total transmittance

norm: total transmittance

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

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.


tracing paper

norm: tracing paper

kind: definition

letter: T

letter_raw: T

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

siglum: RE

author: Roberts, Matt T.; Etherington, Don

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

rights: US Government publication (Library of Congress), published openly in electronic edition by CoOL. Not a Gutenberg/pre-1930 public-domain text -- verify rights before reprinting rather than quoting.

rights_tier: us-government-flagged

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


trade binding

norm: trade binding

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

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


traditional format

norm: traditional format

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

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


TRAFALGAR

norm: trafalgar

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

siglum: DAP

author: Savage, William

work: A Dictionary of the Art of Printing

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

rights_tier: public-domain


tragacanth

norm: tragacanth

text: See: GUM TRAGACANTH.


tranchfille chapiteau

norm: tranchfille chapiteau

text: A type of double HEADBAND of French origin.

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


transfer binder

norm: transfer binder

text: See: POST BINDER.


transfer box

norm: transfer box

variant: transfer file

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


transfer marble

norm: transfer marble

variant: transfer edge

text: See: MARBLE TRANSFER.


transitory materials

norm: transitory materials

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

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


translucency

norm: translucency

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


transmittance

norm: transmittance

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


transparency

norm: transparency

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


transparency ratio

norm: transparency ratio

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


transparent marble

norm: transparent marble

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

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


transparent vellum

norm: transparent vellum

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

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


TRANSPOSE

norm: transpose

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


TRANSPOSITION OF PAGES

norm: transposition of pages

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


transverse porosity

norm: transverse porosity

text: See: LATERAL POROSITY.


Trautz, Georges

norm: trautz, georges

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

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

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


TREADING PELT

norm: treading pelt

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

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


tree calf

norm: tree calf

variant: tree marble

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

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

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

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

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


tree calf

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

siglum: NBL

author: Bailey, Arthur L.

work: Notes on Bookbinding for Libraries


trial binding

norm: trial binding

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

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


triethanolamine

norm: triethanolamine

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

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


trim

norm: trim

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

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.


trimmed

norm: trimmed

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

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


trimmed

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

siglum: BCB

author: Cockerell, Douglas

work: Bookbinding, and the Care of Books


trimmed before sewing

norm: trimmed before sewing

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


trimmed four sides

norm: trimmed four sides

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

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


trimmed in the round

norm: trimmed in the round

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

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


trimmed in the square

norm: trimmed in the square

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


trimmed size

norm: trimmed size

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


trimming

norm: trimming

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

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

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

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

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

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

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

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

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


trimming

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

siglum: ABB

author: Zaehnsdorf, Joseph W.

work: The Art of Bookbinding: A Practical Treatise


trimming out

norm: trimming out

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

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


trimming to recorded size

norm: trimming to recorded size

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


Trindle

norm: trindle

text: A strip of thin wood or iron.

siglum: MAB

author: Nicholson, James B.

work: A Manual of the Art of Bookbinding


Trindle

text: A thin strip of wood or iron.


Trindle

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


trindles

norm: trindles

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


triple liner and headbanding machine

norm: triple liner and headbanding machine

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


triple lining

norm: triple lining

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

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


tripoli

norm: tripoli

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

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


triptych

norm: triptych

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

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


true skin

norm: true skin

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


trypsin

norm: trypsin

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

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


tub

norm: tub

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


tub

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


tub sized

norm: tub sized

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

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

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


tub-size press

norm: tub-size press

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


tuck

norm: tuck

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

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


tumbling drum

norm: tumbling drum

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


tumeric

norm: tumeric

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


Turkey leather

norm: turkey leather

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

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


Turkey marble

norm: turkey marble

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


Turkey morocco

norm: turkey morocco

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

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

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


Turkey morocco

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


Turkey papers

norm: turkey papers

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


TURN FOR A LETTER

norm: turn for a letter

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


TURN FOR A LETTER

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

siglum: AMP

author: MacKellar, Thomas

work: The American Printer: A Manual of Typography


turn-ins

norm: turn-ins

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

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


turnaround time

norm: turnaround time

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


Turning Up

norm: turning up

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


Turning Up

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


Turning Up

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


turning-in steel

norm: turning-in steel

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


turpentine

norm: turpentine

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

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


twelvemo

norm: twelvemo

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


twenty-fourmo

norm: twenty-fourmo

text: A sheet folded to form 24 leaves or 48 pages. There are several methods of producing a 24mo, one of the most common being to fold two sheets (separately) with two parallel folds in thirds, followed by a right angle fold, another parallel fold and insetting the second within the first. Also written 24mo or 24°.


TWENTY-FOURMO

text: A sheet of paper folded into twenty-four leaves, forty-eight pages, is termed twenty-fourmo.


TWENTYMO

norm: twentymo

text: A sheet of paper folded into twenty leaves, forty pages, is termed twentymo.


twin-wire paper

norm: twin-wire paper

text: A type of duplex paper produced by forming two webs of paper and then uniting them wire side inward so that the resulting sheet has two felt (top) sides. This type of paper is said to give superior results in offset printing.

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


twisted pineapple

norm: twisted pineapple

text: A decorative ornament found on several English and French rolls, and consisting of twisted stems interrupted at intervals by conventional pineapples.

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


TWO LINE DOUBLE PICA

norm: two line double pica

text: The name of a type equal to four Small Picas, or to two Double Picas; the next size larger than Two Line Great Primer, and smaller than Trafalgar. It is not enumerated by Moxon in his list. See Types.


TWO LINE ENGLISH

norm: two line english

text: The name of a type, the next size larger than Two Line Pica, and smaller than Two Line Great Primer. It is equal to two English bodies. See Types.


TWO LINE GREAT PRIMER

norm: two line great primer

text: The name of a type, the next size larger than Two Line English, and smaller than Two Line Double Pica. It is not enumerated in Moxon’s list of the sizes of types. See Types.


TWO LINE LETTERS

norm: two line letters

text: Capitals that are equal to two bodies of any specific sized type. There are Two Line Pearl, Two Line Nonpareil, &c., increasing regularly to a Two Line Great Primer. They are used for lines in titles and jobs, being so cast that the face covers the whole of the square of the shank: they do not take so much room in depth as the regular capitals of the same sized face, and are more convenient where the matter is crowded; the face of the letter having also a stronger stem, gives an additional variety in the effect. See Full-faced Letter.


TWO LINE PICA

norm: two line pica

text: The name of a type, equal to two Picas; the next size larger than Double Pica, and smaller than Two Line English. Moxon does not enumerate this size in his list. See Types.


two on

norm: two on

text:
See notes on the electronic edition

A method of sewing a book by hand in which two sections are sewn on a single length of thread from kettle stitch to kettle stitch. After the first (or first two or three) section is sewn ALL ALONG, two sections at a time are placed in the sewing frame, and the sewing alternates from section to section. There are several techniques of sewing two on, a common method being to alternate from one section to the next at each cord. Whatever the method used, two sections receive as many stitches as does one in the all along method, and when sewing on five cords, alternating sections received two and three stitches, respectively.

Sewing two on was quite common until the last quarter of the 19th century, at which time sewing machines began to be used in trade (edition) binding. Even the thinnest books were sewn two on, not so much to reduce sewing swell as to reduce costs. Sewing two on today is used in fine binding only to reduce swell. Also called "two sheets on" and "off and on." See also: THREE ON.

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


two on and one off

norm: two on and one off

text: A form of the HOLLOW, consisting of the basic cloth lining applied directly to the spine of the book followed by a strip of heavy kraft paper three times the width of the rounded spine glued to this lining, overlapping the spine on one side only. The overlapping part is folded back on itself even with the joint, slid off the spine, and then folded over to make a tube. This is replaced on the spine and the superfluous paper is trimmed off. Depending on the way the hollow is glued on, this method gives "two on and one off" or "one on and two off." Variations of this technique may be achieved by increasing the width of the kraft paper to give "two on and two off," "two on and three off," etc. See also: SPINE LINING (1).


two page spread

norm: two page spread

text: See: DOUBLE SPREAD (1)


two sheets on

norm: two sheets on

text: See: TWO ON.


two up

norm: two up

text: 1. A method of imposing and processing two books (or periodical issues) as a single unit, all the way from printing form through all of the binding processes. The two books or issues are separated at the trimming station during binding. See also: THREE UP. 2. The process of printing two texts. or duplicate stereos made from the same form, side by side on the same sheet of paper. It is an economical way of printing short runs.

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


two-letter index

norm: two-letter index

text: An INDEX consisting of thirteen divisions of two letters each. If Mac is used, two other letters, usually I and X are omitted, or 1, J, and K are combined and X is omitted.


two-line tool

norm: two-line tool

text: A roll or fillet with two lines of designs, or two plain lines (in the case of the fillet), on the circumference.

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


two-shot method

norm: two-shot method

text: A method of applying adhesive in high speed paperback (adhesive) binding. The adhesive binding machine applies a polyvinyl (cold) adhesive as a primer followed by a hot-melt adhesive. It is not as fast a method as the ONE-SHOT METHOD (1), but it results in a stronger hinge and good cover adhesion. See also: ADHESIVE BINDING.

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

citations: Research and Engineering Council of the Graphic Arts Industry. Committee on Binding and Finishing. Proceedings of seminar on perfect binding…Washington, D.C. Research and Engineering Council of the Graphic Arts Industry. 1963.


two-sided sheet

norm: two-sided sheet

text: A term used with reference to the difference in shade and/or texture between the felt and wire sides of a sheet of paper. The term is generally applied to dyed papers, and usually refers to a difference in the depth of color, with the felt side being darker and the wire side lighter. Two-sidedness in paper may also be produced by using a mixed furnish, e.g., long- and short-fibered stock, the short fibers (as they are lighter) being on the top or felt side and the long fibers on the bottom or wire side. Another form of the two-sided sheet is the filled paper, in which more pigment is retained on the top side of the sheet.

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


tying down

norm: tying down

text: See illustration</> One of the steps employed in working headbands. The thread used in forming the headband is taken down the spine to a point beneath the kettle stitch and then back up to be wound around the core of the headband once again. The purpose is to anchor the headband solidly to the spine. In the early days of headbanding, tying down was done in the center of each section; today, however, it is usually done at every three or four sections and even then not always in the center.

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


tying up

norm: tying up

text:
See illustration</> The technique of wrapping cord tightly around a book from spine to fore edge, one cord on either side of each raised band. Tying up is done subsequent to covering, its purpose being to make the leather adhere securely to the sides of the bands. The term is also applied to the process of tying cord from head to tail at the spine so as to pinch the headcaps.

Tying up, which represented the first effort to mold the leather around the raised bands, was first used in the early 13th century. The technique seems to coincide more or less with the first use of the groove method of attaching boards. Virtually all books sewn on raised cords were "tied up" until early in the 19th century. Although BAND NIPPERS are now used in lieu of tying up, the practice is still employed in the restoration of pre-19th century rare books, primarily to give the appearance of the binding technique of the times.

That tying up declined after the early 19th century was probably due to several factors, including: 1) leather in trade binding was replaced by cloth; 2) sewing on raised cords itself declined; and 3) standards of finishing in fine binding were improving and neater work could be done without the use of cords and, in any event, tying up was unnecessary if the leather was properly prepared and drawn on. Large books were (and still are) tied up, especially when the covering leather is intractable. e.g., pigskin.

Indenting of the leather on the fore edge of the boards is prevented by the use of specially shaped wooden boards. See TYING-UP BOARDS. As an alternative method, millboard can be bent to shape. The leather of old bindings is sometimes marked by the pressure of the tying-up boards. because the cords used for large books were tied very tightly.

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.


tying up

text: The tying of a volume after the cover has been drawn on, so as to make the leather adhere to the sides of the bands; also for setting the head.


tying up

text: The tying of a volume after the cover has been drawn on, so as to make the leather adhere better to the sides of the bands; also for setting the head-band.


tying up

text: Tying a volume with heavy twine after the leather cover has been drawn on to make the leather adhere to the sides of the bands; also to help in setting the head.


tying-up boards

norm: tying-up boards

text: Thin, sturdy boards with right-angle projections, used to protect the sides and fore edges of the leather of a book during TYING UP.

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


TYMPAN

norm: tympan

text:
A frame covered with parchment, on which the sheet of paper to be printed is placed. This is the outer tympan; the inner tympan fits into it, and between the parchments of the two the blankets are placed, all which being run in receive the pressure of the platen, which produces the impression on the paper.

Mr. T. C. Hansard took out a patent, for “Improvements on, and Additions to, Printing Presses, and various Processes relative to Printing;” in his description of them he says,—“My first Improvement is the Dividing-Tympans, which are capable of being added to any Printing Press, for the purpose of printing double-sized sheets of paper, and then dividing or cutting such double-sized paper to the ordinary size of single sheets of paper. These Tympans consist of, first, the outer Tympan, of dimensions according to the size of the Press or Work required: the additions to which are, a plate of Iron, Steel, Brass, or other sufficient substance, about seven eighths of an inch in width; the back side of which is level, but the front side is raised in the middle, the centre part being about one fourth of an inch in thickness, and the two sides about one eighth of an inch only; along the middle or thicker part are cuts or openings, for the purpose of admitting the knife hereinafter described, leaving small parts of the plate uncut. On each side of the same, along the centre of the thinner part, is a row of small holes, at about half inch distances. This plate is fixed across the middle of the outer Tympan, to each side, being countersunk into the same.—2ndly. The inner Tympans are formed of two parts, having each part three sides, and moving on pivots attached to the outer Tympan; these inner Tympans, when shut down, are fastened in the common manner by hooks and eyes or buttons, each part when opened to adjust the blankets will incline back on the pivots. These Tympans I cover with black Linen of the most fine and even texture, rolled and hot calendered: taking a sufficient length in one piece to cover the one half of both Tympans, then folding it in the middle, and laying each fold along the side-rebate of the Plate over the holes, I then firmly attach it thereto by strong sewing through the holes; I then turn one part of the fold of the linen over the outer, and the other part over the inner Tympans, and sew, or otherwise fasten, the same around the iron work, or sides and ends of the Tympans, in the closest and neatest manner, letting the hooks, eyes, or buttons, and pivots, through the linen, and keeping clear the openings for the point screws by carrying the linen on the inside, in the same manner as in putting on common parchment; the same operation then takes place for the other half of the Tympans. I then take pieces of Velvet, Velveteen, or other uniform soft substance, which I attach, with the pile or softest side outwards, to the linen already described as being fastened to the Tympans, by sewing or pasting it to the outside of the outer Tympan, to receive the Tympan-sheet, and by this means to give a beautiful and regular impression of the Type: which mode of covering Tympans I also apply to common Presses.

“The Divider or Knife is made of a plate of Iron or Steel, about three-fourths of an inch wide, turned down at a right angle on one side, about one-fourth of an inch in width, and in length sufficient for the width of the sheet of paper intended to be cut, and this must be fixed so as to be exactly corresponding to the openings in the Plate before described; the part so turned down is cut into angular teeth, about a quarter of an inch from point to point, each tooth having two chisel-like edges, formed by being filed and dressed on the outside of the part so turned down; on the inside of the angle the teeth are to be finished all along fair and smooth. One or more of the teeth are then to be filed out at intervals, corresponding with the parts of the Plate left uncut. The Pivots or Joints of the Tympans and Frisket being accurately adjusted, the Knife is then fixed to the Frisket (at each end by screw or other connection) so that when the Frisket is turned down on the Tympans the Knife shall freely enter the Plate at the openings before described. The Plate and Knife now occupying the usual place of Point Screws and Points, those necessary articles are removed to the centre of each half of the Tympans above and below the Plate. If wished, the positions of the Plate and Knife may be reversed, by fixing the Plate to the Frisket, and Knife to the Tympan, or a Plate both on Frisket and Tympan, and Knife to the Forme, or Table of the Press, but not with equal certainty of operation. All these parts being properly adjusted, the mode of application is as follows:—For making ready a Forme or Sheet, the Tympan-sheet is drawn on the Tympan, as in the ordinary mode, and the Frisket pasted and cut out; but for working the first side of the Paper, the Knife must be displaced (or, which is sometimes preferable, two Friskets used, to be exchanged, one having the Knife, and one without). The whole of the paper being worked on one side without the Knife, the Knife is then replaced, or the Friskets exchanged, and the Reiteration proceeded with; the sheet will then be divided exactly along the centre, excepting at the parts where the portions of the Plate have been left uncut, and the teeth filed out of the Knife, as before described; which uncut parts answer the important purpose of keeping the double-sheet adhering as one, for the Pressman who may be pulling, to draw it off the Tympans over to the Bank, where it is finally parted by the other man who is beating, while looking over his heap, when six or seven sheets are accumulated, by means of a gentle pressure with each hand at each end of the heap. The white paper, or first side, is worked with four points, placed opposite to each other in the middle fold of each half of the double sheet, but for the Reiteration the two lower points are taken off, and the sheet kept in register by the two upper ones only. For cutting the sheet into more parts than two, I extend the same principle by placing knives and plates in various positions, or at right angles with each other.”


TYMPAN

text: A frame covered with parchment or muslin and attached to the press-bed to lay the sheet on before printing.


TYMPAN CLOTH

norm: tympan cloth

text: A fine and even linen cloth, about an inch or two larger on every side than the paper worked on: this cloth is wetted, and the water wrung out again, so that it remains only moist: it is laid on the tympan instead of a tympan sheet, the under sides of the corners pasted to the tympan, and worked upon as a tympan sheet for the reiteration. It is used to save paper, and it is repeatedly washed to clear it of the ink that sets off on it.—M. It is not used now, but set-off sheets are substituted for it.


TYMPAN HOOKS

norm: tympan hooks

text:
Small hooks fixed on the upper side of the outer tympan, which assist in keeping the inner tympan in its place.

There are four of them, two on the off side and two on the near side, screwed to the tympan, but not so tight as to prevent them turning round on the screws as centres; there are four eyes screwed on the inner tympan, opposite to them, and the hooks turn into these eyes and draw the sides of the tympans together, and assist in tightening the parchment of the inner tympan, and prevent its moving. In iron presses, instead of eyes, buttons are used on the inner tympan, and the hooks turn round them under the heads, and produce the same effect.


TYMPAN JOINTS

norm: tympan joints

text: The joints by which the outer tympan is attached to the carriage, on which it works. They are riveted to the bottom end of the tympan by one of the sides, and the other side has an upright notch cut in it: at the back of the hind part of the coffin are fixed two projecting screws, at the same distance from each other as the notches in the joints; these screws have a square plate or washer on each of them, and a flat-headed female screw; the tympan joints are slipped over these screws by the notches, so that they bestride each screw, and are confined by the female screw and washer. The tympan can thus be adjusted to any height, by loosening the screws and sliding the joints up or down. The pin that connects the two parts of the joints is stout, and made to slip out when necessary. These joints should be particularly well made, and have no play; if they have, it will cause maculing and doubles in the work.


TYMPAN SHEET

norm: tympan sheet

text: A sheet of paper pasted on the tympan at the corners, as a standing mark to lay all the other sheets exactly even upon, while the white paper is working.—M. It is now also used for the reiteration. When a pressman has laid a form on the press stone, and fixed it in its situation, he takes a sheet of its own paper, or a sheet of some other paper of the same size, and folds it exactly, so that the folds shall be his guide for laying it on the form; he then lays a sheet of waste paper on the form to preserve his tympan sheet clean, and places it truly on the form over the other, by means of the folds falling on the middle of the crosses and feeling the types through it with his fingers, so that the margin at both sides of the sheet shall be precisely equal, as also at both ends; he wets his tympan slightly, to take out the indentions made by the types of a preceding form, and generally rubs a very small quantity of paste on the parchment, being careful that there are no lumps; he then turns the tympan down upon the form, runs in the carriage, and gives it a slight pull, to cause it to adhere to the tympan; he then pastes the four corners down, but tears off a piece of the near bottom corner, to prevent him catching hold of it, in the quick taking the printed sheet off the tympan, when working.


type

norm: type

text: 1. A small rectangular block of metal or wood, usually the former, cut on its top with a raised letter, figure, or other character, for use in letterpress printing, or in a lettering pallet for lettering the spine of a book. The nomenclature of a single piece of type for letterpress work has always been compared to a headless human being standing erect: a body, a face, beard, neck, shoulder, back, belly and feet. Type letters are formed with three imaginary lines: the "base line" on which the bases of capitals rest, the "mean line" along the top of lower-case letters which do not have ascenders, and the "cap line" across the top of the capital letters. 2. A number of such characters.

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


type

text: Metal letters used in printing and lettering.


type area

norm: type area

text: The area, usually a vertical rectangle, or a page of a book, or other publication, which is, or will be, filled with printed matter.


type face

norm: type face

text: 1. The printing surface of the upper end of a piece of type which bears the character to be printed or impressed. 2. The style, or design, of characters on a set type-e.g., Times Roman-and comprising all the sizes -e.g., 10pt., 12pt.-in which the particular design is made. Type faces are available in hundreds of designs, sizes, and weights.

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

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


type font

norm: type font

text: See: FONT.


type metal

norm: type metal

text: An alloy of tin, lead, antimony, and sometimes copper, used for casting type. 2. The handle or pallet letters used by bookbinders, which are usually made of brass.

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


type pallet

norm: type pallet

text: See: LETTERING PALLET (1).


type size

norm: type size

text: The measure of the dimensions of type, taken from the body of the individual type rather than from the actual printing area.

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


TYPE-HOLDER

norm: type-holder

text: An instrument for holding the type when used for lettering.


TYPES

norm: types

text:
The letters, marks, and signs, cast in metal, the larger sizes of wood, with which printing is executed.

The forms and proportions of types in the Roman character have undergone every change that the most capricious fancy could suggest. We have types of beautiful shapes and symmetrical proportions, but our type founders have diverged, for the sake of variety, gradually to a fatter face till the lines have become so thick that the letter has hardly any white in its interior, and when printed is nearly all black, with the outline only to guide us in knowing what it is; and on the contrary they have gradually gone to the other extreme, and produced what are called skeleton letters, which are formed of a fine uniform line; we have antique, the line being also of uniform thickness, but strong and heavy; we have letters with the strong lines and the fine lines reversed; we have tall narrow letters, and we have letters which look as if they had been pressed down, till they were considerably broader than they were high; we have letters drawn in perspective, with their edges towards us, as if they were marching away; and as for Italic, we have it now inclining to the left as well as to the right. The Modern Gothic or Black letter has not escaped this rage for change and variety, and we have forms introduced into it which would have puzzled our ancestors to know what they were meant for when the Modern Gothic was the standard character.

These changes and varieties have not been introduced as improvements either in the forms or proportions of the letters, but to produce variety and what is styled effect.

The scale of sizes of the respective types can only be looked at and received as an approximation to truth, as the letter founders themselves acknowledge; in fact there is no precise standard, for they cast according to the orders they receive from their customers: the following scale is a proof of this; Mr. Hansard, in his Typographia, gives the number of lines of each size in a foot as cast in the foundery of Messrs. Caslon and Livermore, which does not agree with the one I now give, which was supplied to me by Mr. Livermore in 1839, at my request, avowedly to publish, each fount having been measured to insure correctness; it was submitted to Mr. Caslon personally in August 1841, before printing, and revised, so that every precaution has been taken to prevent a mistake. The scale of the foundery of Messrs. V. and J. Figgins, as also that of Messrs. Thorowgood and Besley, were kindly furnished me by the respective houses. I have also given Moxon’s scale of sizes, which is the oldest that has been published, and which will show the variations in the depth of body which types have undergone. He prefaces it by saying, “And that the reader may the better understand the sizes of these several Bodies, I shall give him this Table following; wherein is set down the number of each Body that is contained in one Foot”—See Nicks.

Number of lines of the different sized types contained in one foot.

It thus appears that in 1683, the date of Moxon’s work, there were only ten sizes of types with specific names, while at the present time we have twenty-one; the following are our additional sizes—Diamond, Ruby, Emerald, Minion, Bourgeois, Small Pica, Paragon, Two Line Pica, Two Line Great Primer, Two Line Double Pica, and Trafalgar.

Canon is the largest size with a specific name; all above Canon are designated according to the number of Picas in the depth of the body; thus the next size larger is Five Line Pica, then Six Line Pica, and so on indefinitely. Twenty-four Line Pica is about the largest letter that is cast in metal, those above that size are generally cut in wood, as also any peculiar shaped letters. The German letter founders cast the face of letters in metal to a much larger size, and mount them on wood.

Minion used to be half an English; it has ceased to be so, and Emerald has taken its place, for English is now equal to two Emeralds: this latter is a size that was introduced about two years ago.

By an examination of the preceding table the relative proportions of the different sizes to each other will be ascertained; but to facilitate the reference they are here brought under one view.

Diamond = Half Bourgeois, also = ¼ Great Primer = ⅛ Two Line Great Primer.

Pearl = Half Long Primer, also = ¼ Paragon.

Ruby = Half Small Pica, also = ¼ Double Pica = ⅛ Two Line Double Pica.

Nonpareil = Half Pica.

Emerald = Half English.

Bourgeois = Half Great Primer, also = 2 Diamonds.

Long Primer = Half Paragon, also = 2 Pearls.

Small Pica = Half Double Pica, also = 2 Rubies.

Pica = 2 Nonpareils.

English = 2 Emeralds.

Great Primer = 2 Bourgeois, also = 4 Diamonds.

Paragon = 2 Long Primers, also = 4 Pearls.

Double Pica = 2 Small Picas, also = 4 Rubies.

Two Line Pica = 2 Picas, also = 4 Nonpareils.

Two Line English = 2 English, also = 4 Emeralds.

Two Line Great Primer = 2 Great Primers, also = 4 Bourgeois = 8 Diamonds.

Two Line Double Pica = 2 Double Picas, also = 4 Small Picas = 8 Rubies.

Canon = 2 Two Line Picas, also = 4 Picas = 8 Nonpareils.

It thus appears that Minion, Brevier, and Trafalgar, may be classed as irregular bodied letters, for they bear no specific regular proportion to any other size.

Minion was formerly half an English, but it has varied in the depth of its body from that proportion; some of the letter founders have introduced a new size between Minion and Nonpareil, and called it Emerald, and made this new type half an English; I think it would have been a preferable measure to have restored Minion to its original place.

This want of uniformity in the depth of body of the respective sizes is much to be regretted, as it causes serious inconvenience in a printing office, and might be avoided by the several letter founders agreeing among themselves and deciding what should be the standard for each size, and firmly refuse to cast a new fount to any other size, reserving the present variations for imperfections only, till the founts in use were worn out and discarded; we should thus gradually approach to uniformity; and whatever variations there might be in the face of the letter, still the quadrats and the spaces might be used to any fount of the same sized letter, without any risk of injuring the appearance of the work, and this would frequently be found of great advantage in poetry, figure work, and in light open matter.

This evil is not confined to England, but exists to a great extent in both France and Germany, and Fournier, an eminent letter founder who wrote on the subject, describes the evil, and explains the remedy which he invented and adopted, in his “Manuel Typographique,” published at Paris, in two volumes 12mo. 1764, of which the following is a translation.

“This article requires a particular explanation, because it is novel and obscure. I have placed it here in order to show the new proportions which I have given to the body of the characters, by the defined measures which I call Typographical Points.

“The last regulation of the Library, made in 1725, fixed the height to paper at ten and a half geometric lines. This rule is as easy to practise as it is to give; but such was not the case when it was desirable by this regulation to establish some rules in order to fix the strength of the body of the characters. At the time when this regulation was made, apparently no person was found competent to give correct ideas on that point, which was very important, as it would operate to correct abuse, and to give order and precision where there had never been any before. In default of proper information, a master printer gave as a rule the characters which he found in his own printing office, with all their imperfections. The law which was then obtained, not being founded on any principles, has consequently remained unexecuted, which is the reason why the characters have never had fixed and accurate sizes, and that this disorder still remains as great as it was formerly.

“In article lix. of this Regulation, it is given, as a fit body, that Petit-canon is equal to two Saint-Augustins; Gros-parangon is equal to a Cicero and a Petit-romain, &c., but the size that the Saint-Augustin, the Cicero, or the Petit-romain ought to have is not given, in order to make together the Petit-canon or Gros-parangon. Consequently this law can always be evaded, and it is evaded whenever any one wishes, without being liable to any penalty, because one person might make a body of Saint-Augustin more slender than another, and the Petit-canon might be cast to this double thickness, by which means the law would be fulfilled. Another person might make the body of Saint-Augustin more or less strong, and from two of these bodies he will cast a Petit-canon: here again the law is fulfilled, although in a spirit opposed to that of the Regulation. Thus confusion is perpetuated, until at length it gives one some trouble to make the distinction of the two bodies, of which the larger is weak and the smaller strong. It happens then that the characters of the same body vary more or less, and when two such are found in a printing office, the workmen mix the spaces and quadrats together, which spoils the founts.

“The Regulation has provided for this default, it will be said, when it ordains that there should be sent to the founders a certain number of letters of each body, in order that they might agree under pain of fine. But these letters which are thus proposed at hazard, and which are never given, would not have remedied the evil which it is wished to avoid. These pretended rules, instead of causing order and precision, on the contrary augment the confusion, by multiplying the parts without necessity. From thence it comes that the bodies of Petit-canon, Gros-parangon, Gros-romain, Cicero, Philosophie, Gaillarde, Mignone, are found, according to the Regulation, without double bodies, on which two-line letters can be made, of which nevertheless none of the bodies can do without. Here then are seven or eight bodies without names, useless for every other purpose, and with which the printing office is overloaded. Moreover, these combinations of the body of a Cicero and a Petit-romain to make a Gros-parangon, of a Petit-texte and Petit-romain to make a Gros-romain, of a Petit-texte and a Nonpareille to make a Saint-Augustin, truly proclaim little experience and capacity on the part of those who proposed them. The defect has been perceived, but no one has tried to find a remedy, and that because the printers, who are alone consulted in this affair, are not type founders sufficient to make proper experiments, and to give rules to a part of the trade which they do not exercise, and of which often they know only the name.

“This then is what engaged me to disentangle this chaos, and to give to these matters an order which they have never before had. I think I have had the happiness to succeed in it, with an exactness and precision which leaves nothing to be desired, by the invention of Typographical Points. It is nothing more than the division of the bodies of characters by equal and determinate degrees, which I call Points. By this means, the degrees of distance and the affinity of the bodies may be known exactly. They can be combined together in the same manner as numerical signs; and as two and two make four, add two, it will become six, double all this, you will have twelve, &c., in the like manner a Nonpareille, which is equal to six points, added to another Nonpareille will make together a Cicero, which has twelve points, add again a Nonpareille, you will have eighteen points or a Gros-romain, double all this, and it will make thirty-six points, or a Trismegiste, which has that number; and in like manner the others, as may be seen by a reference to the Table of Proportions which follows.

“In order to combine the bodies, it will be sufficient to know the number of Typographical Points of which they are composed. These points or given sizes should be invariable, so that they may serve as guides in the printing office, as the foot, inch, and line are used in geometry. For this purpose, I have fixed these points at the exact sizes they ought to have, in the scale which is at the head of the Table of Proportions; and that their exactness may be relied upon invariably, I have contrived an instrument which I call Prototype.

“The invention of these points is the first service which I rendered to printing, in 1737. Obliged then to commence a long, painful, and laborious career by the graving of all the punches necessary to form the establishment of my foundery, I found no rule established which could guide me in fixing the body of the characters which I had to make, and I was thus under the necessity of forming them for myself.

“The table exhibits at the top a fixed and definite scale, which I divide into two inches, the inches into twelve lines, and the line into six of these typographical points; the total is 144 points. The first small divisions are of two points, which is the exact distance which there is from a Petit-texte to a Petit-romain, or from that to a Cicero, &c. The scale contains in the whole twelve bodies of Cicero. It is necessary to measure by this gauge the number of points which I assign to each of the bodies. These measures, taken truly for each body separately, and verified on the Prototype, will form altogether a general correspondence for all the bodies of characters.”

“Of Height to Paper. The height of the characters called height to paper, that is to say, from the foot to the face which leaves its impression on the paper, is fixed by regulations of the book trade, and noted down by them, on the 28th February 1723, at ten and a half geometric lines. This law was established for rendering all the French characters conformable in their parts, in order that, passing from one printing office to another, by the death of the proprietor or otherwise, there might be no disparity among them. This law, however, though wise and good, is but partially executed, many printers having adhered to the height of the characters which they found already in their offices. Some countries, as Flanders, the Lyonnois, and others, which have the characters much higher by the ordonnance of the Porte, have preserved them thus, so that from these causes we see the characters varying from ten and a quarter to eleven lines and a half high. Those who have preserved them in this last way are among the dupes, because the characters which are according to the ordonnance cost a hundred pistoles, while those that have more metal in them are worth eleven hundred francs, because being one eleventh higher are one eleventh heavier.

“The officers of the chambres syndicals have neglected this part of the regulation; thus nothing is more common than to see in every printing office, the characters some a little too high and some a little too low. This makes it necessary to put the highest upon the tympans of the press within the places where the lines are too low. Sometimes many folds of paper are put under these low types upon the stone of the press, in order to raise the low parts up to the level of the high ones. This confusion does not originate with the founder, who is obliged to conform to the will of those for whom he works. Three parts of the French printers, at least, have their printing offices regulated according to the measure of ten lines and a half; and though there may be little inequalities which leave some of the characters a little too high and some a little too low, yet when there is only this slight difference, perhaps being sometimes but the thickness of a paper, the inequality is very inconsiderable. To avoid this confusion, and to make the founderies preserve one standard to regulate the height, and preserve it always the same, rests with the master. There are two ways: the first is a thin plate of copper or iron on which is made a notch of ten lines and a half high, and the other, which is in greater use and more convenient, is making a form of justification.”

The French have varied from Fournier’s standard, and have introduced fresh sizes since he published his work; when Fertel wrote, in 1723, he gave a list of nineteen sizes, but at the present time they have twenty-five; they are also changing their names, and now designate them by numbers, as will be perceived by the following list, which is copied from the specimen book of De la Tarbe, of Paris, 1835, to which I have affixed the number of points assigned to them by Fournier.

The German letter founders vary still more than the English or the French, for there is no standard body in Germany, every printing office has its varieties; the height is equally very different, but generally much higher than the French types. The German scale is formed by dividing their Petit, a size between our Brevier and Bourgeois, into four lines, so that each additional number is one fourth of their Petit. The names of many of the sizes also vary in different parts of Germany. The list that I give, with the number of lines to each size, I was favoured with by Mr. Edward Hænel, of Magdeburg, an eminent printer of extensive business; I have other lists, of letter founders, in different parts of Germany, but I do not think it necessary to insert more than one.

The German letter founders have types for printing maps, with which they form the line of the sea coast, with all its irregularities, its promontories, its bays, &c., the boundary lines, and the rivers. I had a map, printed in this manner, sent to me from Germany, which is very clever, and shows great ingenuity in the execution.

The names of German types, with the number of lines in each size.

Dutch names of types. From Smith’s Printer’s Grammar. 1755.

The Italian types are of a rather less body than the corresponding English types, but I have not been able to ascertain the precise degree of variation. I was favoured with this list by Mr. And. Pons, a printer at Parma, who originally belonged to the establishment of the celebrated printer Bodoni.

The Foreign Monthly Review for June, 1839, states that a type founder of Clermont, named Colson, has obtained a patent for a new material for printing types, which is harder, capable of more resistance, and yet less expensive than the ordinary composition of lead and antimony. It is well known, that types cast from the latter soon become worn, especially since the introduction of machine-printing. Colson asserts that the material is so hard that the types themselves will serve for punches in striking matrices, and that it will last ten years, without being more worn than the usual composition is in one year.

Type Founders. See Letter Founders.


typescript

norm: typescript

text: A copy of a work in typewritten form, as distinguished from one that is printed or handwritten. Abbreviated t.s.


typewriter paper

norm: typewriter paper

text: Often a good quality paper, usually a bond cut to 8 1/2 by 11 inches. It receives the usual bond finish and has no special surface other than the customary bond paper texture. The quality of typewriter paper varies considerably, with higher grades containing up to 25% cotton fiber content.

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.


typography

norm: typography

text: The art or process of printing from movable type, as in LETTERPRESS PRINTING.


ULTIMATE

norm: ultimate

letter: U

letter_raw: U

text: The last syllable of a word.


ultramarine

norm: ultramarine

text: A blue pigment occurring naturally in small amounts as the mineral lapis lazuli, and manufactured in very large amounts. It is a complex silicate of sodium and aluminum. Ultramarine is used as a mineral coloring agent in the manufacture of paper and leather.

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


ultrasonics

norm: ultrasonics

text: Vibrations with frequencies in the range of 2.0 X 10^5 cycles per second. Ultrasonic vibrations may be generated by applying alternating electric current to quartz, tourmaline, or Rochelle salt, or by the effect of oscillating magnetism on a rod of magnetic material immersed in a liquid. Ultrasonics are used to seal documents within polyester foils by fusing.

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


ultraviolet light

norm: ultraviolet light

text:
Electromagnetic radiation of shorter wavelengths than visible light. See: WAVELENGTHS.

It has much greater energy than visible radiation, but also much less power of penetration. Ultraviolet light is capable of initiating photochemical reactions, including fading of pigments, dyes, etc., and, being destructive to all organic matter, it can have a deleterious effect on such materials as paper and leather. Fortunately, its poor power of penetration (probably) reduces its likelihood of causing much damage, except on the surface of a material. Glass is opaque to ultraviolet light below 3300 A, and most other substances (quartz being a notable exception) below 2000 A. Exposure over a period of years, however, conceivably could be damaging; therefore, fluorescent lighting, which emits more ultraviolet radiation than does incandescent lighting, should be properly filtered with ultraviolet absorbing plastic panels.

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


umber

norm: umber

text: A natural product composed of magnesium silicate and iron compounds, and used as a coloring pigment. The "false" umbers are brown ochers produced artificially by burning the hydrated iron earths. Burnt umber is the calcined raw umber.


un-dehaired leather

norm: un-dehaired leather

text: A rarely encountered bookbinding leather, one that has been tanned in the natural state (with the hair left on). Although calfskin, usually a SLUNK, has been tanned in this manner for bookbinding purposes, most of the examples of this type of leather in bookbinding are the skins of wild animals.

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


unbleached groundwood paper

norm: unbleached groundwood paper

text: A paper manufactured from pulp produced by grinding wood to a relatively fine fiber length. The pulp is well screened to eliminate shives and dirt, and possesses relatively good brightness. The paper produced from it is relatively opaque, well closed up, and has a uniform printing surface.

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


unbleached sulfate pulp

norm: unbleached sulfate pulp

text: A paper pulp produced mainly from softwood trees containing a relatively high proportion of resin, e.g., the pines, which are cooked for relatively short cycles. The pulp has a very low color, is relatively shivey, and is unsuitable for bleaching because of its high chlorine requirement. It is characterized by exceptional strength.


unbleached sulfite pulp

norm: unbleached sulfite pulp

text: A tan or brown paper pulp that requires 2.5 to 4.5% chlorine to bleach it to a suitable white color. Characteristics expected of this type of pulp include softness, absorbency, cleanliness, and brightness. Peroxide is sometimes used in a single stage or final stage of bleaching to gain brightness and improve brightness stability.


unbound

norm: unbound

text: A book that has never been bound, i.e., a "book" in sheets, signatures, or gatherings. The term is sometimes used improperly to describe a book which has been PULLED for rebinding.

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


unctuous

norm: unctuous

text: Leather which has a soft, full, oily feel.


uncut

norm: uncut

variant: uncut edges

text: The edges of a newly printed book which have not been cut or trimmed, thus leaving the "bolts," which must be cut before the book can be read. Until this is done the book is said to be "unopened." In rebinding a book, the term signifies that the edges are left in the original uncut state, with or without bolts as received.

citations: Coupe, Raymond Richard. Science of printing technology. London. Cassell. 1966.

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


uncut

text: a book is said to be uncut when the edges of the paper have not been cut with the plough or guillotine.


uncut

text: A book is said to be uncut when the edges of the paper have not been cut with the cutting machine.


underbands

norm: underbands

text: See: BANDS (2).


UNDERHAND

norm: underhand

text: A phrase used by pressmen for the light and easy, or heavy and hard, running in of the carriage. Thus they say, The press goes light and easy <i>under hand</i>, or it goes heavy or hard under hand.—M.


Underlay

norm: underlay

text: A piece of paper or card placed under types or cuts to improve the impression.


UNDERLAYS

norm: underlays

text: Pieces of paper pasted on the bottom of an engraving on wood, to raise it to the proper height to print with types, &c. If an engraving be hollow on the face of it, then a small underlay under the hollow part will raise that part by means of the pressure in printing it at press, and prevent the necessity of using too many overlays.


UNEVEN PAGE

norm: uneven page

text: The same as Odd Page, which see. Smith uses the term.


unfinished

norm: unfinished

text: 1. A book of which only part was published, the remainder never having been completed or published. 2. A completely forwarded volume that has not been tooled, blocked, or lettered. 3. A binding that has not been completed.

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


ungathered

norm: ungathered

text: The printed sheets of a book which may have been folded but whose sections, if folded, have not been gathered into correct order.


unhairing

norm: unhairing

text:
The beamhouse process in leather manufacture of removing the hair (or wool) and other epidermal structures from hides and skins, following liming (or any other preliminary unhairing process), but before tannage. Unhairing is generally considered to be the second of the three major beamhouse operations, the others being LIMING and BATING. The term "unhairing" is perhaps limiting in scope, because not only does the liming-unhairing process loosen the hair and other epidermal structures, it also cleans, loosens, and expands the dermal fiber network and alters the swelling characteristics of the skin.

Unhairing may be accomplished by: 1) treatment with lime (calcium hydroxide), caustic soda (sodium hydroxide), barium hydroxide, sodium carbonate, or ammonium hydroxide, etc.; 2) treatment with lime, as in treatment 1, sharpened by the addition of sodium sulfide, sodium bisulfide, antimony sulfides, or other appropriate chemicals; 3) treatment with lime, as in treatment 1, sharpened by the addition of amines, such as methylamine, or degradation products themselves from the skins being processed; 4) treatment with aqueous buffer systems containing inorganic salts, e.g., ammonium sulfate, sodium chloride plus enzymes with proteolytic and/or carbohydrase activity, usually derived from molds, bacteria, fermenting plant materials or animal tissues; 5) treatment with aqueous solutions of inorganic salts, such as potassium perchlorate, potassium thiocyanate, sodium chloride or sodium silicofluoride; 6) treatment with hot water, i.e., scalding; 7) treatment with strong aqueous solutions of sodium hydr oxide, sodium sulfide, etc., i.e., pulping; 8) action of bacteria, or SWEATING (1); 9) treatment with ammonia; and 10) alternating cycles of freezing and thawing in water. The last two methods are not in commercial use; scalding is used only for certain skins, such as peccary and pigskin; and treatment with strong aqueous solutions of strong alkalis, e.g., sodium hydroxide, is useful only when the tanner has no market for the hair. Treatment by sweating is virtually obsolete.

Conventional unhairing involves loosening the hair by means of one of the lime solutions given above, followed by mechanical unhairing by machine. The unhairing machine is similar to the fleshing machine, except that the blades of the cylinder are smooth instead of sharpened, and the machine runs at a slower speed so that the spiral blades scrape or rub the hair off without damage to the grain surface of the hide or skin. The hair is generally gathered, washed, dried, baled, and weighed for shipment.

citations: O'Flaherty, Fred, and others, eds. The chemistry and technology of leather. New York. Reinhold. (American Chemical Society monograph series, no. 134. 1956-65. 4 vol.

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

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

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


uniformity

norm: uniformity

text: A term applied to the formation of a sheet of paper, i.e., the regularity of fiber distribution throughout the sheet structure, as well as other properties of the paper, including color and finish.


unit tools

norm: unit tools

text: The various finishing tools which have some device or design cut on the end of a brass shank. They are used separately or in conjunction with each other, as well as with line tools to form patterns. They may be "solid" or "line" in form, and when meant to be used by hand, generally do not exceed 3/4 by 3/1 inch in size; otherwise they become very difficult to use. A larger tool meant to be used in a press or blocking device, is more appropriately called a STAMP (2). Unit tools range in complexity from a simple dot to very intricate lacelike designs. The use of unit tools has declined in recent years, primarily because of the different conception of design prevailing today, but the same principle of building patterns from separate tools in still valid.

citations: Burdett, Eric. The craft of bookbinding; a practical handbook. London. Davis & Charles. 1975.

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


universal book tester

norm: universal book tester

text:
A device designed to test the durability of several aspects of a binding, including the durability of the covering material, the strength of the hinges, the stiffness and resistance to delamination of the boards, and, to a limited degree, the durability of the sewing. The device consists essentially of a rectangular test chamber constructed of aluminum, lined with 50 by 50 mesh of No. 304 stainless steel wire 0.009 inch in diameter. The chamber is supported and rotated by a drive shaft attached perpendicular to the center of its base. Viewed from the front, the drive is inclined at an angle of 20° from the horizontal, and rotates in a clockwise direction (at a speed of 20 r.p.m.). The dimensions of the test chamber vary with the size of the volume being tested, according to the following table:

Test Chamber    Internal Dimension    Overall Dimensions

type           of Chamber       of Volume to be Tested

(in Inches)            (in Inches)

Width  Height   Depth     Width      Height

A           13      16       4       5 to 7     7 to 10

B           15      19       4       8 to 10   1O to 13

C           15      15       4       8 to 10    6 to 9

D           11 1/2  13       4       4 to 7     5 to 6

E           18      23       4      11 to 13   14 to 17

Each chamber is rounded to a 1 1/2 inch radius along the sides of the bottom to concentrate the abrasive stresses along the edge of the spine of the book. The chamber was designed in this manner to stimulate observed patterns of wear.

The Universal Book Tester is said to produce the following results: 1) abrasion of the shoulder of the spine; 2) impact and abrasion of the headcaps (if any), otherwise the edges of the head and tail of the spine; 3) light abrasion of the covers (sides); 4) limited flexing of the joints; 5) breaking and tearing on the internal hinge; and 6) occasional failure of the sewing, i.e., loosening of the sections and splitting of the spine.

citations: American Library Association. Library Technology Program. Development of performance standards for binding used in libraries, phase 11. Chicago. American Library Association. (L. T. P. publications no. 10). 1966.


unlettered

norm: unlettered

text: A book which has not been blocked or otherwise marked with identifying information on the spine or cover. Before about 1600, books that were lettered at all generally had the title inked or painted on the fore edge, as books were shelved fore edge outward, and binders did not bother to letter the spines of books. Nor did they bother to letter them long after the practice of shelving fore edge outward was discontinued. Possibly it was a matter of economy and perhaps the PRESS MARK (2) sufficed. Labels on spines were unusual in England before about 1660, so that few books were lettered before the middle of the 17th century. Many owners wrote the titles on paper labels or directly on the covering material of the books. Gilt lettering on labels for those particular books was usually stuck on at a later date.


UNLOCK THE FORM

norm: unlock the form

text: To loosen the quoins for the purpose of correcting; and also for laying-up; or for any other purpose.


unopened

norm: unopened

text: A book whose "bolts," i.e., the folded edges of the sections, have not been trimmed off or opened with a knife. The term is not to be confused with UNCUT.

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

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


unopened

text: the book is said to be unopened if the bolts of the sheets have not been cut.


unopened

text: A book is said to be unopened if the bolts of the sheets have not been cut.


unsewn binding

norm: unsewn binding

text: See: ADHESIVE BINDING.


unsized paper

norm: unsized paper

text: A paper having no sizing material added either during or subsequent to manufacture, i.e., a WATERLEAF (1) sheet.

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.


unsplit

norm: unsplit

text: A hide or skin in its entire original thickness. See also: FULL WEIGHT.


untouched

norm: untouched

variant: untouched edges

text: 1. A book whose pages have not been rubricated or illuminated. 2. The edges of a book that have not been trimmed, cut, marbled, sprinkled, or decorated in any manner.

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


untrimmed

norm: untrimmed

text: A book that has not had its edges cut smooth in the guillotine, plow, or three-knife trimmer, and which may have unevenly projecting leaves, generally at the head and fore edge, or flat paper which has not been trimmed in the guillotine or other cutting machine.


upper cover

norm: upper cover

text: The top or first cover of a book, or the portion of the covering of a book over the front or first part.


UPPER HAND

norm: upper hand

text: When the spindle goes soft and easy, the pressmen say, it goes well over hand or above hand. But the contrary if it goes hard and heavy.—M.


Upper Hand

text: when the *Spindle* goes soft and easie, the *Press-men* say, *It goes well under Hand*, or *Above Hand*. But the contrary if it goes *Hard and Heavy*.

siglum: MOX

author: Moxon, Joseph

work: Moxon's Mechanick Exercises, Volume 2


Uppercase

norm: uppercase

text: The case containing capital and small capital letters, fractions, &c.


upright

norm: upright

text: A book which is taller than it is wide. Cf: OBLONG.


urea

norm: urea

text: A nitrogenous substance ((NH4)2CO3), abundant in perspiration and urine. It is readily attacked by microorganisms which may result in the formation of ammonia compounds detrimental to the permanence of leather. It is also used in the manufacture of paper.


usability

norm: usability

text: The durability of a binding in terms of the circulation it is likely to be capable of withstanding before rebinding or replacement becomes necessary.


uterine vellum

norm: uterine vellum

text: See: SLUNK; VELLUM. See also: PARCHMENT.


utilitarian protective binding

norm: utilitarian protective binding

text: See: GIRDLE BOOK.


V

norm: v

letter: V

letter_raw: V

text: The Roman equivalent of 5. See: ROMAN NUMERALS.


V through

norm: v through

text: A V-shaped device, usually constructed of wood or sheet metal, and used for punching holes by hand in single-section publications in preparation for saddle sewing by hand.

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


vacuum deposition

norm: vacuum deposition

text: A process used for coating a film or other base material. The coating material is heated and evaporated in a high vacuum and condenses on the chilled surface of the material to be coated. Blocking foils are an example of vacuum deposition.


valence

norm: valence

text: The power of combining with another element or radical, i.e., the E number of atoms of other elements with which the atoms of any one element can combine directly. Hydrogen, for example, is univalent and therefore can only become attached to one atom of another element, e.g., it combines with chlorine, another univalent element, atom for atom, forming H-Cl (hydrochloric acid). Bivalent elements, e.g., oxygen, can combine with two, such as with two hydrogens, forming H2O. Valencies up to eight are possible.


valonea

norm: valonea

variant: valonia

text: A vegetable tanning material obtained from the dried acorn cups and beards of the Mediterranean (valonea) oak, Quercus aegilops, and allied species. The cups contain tannin in the amount of 25 to 31%, while the beards usually contain 40% or more. Valonea is of the pyrogallol class of tannins and produces a leather of firm texture and light color. It also deposits considerable bloom because of its relatively high content of ellagitannic acid. It has a fairly high natural pH (3.6) for a pyrogallol tannin, as well as a moderately high acid and salts contents. See also: VEGETABLE TANNINS.

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


Van der Waals forces

norm: van der waals forces

text: The physical forces of attraction and repulsion existing between molecules and which are responsible for the cohesion of molecular crystals and liquids. The forces stem partly from dipole-dipole, or dipole-induced-dipole interactions; however, even nonpolar molecules and atoms exert a certain attraction on one another. Van der Waals forces act only over relatively short distances, and are proportional to the inverse of the seventh power of the intermolecular distances. The forces are important in the mechanics of ADHESION.

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


VANTAGE

norm: vantage

text: When a white page or more happens in a sheet, the compositor calls that Vantage: so does the pressman, when a form of one pull comes to the press.—M. At the present day it is termed Fat, which see.


vapor density

norm: vapor density

text: The ratio between the weight of a given volume of a gaseous substance and that of the same volume of another gas (usually hydrogen) measured under the same conditions of pressure and temperature. Vapor density is not an integer but may be compared with a value based on whole mass units.


vapor permeability

norm: vapor permeability

text: That characteristic of a material which permits the passage of a vapor or gas. The PERMEABILITY is measured under carefully specified conditions, such as total pressure, partial pressure on the two sides of the specimen, temperature and relative humidity. As the fibers of a material such as paper have such a high affinity for water (vapor), vapor permeability should not be confused with air permeability or porosity. See also: WATER-VAPOR PERMEABILITY.

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


vapor pressure

norm: vapor pressure

text: The pressure which exists over every liquid (or solid). In a closed vessel, given sufficient time, equilibrium is attained, in which as many molecules leave the liquid surface to form vapor as return to it from the vapor phase to form liquid. The pressure of vapor above any liquid or solid at any temperature, when equilibrium exists, is called the vapor pressure of the liquid or solid at that temperature.


vapor-phase deacidification

norm: vapor-phase deacidification

text: A method of deacidifying paper which involves the use of a material that is capable of supplying the deacidification agent in the form of a vapor. Ammonia, diethyl zinc, morpholine, or other volatile alkaline substances can be used, but most are not permanent in the presence of high relative humidity. Another method, and one which has received considerable notice, involves the use of cyclohexylamine carbonate. The books are interleaved with tissue paper impregnated with the compound, while loose documents may be treated by placing sacks containing the compound with the documents in box files. The deacidification agent is the free amine given off as a vapor. No alkaline reserve is left in the paper by this method, and this, along with its disagreeable (fishy) odor, represent its chief shortcomings. Some authorities also contend that the vapor is potentially toxic. See also: BARROW, WILLIAM J. ; DEACIDIFICATION; DIETHYL ZINC; MORPHOLINE; NON-AQUEOUS DEACIDIFICATION.

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


variegated marble

norm: variegated marble

text: See: TRANSPARENT MARBLE.