corner mitering

norm: corner mitering

text:
See illustration</> The process or operation of accurately joining the edges of the covering material of a book that has been turned-in at the edges of the board. The purpose is to have a minimum of overlapping of cloth, or a pared overlapping of leather or vellum.

Corner mitering has been altered considerably down through the history of bookbinding. One particular method, which was used well into the 16th century, involved cutting the leather so as to leave a tongue, with the cut- ting usually being done after the leather had been turned-in. In other methods, the leather was turned-in and then cut so that the vertical edges of the leather butted, or nearly so. An opposite technique was to cut the leather before turning it in, with the result that it overlapped a great deal more than is usual today, and left a small gap at the corners. This technique appears to have been in general use from the second half of the 16th century to the end of the 18th or early years of the 19th. Toward the end of this period the leather was pared thinner and the gap at the corner was considerably neater. During the last three-quarters of the 19th century the most common method of corner mitering of full leather bindings was to pare them diagonally and on a bevel before turning-in, so that the two edges overlapped to the extent of the bevel, coming together at an angle of 45° from the corner.


corner pull test

norm: corner pull test

kind: definition

letter: C

letter_raw: C

text: A test similar to the PAGE PULL TEST, except that the leaf clamping device is limited to gripping only the upper or lower corner of the leaf. This test is designed to determine if a leaf will tear before it can be pulled from the binding, and is used mainly in testing the strength of adhesive bindings.

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


Corner quadrates

norm: corner quadrates

text: A quarter section of a hollow square or rectangle.

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


corner tool

norm: corner tool

text: A bookbinding finishing tool used to make corner designs on a binding. It can also be used to make the center design, four impressions of the same tool resulting in a center pattern. See also: CORNERPIECE (1).

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

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


cornered

norm: cornered

variant: cornering

text: The corners of boards that have been rounded, or the covering material which has been formed around the rounded corner. Boards are generally round-cornered on a cornering machine, or with a curved chisel.

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

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

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


cornering machine

norm: cornering machine

text: A foot- or power-operated machine used for cutting the round (or other shape) corners. of paper, cards, book boards, etc. The machine employs a curved chisel for this purpose.

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


cornerpiece

norm: cornerpiece

variant: cornerstamp

text: 1. A bookbinding finishing tool, usually ARABESQUE, designed to be used at the corners of a leather binding, usually for the purpose of matching a centerpiece or other form of decoration. 2. Metal corners attached to a binding to protect the corners of the covers from damage. Removable pasteboard cornerpieces are sometimes used to protect the corners of books during shipment.

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: Smith, Frederick Richard. Bookbinding. London. Pitman. 1929.


corners

norm: corners

text: See: BOOK CORNERS.


CORRECT

norm: correct

text:
When the corrector reads the proof, or the compositor mends the faults he marked in the proof, they are both said to correct; the corrector the proof, the compositor the form.—M. In the first case, it is now styled reading the proof; in the next, the compositor has to put right the errors and mistakes he has made in the workmanship, previously to the sheet being sent to the author or editor; this he does by picking out the wrong letters or words by means of a sharp bodkin, and replacing them with the right ones; but if he have left an out or made a double, he then takes the matter into the composing stick, and over-runs it till he comes to the end of a paragraph; or the error may make one or more even lines, when the trouble is much lessened; still the length of the page must be had in view and kept right, either by branching out where it will admit of it, or by driving a line or two out, or getting a line or two in in the adjoining pages, according to circumstances, but never to make even lines too suddenly so as to cause the spacing to be unsightly, by being too close, or too wide, for the sake of saving a little trouble in over-running a few lines.

For the regularity and despatch of business a compositor should never delay correcting after he has received the proof: it causes disappointment to the author or proprietors of the work, and injures his employer in his business, by obtaining for him the character of want of regularity and punctuality; it injures the pressmen, by delaying the forms going to press; and it ultimately injures himself, by causing him to stand still for want of letter. It is a general rule in printing offices, that a compositor should always impose as soon as the sheet on which he is at work is out and made up, and that he also should correct his proof without loss of time. See Author’s Proof. First Proof.

siglum: DAP

author: Savage, William

work: A Dictionary of the Art of Printing


CORRECT

text: A compositor is said to correct when he amends the faults marked in a proof.


correct pattern

norm: correct pattern

text: The contour of a hide flayed so as to permit the tanner to produce the maximum amount of good leather. It is a standard pattern adopted by packers and tanners.

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


corrected grain

norm: corrected grain

text: A leather from which the surface of the grain has been partially removed by BUFFING (2) to a depth governed by the condition of the stock, and upon which a new surface has been built by means of various finishes. See also: BUFFED LEATHER.

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


corrected white

norm: corrected white

text: See: DYED WHITE.


CORRECTING

norm: correcting

text:
is the rectifying of such errors in the types as the compositor may have made, and any defects in the workmanship; it also includes making such alterations as the author, on examining the proof sheets, may think necessary.

The German printers have an implement, made of wood, similar to the back and bottom of a composing stick, in which they gather the corrections, and place it with them in it on the form, without risk of injuring the types, leaving their hands free from incumbrance. This appears to be an improvement on our practice, which is, when the corrections are numerous, to gather them in a composing stick, and place it on the face of the form, for convenience of having them close at hand; this should be avoided, and neither metal, nor any other article that is likely to injure the types or an engraving, should ever be laid on the face of the letter.

The French and the Italians employ a pair of tweezers for picking the wrong letters out of the form, by which they avoid injuring the letter with the bodkin; but there is a bodkin attached to the other end, to use when necessary. They say this is superior to our method of taking out the wrong letter with a bodkin, and executed more readily. In fact, with us there is frequent injury done by the inexperienced or careless workman in using the bodkin: the letter is often injured that is drawn out; if the bodkin is not very sharp, it occasionally slips and spoils the face of six or seven adjoining letters; and, by its injudicious use, the next letter, under the blade of the bodkin, is often rendered useless.

The specimen in p. 191. shows the manner of marking the corrections in a proof. The following is an explanation of the marks therein used, which will enable a gentleman who has to superintend a work through the press to correct the proof sheets in a way that will be clearly understood by the printer, and will tend to promote correctness, by preventing those mistakes that occasionally occur owing to his not comprehending all the marks on the proof.

Where a word is to be changed from small letters to capitals draw three lines under it, and write caps. in the margin.

1. The substitution of a capital for a small letter.

2. The marks for turned commas, which designate extracts or quotations.

3. The insertion of a hyphen.

4. The substitution of a small letter for a capital.

5. To change one word for another.

6. To take away a superfluous letter or word, the pen is struck through it and a round topped d made opposite, being the contraction of the word dele, do thou expunge.

7. A letter turned upside down.

8. The insertion of a word or letter.

9. The substitution of a comma for another point, or for a letter put in by mistake.

10. The substitution of a ; for another point.

11. When words are to be transposed, two ways of marking them are shown; but they are not usually numbered, unless more than three words have their order changed.

12. When a paragraph commences where it is not intended, connect the matter by a line, and write in the margin opposite run on.

13. To draw the letters of a word close together that stand apart.

14. The marks for a new paragraph.

15. The substitution of a period or a colon for any other point. It is customary to encircle these two points with a line.

16. Where a space or a quadrat stands up and appears, draw a line under it, and make a strong perpendicular line in the margin.

17. Where there is a wrong letter, draw the pen through that letter, and make the right one opposite in the margin.

18. The transposition of letters in a word.

19. The mark for a space where it has been omitted between two words.

20. The manner of marking an omission, or an insertion, when it is too long to be written in the side margin. When this occurs it may be done either at the top or the bottom of the page.

21. When one or more words have been struck out, and it is subsequently decided that they should remain, make dots under them, and write the word stet in the margin.

22. When a letter of a different size from that used, or of a different face, appears in a word, draw a line either through it or under it, and write opposite w. f., for wrong fount.

23. Marks when the letters in a word do not stand even.

24. Marks when lines do not appear straight.

25. The mark for the insertion of an apostrophe.

Where a word has to be changed from Roman to Italic draw a line under it, and write Ital. in the margin; and where a word has to be changed from Italic to Roman, write Rom. opposite.

To change a word from small letters to small capitals, make two lines under the word, and write sm. caps. opposite. To change a word from small capitals to small letters make one line under the word, and write in the margin lo. ca. for lower case.

Where the compositor has left an out, which is too long to be copied in the margin of the proof, make a caret at the place, and write opposite, Out, see copy.

The specimen when corrected would be as follows.

It is sublimely declared in the Christian Scriptures, that “God is Love.” In truth, to figure to ourselves under any other character a Being of infinite wisdom to conceive, and power to execute his designs, would appal the imagination of his dependent creatures. Neither can we find, in reasoning à priori, and from the nature of things, any foundation for believing that the misery rather than the happiness of those dependent creatures can be desired or devised by a Being who cannot possibly be actuated by any of the motives from which we know that injustice proceeds, as ignorance, selfishness, or partiality; and who can have entertained, so far as we are able to discover, no other object in creating man, except the intention of finally communicating a larger proportion of happiness than misery. These are the principles from which is deduced the necessity of justice and benevolence in the Creator.

Arguments of this nature will have more or less effect, according to the constitution of the mind to which they are presented. At the same time it must be conceded, that the works of God, generally considered, form the best criterion of his intentions; and that, however indisputable the eternal truths may be which render goodness inseparable from power and wisdom, there still remains a reasonable inquiry, how far the actual appearance of the world justifies this conclusion.

caption: Composing stick for corrections

alt: Composing stick for corrections

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

caption: A tool for removing a letter

alt: A tool for removing a letter

caption: An example page with handwritten proof corrections


CORRECTING STONE

norm: correcting stone

text: The stone on which the compositor imposes and corrects his forms.—M. It is now called Imposing Stone, which see.


CORRECTIONS

norm: corrections

text: The letters marked in a proof are called Corrections.—M. At the present time, the right words or letters that are to replace the wrong ones are understood by the word; thus a compositor, when he collects the right letters for the purpose of correcting a form, is said to <i>Gather the Corrections</i>.


CORRECTIONS

text: The alterations or errors marked in a proof.


CORRECTOR

norm: corrector

text:
Moxon uses this word to designate the person whom we now call a Reader. The word is not now used. See Reader.

Counting off Copy. See Casting off Copy.

Cowper, Edward. See Machines.


corrugations

norm: corrugations

text: Wrinkles across the middle of sheets of handmade paper, caused by the paper being wetted during printing and not drying evenly thereafter. The sheet is stretched in the printing area by the force of the press, resulting in uneven tension between the printed and unprinted areas. See also: CONVEX COVERS.

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


Corvinus bindings

norm: corvinus bindings

text:
Bindings belonging to Matthias Corvinus, King of Hungary (1458-1490) and famous as a patron of the arts. The magnificent library which he gathered together at the royal palace of Budapest contained manuscripts celebrated as the most marvelous masterpieces of Italian miniature painting of the Renaissance. They were executed by the greatest Florentine miniaturists of the day. These manuscripts, embellished with gold and colors on the inside, were adorned with equally superb bindings, many of which are in red velvet or morocco leather, decorated with gold tooling, inlays of leather of a different color. enamel, and cameos. Some were strongly reminiscent of Oriental motifs, while others were more Italian in character. Many manuscripts were also bound in brocade with bosses and clasps of silver.

In 1526 the king's library, which was estimated at anywhere from 1,500 to 3,000 volumes, was sacked by the Turks.

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.


Cosway bindings

norm: cosway bindings

text: Leather bookbindings produced in the usual manner, except that they have miniature paintings inset into their covers. They are named after Richard Cosway (c 1742-1821), the English miniaturist. Cosway actually had nothing to do with the execution of these bindings, as they were not introduced until early in the 20th century. They were probably the invention of the firm of Henry Sotheran. booksellers, or their manager, J. Harrison Stonehouse. The books were bound by Robert Rivière, in good quality Levant morocco, with morocco joints, watered-silk linings, and the miniatures painted on ivory, glazed, and insetted in the covers.

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


cottage style

norm: cottage style

variant: cottage roof

text: A style of book decoration in which the top and bottom of a center rectangular panel slope away from a broken center, producing a kind of gabled effect. The spaces are filled in, at times, with French sprays and branches in combination with lacework, and sometimes with the same small tools used in the fan ornament. Although this style of decoration may have originated in France, perhaps as early as 1630, it is most characteristic of English binding of the late 17th century (c 1660) to about 1710. The style was still being used on pocket almanacs and devotional books as late as, or even later than, 1822.

citations: Dutton, Meiric Keeler. Historical sketch of bookbinding as an art. Norwood. Holliston Mills. 1968.

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

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. Modern bookbindings, their design and decoration. London. Constable. 1906.


cotton

norm: cotton

text: A soft, fibrous, usually white organic substance that clothes the seeds of various plants, especially of the genus Gossypium. The cotton fiber resembles a flat, twisted tube. having a thin wall and a wide central canal. known as the lumen. Because of this wide lumen, the cylindrical fiber collapses upon drying to the form of a flat, twisted tube, somewhat in the shape of a corkscrew. The fiber length may be as much as 30 mm. and the width between approximately 0.01 and 0.03 mm., giving a ratio of length to width of more than 1,000 to 1. Cotton consists of more than 90% cellulose, exclusive of COTTON LINTERS. Since it is almost pure cellulose, cotton fibers are readily affected by acids and moderately strong oxidizing agents. Alkali compounds in moderate amounts and at normal temperatures, however, have little effect on them. Cotton is used extensively in the manufacture of sewing thread, spine lining cloth, book cloth (including buckram), as well as higher grade papers and other products used in archival work.

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

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


cotton bating

norm: cotton bating

text: A soft, fluffy cotton fiber, having a sized surface to hold the fibers together, and used as a padding medium for album covers, gold cushions, etc.

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


cotton content

norm: cotton content

text: See: COTTON FIBER CONTENT PAPER.


cotton drill

norm: cotton drill

text: See: DRILL (1).


cotton fiber content paper

norm: cotton fiber content paper

text: Papers which are made from cellulose fibers derived from COTTON LINTERS, cotton or linen cuttings, and lint cotton. Flax is also sometimes included in this definition. Also called "rag content paper" and "cotton content 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: Coupe, Raymond Richard. Science of printing technology. London. Cassell. 1966.


cotton linters

norm: cotton linters

text: The fine, silky fibers which remain adhered to the seeds of the cotton plant after ginning, including parts of the longer textile fibers, or "lint," as well as coarse, short fuzz fibers in most upland species of the plant. When purified, linters are used in the manufacture of paper. They can be used to replace from 5 to 35% of the rag content of fine papers with little or no loss of strength. Linters improve uniformity and the color properties of paper, and also provide a cleaner, bulkier sheet. Although linters do find use in papermaking, their principal use is as a raw material in the manufacture of cellulose derivatives.

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

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


cotton parchment

norm: cotton parchment

text: A parchmentlike material produced by soaking cotton fibers in a solution of sulfuric acid and then rolling the fibers into sheets. See also: IMITATION PARCHMENT.

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


cotton thread

norm: cotton thread

text: See: SEWING THREAD.


cotton wool

norm: cotton wool

text: A raw cotton wadding, usually referred to as absorbent cotton, and used as an applicator for stains, 3    dyes, and other bindery operations.

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

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


couch

norm: couch

text: 1. The operation of transferring or laying sheets of handmade paper from the mold to the felts for pressing. 2. To press the newly made sheets of paper on the felts. 3. To press a sheet on the wire of a cylinder papermaking machine and transfer it onto the felt for pressing and drying. 4. To press water from a sheet on a couch roll of a FOURDRINIER MACHINE, or extra water by means of a suction couch preparatory to transferring it to a felt.

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


couch roll

norm: couch roll

text: A roll or cylinder on a papermaking machine the purpose of which is to press, i.e., de-water, or COUCH (4) the newly formed web of paper from the wire, and to transfer the web to the wet press for further de-watering. Couch rolls are of two basic types: the suction couch roll and the pressure couch roll. The suction couch roll is a heavy metal shell drilled with numerous small holes through which a high vacuum exists for the rapid removal of water from the web as it travels over the roll. The pressure couch roll consists of two rolls which apply pressure to the web to remove water.


coucher

norm: coucher

text: 1. An obsolete term for a large book meant to rest on a table or stand, especially a cartulary, register, or antiphonary. 2. The workman who lifts the newly formed sheets of handmade paper from the mold in which they are formed, and transfers them to the couch board on which he builds up a POST (1).


couching

norm: couching

text: 1. See: COUCH. 2. A method of embroidering a binding consisting of gold threads laid on the surface of the cloth and held down by threads of bright red silk coming from the back of the material. Ancient methods of couching were numerous, with zig-zags, wave patterns, and all manners of diapers being produced by the position and arrangement of the stitches that controlled the gold thread.

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


counter

norm: counter

text: 1. An automatic device for recording the output or activity of a machine or device. 2. The bed or base of a blocking press. 3. The interior white area of a type letter.


counterbalance

norm: counterbalance

text: A device on a board cutter, or similar device, consisting of a bar or rod with a weight or weights that are adjustable so that they can increase or decrease the counterbalancing effect on the blade. The rod or bar is an extension of the knife, and, by the action of gravity, works to prevent the knife from dropping and also assists in raising the knife following the cut. Although originally intended to enhance the usability of the blade, the counterbalance today is considered to be more of a safety device than a functional part of the cutting operation.

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


counterchange

norm: counterchange

text: A decorative binding motif consisting of a cover broken into divisions in which there is a reversal of dark and light shading. If the cover is divided in half vertically, the left half of the background may be of a dark shade, and the right a light shade, while the panel in the center, also divided vertically, would have a light left and a dark right side.

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

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


countermark

norm: countermark

text: A smaller and subsidiary WATERMARK found in antique papers, usually in the opposite half of the sheet to the watermark. It usually consists of the name or initial of the papermaker, the date, and the place of manufacture, although small devices such as a small post-horn or cabalistic signs have been used. The countermark was introduced in the 17th century.

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

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


countersunk

norm: countersunk

text: 1. A bookbinding having a panel sunk or depressed below the surface of the covering material, and designed to take an inlay, label, or the like. 2. A type of WATERMARK produced by pressing down the woven cover or face of either a mold or dandy roll. Also called "intaglio" (2). (12,156)


cover

norm: cover

text: 1. The outer covering of a book placed on a text block to protect it both in use and storage, and, in many cases, to serve as a medium of decoration. A cover may be limp, e.g., a LIMP BINDING, which has no boards and the covering (usually vellum) is turned-in on itself and covered with the board papers; semi-limp (or semi-flexible), in which the boards are thin and flexible and are covered with leather or cloth and drummed on. See: DRUMMING ON. 2. A SELF-COVER, as of a pamphlet; or a stiff cover, e.g., more or less rigid boards covered with leather, vellum, cloth, paper, or combination thereof. Stiff covers are usually glued down all over, turned in and covered with board papers. In edition and library binding, the term CASE (1) is more appropriate. 3. The outside leaf of a periodical issue.

citations: Feipel, Louis Nicholas, and Earl W. Browning. Library bookbinding manual…Chicago. American Library Association. 1951.

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


cover boards

norm: cover boards

text: An obsolete term applied to two thicknesses of board glued together to give greater thickness (and strength) to the boards used for large blankbooks. See also: SPLIT BOARDS.


cover papers

norm: cover papers

text: A class of papers used for the covers of pamphlets (other than self-covers), catalogs, brochures, or any other stitched publication, to provide protection during handling and (sometimes) to enhance appearance. They are made in white and a wide range of colors. The majority have plain edges; however, they are also available with deckle edges. Cover papers generally have good folding characteristics, and have rough finishes or are embossed with fancy designs. They are usually produced from chemical wood pulps, sometimes in mixtures with mechanical wood pulp, and, although many are made from pulps containing varying amounts of cotton fiber pulps, they have but little permanence. Various coated papers, including plain, heavy, plastic-coated, cast-coated, metallic, and cloth-lined papers are also used. Common basis weights of uncoated cover papers are 50, 65, 80, and 2/65 pounds (20 X 26 - 500), while weights of coated papers are 60, 80, and 100 pounds (20 X 26 - 500). Aside from folding endurance, desired characteristics include dimensional stability, uniformity of printing surface, and durability.

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

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

citations: Melcher, Daniel, and Nancy Larrick. Printing and promotion handbook …3rd ed. New York. McGraw-Hill. 1966.


cover title

norm: cover title

text: 1. The title blocked on the original covers of a book or pamphlet, or a publisher's binding, as distinguished from the title blocked on the spine of a book by a bookbinder. Cf: BINDER'S TITLE 2. In terms of collation, a cover title is one printed on the paper cover of a work issued without a title page. The paper is usually, although not necessarily, of a different stock and color than that used for the text. See also: SELF-COVER.


cover turned-in

norm: cover turned-in

variant: cloth turned-in

text: The covering material of a book that is turned over the edges and onto the inside surfaces of the boards, the (uneven) edges of which are covered by the PASTEDOWN. Although the term is generally applied to edition and library bindings, books bound by hand are also usually turned-in. In library binding the customary turn-in is 5/8 inch, while in edition binding it is seldom more than 1/2 inch, and frequently less.

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

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


covering

norm: covering

text: 1. The material, such as leather, vellum, cloth, paper, or combinations thereof, which cover the spine and usually the sides of a book. 2. The process of pasting or gluing the cloth, leather, etc., to a book. drawing it over the spine and boards, and turning it over the edges of the boards at the fore edge, head, and tail of the book.

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

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


covering folder

norm: covering folder

text: A FOLDER (1) of bone, ivory, or wood, shaped generally like an ordinary folder, except for a slight arc cut from one edge, leaving a more tapered end with a narrow rounded tip.


covers bound in

norm: covers bound in

text: 1. A term used to indicate that the original covers of a book are used in the rebinding of the book. It may include the entire covers (including the spine), the boards and their covering only, or simply the covering of the boards. Sometimes this is called "rebuilding old corners." 2. The paper covers of a periodical issue, pamphlet, booklet, etc., included in the original binding because of their bibliographical or illustrative content. In this sense, the term applies mainly to library 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: Philip, Alexander John. The business of bookbinding for librarians …Gravesend. A. J. Philip. 1935.


cowhide

norm: cowhide

text:
In a strict sense. a leather made from the unsplit hide or the grain split of the hide of a cow; however, the term is sometimes used to indicate leather made from the hide of any bovine animal. The term is not apPlied to leather made from the flesh split of a cow or any other bovine animal. Cowhide has a slight grain or corrugation, and is a tough and strong leather. takes gold tooling well. and, when properly Prepared, wears well. In addition. if it is of the best quality (and handled frequently), it is usually very durable.

Cowhide is not often used for covering books, except possibly very large volumes, such as blankbooks. Even the usual grain split is far too thick for the usual book, and, if pared to a thickness suitable for such a book, it loses a considerable part of its strength. See also: AMERICAN RUSSIA; IMITATION RUSSIA; RUSSIA LEATHER.

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

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

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

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

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


cowhide

text: The thick, coarse leather made from the skin of a cow. By binders it is commonly known as “American Russia,” or “imitation Russia.” It is much used for binding popular books of fiction. It has a slight grain or corrugation on the surface, is tough and strong, takes gilding well, wears well and if of best quality and handled much is usually quite durable; that is, will last five or six years on popular fiction.

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


cracking

norm: cracking

text: 1. A defect in a coated paper caused by the formation of fissures in the coating layer which th_en lifts from the base paper during printing, folding, or some other converting operation. Cracking is a bothersome and frequently encountered defect in art papers. 2. Fissures in the crease of a sheet of Paper when it is folded or scored.

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.


craft bookbinding

norm: craft bookbinding

text: A general term used since the 1890s to indicate the binding of individual books for specific customers. Such work included rebinding. the restoration and/or rebinding of rare books, and (sometimes) the restoration of works of art on paper. See also: EXTRA BINDING.

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


CRAMP IRONS

norm: cramp irons

text: Short pieces of iron, polished on their face, fastened to the under side of the plank, to run the carriage in and out upon the long ribs. They are frequently called the Short Ribs. The two at each end are turned again at the outer ends, to guide the carriage, and prevent any lateral motion, and are called <i>Guide Cramps</i>. I have seen them made of bell metal, as having less friction than iron running upon iron.


CRAMPED

norm: cramped

text: In composing, when it is necessary to get in a given quantity of matter into a certain number of pages, which are hardly sufficient to contain it, whites are used sparingly, short pages are avoided, and the matter is spaced closer than common; it is then said to be cramped. A compositor is also said to cramp his matter when he does not put whites proportionate to the openness of the work, or to the size of the letter when there is no restriction.


crash

norm: crash

text: 1. A course, open weave, starched cotton material, sometimes napped on one side, and used in edition binding for lining the spines of books. It is not used in library and hand binding because it ais too lightweight and flimsy. See also: SPINE LINING FABRIC. 2. A cloth pattern peculiar to the buckram grades of book cloth. of a coarse, pebbled effect.

citations: Feipel, Louis Nicholas, and Earl W. Browning. Library bookbinding manual…Chicago. American Library Association. 1951.

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.


crayon-resist papers

norm: crayon-resist papers

text: Endpapers and other decorative papers produced by rubbing the paper with crayon over some roughened surface, and then covering the rubbings with a water color wash. The wash does not adhere to the areas that are waxed.

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


crazing

norm: crazing

text: 1. Fine cracks in an adhesive which may extend in a network on or under the surface or through a layer. It is caused by excessive shrinkage characteristics of the adhesive film, too rapid drying of the adhesive, or by flexing of a brittle adhesive. 2. The process by which yellow or transparent parchments often become whiter and more opaque when folded, producing irregular and disfiguring effects at the joints of vellum bindings.

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

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


cream split

norm: cream split

text: A leather produced from a split sheepskin that is heavily glazed.


creasability

norm: creasability

text: The ability of a sheet of paper or board to be folded without any cracks appearing in the area where the crease occurs. Creasability differs from BRITTLENESS, as the latter property involves a small degree of bending and is generally a manifestation of chemical changes within the paper.


crease

norm: crease

text: 1. The impression made on a cover by the use of a heated finishing tool, of single or double blind lines. In full leather bindings, they are usually placed near the edges of the covers, while on half-or three-quarter bindings they are usually at the intersection of the leather spine and corners and the cloth or paper sides. 2. To make the band impressions distinct on the spine of a book. 3. The wrinkle, fold, or crimp in paper caused by folding. 4. See: SCORE.

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

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


crease retention

norm: crease retention

text: The ability of a paper, e.g., a GUARD, to remain folded after being creased mechanically. The term assumes that no adhesive is used. Crease retention and CREASABILITY are not the same.


creaser

norm: creaser

text: 1. See: FOLDER (1). 2. A curved finishing tool having lines cut on its face, and used to impress an ornamental blind line or lines on a leather binding. 3. A machine used in edition and library binding for creasing the endpapers even with the back edge of the text block and sealing them down by means of heat. For this purpose, the cloth joint of the endpaper is coated with a heat-sealing adhesive. 4. A device employed in some folding machines for creasing coated papers.

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

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

citations: Summerfield, Melvin B. Bound-to-stay-bound: the story of a book… Jacksonville, 111. New Method Book Bindery. 1956.


creaser

text: The tool used in marking each side of the bands, generally made of steel.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


creasing strength

norm: creasing strength

text: That characteristic of a sheet of paper or board which causes it to retain its tensile strength after it is folded or creased. Creasing strength is of particular importance in the papers used for endpapers.


creep

norm: creep

text: A change in the dimensions of a material which takes place with time when the material is under constant load, following the initial "instantaneous" elastic rapid deformation. Creep at room temperature is sometimes called "cold flow."


cresting roll

norm: cresting roll

text: A type of finishing tool, consisting of a ROLL (1) having two undulating and intersecting lines below and a series of tufts above. See also: HERALDIC CRESTING.

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


crimping

norm: crimping

text: The process of applying a series of fine creases or bender marks to the hinges of leaves of loose-leaf books, the purpose of which is to enable the leaves to be turned over easily and to lie flat. The lines of the creasing prevent undue bulking at the area of crimping. A sufficient series of creases closely spaced imparts a rolling effect ensuring a flexibility that is difficult to obtain by any other means. Cf: SCORE.

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


crinoline

norm: crinoline

text: A stiffened, open weave fabric, generally made of cotton, and sometimes used in edition binding as a substitute for CRASH (1) in lining the spines of books.

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

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


crocketed cresting

norm: crocketed cresting

text: A binding decoration consisting of rectangular stamps ornamented with crockets, which are small curved designs, or with (roughly) triangular stamps, which, when placed together pointing outwards, present a cresting effect.


crocking

norm: crocking

text: The removal of a dye or pigment from the surface of paper, the coloring or finishing materials from the surface of leather, or the transfer of coloring matter from the surface of one cloth to another by the action of rubbing.

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


crocodile leather

norm: crocodile leather

text: See: ALLIGATOR LEATHER


cropped

norm: cropped

text: 1. A book that has had too much of its margins trimmed, especially at the head edge, although not so much that the leaves are BLED. 2 A book that has had its edges cut beyond the shortest, or PROOF (1) leaf. 3. A photograph of which part of the top, bottom or sides is omitted during reproduction, in order to focus attention on a central theme, to bring it into proper proportions for the space it must occupy, or to bleed it deliberately.

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: Melcher, Daniel, and Nancy Larrick. Printing and promotion handbook …3rd ed. New York. McGraw-Hill. 1966.

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


cropped

text: When a book has been cut down too much it is said to be cropped.


CROSS

norm: cross

text: Long Cross and Short Cross; two bars of iron crossing each other at right angles and dovetailed into the rim of the chase, dividing it into four quarters. The short cross is the broadest, and has a groove for the points to fall in, for the purpose of making holes in the sheet to work the reiteration in register.


cross direction

norm: cross direction

text: The direction of a machine-made paper, which is at right angles to the MACHINE DIRECTION, i.e., the direction across the direction in which the web travels. The cross direction of paper generally has less strength and folding endurance than the machine direction, although, in some papers, after aging, the opposite may be true. The cross direction has greater tearing resistance, and paper also expands more in the cross than in the machine direction when the moisture content of the paper increases. See also: AGAINST THE GRAIN; ANISOTROPIC BEHAVIOR.


cross laminated

norm: cross laminated

text: A board or other laminate having one or more layers oriented at right angles to other layers with respect to the grain direction of the layers. Alternating grain directions of the laminate outward from the center layer is generally assumed. The built-up boards used in the binding of very large books are frequently cross laminated to provide additional strength and also to reduce the possibility of warping. See also: PARALLEL LAMINATED.

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.


Cross Long

norm: cross long

text: Short.* See *Chase*.

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


CROTCHETS

norm: crotchets

text:
or Brackets [ ] serve to enclose a word or sentence, which is to be explained in a note, or the explanation itself, or a word or a sentence which is intended to supply some deficiency, or to rectify some mistake.—Murray.

Cufic. See Koofee.


crown filler

norm: crown filler

text: See: CALCIUM SULFATE.


crushed

norm: crushed

text: 1. A leather which has been heavily pressed, causing the grain to be flattened, or crushed, thereby leaving a smooth, glazed, yet grained effect. Such leather has an unnatural appearance and is now seldom used in craft bookbinding. 2. A defect in a machine-made paper, having the appearance of a paper with a broken, mottled, or cloudy formation. It may be caused by: 1) running the paper web under the dandy roll while it is too wet; 2) running the web through the presses while too wet; or 3) running the web through the calender or supercalender while still containing too much moisture. Paper crushed at the dandy roll or in the presses results in coarse mottling, while paper crushed in either of the calenders has a finer mottling, often accompanied by blackening.

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


crushed

text: Leather which has been pressed between sheets of metal to smooth or give a finish to its coarse grain is said to be crushed. The process is usually applied to morocco or its imitations. See Crushed levant.


crushed levant

norm: crushed levant

text: A term sometimes applied to a large-grained LEVANT leather bookbinding having a more-or-less smooth polished surface. See: CRUSHED MOROCCO. See also: CRUSHED (1).


crushed levant

text: Levant morocco with the grain crushed down until the surface is smooth and highly polished. In fine binding this is done by hand after the leather is on the book. Most crushed levant morocco, however, is surfaced by a machine before it is applied to the book.


crushed morocco

norm: crushed morocco

text: A MOROCCO leather that has had its grain surface crushed to the extent that it is smooth. Crushing of this nature is done before the leather is attached to the book. The characteristic high polish is applied subsequent to binding. Although a certain effect is attained by this process, to a great extent it defeats the original purpose of using morocco leather, i.e., its beautiful grain pattern.

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.


crushing machine

norm: crushing machine

text: An early form of the NIPPING PRESS.


crushing plates

norm: crushing plates

text: See: POLISHING PLATES.


crust splits

norm: crust splits

text: A type of leather which, after tannage, has not been further processed but has simply been dried. The term "crust" is used in this sense mainly in association with a leather such as sheepskin, while the term ROUGH TANNED is similarly employed with reference to cowhide.

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


crust stock

norm: crust stock

text: Tanned skins awaiting final coloring or finishing. "Crust stock" is a relatively common form in which to ship tanned skins from the country of origin to another country for final processing. ( 306)


crusting

norm: crusting

text: The process of storing dry leather for conditioning or aging, during which time it absorbs water from the atmosphere until it reaches equilibrium with the relative humidity of its environment. During this period some of its constituents become more uniformly distributed throughout the thickness of the leather. In addition, greater fixation of the tanning materials may occur.

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


crusty break

norm: crusty break

text: A BREAK (4) of leather characterized by coarse, sharp wrinkles that are generally displeasing to the eye.


crystalline cellulose

norm: crystalline cellulose

text: A segment of the molecular structure of CELLULOSE, in which all of the included parts of the individual chain molecules are arranged in a regular, three-dimensional spatial arrangement, as in a crystalline lattice, so that a definite x-ray diffraction is produced.


crêpe

norm: crêpe

text: See: C-PATTERN.


crêpeline

norm: crêpeline

text: See: SILK GAUZE.


cuir-bouilli

norm: cuir-bouilli

text:
A method of decorating a book utilizing the capability of a vegetable tanned leather to be molded when wet. After being thoroughly softened in water the leather can be formed or molded into various shapes, which, on drying, retain those shapes with a remarkable degree of permanence. The wet-mold leather can be more permanently set by drying it under moderate heat, the degree of rigidity obtained cuir-ciselé being determined by the drying temperature. A faster method, and one that produces extremely hard and rigid shapes, is to dip the molded leather into boiling water for anywhere from 20 to 120 seconds. This is the process that gave rise to the name "cuir-bouilli." Such a process involves the partial melting of the fixed tannin aggregates in the leather. At a temperature approaching 100C. these aggregates become plastic and can be made to flow and redistribute themselves throughout the fiber network of the leather. On cooling, the fibers become embedded in what can best be called a tough, three-dimensional, polymer network or resin, somewhat similar to the materials made by condensing formaldehyde with substances such as phenol, urea or melamine. The leather actually sets so hard that some books bound in this manner required no boards. The decoration itself was executed by cutting the leather lightly while damp, after which the design was hammered in relief. The shaped leather was then immersed in boiling water, and dried, and the depressions were filled with molten wax so as to preserve the designs.

The molding of leather was known in Saxon times in England, and was widely practiced during the middle ages in both England and on the Continent. The motifs used were generally mythological animals and interlaced foliage. In the late 19th century interest in the molding of leather was revived and used extensively for many objects, including bookbindings.

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

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


cuir-ciselé

norm: cuir-ciselé

text:
A method of decorating a bookbinding in which the design is cut into dampened leather instead of being tooled or blocked. The design is first outlined with a pointed tool and then dampened. It is then brought into relief by depressing the background, usually by stamping a succession of dots into the leather very close together by means of a pointed tool. Certain parts of the design are sometimes embossed from the flesh side of the leather, and in such cases the decorating must be done before covering.

This technique of embellishment, which may well have been the highest manifestation of the medieval bookbinder's art, was widely practiced only during the 15th century and only in certain areas, principally southeastern Germany and in Spain. No English and Flemish and practically no Italian examples are known.

The finest cuir-ciselé bindings have been identified as the work of MAIR JAFFÉ. More recent (and excellent) examples were produced in France by MARIUS MICHEL,c 1866.

citations: Goldschmidt, Ernst Philip. Gothic and Renaissance bookbindings. 2nd ed. Amsterdam. Israel. 1967. 2 vol.

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.


CULL PAPER

norm: cull paper

text: To examine the cording quires, and select the best sheets out from those that are so much damaged as to be unfit for use.—M.

caption: A tool for making the pelt balls more supple


cumdach

norm: cumdach

text: A rectangular box, Usually constructed of bronze, brass, or wood, often plated with ornamentation of silver or gold, and used for the storage of valuable and/or sacred works.


cuprammonium hydroxide

norm: cuprammonium hydroxide

text: A solution of cupric hydroxide in aqueous ammonium hydroxide (Cu(NH3)4 . (OH)2), which is capable of dissolving cellulose if the concentration of copper and ammonia are within given limits. The VISCOSITY (2) of a cellulosic solution in cuprammonium hydroxide is often used in quality control in the manufacture of paper.


cuprammonium viscosity

norm: cuprammonium viscosity

text: The VISCOSITY (2) of a cellulosic solution, or a paper pulp in cuprammonium hydroxide under specified conditions, especially those of temperature, cellulose concentration, and solvent composition. Cuprammonium viscosity is used to determine the average molecular weight of the dissolved cellulose.


cupriethylenediamine hydroxide

norm: cupriethylenediamine hydroxide

text: A solution of cupric hydroxide in aqueous ethylenediamine (Cu(OH)2 + xNH2CH2CH2NH2 → ([NH2CH2CH2NH2]2Cu(OH)2). The solution will dissolve cellulose when the concentration of copper and ethylenediamine are within certain limits. The VISCOSITY (2) of a cellulosic solution in cupriethylenediamine is used in quality control in the manufacture of paper.


cupriethylenediamine viscosity

norm: cupriethylenediamine viscosity

text: The VISCOSITY (2) of a cellulosic solution or a paper pulp in cupriethylenediamine hydroxide under specified conditions, especially those of temperature, cellulose concentration, and solvent composition. It is used to determine the average molecular weight of the dissolved cellulose.


curing

norm: curing

text: 1. The process of changing the physical properties of a resin or adhesive by chemical reaction, which may be in the form of condensation, polymerization, or vulcanization, and which is usually accomplished by the action of heat and catalytic action, alone or in combination, with or without pressure. 2. Methods such as BRINING, DRY-SALTING, PASTE DRYING, and WET-SALTING, used to prevent putrefactive or other damage to hides or skins before tanning. See also: DRYING (1).


curing temperature

norm: curing temperature

text: The temperature to which an adhesive, or the adhesive and adherends, is subjected to effect curing of the adhesive. The temperature which the adhesive reaches in the curing process—i.e., the adhesive curing temperature—may differ from the temperature of the surrounding atmosphere— i.e., the assembly curing temperature. See also: DRYING TEMPERATURE; SETTING TEMPERATURE.

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


curing time

norm: curing time

text: The period of time during which a joint is subjected to heat, pressure, or both, in curing the adhesive. Further curing may take place subsequent to this time period.


curl

norm: curl

text: A defect in paper or board, appearing as a curvature in the sheet, caused by "two-sidedness" of the sheet, which results in unequal shrinkage between the felt and wire sides when the paper or board is subjected to changes in relative humidity. In addition, fiber orientation has an influence on the direction and magnitude of curl. The result of curl is the tendency of the paper or board to form a tube (curl)) at the edges, the axis of which is parallel to the machine direction of the material.

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

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


curl marble

norm: curl marble

text: A marble pattern consisting of red, blue, green, and yellow (or orange), laid down on the marbling size in that order, or, alternately, brown or red only for one-color curls, and curled by means of a frame which contains as many pegs as the required number of curls, turned two or three times in a circular direction. The curl pattern was in common use from about 1660 to 1870, especially in France, where it was much used for endpapers, but rarely on the edges of books.

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

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


curling

norm: curling

text: A warping or other distortion of an adhesive joint due to the penetration of moisture or solvents into the adherend surface, causing an unequal contraction and expansion of the adherends. See also: WARPING; WAVY EDGES.

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


curried leather

norm: curried leather

text: A leather which has been subjected to the process of CURRYING. CORDOVAN LEATHER is an example of curried leather.


currying

norm: currying

text: A process used in tanning heavy leathers, in which oils and greases are incorporated into the tanned hide in order to increase tensile strength, pliability, and water repellency. Currying also affects the finish and grain of the leather. The process is usually carried out in a drum (drum stuffing) using mechanical action. The oils used include mixtures of raw cod oil, paraffin, and beef (or mutton) tallow. See also: FATLIQUORING.


CURRYING IRON

norm: currying iron

text: A square bar of iron, bent so as to make the middle part of it project from the post or upright to which the ends are fastened; the ends are flatted out, turned again at right angles, with screw holes, and the middle of the projecting part is twisted. Its use is to curry pelts.


CURRYING THE PELT

norm: currying the pelt

text: Putting it half round the currying iron, or a post, and taking hold of both ends, drawing it backwards and forwards to make it more supple, and to take part of the moisture out. See Balls.


CURVILINEAR PRINTING

norm: curvilinear printing

text:
In the year 1805, a Mr. Zach. Allnutt published proposals for “a New Mode of Universal Linear Printing, named by me Curvilinear Printing, being a neat, expeditious, and cheap Method of printing Plans of Rivers, Canals, Roads, Estates, Encampments, Mathematical Figures, and all other Sketches required to illustrate any Subject.”

“The Time required in executing such Plans, and on which a Calculation of their Expence may be easily made, would be,

“For an Octavo Plan of Demy or Foolscap paper not very much crouded, Time one person one day.

“For a Quarto Demy or Foolscap paper not much crouded, or for an Octavo much crouded, Time two days.

“For a Folio Foolscap not much crouded, or Quarto much crouded, Time three days.”

He then proceeds to say, that he had published a small pamphlet, in which he had inserted some specimens of Maps of Rivers and Canals, and a Plan of a Building; and executed various Plans of Estates; and of Military Positions (but not with Soldier or Tent Types purposely cast), and a Sketch of a Machine, &c.; and that these specimens were composed with common printing types (except the Trees, Houses, Churches, and Compass, which were cast so as to be moveable,) and printed with a common letter-press.

He proposed to “discover and explain” “the precise Method of such Curvilinear Printing, with a full and particular Description,” “if a sufficient Number of Persons, to answer his Expectations, engage as Subscribers of Ten Guineas each.” “But if there should not be a sufficient Number of Subscribers hereto according to the Inventor’s Expectations, He will be ready to treat with any Person, or Persons collectively, for the sole Use of this New Method or Invention.”

I never knew of any person subscribing, or of any printer practising this particular manner of printing; and I believe that Mr. Allnutt’s discovery would have sunk into utter oblivion, but for a few of his Proposals, one of which is now lying before me.


cusped edge stamp

norm: cusped edge stamp

text: A finishing tool used to produce an indented outline having the appearance of an oak leaf. The leaf effect is generally reinforced by impressing curved lines from the center outwards. Also called "headed outline tool."


custom-bound

norm: custom-bound

text: An obsolete term for a book which is bound according to specific instructions, rather than in accordance with general specifications. It was a term used principally in the library binding. See also: CRAFT BOOKBINDING; EXTRA BINDING.


customer work

norm: customer work

text: An obsolete term for work produced by the bookbinder for individuals, in distinction from work done for libraries. The term referred principally to library binding. See also: CRAFT BOOKBINDING; EXTRA BINDING.

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


cut

norm: cut

variant: cutting

text:
1. To trim the edges of books. See: BLED; CROPPED; CUT AT THE HEAD; CUT DOWN (1); CUT FLUSH; CUT SOLID (1);

OPENED; OUT OF BOARDS; PROOF (1); TRIMMING (1). 2. A term sometimes applied to a book which has had its edges cut. 3. To cut the cloth, leather, vellum, or paper covering for a book. 4. Cutting so as to enable other operations to be carried out, e.g., a sheet imposed work and turn has to be cut in half before it can be folded. See: IMPOSITION.

5. The incision made in opening bolts of sections to facilitate tipping-in inserts. 6. The cut made in separating lifts (piles) of sheets for binding.

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

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

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

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


cut at the head

norm: cut at the head

text: A book which has had its head edge trimmed, the usual interpretation being that the fore edge and tail have not been trimmed.

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


cut away

norm: cut away

text: Any part of a section that is removed and not replaced by a CANCEL. See also: CANCELLANDUM.

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


cut corner pamphlet file

norm: cut corner pamphlet file

text: A free-standing type of box, the upper rear corners of the sides of which arc cut away to half its height, leaving the upper half of the back and the top open. It is generally used to house pamphlets and other such materials in the book stack. See also: PRINCETON FILE.

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


cut down

norm: cut down

text: ]. A term applied to a book trimmed to a size less than given in specifications. See also: CROPPED . 2. The slipping or dipping of the plow knife when cutting the edges of a book, resulting in an irregular edge. 3. The bands, cords, or tapes on which a book is sewn "cut down" to the correct length for lacing-in or insertion between split boards.

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

citations: Abbey, John Roland. An exhibition of modern English and French bindings from the collection of Major J. R. Abbey. London. Arts Council. 1949.

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


cut down

text: When a plough-knife dips downward out of the level it is said to “cut down”; on the contrary, if the point is out of the level upwards it is said to “cut up.”

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


cut flush

norm: cut flush

variant: cut flush binding

text: A book that has no SQUARES, meaning that the leaves and covers are cut even, or "flush." In most cut flush work, trimming is done after the covers (which are usually, but by no means always, paper, limp, or the self-covers of a pamphlet) have been attached. The trimming is generally done in a guillotine cutter. As a (very) general rule, no book with any degree of pretension is cut flush.

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


cut flush

text: Means that the cloth cover, which is usually limp (without boards), is drawn on the book and the whole cut at once, cover and all, the edge of the cover being cut flush with the edge of the book. It is a suitable way of binding only when strength and elegance are not required.


cut flush, turned in

norm: cut flush, turned in

text: A book having the covering material on the spine cut flush at the head and tail edges but the cloth or paper covering on the sides turned over the edges of the boards. This technique necessitates the book being trimmed before covering.


cut in boards

norm: cut in boards

text: See: IN BOARDS.


cut on the quarter

norm: cut on the quarter

text: A technique of cutting the wooden boards used in bookbinding. They are cut on the line of the medullary rays, thus reducing the danger of warping.

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


cut open

norm: cut open

text: A finishing tool having the design on its face defined by lines.

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


cut out

norm: cut out

text: A term sometimes used in edition and library binding meaning: 1) to cut the bolts of sections and remove blank leaves; 2) to die cut folded maps and inserts to allow for folding free of the binding edge; 3) to die cut board patterns to be used in protecting embossed covers when pressing; 4) to die cut panels to size for inserting; 5) to trim the turn-ins of covers; and 6) to cut out compensation material leaving stubs (compensation guards).


cut out of boards

norm: cut out of boards

text: See: OUT OF BOARDS.


cut size

norm: cut size

text: A sheet of paper cut in the guillotine or rotary trimmer to dimensions of ]6 by 21 inches or less. Size 8 1/2 by 11 inches is the most common "cut size."

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.


cut solid

norm: cut solid

text: 1. The edges of a book which have been cut smooth and even, particularly at the head and fore edge. Library and edition bindings are almost always cut solid, usually by means of a guillotine cutter or three-knife trimmer. When edition bindings do have rough (deckle) edges, it is usually an affectation. Books bound by hand also generally have edges cut solid, but this was by no means true in the past. Edges cut solid make it easier to turn the leaves and also reduce the incursion of dust. 2. The faces of finishing tools that are solid metal, sometimes with line veinings, in distinction from tools CUT OPEN.


cut stock

norm: cut stock

text: Materials, such as board, cloth, inlays, etc., which have been pre-cut to the proper size for a run of books. The term applies specifically to edition bindings.

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


cut through index

norm: cut through index

text: An INDEX used in stationery binding, e.g., a blankbook, that has all of the leaves of the book allotted to the letters of the alphabet in proportion to the frequency of their use.

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


cut to register

norm: cut to register

text: A watermarked paper cut in such a manner that the WATERMARK appears in the same position in each sheet.


CUT UP

norm: cut up

text: Same as the last explanation.


cut-in index

norm: cut-in index

text: See: THUMB INDEX.


Cut-in letter

norm: cut-in letter

text: A type of large size adjusted at the beginning of the first paragraph of a chapter.


Cut-in note

norm: cut-in note

text: A note justified into the side of a page.


CUT-IN NOTES

norm: cut-in notes

text: Side notes that are not arranged in the front margin down the side of the page, but are inserted in the text, the lines of which are shortened to admit the note, as if a piece of the text were cut out, and the note inserted in the vacancy.


cut-out shapes

norm: cut-out shapes

variant: cut outs

text: 1. Decorative patterns, generally of a geometric shape, made of cloth, leather, paper, etc., and pasted to the covers of a book. See also: INLAY (4); ONLAY. 2. Special shapes of irregular pieces of paper or board cut out from printed matter by means of steel dies.

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

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


cutch

norm: cutch

text: 1. A packet of leaves in which thinly rolled and cut gold is first beaten in the manufacture of gold leaf. After the gold is rolled to a thickness of 0.001 inch and 1 1/4 inches wide, it is then cut into 1 1/4 inch squares. Two hundred ninety of these sheets are interleaved with 4 1/2 inch squares of vellum or paper, forming the "cutch," which is secured with heavy bands of parchment. The name derives from the Latin calcare, to tread. See also: GOLD LEAF; MOLD (2); SHODER. 2. A vegetable tannin obtained from the heartwood of Acacia catechu, a tree distributed widely throughout the Indian Subcontinent and adjoining areas. Cutch consists principally of catechutannic acid (25-35%), catechin (2-10%), quercetin, and catechu red. When used alone, it produces a harsh leather, which often has an undesirable yellow color. Although it has been used as a tanning material to some extent, particularly in England and Italy, the term "cutch" is better known as a tannin prepared from the bark of MANGROVE trees. See also: VEGETABLE TANNINS.

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

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


cuts for index

norm: cuts for index

text: Thumb cut apertures made by hand or by a thumb cutter on the fore edge of a book. See: THUMB INDEX.

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


Cutter

norm: cutter

text: or Cutting machine. The machine on which the edges of the leaves of books are cut or trimmed. Running such a machine is now a special branch of the binder’s trade. Sometimes called a guillotine.


cutter-out

norm: cutter-out

text: An obsolete term for the bindery worker who cut the leather covers for books. The job called for an experienced workman, one with a good knowledge of leather, and the ability to detect flaws and shades of color in the skins.

citations: Zaehnsdorf. Firm. Bookbinders. London. A short history of bookbinding…London. Chiswick. 1895.


cutter-perforating machine

norm: cutter-perforating machine

text: A multi-purpose machine that can be used for slitting, both large- and pin-hole perforating, punching, tab cutting, index cutting, cutting and creasing, label punching, round corner and thumb-hole cutting, trimming, strip cutting, scoring, slitting, embossing, nipping, and blocking, by means of standard attachments and interchangeable tools. Such machines are generally hydraulically powered.

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


cutting board

norm: cutting board

text: 1. A wedge-shaped board of beech or other hard, fine-grained wood, similar to a backing board but with a square top edge. Cutting boards are available in various lengths, the most common being 8, 12, and 15 inches. The top edge is generally about 5/8 inch thick and the bottom edge about 1/4 inch. They are used in the LYING PRESS when trimming edges with the PLOW, and also for edge gilding. 2. A specially constructed block about 3 feet square, composed of small blocks of hard wood set on end and glued together. The top is treated with oil to help keep the surface smooth. It is used as a block for cutting leather.

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


cutting board

text: wedge-shaped boards somewhat like backing boards, but with the top edge square; used in cutting the edge of a book and in edge-gilding.

siglum: BCB

author: Cockerell, Douglas

work: Bookbinding, and the Care of Books


cutting board

text: Wedged-shaped boards somewhat like backing-boards, but with the top edge square; used in cutting the edge of a book and in edge-gilding.


Cutting in boards

norm: cutting in boards

text: cutting the edges of a book after the boards are laced on.


Cutting in boards

text: Cutting the edges of a book with a plough after the boards are laced on.


cutting machine

norm: cutting machine

text: See: GUILLOTINE; THREE-KNIFE TRIMMER.


cutting plates

norm: cutting plates

text: Millboard, zinc, or glass surfaces on which endpapers, guards, and similar materials are cut. Millboards are superior for such cutting as they do not dull the edge of the knife as quickly; however, they must be replaced more often.

citations: Forsyth, K. Marjorie. Bookbinding for teachers, students and amateurs. London, Black. 1932.


Cutting press

norm: cutting press

text: when the lying press is turned, so that the side with the runners is uppermost, it is called a cutting press (see Fig. 46).


Cutting press

text: When a lying press is turned so that the side with the runners is uppermost it is called a cutting press.


cutting stick

norm: cutting stick

text: A length of wood, plastic, or soft metal, inserted in the table of a GUILLOTINE, against which the knife edge strikes. It is usually square, but in some machines it is round and can be rotated by hand or power so as to present a fresh surface after a certain number of cuts. A worn stick will cause the knife to chew the paper rather than cut it cleanly.

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

citations: U.S. Bureau of Naval Personnel. Printer 3 & 2. Washington, D.C. U.S. Government Printing Office. 1952


CUTTING THE FRISKET

norm: cutting the frisket

text:
Cutting those parts of the paper away so as to allow the types to print on its own paper, and to keep the margin clean.—M.

Cylindrical Printing. See Machines.

Dagger. See Obelisk.

Dances. See Form Dances.


cuttlebone

norm: cuttlebone

variant: cuttlefish bone

text: A piece of shell or bone from a cuttlefish, used to smooth and polish the mended edges of a torn leaf by removing the excess fibers of the paper used for the repair.

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


cylinder machine

norm: cylinder machine

text: A papermaking machine which utilizes a wire curved around one or more cylinders or molds that are partially immersed and rotated in vats containing a dilute stock suspension. The pulp fibers cling to the wire and are formed into sheets on the cylinders as the water drains through and passes out at the ends of the cylinders. The wet sheet is couched off the cylinder onto a felt held against the cylinder by a couch roll. Cylinder machines consist of one of more cylinders, each of which forms a sheet composed of the same or different stocks. The multi-cylinder machine forms webs which are successively couched one upon the other before they enter the press section. This allows for considerable variation in thickness and weight of the finished sheet, as well as for the formation of bristols. The press section and the dry end of the cylinder machine are essentially the same as those of the FOURDRINIER MACHINE. The cylinder machine was invented in 1805 by the Englishman Joseph Bramah, and was improved considerably in 1808 by John Dickinson. In England it is called a "board machine," or "vat machine."

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

citations: Ireland, Graham H. Paperboard on the multi-vat cyclinder machine. New York. Chemical Publications. 1968.

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


D

norm: d

letter: D

letter_raw: D

text: The Roman equivalent of 500, although the symbol probably was not used by the Romans themselves. The Roman symbol for 1,000 was Cl, and early printers designated 500 as I , which later became D. See also: ROMAN NUMERALS.


d & f

norm: d & f

text: In RULING, the abbreviation for downs and feints. See also: f.


damask

norm: damask

text: 1. A decorative design of variegated patterns or crocheted compartments on a book cover. 2. A firm, lustrous fabric made with flat, conventional patterns in satin weave on a plain-woven ground on one side and a plain-woven pattern on a satin ground on the reverse side. It is usually made of cotton, silk, rayon, or combinations thereof. It has been used as a book cloth.


dammar (gum)

norm: dammar (gum)

text: Any of several semifossil or recent resins, principally of East Indian origin, but especially a soft, clear to yellow recent resin obtained mainly in Malaysia and Indonesia from trees of the family Dipterocarpacae (especially of the genera Shorea, Balanocarpus and Hopea) and used in the manufacture of PRINTING INKS.


damping stretch

norm: damping stretch

text: The alteration in the dimensions of a sheet of paper when it becomes wet. Since paper fibers increase more in diameter than in length when moistened, the dimensions of the sheet will increase more in the cross direction than in the machine direction. This is one reason why it is essential that the "grain" or machine direction of book papers be parallel to the binding edge of the book. Handmade papers, when moistened, generally expand more or less equally in all directions, as these papers have no definite grain direction.

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.


Dandy

norm: dandy

text: A roller affixed to paper-making machines. The wet web of paper carried on the endless wire of the machine passes under this roller and is pressed by it. It gives the laid or wove appearance to the sheet, and when letters, figures, or other devices are worked in fine wire on its surface it produces the effect known as water-marking.


dandy roll

norm: dandy roll

text:
A light skeleton roll or cylinder, covered with wire gauze, which exerts light pressure on the wet web of paper at a point near the first suction box. Its purpose is to mark the sheet (web) with a design carried on the surface of the roll, either to produce a wove or laid effect in the web, or, when letters, figures, or other devices are worked in wires on the surface of the roll, a WATERMARK.

In the latter case, the roll is known as a watermarking dandy. Originally, the dandy roll was driven by the Fourdrinier wire, but with the development of higher speed papermaking machines, it became the practice to drive the dandy roll separately in order to eliminate drag which would result in distortion of the watermark. Plain dandy rolls are now used extensively to level the surface of the web and improve or assist in sheet formation. See also: LAID MOLD.

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

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

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


DANISH

norm: danish

text:
The Danish alphabet consists of twenty-seven letters.

Remarks on the Alphabet.

Q, q, (Ku, pronounced coo) is here omitted, being not merely superfluous and useless, but even prejudicial to a faithful representation of the language, by observing the origin and affinity of words, for instance, Kvinde, woman, is derived from Kone, wife; bekvem, convenient, from komme, to come (Fr. venir); Kvartér, a quarter of an hour, is also called Kortér; Kvast, tuft, is originally the same word as Kóst, broom; and kvæle, suffocate, the same as the English kill. The Q is therefore justly rejected by the celebrated grammarian P. Syv, as also by the learned Prof. S. N. J. Bloch in his Danske Sproglære, Odense 1817. It is however still used by some, but always followed by v, never by u in any Danish book, as, Qvinde, beqvem, Qvarter, &c.

The Alphabet.

Z, z, (Zet, pronounced sett) has crept from the German orthography into a few words, which should be written by s, according to the true pronunciation; as, Zobel, sable; Zire, to adorn; better Sobel, sire.

Å has been, till the beginning of this century, commonly represented by aa, according to the old Low German orthography, but å is found in ancient Danish and Norwegian manuscripts: its reintroduction, proposed by the celebrated Danish grammarian Höjsgård 1743, later by Schlegel, Baden, Nyerup, Schrejber, Thonboe, &c. has, in the last decennium, been realized in about thirty separate books or pamphlets by Prof. A. Gamborg, Mr. H.J. Hansen, Mr. N.M. Petersen, and also by E. Rask, and several anonymous writers. At all events the sound is simple, and continually interchanging with other simple vowels (a, æ, o,) in the inflection and derivation of words, for instance, tæller, to count, in the past tense talde or tålde, counted; gå, to go, Gang, gait, gængse, current, common; from Får, sheep, is derived Færøerne, the Farroe islands. Thus even in kindred dialects; as, Vingård, vineyard; Tåre, tear, German Zähre; Måned, month, German Monath; åben, open, &c. Whereas aa is sometimes long a, sometimes even to be read in two syllables as: Haarlem, Aaron, Kanaan, Knud Danaast, the name of a Danish prince. The learner however will find aa for å in most printed books hitherto published.

Æ, like Å, represents a simple vowel sound, and must never be separated or resolved into ae, which make distinct syllables, for instance, bejae (be-ya-e), affirm.

Ø and Ö are commonly confounded, so that Ø is used for both sounds in books printed in the Gothic type, Ö in those in the Roman character.

There are no diphthongs in Danish, but aj, ej, oj, uj, öj, even though written by some ai, ei, oi, ui, öi, are pronounced with the open sound of the vowels and a distinct y consonant following, never like ai, ei, French oi, ui or the like, for instance, ej, not, sounds like English eye or I; Konvoj, a convoy, like the verb to convoy, &c.

In like manner av, ev, iv, ov, æv, øv are pronounced as clear vowels followed by a distinct v consonant or rather w, for the v also is softer after the vowels than at the beginning, for instance, tav, was silent; Brev, letter; stiv, stiff; Tòv, cable; Ræv, fox; døv, deaf. The sound of w is particularly observable, when another consonant follows, for instance, tavs, silent; Evropa, Europe; stivne, to stiffen; hovne, to swell; Hævn, revenge; søvnig, sleepy, drowsy.

As to the division of words into syllables, j is always referred to the preceding vowel, which is in these cases constantly pronounced short and sharp, for instance, Vej-e, ways, not Ve-je. The other consonants are usually referred to the vowel following, when single; or divided between the preceding and succeeding vowel, when more than one, no care being taken to distinguish the radical parts from the accessories, but in compound words, for instance, Da-ge, days, from Dag, day, but for-ud-si-ge, foretell, from for-ud, beforehand, and sige, tell, say.

It is a great advantage in the Danish orthography, that every noun substantive is written with a capital letter at the beginning, as numbers of words, else perfectly alike, are thereby easily distinguished at the first view. Ex.

On the other hand, adjectives of national names are usually written with small initials, contrary to the English usage, as, dansk, Danish; norsk, Norwegian; svensk, Swedish; hollandsk, Dutch; engelsk, English; angelsaksisk, Anglosaxon.

Though the Roman character is daily gaining ground, being introduced into the Transactions of the Royal Academy of Copenhagen, and of most other learned societies in Denmark and Norway, as also used in many excellent works of private authors, yet the monkish or Gothic form of the letters is still preferred by many.

In this character the capital J is also usually applied for the I, for instance, Jsrael and Jesus; the long ſ is constantly applied in the beginning of syllables, even in the combinations: ſk, ſl, ſp, ſt.

For å, has been proposed another figure, viz. [#], which has been adopted by the celebrated Capt. Abrahamson in his first edition of Langes Dänische Gramm. für Deutsche, as also by Rask, in the first edition of his Icel. Grammar; that he has afterwards preferred the å, is not only from patriotic motives; this figure being found in old Danish MSS. down to 1555, but also because it is introduced into several other languages, as Swedish and Laplandic, and has even been used in the upper German dialects; also in the Bornholm dialect by Mr. Skougaard, in the Farroic by the Revd. Mr. Lyngbye, and in the Acra (on the coast of Guinea) by Capt. Schönning, whereas [#] is used nowhere else in the world.—From Rask’s Danish Grammar, Copenhagen, 1830.

Dash. See Punctuation.

caption: The Danish Alphabet

alt: The Danish Alphabet


dates, translation of

norm: dates, translation of

text:
The conversion of dates, usually from the Roman into Arabic. Other than Arabic, the most common imprint date (or date of publication) to be found in books, at least those publication of the Western world, are the Roman numeral dates. They are translated:

Roman                      Arabic

I, i or j                       1

II or ii                        2

III or iii                      3

IV or iv                        4

V or v                          5

VI or vi                        6

VII or vii                      7     VIII or viii                    8

IX or ix                        9

X or x                         10

XI or xi                       11

XII or xii etc.                12

XX or xx                       20

XXX or xxx                     30     XL or xl also XXXX             40

L or l                         50

LX or lx                       60

LXX or lxx                     70     LXXX or lxxx, also XXC         80

XC or xc also LXXXX            90

C or c                        100

CL or cl                      150

CC or cc                      200

CCC or ccc                    300     CD or cd, also CCCC           400

D or d, also I&revc;          500

DC or dc, also IC             600

CM or cm                      900

M or m also CI&revc;        1,000

Hebrew dates found in imprints may be converted to the Christian date by consulting the Jewish encyclopedia under Calendar, Table 1. Islamic dates may be converted by consulting the tables found in John J. Bond's Handy Book of rules and tables for verifying dates with the Christian era, 4th ed. London, 1889, pp. 228-250. The French Revolution calendar is given below:

1  Sept. 22 1792

-1

2  Sept. 22 1793

-2

3  Sept. 22 1794

-3

4  Sept. 23 1795

-4

5  Sept. 22 1796

-5

6  Sept. 22 1797

-6

7  Sept. 22 1798

-7

8  Sept. 23 1799

-8

9  Sept. 23 1800

-9

10  Sept. 23 1801

-10

11  Sept. 23 1802

-11

12  Sept. 24 1803

-12

13  Sept. 23 1804

-13

14  Sept. 23 1805

-14

Dec.  31 1805

end

Months (12 of 30 days each, with five additional days)

Vendémaiaire            (vintage) Brumaire                (fog) Frimaire                (sleet) Nivôse                  (snow) Pluvôise                (rain) Venlôse                 (wind) Germinal                (seed) Floréal                 (blossom) Prairial                (pasture) Thermidor or Fervidor   (heat) Fructidor               (fruit)


daylight

norm: daylight

text: The maximum distance between the platen and the bed of a press when it is opened fully. Daylight is also defined as, or is an indication of, the maximum number of books, or books and pressing boards, that can be placed in the press at any one time.


deacidification

norm: deacidification

text:
A term generally considered to mean the removal of acid from, or the reduction of the acidity in, a material, such as paper. The usual process of deacidification is to treat the paper with a mild alkali which initially neutralizes any acid present and is then converted into a compound that remains in the fibers of the paper to act as a buffer to neutralize any further acidity that may develop (usually as a result of exposure of the paper to atmospheric SULFUR DIOXIDE). High concentrations of strong alkalies are to be avoided because if the pH of the paper is allowed to rise to a very high level, i.e., 10.0 or above, and to remain there for any length of time, there is risk of oxidation of the cellulose under such alkaline conditions. In the usual case, however, even if the pH, immediately subsequent to acidification, is as high as 10.0, reaction with atmospheric carbon dioxide usually reduces it below that point.

The weakness of most deacidification methods is that slightly alkaline papers are immune to acid attack only for as long as the free alkali remains, and when this is neutralized the paper is again vulnerable. In order to prevent this, the amount of residual alkali remaining in the paper following treatment should be equivalent to at least 3% calcium carbonate by weight of the paper. See also: ALKALINE RESERVE; DOUBLE DECOMPOSITION; NON-AQUEOUS DEACIDIFICATION; VAPOR-PHASE DEACIDIFICATION.

citations: Barrow, William J. The Barrow method of preserving deteriorated documents. Richmond, Va. The author. 1965.

citations: Barrow, William J. Instructions for the deacidification and lamination of documents. c. 1954.

citations: Barrow (W. J.) Research Laboratory. Spray deacidification. Richmond, Va. Barrow (W. J.) Research Laboratory. Permanence/ durability of the book, no. 3. 1964.

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

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


Dead horse

norm: dead horse

text: Matter charged and paid for before it is set.


dead spots

norm: dead spots

text: The low-finished areas in an otherwise highly finished paper.


dead white

norm: dead white

text: A neutral white, such as that of a paper having no perceptible tint.


deakins

norm: deakins

text: Very small calfskins.


deckle

norm: deckle

text: 1. The removable, rectangular, wooden frame forming the raised edge of the wire cloth of the mold used in making paper by hand; it confines the paper stock suspension on the wire cloth. 2. On the Fourdrinier papermaking machine, the arrangements along the side of the wire on which the papermaking stock flows, which prevent the stock from flowing over the edge of the wire. This type of deckle may be moving or stationary.


deckle edge

norm: deckle edge

text:
The feather edge or edges of a sheet of paper formed where the stock flows against the deckle, or, in handmade papers, by the stock flowing between the frame and the deckle of the mold. A simulated deckle edge may also be formed by means of a jet of water or air. Handmade paper usually has four deckle edges and machinemade paper, two; however, a machinemade paper can be manufactured with four simulated deckle edges. An "imitation" deckle edge is one produced on a dry sheet of paper by such means as tearing, cutting with a special type of knife that gives a deckle edge effect, sand blasting, sawing, etc.

Early printers looked upon the deckle edge as a defect, and almost invariably trimmed most of it off before binding; however, collectors wanted to see traces of the "deckle" as proof that the book had not been trimmed excessively, or CROPPED , as deep trimming was a notorious practice particularly in the 17th century (and even to this day). In the latter part of the 19th century, it became the fashion to admire the deckle edge for its own sake, and to leave books printed on handmade paper untrimmed. This left the book with ragged edges that collected dust, were unsightly (to some), and difficult to turn. In modern books, deckle edges are largely an affectation, and entirely so if the book is printed on machine-made paper.

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

citations: Abbey, John Roland. An exhibition of modern English and French bindings from the collection of Major J. R. Abbey. London. Arts Council. 1949.

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

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

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


deckle edge

text: The rough untrimmed edge of hand-made paper. Deckle-edges are poorly imitated by cutting and tearing machine-made paper, sometimes with the aid of a jet of water.


decorated covers

norm: decorated covers

text: 1. See: FINISHING (1). 2. In library binding, an illustration, design, or special lettering on the upper cover of a book. A decorated cover would also include books, such as paperbacks with illustrated covers when the original cover is attached to the cloth cover, with or without coating. 3. In edition binding, a design, illustration, or special lettering blocked or printed by offset on the book cloth.

citations: Feipel, Louis Nicholas, and Earl W. Browning. Library bookbinding manual…Chicago. American Library Association. 1951.

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


decorated papers

norm: decorated papers

text: Papers used for covers, endpapers, linings, portfolios, etc., and degreasing decorated in some manner. See: BRAYER PRINTS; CARDBOARD PRINTS; CRAYON-RESIST PAPERS; CUT-OUT SHAPES; FOLD AND DYE PAPERS; INK AND FOLD PAPERS; PARAFFIN PRINTS; PASTE PAPERS; PATTERNED PAPERS; PRINTED PAPERS; STENCIL PRINTS; STRING PRINTS.


decorative roll

norm: decorative roll

text: Any patterned FILLET (1) that deviates from a plain straight line.


deerskin

norm: deerskin

text: A leather with a loose, open structure, made from the skin of deer, or other animals of the family Cervidae. It was used for bookbinding purposes as long ago as the 8th century. In the Middle Ages it was largely superseded by calfskin, sheepskin, and goatskin.

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

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


defective binding

norm: defective binding

text: Any imperfections in the paper, sections, plates, printing, cloth, leather, etc., that make up a bookbinding.

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


defective sheets

norm: defective sheets

text: Sheets of printed paper discarded in the process of binding because of paper or printing defects and/ or binding spoilage.