

text: Tn general, the ratio of the weight of a material to its volume, or the mass of the material per unit volume. Density should not be confused with POROSITY. See also: APPARENT DENSITY.


dentelle

norm: dentelle

variant: dentelle border

text: An 18th century style of book decoration, usually in gold, consisting of a combination of elliptical scrolls of slightly shaded leafy character joined to clusters and horders of great richness, resembling lace, and pointing toward the center of the cover. ANTOINE MICHEL PADELOUP has often been credited with the introduction of the dentelle style, which actually took its inspiration from embroidery and the decorative arts rather than lace. Of the many binders who used this technique, the most notable were the Deromes and PIERRE-PAUL DUBUISSON.

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

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

citations: Prideaux, Sarah Treverbian. Bookbinders and their craft. New York. Scribner. 1903.


dentelle

text: A fine tooled border resembling lace-work.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


dentelle

text: A style resembling lace work, finished with very finely cut tools.

siglum: BIB

author: Sabin, Joseph

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


dentelle

text: As the word expresses. A style resembling lace work, finished with very finely cut tools.

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


Dentelle border

norm: dentelle border

text: A tooled pointed border with finely dotted or Gascon ornaments in imitation of lace.

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


dentelle á l'oiseau

norm: dentelle á l'oiseau

text:
See notes on the electronic edition

DENTELLE decoration which includes birds in the design of the borders. The principal bindings featuring this motif were done by Nicolas Derome. See also: DEROME STYLE.

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


dermis

norm: dermis

text: That part of a hide or skin below the epidermal-dermal junction, consisting of a condensation of fibrous connective tissue which supports blood and lymph vessels, sebaceous and sudoriferous glands, hair follicles and their associated muscles, etc. In the grain layer of the dermis these fibers become very thin and tightly woven, and arc so interlaced that there are no loose ends on the surface beneath the epidermis. Consequently, when the epidermis is carefully removed, a smooth layer is revealed, sometimes known as the hyaline layer, which gives the characteristic grain surface of leather. Toward the center of the dermis (or corium) the fibers are coarser and stronger, and the predominant angle at which they are woven can indicate the properties the resultant leather will display. If the fibers are more upright and tightly woven, a firm, hard leather with little stretch can be expected, while if they are more horizontal and loosely woven, a soft, stretchier leather can be anticipated. The interior of the dermis is generally the strongest part of the skin.


Derome style

norm: derome style

text: A style of book decoration practiced by the Derome family of France in the 18th century. The most famous of the family was Nicolas Denis Derome (active 1761-c 1789)—Derome le juene—who was also known the the "great cropper" because of his tendency to trim excessively. Nicolas Derome also used sawn-in cords in order to obtain the HOLLOW BACK, which prevents the spine of the book from flexing and thus possibly cracking the gold. He also achieved great fame by his use of the DENTELLE border, taking the dentelles of Padeloup as models. His also are made up of dentelle tools in combination, rather than in repetition, and are represented by symmetrical corner tooling of a very richly engraved floriated scroll work. An essential feature in Nicolas Derome's finest dentelles is a small bird with outstretched wings. See also: DENTELLE À L'OISEAU.

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

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

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


Derome style

text: This style has ornaments of a leafy character, with a more solid face, though lightly shaded by the graver. The ornaments are often styled Renaissance, being an entire change from the Gascon. The Derome is best exemplified in borders, Vandyke in design; it is simple in construction but rich in effect, and is appropriate for art publications. Time, eighteenth century.


Descending letters

norm: descending letters

text: Letters that go down into the lower shoulder of the body; as, g, j, p, q, y.


designation mark

norm: designation mark

text: The letters which correspond to the initial letters of a title of a book, and any volume number, sometimes printed along side the SIGNATURE MARK to assist the binder in gathering.


designer bookbinders

norm: designer bookbinders

text: A British society of bookbinders founded in 1951 as "The Hampstead Guild of Scribes and Book binders." In spirit it succeeded the Hampstead bindery, which, about 1900, operated with the "Guild of Women Binders." While originally centered in Hampstead, London, the present society reached the point where no member lived there, and, as the calligraphic elements also declined. the name "Guild of Contemporary Bookbinders" was adopted. Tn 1968 the present name was assumed. One of the goals of the society is "to exert a progressive influence on the design and technique of bookbinding," (2(b) of the Constitution). Full membership is open by election to any amateur or professional bookbinder who has attained the required standard. Candidates submit samples of their work on which a vote is taken by the Executive Committee. Many outstanding bookbinders, including Edgar Mansfield (the first president), Ivor Robinson, and Bernard Middleton, have served as president of the society.


developed dyes

norm: developed dyes

text: Dyes whose colors are developed after application by treatment with sodium nitrite (NaNO2). Developed yes are used on suede leathers so as to prevent CROCKING.


devil

norm: devil

text: A stick fitted with short quills set at a downward angle. The devil is the traditional implement used for frothing GLAIR.

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


DEVIL

text:
The pressman sometimes has a week boy to take sheets, as they are printed, off the tympan: these boys do in a printing house commonly black and daub themselves; whence the workmen do jocosely call them Devils; and sometimes Spirits, and sometimes Flies.—M. The boys that make the fires, sweep the rooms, assist in the warehouse, and go on errands, are now called Devils, or Printers Devils; but in the trade they are generally styled Errand Boys and Warehouse Boys. See Fly.

Diæresis. See Accented Letters.


devil

text: The errand-boy of a printing-office.


dew point

norm: dew point

text: The temperature at which a vapor, especially in the atmosphere, begins to condense. See also: RELATIVE HUMIDITY.


dextrin

norm: dextrin

text:
An intermediate product formed during the hydrolysis of starch to sugars. There are three classes of dextrin: 1) amylodextrin, which gives a blue color with iodine and is soluble in 25% alcohol; 2) erythrodextrin, which gives a red color with iodine and is soluble in 55% alcohol; and 3) achrodextrin, which gives no color with iodine and is soluble in 70% alcohol.

All are soluble in water but are precipitated by strong alcohol. They are used as adhesives in the manufacture of gummed tapes and paper.

citations: 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.

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

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


dhawa

norm: dhawa

variant: Indian sumac

text: A tree (Anogeissus latifolia) common to many parts of India, the leaves of which yield a tannin used in that country. The tannin content of the leaves varies considerably, ranging from less than 30% to more than 50%, depending on the age of the trees when the leaves are gathered. The proportion of soluble non-tans is 10 to 13%. Dhawa is considered to be well suited for the tanning of light leathers, giving a soft leather of a light color and firm texture. Dhawa is also the source of GHATTI GUM, See also: VEGETABLE TANNINS.

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


diacritical marks

norm: diacritical marks

text:
Marks over, under, after, or through various letters in the alphabets of several languages, designed to indicate the nature or stress of the sounds they represent. While lowercase letters having accent marks are cast as units, in display printing it is sometimes necessary to cast accent marks separately, i.e., the so-called floating accents. In library binding, diacritical marks are generally added by hand after the case has been blocked. Commonly used marks include: <!-- might want to change this to some sort of list like dl -->

acute                       ´

cedilla                     ¸

circumflex                  ˆ

Umlaut (or dieresis)        ¨

grave                       `

tilde                       ˜


DIAMOND

norm: diamond

text:
The name of a type one size smaller than Pearl, and the smallest that is cast in the British founderies. It originated in casting a type with a pearl face upon a smaller body, for the purpose of getting in, in printing pocket Bibles; the founders subsequently cut it with a smaller face, and made it completely a distinct size. It is not enumerated in Moxon’s list. See Types.

Dilly, Charles. See Donations.


Diaper

norm: diaper

text: a term applied to a small repeating all-over pattern. From woven material decorated in this way.

siglum: BCB

author: Cockerell, Douglas

work: Bookbinding, and the Care of Books


diaper pattern

norm: diaper pattern

text: 1. A gold- or blind-tooled decorative pattern, consisting of a motif constantly repeated in geometric form. The pattern may consist of figures such as diamonds, lozenges, or flowers, separated only by background. or by constantly repeating compartments, each filled with designs. 2. A publisher's cloth with a cross-hatched effect of minute lozenges or squares. Diaper cloths were popular in the late 1830s and 1840s, and have remained standard patterns on fabrics in one form or another ever since. 3. The uniformly patterned background for pictorial scenes in illuminated manuscripts. Its extensive use dates from the latter part of the 13th century.

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

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

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


diatomaceous silica

norm: diatomaceous silica

variant: diatomaceous earth

text: The siliceous remains of microscopic diatoms, which are aquatic plants. Diatomaceous silica is used as a dulling or flattening agent in coating and as a filler in paper. Also known as "infusorial earth" and "kieselguhr."


diced pattern

norm: diced pattern

variant: diced leather

text: 1. The decorated cover of a book tooled with cubes or diamonds. RUSSIA LEATHER is often "diced" and diced calf has been used frequently since the first quarter of the 19th century. 2. A pattern ruled or embossed in leather in the form of diamond squares. 3. A pattern in publishers' book cloth, in the form of a bold diamond, popular between 1835 and 1845.

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

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


die

norm: die

text: An engraved stamp used in embossing a design or letter in leather, or on cloth or paper. See also: HAND LETTERS; STAMP (1)

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


die cutting

norm: die cutting

text: 1. The process of cutting special shapes (cutouts) in leather, cloth or paper. The cutouts are used for labels, inlays, onlays, etc. 2. The process of lowering the background leather, leaving the cut out area, or counter, undisturbed and raised above the impression.

citations: Karch, Robert Randolph. Graphic arts procedures. 4th ed. Chicago. American Technical Society. 1970.

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

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


die sunk

norm: die sunk

text: A depression produced by the application of a die or block, either heated or cold. See also: BLIND TOOLING; BLOCKING (1).


Diehl, Edith

norm: diehl, edith

text: One of the foremost American women bookbinders. Diehl studied the craft in France, Belgium, and England—in the last named country under T. J. Cobden-Sanderson at the Doves bindery—and also with Sangorski and Sutcliffe's bindery. She opened her own shop in 1906, in New York City, and achieved her principal fame through her teaching. Diehl was at one time associated with the bindery of William E. Rudge. She is also the author of Bookbinding; its background and technique (1946).


diethyl zinc

norm: diethyl zinc

text: An organometallic compound (Zn(C2H5)2), that is readily volatile (B.P. 123° C. at one atmosphere). It has been proposed as a vapor-phase deacidifying agent, and gives promise of being effective; it leaves an alkaline reserve of zinc oxide in the paper, which not only protects against acid but is an effective fungicide as well. Treatment must be carried out in the absence of air or moisture, as diethyl zinc ignites on contact with air and explodes on contact with moisture. This requires that the books be absolutely dry before treatment; therefore they must be treated with the gas in a vacuum chamber and the excess diethyl zinc must be removed or neutralized before the chamber is opened. Treatment with diethyl zinc leaves the paper with a pH of approximately 7.5 and does not appear to have any adverse effect on leather or other book materials.


diethylene glycol

norm: diethylene glycol

text: A colorless and almost odorless chemical (C4H10O3), miscible with water, alcohol, and chloroform, but insoluble in benzene and carbon tetrachloride. It is a solvent for cellulose nitrate, but not for the acetate. It is used as a softening agent for textile fibers, as a moistening agent for glues and paper, as a solvent for certain dyes, and as a plasticizer in some leather finishes.


digester

norm: digester

text: A vessel in which pulpwood, straw, esparto, rags, or other cellulosic materials are treated with chemicals and heat to produce the pulp used in the manufacture of paper. A digester is usually constructed to withstand elevated pressures and is made of materials designed to resist the chemicals used in pulp preparation. Digesters may be cylindrical, spherical, horizontal, vertical, stationary, rotating or designed to tumble. Most are stationary. A digester may be designed for batch operation, in which it discharges its pu lp at the conclusion of a fixed cycle, or it may be designed for continuous operation, in which case it moves the raw material and chemicals at a fixed rate from the charging end to the discharging end.


diluent

norm: diluent

text: A substance added to another, e.g., an adhesive, to reduce its concentration, or to an ink, to reduce its viscosity, and so on. Water is the principal diluent used in archival work. See also: EXTENDER (1); THINNER.

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


dimensional changes in leather

norm: dimensional changes in leather

text: The increase or decrease in the thickness and area of a leather due to increasing or decreasing relative humidity of the surrounding atmosphere.

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


dimensional stability

norm: dimensional stability

text: That property of a paper, board, etc., which relates to the consistency of its dimensions. The property is associated with changes occurring in a material due to changes in moisture content, the application of load, or simply with the passage of time. Dimensional stability of paper is important in printing, especially in multi-color processes, since papers with poor dimensional stability may give misregister. This is because, when they are run through the press, the dimensions change from one color run to the next. See also: CREEP; HYGROEXPANSIVITY.


dip

norm: dip

text: A term sometimes applied to a batch of books, which have been trimmed, jogged and clamped, and are then ready to be "dipped" for marbling the edges.

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


DIPLE

norm: diple

text: A mark in the margin of a book to show where a fault is to be corrected.—Bailey’s Dict. This word is not used in the profession.


diptych

norm: diptych

text: See illustration</> An ancient hinged writing tablet consisting of two tablets of wood, ivory or metal, having wax in the hollowed inner surfaces, on which writing could be done with a stylus. The hinges were generally metal rings or thongs threaded through the holes. Near the outer edge on the inside of one tablet as a small trench designed to hold the stylus, which was a small bone or metal instrument pointed at one end for writing and flat at the other end for removing writing in the wax. In the middle of each inner side a small knob protruded to keep the wax surfaces apart. Ordinary diptychs were generally made of beech, fir, or citron wood, but those made for ceremonial use, or for important recipients, were often made of ivory, sometimes beautifully carved, and fitted with gold or jewels. The most lavishly embellished specimens belong to the Byzantine period, 530 to 560. Because they were small enough to hold in one hand, in Latin they were sometimes called "pugillaria." The diptych is interesting because it is both a manuscript and a binding.

citations: 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.

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

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


direct dyes

norm: direct dyes

text:
A class of ANILINE DYES, 50 called because they have such great affinity for cellulose fibers, i.e., paper and some cloths. While both these and ACID DYES are sodium salts of dye acids, direct dyes do not require the use of a MORDANT.

Their shades are duller than those of either acid or BASIC DYES and they tend to have less tinctorial value than the basic dyes; however, they have the very important advantages of being much more lightfast than the basic dyes, and in certain instances, more so than even the acid dyes.

citations: 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.


DIRECTION

norm: direction

text: The word that stands alone on the right hand in the bottom line of a page.—M. It is the first word of the following page. See Catch Word.


Direction

text: the word that stands alone on the Right Hand in the bottom *Line* of a *Page*.

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


direction line

norm: direction line

text: The line of printed characters in a publication when the abbreviated title of the book, i.e., the DESIGNATION MARK, follows the signature mark, or letter, printed at the foot of the first page of each sheet. It is intended to serve as a guide to the binder when gathering. Until the end of the 18th century the direction line, printed below the text of the page, and often between the text and the footnotes, contained the CATCHWORD, signature, press figures, and occasionally the volume number or part number. See also: SIGNATURE AND CATCHWORD LINE.

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


DIRECTION LINE

text: The line the direction stands in.—M. See Catch Word.


direction word

norm: direction word

text: See: CATCHWORD.


directional ventilating power

norm: directional ventilating power

text: The ventilating power of leather, which is greater in one direction than in the other, in that it allows water to migrate more freely from the flesh side to the grain side than vice versa.


directory paper

norm: directory paper

text: A lightweight printing paper made with a substantial proportion of mechanical wood pulp. The balance of the pulp is usually unbleached sulfite or semi-bleached sulfate pulp, although the paper is also made from deinked paper stock plus chemical wood pulp. Its essential characteristics are uniformity of basis weight. opacity, strength, and a finish suitable for high speed printing. Permanence is not considered to be an essential property. Usual basis weights are 18 to 28 pounds (4 x 36—500). It is used main1y for printing telephone directories, city directories, and the like.


disc refiner

norm: disc refiner

text: A type of REFINER consisting of one or more matched pairs of discs lined with a pattern of ribs. One disc rotates, while the other is stationary or rotates in the opposite direction. The paper stock flows from the center outward, or vice versa, and is macerated, rubbed, and cut (refined). The degree and extent of the refining depends upon several factors, including the pressure between the discs, the type of ribbing on the faces of the discs, and the consistency of the pulp suspension.


disc ruling machine

norm: disc ruling machine

text: See: RULING MACHINES.


Dished

norm: dished

text: A defect in electrotyped plates, the centre of a letter being lower than its edges.


disodium pyrophosphate

norm: disodium pyrophosphate

text: A chemical (Na2P2O7) used as a mold inhibitor in paper. It is used in an aqueous solution of 1 1/2 ounces of disodium pyrophosphate, 1/6 ounce of potassium ferrocyanide, and 1/2 ounce of soda crystals in 1 gallon of water. The purpose of the soda crystals is to prevent the paper from turning a greenish hue after treatment. The inhibitor solution may be made up with an addition of gelatin or glue, or other sizing material, if the paper to be treated must be also sized.

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


Distributing

norm: distributing

text: Returning types to their various boxes after having been printed from. Spreading ink evenly over the surface of a roller.


divi-divi

norm: divi-divi

text: The tannin-rich pods of a large genus of trees and woody climbers (Caesalpinia) native to the tropics and sub-tropics The most important is Caesalpinia coriaria. Divi-divi pods contain a high percentage of tannin (40-4%) which is easily leached out. It is one of the pyrogallol class of tannins and produces a light-colored leather. It is usually used along with other tannins, because when used alone it produces a leather that is soft and spongy in a damp atmosphere and which lacks pliability in dry weather. In addition, the amount of sugary matter present in the pods results in too rapid fermentation of the tan liquor. This may produce reddish stains in the leather, which can, however, be controlled to some extent by the use of appropriate antiseptics. Divi-divi is also used in leather manufacture as a dye. See also: VEGETABLE TANNINS.

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


dividers

norm: dividers

text: 1. The draftsman's instrument used in bookbinding for a variety of purposes, including measuring the distance between bands or webbings and cutting stock, patterns, etc. 2. The heavy sheets of cardboard or paper, frequently of cover-paper weight or heavier, used to divide the sections of a book when two or more sections. parts, or issues are bound together.

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

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


DIVIDING

norm: dividing

text:
There are practical rules in printing for dividing words where the whole of a word cannot be comprised within the line; and there are also grammatical rules for the same object. Every printing office has some peculiarity on this subject.

The most general practical method of dividing words is to preserve the primitive word at the end of a line, and carry the termination to the next line; but this cannot always be done, as the following few instances will show. In these and similar cases it will be better to avoid dividing the word, and either drive the whole out, or get the termination in, as the spacing of the line will best allow.

Words whose plurals are formed by the addition of s, which adds another syllable to them, by making the last into two, ought not to have these two syllables divided; such as—

The terminations of words, chion, cial, cient, cion, cious, shion, sian, sion, tial, tion, and tious, ought never, in my opinion, to be divided, as they each form one sound, although Murray and Walker say they form two syllables.

When the primitive word cannot be retained at the end of a line, I would prefer the prefixes ab, ac, ad, al, anti, be, bi, co, com, con, de, di, dia, dis, en, in, per, pre, pro, re, sub, super, un, when words in which they occur require to be divided; provided it does not cause any great violence in the spacing.

When it is necessary to divide a word at the end of a line, it is also necessary to study the appearance of the termination of that line, as well as of the commencement of the succeeding line, for they are equally affected. An improper division of a word will sometimes look better than a proper one, but it ought always to be avoided, if possible.

It frequently happens that the last syllable, when it is short, has a meagre appearance at the beginning of a line; when this is the case, it is preferable to drive out another syllable, provided the appearance and the correctness of the first part of the word are not compromised.

It is not usual, and is looked on as bad workmanship, to divide a word with a single letter at the end of a line, for it may be driven out, or, if the line be wide spaced, the next syllable may be got in; but should the second syllable of the word be a long one, or the last syllable a very short one, it will then be advisable to overrun a preceding line or two, to get rid of the objectionable division.

Neither is it usual to carry over the last syllable of a word if it consist of two thin letters only; for the hyphen is more than equal to one of them, and changing two or three spaces will make room for the other, without affecting the appearance.

Some persons object to the dividing of words at all in printing, as being unnecessary and displeasing to the eye; but then they must sacrifice all regularity of spacing, which is still worse, and has the appearance of bad workmanship. I would recommend that a compositor should make each give way a little to the other, always preserving such an uniformity in spacing that there should be no glaring disproportion in different lines.

Avoid dividing words in lines following each other, so as not to have hyphens at the ends of two adjoining lines, but never have three or more divided words at the ends of consecutive lines; although five or six may occasionally be seen, yet in book work it is held to be bad workmanship, and should never be allowed to pass. Neither is it desirable to divide proper names, nor the last word in a page so as to have part of a word to begin the succeeding page, particularly when it is an even one; sums of money and series of figures are never divided.

It is not possible in every instance to divide words correctly, particularly when the page is of a narrow measure, and the type large; when this happens, the compositor is obliged frequently to sacrifice correctness to necessity; but when the page is of a width proportionate to the size of the type, he may in the usual way of workmanship preserve his regular spacing, and also his correct dividing.

The preceding observations may be looked on as practical ones for printing. Lindley Murray gives the following grammatical directions for dividing words.

“1. A single consonant between two vowels must be joined to the latter syllable: as, de-light, bri-dal, re-source: except the letter x; as, ex-ist, ex-amine: and except likewise words compounded; as, up-on, un-even, dis-ease.

“2. Two consonants proper to begin a word, must not be separated; as, fa-ble, sti-fle. But when they come between two vowels, and are such as cannot begin a word, they must be divided; as, ut-most, un-der, in-sect, er-ror, cof-fin.

“If the preceding syllable is short, the consonants must be separated: as, cus-tard, pub-lic, gos-ling.

“3. When three consonants meet in the middle of a word, if they can begin a word, and the preceding vowel be pronounced long, they are not to be separated; as, de-throne, de-stroy. But when the vowel of the preceding syllable is pronounced short, one of the consonants always belongs to that syllable; as, dis-tract, dis-prove, dis-train.

“4. When three or four consonants, which are not proper to begin a word, meet between two vowels, the first consonant is always kept with the first syllable in the division: as, ab-stain, com-plete, em-broil, dan-dler, dap-ple, con-strain.

“5. Two vowels, not being a diphthong, must be divided into separate syllables; as, cru-el, deni-al, soci-ety.

“A diphthong immediately preceding a vowel, is to be separated from it: as, roy-al, pow-er, jew-el.

“6. Compounded words must be traced into the simple words of which they are composed; as, ice-house, glow-worm, over-power, never-the-less.

“7. Grammatical, and other particular terminations, are generally separated: as, teach-est, teach-eth, teach-ing, teach-er, contend-est, great-er, wretch-ed, good-ness, free-dom, false-hood.

“Two consonants which form but one sound, are never separated: as, e-cho, fa-ther, pro-phet, an-chor, bi-shop. They are to be considered as a single letter.

“8. In derivative words, the additional syllables are separated: as, sweet-er, sweet-est, sweet-ly; learn-ed, learn-eth, learn-ing; dis-like, mis-lead, un-even; call-ed, roll-er, dress-ing; gold-en, bolt-ed, believ-er, pleas-ing.

“Exceptions. When the derivative word doubles the single letter of the primitive, one of those letters is joined to the termination: as, beg, beg-gar; fat, fat-ter; bid, bid-ding.

“When the additional syllable is preceded by c or g soft, the c or g is added to that syllable: as, of-fen-ces, cotta-ges, pro-noun-cer, in-dul-ging; ra-cer, fa-cing, spi-ced; wa-ger, ra-ging, pla-ced, ran-ger, chan-ging, chan-ged.

“When the preceding single vowel is long, the consonant, if single, is joined to the termination: as, ba-ker, ba-king; ho-ping, bro-ken; po-ker, bo-ny; wri-ter, sla-vish; mu-sed, sa-ved.

“The termination y is not to be placed alone: as, san-dy, gras-sy; dir-ty, dus-ty; mos-sy, fros-ty; hea-dy, woo-dy; except, dough-y, snow-y, string-y, and a few other words. But even in these exceptions, it would be proper to avoid beginning a line with the termination y.

“Some of the preceding rules may be liable to considerable exceptions; and therefore it is said by Dr. Lowth and others, that the best and easiest directions for dividing the syllables in spelling, is to divide them as they are naturally separated in a right pronunciation, without regard to the derivation of words, or the possible combination of consonants at the beginning of a syllable.”

Before quitting this subject, it should be stated that there is yet a mode of dividing, which is peculiar to the philologist. To him it appears but natural that a compounded word should be divided at the point where its elements were originally conjoined. With respect to a purely English compound we find this to be one of Murray’s rules; but in an adopted word, however much from its recurrence it may seem to have become our own, the scholar’s eye is offended, if, where a division has become requisite, it be made in violation of etymological principles. This remark must be understood as having reference only to the division which would occur in the neighbourhood of the point of junction: in other respects he does not impugn the validity of the rules which are in general laid down. To apply with precision this principle, which, when judiciously practised, is frequently very highly approved, it is evident that an acquaintance with the language from which the imported word has been derived, is necessary: yet, as a person not thus qualified may occasionally be required to make his divisions in conformity with this system, it has been thought desirable to subjoin a brief list of words in which an uninitiated person would be most likely to err. A few of the following divisions will appear a little startling, and they are in consequence generally evaded; but it has been thought proper in this place to conceal nothing from the general eye which may appear to militate against the full adoption of the system. The words selected are but a few of the very large class of compounds; but the rest have been omitted, as their analytical and their syllabical divisions will in general be found to coincide.

* This word has had the singular fortune of having been all but universally mis-spelt; having in its present form the appearance of being what is inadmissible—the compound of a Latin and an English word. A few years ago an ingenious critic, in a work which he published, corrected this spelling by writing the word “frontispice.” As the word comes immediately from frontispicium, the emendation appears to have been judiciously made. (Compare auspice, from auspicium = avispicium.) It may not be unnecessary also to observe, that the amended form is that in which it appears in the French language. The division of the corrected word would be fronti-spice.


dividing into sections

norm: dividing into sections

text: A term applied to the process of dividing the leaves of a book to be oversewn into "sections" following the removal of the hack folds. The normal thickness of each section is 0.055 inch; however, books printed on paper that is unusually thick or bulky are sometimes divided into sections 0.065 inch in thickness.

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


divinity bindings

norm: divinity bindings

text: See: ECCLESIASTICAL BINDINGS.


divinity calf

norm: divinity calf

text:
1. A plain, drab, khaki-colored calfskin binding, popular in the mid-19th century for theological and devotional books. The style was particularly popular in the rebinding of books of an earlier time. The bindings were tooled in blind with single lines terminating in OXFORD CORNERS.

The style sometimes also featured beveled boards and red edges. Sometimes called "Oxford style." 2. A leather used principally for the inside cover linings of limp leather prayer books and small Bibles. (69, 156. 371)

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

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


divinity calf

text: A dark brown calf used generally for religious books, and worked in blind or antique.


divinity calf

text: A dark brown calf bookbinding decorated with blind stamping, and without gilding; so called because formerly used in binding theological books.


DIVISORIUM

norm: divisorium

text: Commonly called Visorum.—Smith. See Visorum.


do up

norm: do up

text: An old term of English origin for the processes of folding, stitching and wrapping, or binding books in cloth.


document parchment

norm: document parchment

text: 1. A paper made to replace the more expensive genuine PARCHMENT, and used for legislative acts, treaties, and the like. It is produced from selected linen and cotton fibers, and is almost always surface-sized with high quality animal glue or with special tub sizings. Document parchment is produced in basis weights of 48, 56, 72, and 88 pounds (17 X 22 - 1,000). The paper should be manufactured in such a manner as to insure maximum permanency and durability. 2. A vegetable parchment paper used for diplomas and documents.


doeskin

norm: doeskin

text: 1. A soft, supple leather made from the skin of an adult female deer and used in England as early as the 16th century for covering books. 2. A soft. supple leather, usually white or cream colored but sometimes dyed, having a fine suede finish, produced from lambskin or sheepskin split and and tanned by a combination tannage, e.g., formaldehyde and oil, or formaldehyde and alum. See also: BUCKSKIN.

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

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


dog ear

norm: dog ear

text: 1. An oversize, unfolded corner in a publication caused when a sheet in a pile of paper having a corner turned under is trimmed in the guillotine. After trimming, the corner of the defective sheet extends beyond the trim size of the sheet when the folded corner is then unfolded. The dog ear is often useful in early books in determining the size of the leaf and the sheet because it reveals the size of the untrimmed leaf. 2. The turned-down corner of a leaf. See: DOG EARED.


dog eared

norm: dog eared

text: A book or other publication having one or more corners of the leaves turned down, generally by readers.


DOMESDAY BOOK

norm: domesday book

text:
The register of the lands of England, framed by order of William the Conqueror. It was sometimes termed Rotulus Wintoniæ, and was the book from which judgment was to be given upon the value, tenures, and services of the lands therein described.

In 1767, in consequence of an address of the House of Lords, His Majesty George III. gave directions for the publication of this Survey. It was not, however, till after 1770 that the work was actually commenced. Its publication was entrusted to Mr. Abraham Farley, a gentleman of learning as well as of great experience in records, who had almost daily recourse to the book for more than forty years. It was completed early in 1783, having been ten years in passing through the press, and thus became generally accessible to the antiquary and topographer. It was printed in facsimile, as far as regular types, assisted by the representation of original contractions, could imitate the original.

The type with which the Domesday Book was printed, was destroyed in the dreadful fire which consumed the printing office of Messrs. Nichols in Red Lion Passage, Fleet Street, London, February 8, 1808.

Abbreviations in Domesday Book, from Hutchins’s Domesday Book for the County of Dorset.

Superior Letters, which are of frequent occurrence in contracted Records, are generally laid in the small capital boxes.

The character & is displaced to make room for [#] and [#] on works using those characters exclusively.

There are various characters, such as [#], [#], [#], [#], [#], [#], and others, that do not frequently occur, which may be kept in the two boxes in the upper case marked “various;” a general box is necessary in every Domesday case.

The characters c̚, g̚, m̚, &c., placed in the figure boxes, are a variation only of c̉ , g̉ , m̉ , &c., and the two sorts are never used together in the same work. See Records.

caption: Layout of the Domesday case

alt: Layout of the Domesday case

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

caption: Domesday book abbreviations

alt: Domesday book abbreviations


domestic goat

norm: domestic goat

text: GOATSKIN, and, in general. virtually any skin imported in the cured state, i.e., dry-salted or wet-salted, and then converted into leather in the importing country.


dominotiers

norm: dominotiers

text: The name given to the earliest known "marblers" of historical importance—the dominotiers of France. The name derives from the Italian domino, a word which refers to the little cloak or hood, which was part of the working apparel of the early marblers. The dominotiers apparently were highly successful, as they were shortly granted royal permission to form a guild, along with the wood engravers. Those specializing in the making of marbled papers were called marbreurs. Unfortunately, because of its highly perishable nature, very little of this early marbling has come down to us.

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


DONATIONS

norm: donations

text:
Abstract of the Charitable Donations at the Disposal of the Court of Assistants of the Worshipful Company of Stationers. I have selected those Donations only which relate, directly or indirectly, to Printers.

William Norton, a printer of great note, lived in St. Paul’s Churchyard, who died in 1593. He gave six pounds thirteen shillings and four pence, yearly to his company, to be lent to young men, free of the same Company. The Company in their Abstract of Charitable Donations say “to the Poor of the said Company.”

Mr. Christopher Meredith, in 1655, gave 10l. a year, to be paid in quarterly pensions to the poor of the Company.

Thomas Guy, Esq., M.P., an eminent bookseller, and the munificent founder of the hospital which bears his name, gave to the Company, in 1717, 1,000l. “to enable them to add 50l. a year, by quarterly payments, to the poor members and widows, in augmentation of the quarterly charity.”

Mr. Theophilus Cater, in 1718, gave 1,000l. to the Company, on condition of their paying him an annuity of 50l. for his own life.—After his death, 40l. to be thus disposed of: to the minister of St. Martin’s, Ludgate, for a sermon, 1l. 10s.; to the reader, 5s.; to the clerk and sexton, 2s. 6d. each, 5s.; to fourteen poor freemen of the Company, 14l.; to ten poor men of St. Martin’s, 10l.; to ten poor men of Christchurch, 1l. each. The remainder, (being 4l.) towards a dinner for the master, wardens, and assistants.

Mrs. Beata Wilkins, in 1773, gave the picture of Doctor Hoadly, lord bishop of Winchester, now in the Stock-room; and the interest and produce of all the money arising from her forty-pounds share stock (computed at 320l.) to be distributed, annually, amongst six poor men and six poor widows, not pensioners to the Company, in the month of December, before Christmas.—Note. The produce of the share was laid out in the purchase of 358l. 11s. 4d. five per cent. Navy annuities. The yearly dividend is 17l. 18s. 6d. To which the Court add 1s. 6d. to make the dividend to each annuitant 1l. 10s.

William Bowyer. See Bowyer.

William Strahan, Esq., M. P., in 1784, gave 1,000l., one half of the annual interest to be divided in equal shares or proportions to five poor journeymen printers, natives of England or Wales, freemen of the Company; the other half in equal shares or proportions to five poor journeymen printers, natives of Scotland, without regard to their being freemen or being non-freemen of the Company.—Note. The yearly dividend of this bequest is 39l. 14s. 10d.—to which 5s. 2d. (part of a subsequent donation by Andrew Strahan, Esq.) has since been added, to make the dividend to each annuitant 4l.

Thomas Wright, Esq., late alderman of London, in 1794, gave 2,000l. four per cent. Bank annuities, the dividends to be distributed as follows; upon the first day of January 50l. 8s. amongst twenty-four poor freemen of the said Company, not receiving any other pension from the Company, 2l. 2s. each. To the clerk of the Company 3l. 3s. for his trouble upon this occasion. And 26l. 9s. residue of such dividends, for providing a dinner for the master, wardens, and assistants, of the Company, upon the day of distribution.

Mr. Richard Johnson, in 1795, gave all the remainder of his property whatsoever, to the Company, upon the following conditions: that they allow his sister, Mary Johnson, 50l. per annum, and 10l. per annum to his uncle Lockington Johnson, or to his wife, Elizabeth Johnson, during their natural lives. After the deaths of his sister and uncle, and his wife, the whole property to be divided half-yearly, “among five very poor widows, who have seen better days, above the age of sixty, whose husbands were liverymen, and in a good way of business; were either stationers, printers, booksellers, or binders.”

Charles Dilly, Esq., in November, 1803, (being then a member of the Court of Assistants,) transferred 700l. three per cent. annuities to the Company, the dividends to be “paid equally to two widows of liverymen of the Company, who have lived in better circumstances, and met unexpected misfortunes, but who, through their conduct and manners in life, are deserving of superior help. And if there should be candidates of sixty years of age, or upwards, I should wish them to have the preference.”

Mrs. Elizabeth Baldwin, widow of Mr. Richard Baldwin a liveryman, gave 250l. stock in the three per cents, the dividends to be laid out and expended in the purchase of five great coats, to be annually given to five poor liverymen or freemen of the said Company in the first week of the month of December for ever.—Note. Mrs. Baldwin died 19th August, 1809.

Andrew Strahan, Esq., M. P., (first benefaction,) in January 1815, transferred 1,225l. four per cent. annuities to the Company, the interest, viz. 49l., to be applied as follows, viz.,

“Eight pounds per annum to each of the six pensioners amongst my father’s annuitants who shall have been earliest elected into that list, in lieu of the 4l. which they at present enjoy. And whenever any of the pensions of 8l. each shall become vacant, the pensioner who shall stand first on the list of my father’s annuitants of 4l. to succeed to such vacancy, without troubling the court to make a new election, except for the vacancy occasioned thereby in the annuitants of 4l. And as 5s. 2d. is added by the court to make up the pensions of my late father 4l. to each annuitant, I would have the sum of 5s. 2d. (part of the surplus of 1l.) applied to that purpose. The remaining 14s. 10d. I would have given to the beadle of the Company, who has some trouble in receiving the petitions.

“The pensions above given it is my wish should be paid twice in the year; the one half at the same period as the pensions given by my late father, and the other half at midsummer.

“I observe that my father’s pensioners are to be elected annually, which, I believe, may not always have been strictly complied with; but, by being so bequeathed, it enables the court to displace any individual who may at any time after his being elected appear to the court not to be deserving; and it is my wish that the court should have the same power of displacing any of the pensioners of eight pounds who shall appear to them undeserving.”

John Nichols, Esq., transferred to the Company, in June, 1817, 500l. four per cent. annuities, “as an addition of a small supplement to the works of my late friend and partner, Mr. William Bowyer,” [See Bowyer.] “to pay the dividends to the persons mentioned in the following list; one of whom has worked for me more than fifty years, another much more than forty, and the others nearly thirty years.

“15l. a year to Thomas Bennett, in addition to the annuity he now enjoys.

“5l. a year to William Morlis, in addition to what he now enjoys, or may hereafter enjoy.

“On the death of Bennett, his 15l. to be divided into three annuities, for James Rousseau, John Meeson, and James Robinson, if then living, otherwise to any other compositor or pressman of good character, not less than forty-five years of age, and who shall have been at least twenty-one years free of the Stationers’ Company.

“On the death of Morlis his five pounds to be added to the person who then stands first on the list; so that eventually there will only be one annuitant of ten pounds, and two of five pounds each.

“The annuitants to be paid at the same times as those of Mr. Bowyer.” J. N.

Andrew Strahan, Esq., M. P., (second benefaction,) transferred in March, 1818, the further sum of 1,000l. four per cent. annuities, “to pay the dividends half-yearly in portions of ten pounds to four distressed old printers. No person to be eligible till he be sixty-five years of age: he may be freeman or non-freeman, compositor or pressman, or have been for many years employed regularly as corrector or reader in a printing-office within the Bills of Mortality, and not necessarily one of my late father’s annuitants or of mine.”

Luke Hansard, Esq., (first benefaction,) on the 11th of July, 1818, transferred to the Company 1,000l. four per cent. annuities, the interest to be given, in two annuities of 10l. a year each, to such objects above sixty-five years of age, free of the Company, and letterpress printers, (compositors or pressmen,) as the court shall judge proper.

The other 20l. to be given yearly to four freemen of this Company, printers, booksellers, stationers, warehousemen, or bookbinders, above sixty years of age, at 5l. a year each, as the court shall think proper objects of this donation.

Luke Hansard, Esq., (second benefaction,) in September, 1818, transferred to the Company 1,500l. three per cent. annuities; in trust to give to every youth bound at their hall, a neatly bound Church of England Prayer-book, as printed by his majesty’s printer in London, bound up with the New Version of Psalms.

The number of Prayer-books thus to be disposed of, are taken at 200, which at a presumed price of 2s. 7d. each, will cost yearly 25l. 16s. 8d.

Then to give yearly to two of his warehousemen (named) 6l. 6s. each.

Also to “such warehouseman, or binder, or stationer, or other person in the class to whom the court has been accustomed to give such annuities, above sixty years of age,” 6l. 6s.

The residue of 5s. 4d., and whatever residue may be left from the 200 Prayer-books not being wanted, or from the cost being less, to be applicable for such purposes as the court shall think proper.

Beale Blackwell, Esq., gave, July, 1817, so much Bank stock as at the time of his death would produce the annual sum of 100l., to be every year distributed equally amongst twenty deserving journeymen letterpress printers; the first distribution of which took place in October, 1821.

A more detailed account of these charitable donations and benefactions will be found in a pamphlet of 32 pages, printed by order of the court in 1819, and given to each liveryman.

This account is copied from Hansard’s Typographia.


dongola

norm: dongola

text: A term sometimes applied to leathers such as goatskin, sheepskin or calfskin tanned and finished to resemble KIDSKIN.


dope

norm: dope

text: A solution of a cellulose ester, such as cellulose acetate or nitrate, or a cellulose ether, such as ethyl cellulose or benzyl cellulose, in a volatile solvent, such as acetone, amyl acetate, etc., and used as a coating for paper. See also: LACQUER.


dos à dos binding

norm: dos à dos binding

text: A form of bookbinding in which two books, usually small and frequently of a complementary nature, e.g., a Psalter and New Testament, are bound back to back so that they open in opposite directions, one of the three boards being the common lower board of both volumes. The spines and fore edges are opposed. Their upper boards are usually either embroidered or covered with gold-tooled leather. However the dos à dos binding is picked up, it opens at the beginning of one of the two books.

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


dotted line style

norm: dotted line style

text: See: PINHEAD STYLE; POINTILLÉ (1).


DOTTED QUADRATS,

norm: dotted quadrats,

text:
or dotted leaders. Quadrats with dots on them, similar to full points, at regular distances. They are cast from an en, with one point, to four ems.

In tables of contents, indices, and other similar matter, dotted quadrats are preferred to metal rules, or hyphens, being thought to have a neater appearance.


Doublé

norm: doubl

text: When the inside of the cover is lined with leather, it is termed a doublé.


DOUBLE

norm: double

text:
A sheet that is twice pulled and lifted never so little off the form after it was first pulled, does most commonly (through the play of the joints of the tympan) take a double impression: this sheet is said to double. Or if the pressman run in so, as the foreside of the platen print with the first pull into part of the second pull, or the hind edge of the platen print with his second pull into part of his first pull; either of these twice printing is called <i>Doubling</i>. Doubling also happens through the loose hanging of the platen, and through too much play the tenons of the head may have in the mortises of the cheeks; and indeed through many wearings and crazinesses that often happen in several parts of the press.—M. Moxon’s account of doubling and its causes refer to the two pull wooden presses, but some of them apply equally to iron presses.

In composing, the term is applied when a word, a line, a sentence, or any part of the copy is composed twice; that is, if the compositor’s eye catch a part that he has already composed, and he repeats it.


DOUBLE

text: Among compositors, repetition of words; among pressmen, a sheet that is twice pulled and mackled.


double coated paper

norm: double coated paper

text: 1. A paper or board which has received two coatings on the same side with either the same or different coating materials. A paper or board coated on both sides is not double coated but is coated two sides. 2. A paper or board heavily coated, but not necessarily with two coatings.

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


double cord sewing

norm: double cord sewing

text: A book sewn on double raised cords, i.e., two cords set adjacent and almost touching, the sewing thread leaving and re-entering the section through one hole. Double cord sewing is substantially stronger than sewing on single cords and the sections are better supported against the pull of the thread where required most. i.e., at the point where the thread leaves and re-enters the section. See also: FLEXIBLE SEWING.


double covers

norm: double covers

text: A term used in pamphlet binding to indicate two covers, the inner one of which is of the same type and color paper as the outer, but of a lighter basis weight.


DOUBLE DAGGER

norm: double dagger

text: This is the technical name of a mark used as a reference, ‡; it is generally placed the third in order,—after the obelisk or dagger.


double decomposition

norm: double decomposition

text:
A chemical reaction that takes place between two compounds, in which the first and second parts of one compound unite with the second and first parts, respectively, of the other compound. One of the compounds is usually insoluble. The principle of double decomposition has been used in deacidifying paper, as, for example, when a soluble calcium or magnesium salt is dissolved in water and the paper is immersed in it. After the paper has been dried it is then impregnated with a soluble carbonate, such as that of ammonium or sodium. Sodium carbonate and calcium chloride, for example, react to form insoluble calcium carbonate and soluble sodium chloride: CaCl2 + Na2CO3 → CaCO3↓ + 2NaCl; or, using calcium chloride and ammonium carbonate: CaCl2 + (NH4)2CO3 → CaCO3↓ + 2NH4Cl.

The soluble sodium or ammonium chloride is removed by washing the paper with water, and it is important that the chloride be removed as completely as possible, as its presence in the paper is potentially harmful. The advantage of the double decomposition method is its simplicity, plus the fact that a much greater alkaline reserve can be deposited in the paper than is generally possible with most other methods.


double gold

norm: double gold

text: 1. GOLD LEAF that is twice the customary thickness, or approximately 1/100,000 to 1/125,000 inch in thickness. 2. Regular gold leaf that is doubled upon itself before laying down. Double gold leaf, of this form, or as described above, is easier to handle and gives a brighter and more solid appearance. It is used mainly in edge gilding.

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

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


double headbands

norm: double headbands

text: Headbands for very large volumes worked on two lengths of thong, or other core. This type of HEADBAND usually appears in the form of a thicker band with a thinner band in front or above.

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

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


double kettle stitch

norm: double kettle stitch

text: A KETTLE STITCH tied twice so as to provide additional strength.


DOUBLE LETTERS

norm: double letters

text:
Æ, œ, ſt, ſh, and several others cast on one shank, are called double letters: ſ and f have several ascending letters joined to them, because their beaks hanging over their stems would (were they not cast on one shank) ride upon the tops of the stems of the adjoining ascending letters.—M.

By discarding the ſ, we have lessened the number of our double letters, which are now reduced to the diphthongs æ and œ, and to ﬀ, ﬁ, ﬂ, ﬃ, and ﬄ, which are so termed by printers.


double mounting

norm: double mounting

text: The process of attaching one label over a larger one of a different color. It gives the effect of a colored border around the smaller label.

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


DOUBLE NARROW

norm: double narrow

text: A piece of furniture equal in breadth to two narrow quotations. There are different sizes used in making margin, and in imposing, viz., double broad, double broad and narrow, broad and narrow, broad and double narrow.


DOUBLE PICA

norm: double pica

text: The name of a type, one size larger than Paragon, and one smaller than Two-Line Pica. It is equal in depth to two Small Pica bodies. See Types.


double plate

norm: double plate

text: 1. See: DOUBLE SPREAD (1). 2. A single unit of illustration extending across two contiguous pages, often printed on a folio so imposed that it becomes a CENTER SPREAD.


double register

norm: double register

text: Two registers in one book. See: REGISTER. (1)


double scored

norm: double scored

text: Paper that has been scored along two distinct, closely spaced lines. Double scoring allows for a partial rolling effect of the leaf and thereby improves turning. Cf: CRIMPING. See also: SCORE.


double skin

norm: double skin

text: See: PIPING (1)


double slipcase

norm: double slipcase

text: 1. A SLIPCASE in two parts, one of which fits into the other. 2. A single slipcase fitted inside with a divider which enables it to accommodate two books while keeping their covers from touching.


double spread

norm: double spread

variant: double truck

text: 1. Two facing pages on which printed matter is spread across as if they were one page. When an illustration is printed this way two blocks are used unless the spread is in the center of the section, in which case it is a CENTER SPREAD. Also called "two page spread." See also: CONJUGATE LEAVES. 2. The application of an adhesive to both adherends of an assembly.

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

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


double thick cover paper

norm: double thick cover paper

text: Two thicknesses of cover paper laminated together with adhesive to produce a very stiff cover paper. The more common basis weights are 100 pounds (two 50-pound sheets) and 130 pounds (two 65-pound sheets).


double two sheets on

norm: double two sheets on

text: A method of sewing a book on tapes that is reputed to give still greater strength than the ALL ALONG method. Each section is sewn "two sheets on" with the preceding section, resulting in each section being sewn to the sections both above and below it. This gives greater holding power because two threads pass through each section; consequently, if one thread breaks the other still holds the section. Unless the first and last sections are sewn all along, however, the weakness of this method is that these sections, which receive the greatest strain when the book is being used—particularly the first section—are not held very securely. In addition, not all of the sections are held by the kettle stitches.

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


double-shear stroke

norm: double-shear stroke

text: The multiple movement of the descending knife of a guillotine. First, there is the downward motion through the pile being cut; second, the single-shear motion across the face of the pile; and third, the double-shear motion where the cutting edge of the knife starts to cut higher at one side of the pile and by a rocking motion becomes approximately parallel when it reaches the bottom of the cut at the table. The double-shear stroke thus cuts more like a scissors, with the knife edge entering each sheet in the pile at its side and gradually cutting across it. The advantages of the double-shear stroke are: 1) less power required to cut: 2) less strain on the machine and the knife; 3) a more perfectly cut edge; and 4) a smoother face to the pile. Cf: SINGLE-SHEAR STROKE.

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


double-sixteen folder

norm: double-sixteen folder

text: A particular folding machine capable of folding two 16page sections or one 32-page section. This folder can also be equipped to produce two 32-page sections, though of a smaller page size. Double 16s have three folding levels and four sets of folding rollers. The sheet is slit in half at the first folding level and each half is folded individually at right angles at the second level. It is folded once again at the third level, which has only one set of folding rollers; in this level, if the sections are to be outserts, each of the two folded sheets is folded in succession, whereas if the sections are inserts, both sheets are combined and folded together. A fourth folding level may be added to make the machine capable of producing two 32page sections. See also: FOLDING MACHINES.

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


double-stitched binder

norm: double-stitched binder

text: A commercial type of "binder" sometimes used for in-house repair of books. It consists of two lengths of heavy cloth sewn together along two parallel lines, the distance between them being approximately the thickness of the book to be recased. Each layer is gummed on the outside surface. The spine of the book is attached to one layer of cloth along with the new endpapers, while the other side is attached to the inlay and boards. The standard widths (between rows of sewing) ranges between 1/4 inch and 3 inches.

citations: Gaylord Brothers. Firm. Bookcraft…, by Donald M. Kidd, Syracuse. Gaylord Bros. 1941.


double-tone ink

norm: double-tone ink

text: A printing ink consisting of a mixture of an oil-soluble dye. a stable body pigment of a different color, and a medium. Such inks are used for the printing of halftones when a gravure effect is desired. The halftone is actually printed in the usual manner; however, sometime later overtones appear on the print, due to the dye of the ink spreading as a halo around the printed dots forming the image. Paper finish and tone also affect the result.

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


doubled

norm: doubled

text: An impression in leather, such as in blind tooling, which is said to be doubled when the tool has been twisted in the impression, or when a repeat impression does not fall exactly over the first.


doubled

text: When in working a tool a second time it is inadvertently not placed exactly in the previous impression, it is said to be “doubled.”


doubling

norm: doubling

text: The unintentional printing of a repeat image from a single form that is out of register. Doubling is particularly troublesome in halftone work because it adversely affects both tone and color values. It may be caused by several things, including rippling of the paper or premature contact with the form or offset blanket. It may also occur if sheets slip in the gripper or if the paper stretches during printing. Play in the press cylinders resulting in printback of ink picked up from the paper by the blanket can also cause doubling, as can the succeeding printing unit being slightly out of register with the original print.

citations: 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.


doublure

norm: doublure

text:
1. An ornamental inside lining of a book cover, which takes the place of the regular pastedown and fly leaf. It is usually of leather or (watered) silk, generally with a leather hinge and is often very elaborately decorated. The typical doublure consists of a silk fly leaf and a leather board covering, but sometimes both board covering and fly leaf are of silk; rarely, both are of leather. In a strict sense, however, the term refers only to leather linings.

The doublure was known in Turkey at least as early as the 14th century, but the earliest known European doublures are a binding of about 1550 in the British Museum. Their use was revived in the reign of Louis XIV (1643-1715), but they were not used very extensively until about 1750, after which they became very popular. Doublures have been used continuously since that time—more so in France, where they have always been more popular than elsewhere. The word itself is French, meaning "lining" or "doubling of material." Also called "ornamental inside lining." 2. In a very general sense, an ornamental endpaper. See PLATE X.

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

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

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


doublure

text: the inside face of the boards, especially applied to them when lined with leather and decorated.


doublure

text: The inside face of the boards, especially applied to them when lined with leather and decorated. When thus lined a cover is said to be “double.”


doublure margin

norm: doublure margin

text: In a strict sense, the space on the inside of a book cover between the DOUBLURE (1) and the edges of the board, which, when there is no doublure, are simply the TURN-INS (1).

citations: 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.


down at the head

norm: down at the head

text: 1. Sections which have not been fed properly to the head gauge of the cutting machine, causing an "up and down" appearance in the heads of the sections of a book. 2. Plates or maps that have not been placed up to the top edge of the leaf.

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


downtime

norm: downtime

text: The time during which a machine, department, or entire bindery is inactive during normal working hours, because of repairs, setting-up, lack of material, etc. Downtime becomes extremely costly in certain plants, such as paper mills, edition binderies, or binderies specializing in adhesive binding, because of the very high cost of the equipment used, as well as the cost of idle labor.

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


drag

norm: drag

text: The pulling effect on the first and last sections (or leaves) of a book, caused by endpapers that have been attached directly to the sections (or leaves), rather than being sewn to the tapes or to a guard which is attached to the sections or leaves.


draw

norm: draw

text: 1. The displacement of the cut sheets by the thickness of the guillotine cutting knife. Draw is a common cause of imperfectly cut paper. 2. The dragging action of the knife of a cutting machine, which tends to draw a book or pile of sheets out from under the clamp when cutting papers are heavily coated with clay. 3. The tension applied to paper between the sections of a papermaking machine, such as the press or drier sections.


DRAW

text: When a form is working at press, and any of the letters are loosely justified, or from any other cause are not tight in the form, and the adhesion of the ink and balls or rollers pulls them out, they are said to draw. This accident too frequently occurs; and as it is not always perceived, errors arise which neither the care nor the skill of the reader can prevent; when it is perceived, after an impression or two have been pulled, the pressmen often put the letters into the wrong place, and thus cause an error. They are occasionally left by the ball on the form, and produce a batter, which is a waste of materials, and of time in repairing it. A good compositor guards against this evil by care in justifying his lines, and also in locking up.


drawer-handle tool

norm: drawer-handle tool

text: A finishing tool often used in England and the Netherlands during the second half of the 17th century. It was generally used in groups or sequences, and is so named because of its similarity to the handle of a drawer.

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

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


drawing color

norm: drawing color

text: The darkening of the impressions made in leather during blind tooling. This is done by means of a hot tool, a smoked tool (soot or lampblack [carbon] or carbon paper), or by wetting the leather with water or vinegar.

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


drawing on

norm: drawing on

variant: drawing over

text: A term sometimes applied to the process of drawing the leather covering over the spine of a book, preparatory to turning and setting the head.


drawn flanks

norm: drawn flanks

text: The flank area of hides and skins that have shrunk and display furrowed lines on the grain surface over the underlying blood vessels.


drawn grain

norm: drawn grain

text: A grain in a leather which shows an irregular pattern of creases or narrow grooves, produced by tanning the skin in such a manner that the main thickness has contracted relative to the grain layer, which is then fixed in a puckered or "drawn together condition."

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


drawn marble

norm: drawn marble

text: A general term applied to a type of edge marble consisting of multi-colored scales. The colors used are black, blue, or green, yellow and red, put on the size in that order. The black is dropped on in such a manner that the first drop comes into contact with the edge of the second, the second with that of the third, and so on, so that a color ribbon is formed. The blue (or green) is placed on the size in unconnected drops on both sides of the black. The yellow is dropped on both sides of the black so that each drop of blue has a yellow center and the red is placed so that each drop of yellow has a red center. The colors are then drawn by a stylus in wavy lines through each other past the black, producing white lines between the colors. The comb is then drawn across producing the scales. Variations of drawn marbles, in addition to comb edges, include the "American, " "bouquet, " "peacock, " and "snail."

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


DRAWN SHEETS

norm: drawn sheets

text: In collating books in the warehouse, after they have been gathered, duplicate sheets, and sheets of wrong signatures, are occasionally found; arising, in the one instance, from the carelessness of the gathering boys, in taking up more than one sheet of the same signature; and, in the other, from a lift of another sheet being occasionally taken down and mixed in the heap: in these cases the sheets are drawn out of the book, and laid on one side, and, after some accumulation, are replaced upon their respective heaps, to be gathered again right. These sheets are called <i>Drawn Sheets</i>.


drawn-in

norm: drawn-in

variant: drawing in

text: See: LACING-IN.


drawn-on covers

norm: drawn-on covers

variant: drawn-on solid

text: A term applied to the binding of square-backed periodical issues, pamphlets, and paperbacks, in which the cover is attached by gluing it to the spine. When the endpapers are pasted down, it is said to be "drawn-on solid."

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


drenching

norm: drenching

text:
An old method of deliming and acidifying unhaired skins, in lieu of BATING or PICKLING, by means of immersion in a water infusion of fermented barley, sour dough, flour, or the husks of cereals. The organic acids (lactic and acetic) in the solution neutralized any remaining lime in the stock and the particles of barley, etc., exerted a cleansing action of the skins, absorbing dirt and greases, etc. The cleansing action was very effective because the enzymes produced by the bacterial cells not only broke down the carbohydrates in the plant materials to produce acids but also digested the mucopolysaccharides of the ground substance.

Drenching was often difficult to control, as the enzymes did not restrict their attack to the carbohydrates either in the solution or the skins, but often degraded the fibers of the dermal network as well. In addition, too much acid swelling was produced with resulting impairment of the skin structure and, therefore, of the quality of the leather produced.

When drenching is used today, as in certain vegetable tannages calling for specific acid conditioning during the early stages of tanning, weak solutions of organic acids, such as lactic, acetic and formic, are used in lieu of fermented cereal solutions.

Because of the gas bubbles of carbon dioxide produced by fermentation, which caused the skins to rise to the surface of the paddle, the process was also called "raising."

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

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


DRESS A CHASE,

norm: dress a chase,

text: or, Dress a Form, is to fit the pages and the chase with furniture and quoins. See Margin.


dressing

norm: dressing

text: A general term applied to the series of processes involved in converting rough tanned hides and/ or crust leather into finished leather. See also: CURRYING; LEATHER DRESSINGS; PURE DRESSED.


Dressing a chase or form

norm: dressing a chase or form

text: Fitting the pages and chase with furniture and quoins.


DRESSING BLOCK

norm: dressing block

text: Made of pear tree, because a soft wood, and therefore less subject to injure the face of the letter; it is commonly about three inches square, and an inch high.—M. Used the same as our planer. See Planer.


dried-in strain

norm: dried-in strain

variant: dried-in stress

text: That part of potential strain or stress remaining in machine-made paper subsequent to manufacture. The property is caused by tension or restriction of shrinkage during drying as the web moves through the papermaking machine. Dried-in strain diminishes with time and can be reduced rapidly in the presence of high humidity or if the paper is wetted. See also: ANISOTROPIC BEHAVIOR.


drill

norm: drill

text: 1. A strong, heavy, durable cotton fabric in twill weave, used as a base for certain grades of imitation leather, and sometimes finished for use as a covering material for very large books, e.g., blankbooks. 2. To make a round hole in paper for the purpose of overcasting or side sewing, usually by means of a high-speed drill. The term also applies to making holes in paper for loose-leaf, spiral, or similar type of binding. 3. A hand- or power-drill for making holes in book paper, binder's board, etc. .

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


DRIPPING PAN

norm: dripping pan

text:
Literally so, made of tinned iron, extending the whole length of the press, fixed under the long ribs, to preserve the floor from the droppings of oil.

They are useful articles; for presses to be kept in good working order require to be frequently oiled; and for want of a dripping pan, I have known the oil run through the joints of the floor upon a pile of paper in a room underneath, and spoil a considerable quantity.


DRIVE OUT

norm: drive out

text: When a compositor sets wide, he is said to drive out or run out. In founding, if letter be cast too thick in the shank, it drives out.—M. If copy make more than was calculated on, they say, it drives out; if less, and it is intended that it shall make the precise quantity decided on, they say, you must drive out; that is, it must be branched out in proportion, and not cramped.


drive punch

norm: drive punch

text: A hollow steel punch used for making holes in leather, paper, etc., for eyelets and snap fasteners.


dropping colors

norm: dropping colors

text: The placement of MARBLING colors on the size in the marbling trough. Also called "throwing colors."

citations: Tavik, Anton. The art and practice of edge marbling. Baltimore. The author. 1908.


DROPPING OUT

norm: dropping out

text:
After a form is locked up, and, when it is being lifted from the stone, or being laid upon the imposing stone, or the press, any letters, spaces, or quadrats fall out, it is said something drops out, or something has dropped out; this may arise from some of the lines being badly justified—some of the leads riding—or some of the furniture binding—or similar causes—and frequently produces errors at press by other letters drawing out. See Form Dances.

In this case, before the form is put to press, it should be examined to ascertain the cause, and any impediment to its safety should be removed.

Drum. See Wheel.


drum

norm: drum

text: A revolving cylindrical container used in leather manufacture for such operations as washing, tanning, dyeing, fatliquoring, etc. It is usually equipped with pegs inside for lifting and agitating the stock. The operation of tumbling the stock is known as "drumming."


drumming on

norm: drumming on

text: The process employed in attaching silk doublures. A special technique is required because adhesives cannot be applied directly to silk as they would penetrate the material. A piece of silk larger than the space enclosed by the turn-ins and leather joint is laid on a piece of paper the exact size of the enclosure. The edges of the silk are turned over the paper and glued to the back. The paper is then glued to the board. The silk is secured only at the edges and is otherwise free (like a drum), being drawn taut but not glued down. If the DOUBLURE extends to the very edge of the board, the enclosure is filled in with thin board to bring the board surface up to the level of the turn-ins and joint.


dry

norm: dry

text: To change the physical state of an adhesive applied to an adherend by the loss of solvent constituents by evaporation, absorption, or both.


dry open

norm: dry open

text: A method used on combination case bindings that involves hanging the book in its case, gluing down the cloth joints with the cover boards held open, and allowing the book to dry in that position before completing the binding process.


dry pressing

norm: dry pressing

text: An obsolete term applied to the operation of pressing out the indentations made in paper by the type during printing, so as to make the printed sheet smooth. Pressing of this nature was done in a standing- or hydraulic press, the printed sheets being placed between sheets of hard-rolled boards.

citations: Gaylord Brothers. Firm. Bookcraft…, by Donald M. Kidd, Syracuse. Gaylord Bros. 1941.


dry size

norm: dry size

text: A powdered size used in goldtooling suede leathers, velvet, silk, and also cameo papers. See also: ALBUMEN; BLOCKING POWDER.


dry stamping

norm: dry stamping

text: A technique used in the production of multi-colored paste patterns for end- and other decorative papers. Colored paste is first brushed over the surface of the paper, the paste brush then being drawn from top to bottom of the sheet in regular strokes, leaving a uniform layer of color on which parallel brush marks are faintly discernible. While the surface is still wet, a dry printing implement is pressed on the wet color. When it is removed, some of the color adheres to it, leaving a faint unit on the paper of a lighter color than the remaining background. An engraved brayer is also used at times to create a continuous design.

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


dry strength

norm: dry strength

text: The resistance to failure of an adhesive joint measured immediately after drying under specified conditions. See also: WET STRENGTH.

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


dry tack

norm: dry tack

text: That characteristic of some adhesives, and especially nonvulcanizing rubber adhesives, to adhere to themselves during the period in which volatile constituents are evaporating, even though they may appear to be dry. Also called "aggressive tack."


dry-rub resistance

norm: dry-rub resistance

text: The resistance offered by the coated or uncoated surface of a material to wear resulting from mechanical action on the surface of the material. See also: WET-RUB RESISTANCE.

citations: 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.


dry-salting

norm: dry-salting

text:
A method of preserving hides and skins for storage and/or transportation before tanning, so as to prevent PUTREFACTIVE DAMAGE, by curing them in a very strong solution of brine—i.e., about 30 pounds of salt for every 10 gallons of cold water, followed by drying, or by WET-SALTING, followed by drying. In both methods, the hides are subject to a thorough and uniform salt penetration and are then hung up to dry. Dry-salting substantially reduces the weight of the hides and therefore the cost of transportation that is incurred in wet-salting; it also reduces or eliminates many of the dangers involved in simple DRYING (1). Large numbers of hides, however, require great quantities of salt. In dry-salting, care must be taken that: 1) drying is carried out gradually and evenly; otherwise the hides may become too hot and partially gelatinize, which not only prevents drying of the inner layer and causes the hides to become hard and brittle, but also results in the gelatinized parts leaving holes when the stock is later returned to its normal wet condition; and 2) when the hides are to be tanned, they must be soaked in water until they have taken up as much water as they had before curing; dry-salted hides require more time and more careful soaking than does wet-salted stock.

Sodium chloride (NaCl) is the most commonly used salt for this process, but a salt "earth" known as KHARI, is actually to be preferred because it contains about 60% sodium sulfate (Na2 SO4), 20% magnesium sulfate (Mg SO4) and 5% sodium chloride, and is less hygroscopic than common salt. It is more suitable for the hot, humid areas during the rainy seasons, from which most dry-salted hides are prepared.

citations: 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.


drying

norm: drying

text:
1. A method of preparing hides and skins for storage and/or transportation so as to prevent PUTREFACTIVE DAMAGE.

Drying is employed principally in situations where insufficient salt is available for WET-SALTING, or where the cost of salt is too high to be economical.

As bacteria must have a certain amount of moisture or free water if they are to attack a hide or skin, putrefaction can be effectively stopped or prevented by removal of the water to the point where the skin contains only 10 to 14% moisture. At this point the activity of the bacteria ceases, and some types are killed, while the others dry up into spore form, in which they can remain for long periods or until there is enough water for them to again become active.

Curing by drying requires considerable care, especially with thick hides, because: 1) if drying is too slow, as may be the case in relatively wet, cold climates, putrefaction may occur before the moisture content is low enough to inhibit bacteria; and 2) if drying is too rapid and the temperature is too high, part of the wet skin will begin to gelatinize, which will show as holes in the hide when it is subsequently brought back to its normal moisture content. Too rapid drying also makes the hide hard and brittle and prevents drying of the inner layers.

Drying as a means of curing is usually practiced in countries with hot, dry climates. The skins may be: 1) ground dried—by simply spreading them out on the ground, sometimes on a bed of twigs or stones. This is potentially dangerous because of poor ventilation on the ground side and too high a temperature on the exposed side, plus contamination with dirt; 2) sun dried—in which the skins are hung or laid over poles or wires in the sun. This method affords better ventilation and quicker drying, but may result in heat damage or pole or wire marks, showing as hard creases down the skin; 3) frame dried—in which the skins are loosely stretched out on frames, which are arranged so that they do not receive the direct rays of the mid-day sun. This results in less danger of heat damage and a superior, flatter shape; however, a skin shrinks on drying, and if it is stretched too tightly on the frame, overstraining may cause thinness and weakness; and 4) shade dried—where the skins are dried in an open-sided, covered shed, designed to avoid the direct heat of the sun but to allow good ventilation. See also: DRY-SALTING. 2. The process of allowing books to be "set" after each operation, involving the use of adhesives and/or seasoning a book in a press after casing-in or covering.

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

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


drying cracks

norm: drying cracks

text: Fissures in the surface of a paper coating caused by an unduly rapid evaporation of the moisture in the coating.