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An old book lying open by a window, its cover being replaced

Professional Book Repair, Restoration and Reconditioning by Hibrkraft. Serving all of Indonesia.

Whether it is your parents’ treasured book beginning to grow fragile, a rare volume that demands precise restoration, or the handbook you open and close every single day, the Hibrkraft team tends to every page with trained hands, the best materials, and undivided attention.

Every book and every document has a story of its own. We are the ones who keep it.

As a member of the International Institute for Conservation of Historic and Artistic Works (IIC), we bring world conservation standards into respectful hands in Bogor, and to the whole of Indonesia.

4.9 from 85 Google reviews

Free consultation on WhatsApp

Track Record

  • 15 Years of Work
  • 100,000+ Products Made
  • 4.9 Google Rating · 85 reviews
  • 4 Countries UAE · MY · CA · DE
  • 2,000 pcs Capacity / Month
Trusted by
Pertamina · POLRI · PPLi · Unilever
Covered by
TVRI · Trans7 · MNC Home Living · iNews Radio
In print
Tabloid Nova · Bogor Today · Tren Bogor
Awards
UDUNAN 2020 Winner · Ekraf Jabar · Mitra Jabar
The Hibrkraft team outside the workshop in Bogor
The Hibrkraft team, Bogor
Download the Hibrkraft Company Profile PDF · 18 pages · 15,5 MB

For vendor applications, tenders and corporate partnerships.

Four tiers

Catur Karya

Every book is damaged in its own way, so there is no single price. Ordered here from the lightest work upward.

An engraving of three decorated leather spines, each lettered with a title and a year
The spine is the part of a book that fails most often, and the part we rebuild most often. These three calf-leather spine samples from Zaehnsdorf’s catalogue show what has to go back exactly where it was every time a spine is taken apart: the lettering, the divisions between panels, and the ornament.Samples of Backs suitable for Calf Work. Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Public domain, via Project Gutenberg.
A book damaged to the degree handled by the Repair service

Repair

Rp 35.0003–5 working days

Careful repair of physical damage: tears, a loosened binding, or pages that have come away.

A book damaged to the degree handled by the Reconditioning service

Reconditioning

Rp 45.0005–7 working days

Bringing a damaged book back to a handsome state without stripping away the character it already has.

A book damaged to the degree handled by the Restoration service

Restoration

Rp 85.0007–10 working days

A complete renewal of a damaged book, replacing elements and components. Structural change is included.

A book damaged to the degree handled by the Conservation service

Conservation

Rp 125.00010–20 working days

Long-term preservation for rare or historic books, using reversible materials and recording every step taken.

First assessment

Which tier does your book fall into?

Two questions, and you know the tier, the starting price and how long the work takes — before contacting anybody.

The four tiers, and the condition that leads to each.
Condition of the bookTierFromTime
Still comfortable to read, only minor damageRepairRp 35.0003–5 working days
Still readable but dull or dirty, wants tidyingReconditioningRp 45.0005–7 working days
Dull and wanted like new, or fairly badly damaged on an ordinary bookRestorationRp 85.0007–10 working days
Fairly badly damaged, and the book is historic or antiqueConservationRp 125.00010–20 working days

An estimate, not a quotation. The final price follows the size, the number of pages and the materials — send photographs and we will work it out for you, free.

Free consultation on WhatsApp

Work on film

The process, filmed

Click to play. The video only loads from YouTube once you press play — before that this page contacts no server but our own.

Real work

Books that have come through this workshop

Ons Insulinde — the spine destroyed, the botanical plates saved
Ons Insulindethe spine destroyed, the botanical plates saved
Ons Insulinde — the state of the spine before resewing
Ons Insulindethe state of the spine before resewing
Ons Insulinde — an illustrated page after cleaning
Ons Insulindean illustrated page after cleaning
Polemik Kebudajaan — rebound with a new cover
Polemik Kebudajaanrebound with a new cover
Al-Qur’an — the binding repaired
Al-Qur’anthe binding repaired
Al-Qur’an — adhesive-tape residue cleaned from the spine
Al-Qur’anadhesive-tape residue cleaned from the spine
Loose pages — the whole text block detached from the spine
Loose pagesthe whole text block detached from the spine
A marked-up spine — the sewing guide before rebinding
A marked-up spinethe sewing guide before rebinding
Foxing — chemical spotting on old paper
Foxingchemical spotting on old paper
Summer in Seoul — worn cover edges, bumped corners
Summer in Seoulworn cover edges, bumped corners
A protective slipcase — made to measure for a library binding
A protective slipcasemade to measure for a library binding
Removing encrustation — thick dirt and mould on a cover
Removing encrustationthick dirt and mould on a cover

One job

The Al-Huda mushaf, before and after

The film comes from our own bench and our own server, not from YouTube — this page contacts nobody to play it, and downloads nothing until you press play.

Bench footage, 53 seconds, with before and after cards. The last shot shows the mushaf lying flat and staying open at the page.

One book, filmed twice: the day it arrived, and the day it was finished. What happened in between needs no words.

What you see in those final seconds is the measure we hold every binding to — the book lies flat, and stays where it was opened. A mushaf that still has to be held down with both hands every time it is read is, to our mind, not finished.

If your book is in a similar state, the two questions in the first assessment will tell you the tier and the starting price before you contact anybody.

Free consultation on WhatsApp

The title page of Indonesie Vrij by Mohammad Hatta, with a collection label

The standard

Conservation follows different rules

This book belongs to EFEO Indonesia — Mohammad Hatta’s 1928 defence speech. For a collection like this the materials must be reversible, nothing may be discarded, and every step is recorded.

We are members of the International Institute for Conservation of Historic and Artistic Works. For a book that cannot be replaced, that is the standard.

Why us

Four reasons people send their books here

The Hibrkraft bench with binding tools and an old book

Deep expertise, and an international standard

Our team are full members of the IIC (International Institute for Conservation). We work to the same conservation standard as world-class museums and libraries. Every treatment uses archive-grade materials and reversible technique.

A smiling woman holding a brown leather journal with a tie

We are fond of every book

To us a book is not merely an object. Every book that arrives at the workshop carries a story, a memory, and a value nothing can replace. We treat your book as though it were our own — with respect, with care, and with full attention.

A woman holding a red leather journal in front of her face

An open process, serving the whole country

From the first consultation to the final despatch, we keep the communication clear and open. You get regular updates on how the repair is progressing. We serve the whole of Indonesia, with shipping that is safe and insured.

Parcels wrapped in brown paper with red wax seals

Keeping the value, respecting the history

We undertake not only to repair the physical damage but to preserve the emotional value, the history and the usefulness of your book for the generations after you. Every treatment decision is weighed against long-term preservation.

A photograph of two vellum bindings standing side by side, one plain and one with a decorated frame
Two vellum bindings more than two hundred years apart in age, photographed side by side in 1918 — and both still standing. This is the simplest argument for repairing rather than replacing: a book bound and cared for properly really can last that long.VELLUM BINDINGS (1674 AND 1878). Mitchell S. Buck, Book Repair and Restoration, 1918, p. 24. Public domain, via Project Gutenberg.

Who does the work

The hands that will hold your book

Conservation-tier work is done directly by Ibrahim Anwar, the founder of Hibrkraft, who bound his first book in 2011.

More than 1,000 books

Since 2011 more than a thousand books have passed across this bench. Most belong to private owners — books in daily use, and books that cannot be replaced.

Institutions among them

ANRI (the National Archives of the Republic of Indonesia) and EFEO (École française d’Extrême-Orient) have both sent work here, as have several libraries and one children’s library. Institutions usually send many books at once.

Including Hatta’s 1928 speech

One of the EFEO items worked on at this bench is Indonesië Vrij — the text of Mohammad Hatta’s defence speech before the court at The Hague in 1928. Done by hand here, under the same conservation rules: starch paste, nothing discarded, every step recorded. See the work done for EFEO

Not delegated

At Conservation tier no part of the work is handed to anybody else. First-hand experience cannot be borrowed — and a rare book does not offer a second chance.

One more job

Conservation work for EFEO

The film comes from our own server, as the one above does — nothing is downloaded until you press play.

Conservation work for EFEO. 37 seconds.

EFEO — École française d’Extrême-Orient — is a research institute that sends work to this workshop. This footage is from one of those jobs.

Conservation-tier work uses a starch-based paste rather than PVA, so that a joint can be opened again without harming the original paper. Every step is recorded.

Materials and method

What we actually use

Not a shopping list, but the reason each material was chosen — and why the Conservation tier does not use the same materials as the tiers below it.

The adhesive differs by tier

Repair and Reconditioning use PVA glue — strong, quick, and right for a book in daily use. Conservation does not. At that tier the adhesive is a starch-based paste, so a joint can be opened again without harming the original paper. That is what “reversible” means on this page, and it is why the two tiers cannot stand in for one another.

Paper and thread

Japanese tissue for mending tears and strengthening folds; linen and cotton thread for sewing; kraftliner and linen paper wherever the material has to bear load. Chosen because they will still be defensible ten years from now, not because they are the cheapest.

Fragile paper is humidified first

Brittle paper snaps if it is flattened straight away. So it is humidified first in an enclosed space — a sealed bag for a single book, a sealed box for a few, and a sealed room of its own once there are more than ten. The humidity is raised slowly until the paper fibres will move again.

Every step is recorded

At Conservation tier, what was done and what was used is written down. So that whoever comes next — perhaps decades from now — knows exactly what has been done to that book, and can undo it if they need to.

Limits

What we will not take on

Four kinds of job we turn down, and why. Refusing work saves more books than accepting it does.

A sound binding with a few scuffs

We will not pull apart a library-standard binding that is merely a little knocked about. Taking a healthy binding apart shortens its life rather than extending it. All we offer is protection — we will make a cover for it, not a new binding.

Books carrying the marks of war

Four books bearing war damage were once sent here. We returned them unrepaired. That damage is not a fault to be erased — it is part of the book’s own history. Restoring it to smoothness would mean destroying evidence.

Water damage that has fused the pages

Once water has stuck the pages together into a single block, we do not take the job. Forcing them apart lifts the surface the text sits on. It is more honest to say it cannot be done than to hand back a book reduced to fragments.

Mould that is still mild

If the mould has not got far, we usually decline the work. We tell you what can be done at home and how to go about it carefully. The book needs to go nowhere, and you need pay nobody.

If something goes wrong

What we take responsibility for

The three worries we hear most, answered before you send anything.

If it turns out it cannot be repaired

We tell you at the consultation stage if the book is likely to be beyond saving — with photographs of its condition and the alternatives, such as minimal stabilisation for storage. If you decide not to go ahead, the book is returned at no charge.

If the cost overruns the estimate

The first estimate is worked out from photographs, and the real condition is sometimes different. Where the gap is under 20% we hold the original price. Where it is significant we come back to you for approval first — you are free to cancel, and the book returns with no treatment charge.

If the work does not hold

Sewing or binding that comes away within 6 months of normal use we repair free of charge. A workmanship fault that got past our checks we also put right at no cost. We always send photographs of the finished work before despatch — if it is not what you expected, we revise it.

Convinced enough?

Send photographs of the book now. What follows below is about how the process runs.

Free consultation on WhatsApp

Comparison

What the difference actually is

A loosened binding with pages starting to come away

Book Repair

For light damage that gets in the way of reading. Repair is the most basic of the services, and none the less important for that. Its whole aim is to make the book usable again without irritation.

A book spine cracked and split open

Book Reconditioning

For a book going dull that you still want to read comfortably. Reconditioning aims to bring it back to its best reading condition without drastically altering its original form.

Termite and insect damage across the pages of a book

Book Restoration

For a thorough renewal that leaves the book looking new. Restoration is the service for a book you want “brought back to life”, in appearance and in function alike.

A water-damaged book, the pages swollen and stained

Book Conservation

For the preservation of a historic or high-value book. Conservation goes deepest of all. Its purpose is not merely to repair but to keep the book’s physical and historical integrity intact for the generations after us.

The process

From a photograph to the book coming home

  1. 01First consultation (FREE)Message us on WhatsApp at +62 815 1119 0336. Tell us the condition of your book and what you would like brought back. Send a few photographs for a first assessment. Our team replies in hours, not days.
  2. 02Assessment and cost estimate (FREE)Working from the photographs you send, our team will:
    • Assess the extent of the damage.
    • Decide the right service — repair, reconditioning, restoration or conservation.
    • Give an estimated cost and working time before you commit.
  3. 03Sending the book to the workshopOnce you have approved the estimate, send your book to our workshop address. We will give you the right packing guidance to protect it in transit, particularly if it has already grown fragile.
  4. 04Confirming arrivalWhen the book arrives, we will:
    • Send unboxing photographs and video, so its condition on arrival is on record.
    • Examine the book directly and check it against the initial assessment.
    • Tell you if anything we find changes the earlier estimate.
  5. 05The treatment itselfThe book is handled by experienced artisans and conservators. We use only:
    • pH-neutral, reversible adhesive; starch-based paste for conservation.
    • Acid-free paper and Japanese tissue for mending.
    • Linen or cotton thread, bookcloth, and genuine leather for covers.
  6. 06Regular updatesWe keep you posted on how the treatment is going — the stage the work has reached, when it should finish, and the moment the book is ready. On complex projects we send work-in-progress photographs.
  7. 07Quality control and photographs of the resultBefore despatch the book goes through a strict quality check. We send photographs of the finished result for your approval before anything is posted.
  8. 08Payment and despatchAfter approval, payment is made by bank transfer. The book is packed with extra protection and sent to your address with a tracking number.

Shipping

Your book in transit

A book being wrapped layer by layer at the Hibrkraft packing bench before its return journey

Confirmation photographs

We send photographs and an unboxing video the moment your book reaches the workshop. You know exactly what condition it arrived in.

Purpose-made packing

Packing guidance for fragile books. The return journey is double-protected and labelled FRAGILE.

Insurance if you want it

Shipping insurance is available for high-value books. Extra cover, for your own peace of mind.

Couriers we trust

We work with JNE, J&T, SiCepat and Paxel to make sure delivery is safe anywhere in Indonesia.

Materials

What we use

Adhesive
pH neutral, acid-free, reversible — removable without damage.
Paper
Acid-free, for joining and lining.
Thread
Linen thread, or thread made specifically for bookbinding.
Cloth
Good bookcloth for covers.
Leather
Genuine leather, for restoring leather-bound books.
Protection
Archival-grade boxes for conservation storage.
A dark red goatskin sample with a fine grain, tipped onto the page of a book
A goatskin sample tipped straight into the front of Leather for Libraries (1905) — the Sound Leather Committee’s report into why nineteenth-century binding leather decayed so quickly. One of its findings: red rot in morocco often followed from sheepskin being sold as goatskin. Telling the two apart is still the first job here before we touch a cover.(1.) GOAT. E. Wyndham Hulme, Cyril Davenport, et al., Leather for Libraries, 1905. Public domain, via Project Gutenberg.

Scope

What we accept

Scripture
The Qur’an, the Bible, the Torah, the Vedas and others.
Family books
Photograph albums, diaries, recipe books, inherited notebooks.
Collectors’ books
Rare novels, vintage comics, art books.
Academic books
Schoolbooks, lecture notes, theses.
Antique books
Manuscripts, old texts, historic volumes.
Important documents
Marriage books, certificates issued in book form.

Libraries, museums, archives

When it is not one book but fifty

Institutional projects run differently: assessed by collection, priced by volume, and documented copy by copy.

Who usually asks

University and school libraries, museums and archives, religious institutions — mosques, churches, temples — and companies that keep archive collections.

What we offer

On-site assessment in some areas, special pricing for large volumes, and a condition report with full documentation for every copy.

What has been done already

Conservation of the EFEO Indonesia collection, including an item published in 1928. Reversible materials, nothing discarded, every step recorded.

See the services for institutions and companies

Diagnosis

312 terms for book damage and bookbinding

Two parts. First a damage diagnosis in Indonesian, grouped by the tier of treatment it calls for. Then a bookbinding dictionary, quoted exactly as it stands from public-domain glossaries.

Repair

An example of a book handled by the Repair service
  • Dog-eared pages — Sudut halaman tertekuk

    Dog-eared pages Sudut halaman tertekuk

    Creases at the corner of a page that need flattening back out.AIC BPG Glossary: Dog-eared

  • Detached page — Halaman lepas

    Detached page Halaman lepas

    One or more leaves have come away from the binding, though the paper itself is still sound.AIC BPG Glossary: Loss

  • Minor tears — Sobekan kecil

    Minor tears Sobekan kecil

    Tears under 2 cm at the edge of a page or cover, mendable with Japanese tissue.AIC BPG Glossary: Tear

  • Loose binding — Binding longgar

    Loose binding Binding longgar

    The binding structure moves when the book is opened, though the thread or glue has not given way entirely.Ligatus LoB: spine linings

  • Spine crack — Retak punggung

    Spine crack Retak punggung

    A vertical crack along the spine, common on thick softcover books.AIC BPG Glossary: Split

Reconditioning

An example of a book handled by the Reconditioning service
  • Yellowing — Kertas menguning

    Yellowing Kertas menguning

    Natural oxidation of the paper, or UV exposure, turning it yellow.AIC BPG Glossary: Discoloration

  • Foxing — Bercak coklat

    Foxing Bercak coklat

    Reddish-brown spotting caused by a chemical reaction with metal in the paper, or by dormant fungal activity.AIC BPG Glossary: Foxing

  • Dust soiling — Kotoran debu

    Dust soiling Kotoran debu

    A build-up of dust darkening the top edge or the cover.AIC BPG Glossary: Grime

  • Warped boards — Cover melengkung

    Warped boards Cover melengkung

    Hardcover boards bowed convex or concave by a sharp change in humidity.Ligatus LoB: boards

  • Worn edges — Tepi aus

    Worn edges Tepi aus

    The cloth or paper at the cover corners rubbed away until the board beneath shows through.AIC BPG Glossary: Abrasion

Restoration

An example of a book handled by the Restoration service
  • Broken spine — Punggung patah

    Broken spine Punggung patah

    The spine has snapped in two, and the text block has usually separated into several large pieces.AIC BPG Glossary: Split

  • Detached cover — Cover lepas total

    Detached cover Cover lepas total

    The hardcover has come away from the text block completely.Ligatus LoB: covers

  • Major tears — Sobekan besar

    Major tears Sobekan besar

    Tears running across text or an important image, needing the paper fibres to be rejoined.AIC BPG Glossary: Tear

  • Missing pages — Halaman hilang

    Missing pages Halaman hilang

    Pages lost, needing facsimile reproduction and rebinding.AIC BPG Glossary: Loss

  • Rodent/Insect damage — Kerusakan hama

    Rodent/Insect damage Kerusakan hama

    Rodent bite holes, or termite tunnelling through the paper and cover.AIC BPG Glossary: Insect damage

Conservation

An example of a book handled by the Conservation service

General terms — 293 words

The vocabulary of bookbinding and book care. Entries marked with a year are quoted exactly as they stand from public-domain glossaries — Zaehnsdorf (1890) and Coutts & Stephen (1911); the definitions are those authors’ own words.

Bookbinding Element, 16th century — Copper; cast
16th century
Bookbinding (Jild-i kitab), 17th century — Leather; stamped and gilded
17th century
Bookbinding, 14th century — Leather
14th century
Bookbinding, 13th–14th century — Leather
13th–14th century
Bookbinding, first half 14th century — Leather; stamped and gilded
first half 14th century
Bookbinding, 1776
1776
Bookbinding, 16th–17th century — Leather; tooled and gilded
16th–17th century
Bookbinding, 17th–18th century — Brown leather over pasteboard
17th–18th century
Bookbinding, 14th century — Leather; tooled, stamped, and gilded
14th century
Bookbinding, 17th century — Leather; stamped and gilded
17th century
Bookbinding, 17th century — Leather; tooled, gilded, and painted
17th century
Bookbinding, first half 14th century — Leather; stamped and gilded
first half 14th century

Twelve historic bindings from the open-access collection of The Metropolitan Museum of Art, released CC0.

Adhesive failureLem kering/gagalSpine adhesive that has dried and gone brittle, letting the pages fall out — common in old paperbacks.Hibrkraft ↗
Advance Copies Or SheetsCopies of a book bound, or in sheets, printed for preliminary notices or for publication in more than one place at a time.1911
Aldine Or Italian StyleOrnaments of solid face without any shading whatever, used by Aldus and other early Italian printers. The ornaments are Arabic in character, and are suitable for early printed books.1911
All-AlongWhen a volume is sewed, and the thread passes from kettle-stitch to kettle-stitch, or from end to end in each sheet, it is said to be sewed “all-along.”1890
All-Over PatternA small pattern constantly repeated.1911
Antique PaperA comprehensive term originally applied to machine-made papers made in imitation of old handmade printing papers, to denote colour and finish. It is now used to describe any bulky paper with a rough surface. The commoner qualities are known as featherweight.1911
Arming PressA species of blocking press used by hand; so called from the use of it to impress armorial bearings on the sides of books.1890
Art PaperA paper with a highly glazed surface, produced by a coating of mineral matter, adapted to half-tone printing.1911
AsteriskA star used by printers at the bottom of the pages meant to supply the places of those cancelled (see also CANCEL).1890
Azured ToolsTools having a series of close parallel lines cut horizontally upon their face, and are so called because the colour blue in heraldry is represented in this manner.1911
Back PagesThose on the left side of an open book.1911
Backing BoardsUsed when backing and for forming the groove. They are made of very hard wood, and sometimes faced with iron; are thicker on the edge intended to form the groove than upon the edge that goes towards the foredge, so that the whole power of the lying press may be directed towards the back.1890
Backing HammerThe hammer used for backing and rounding; it has a broad flat face similar to a shoemaker’s hammer.1890
Backing MachineA machmc for backing books, generally used for publishers' binding and cheap work.1911
Backs-The " back " margin of jxages; that part of the book which is sewn, when bound.1911
Band DriverA blunt chisel used in forwarding, to correct any irregularities in the bands of flexible backs.1890
Band NippersFlat pincers used for nipping up the band in covering.1890
BandingDecorating by means of horizontal stripes, mostly filled with ornament.1911
BandsThe cord whereon the sheets of a volume are sewn. When a book is sewn “flexible” the bands appear upon the back. When the back is sewn so as to imbed the cord in the back, the appearance of raised bands is produced by gluing narrow strips of leather across the back before the volume is covered.1890
BeadingThe small twist formed when twisting the silk or cotton in head-banding.1890
Beating HammerThe heavy short-handled hammer used in beating (generally about 10 lbs.).1890
Beating StoneThe bed of stone or iron on which books are, or were, beaten; now generally superseded by the rolling machine and standing press.1911
Bevelled BoardsVery heavy boards with bevelled edges; used for antique work.1890
Binder'S TitleThe title lettered by the binder on the back of a book. See also " Half title."1911
BindingA trade term for the best work. Applicable to any book well forwarded, lined with marbled or other special paper, silk headbands, and gilt with a narrow roll round the sides and inside the " squares."1911
Binding BookA register in which all books sent to the binder are recorded, with particulars as to lettering, style, colour, etc.1911
Binding Instruction Slip Or SheetA slip or folio sheet on which the instructions for binding a particular book, or books, are written for the binder's guidance.1911
Binding ProofSome rough edges left on a trimmed book, to show that it has not been cut down excessively.1911
BleedWhen a book has been cut down into the print it is said to have been bled.1890
BlockingThe impressing of gold leaf, metal foil, or other graphic media into the book-cover by means of a stamp having a raised surface. The term is also applied to the impressing of type, blocks, etc., without any intervening media, this operation being known as " blind blocking."1911
Blocking PressAnother and more general term for the arming press; one of the chief implements used in cloth work. Used for finishing the side of a cover by a mechanical process.1890
Blocks Or Blocking ToolsAn engraved stamp used for finishing by means of the blocking press.1890
BloomKabut putihA waxy white haze on a leather or cloth cover, caused by fats migrating to the surface.Hibrkraft ↗
BoardsAre of various kinds, each denoting the work it is intended for, such as pressing boards, backing, cutting, burnishing, gilding, etc.1890
BodkinA strong and short point of steel fixed in a wooden handle, for making the holes through the mill-boards. The slips upon the back of the book are laced through the holes for attaching the mill-board to the book.1890
Body Of The WorkThe text or subject-matter of a volume, so called to distinguish it from the preliminary matter, index, notes, etc.1911
BoleA red earthy mineral, resembling clay in character, used in the preparation for gilding edges.1890
BoltThe fold in the head and foredge of the sheets. The iron bar with a screw and nut which secures the knife to the plough.1890
Book-ShrineA box or chest, Tisually (irnamented, in which valuable books were placed.1911
BossesBrass or other metal ornamentations fastened upon the boards of books; for ornament or preservation.1890
BrittlenessKertas getasPaper that snaps when folded, usually through a high level of acidity.Hibrkraft ↗
BroadsideA large sheet of paper printed on one side.1911
BrochureLiterally, " a stitched work " (from the French " hrocher," to stitch). A short printed work of a few leaves, merely stitched together, and not hound; a pamphlet.1911
Broken claspsPengait rusakDamage to the metal fastenings, common on old Bibles and photograph albums.Hibrkraft ↗
Broken OverWhen plates are turned over or folded a short distance from the back edge, before they are placed in the volume, so as to facilitate their being turned easily or laid flat, they are said to be broken over. When a leaf has been turned down the paper is broken.1890
Bundling PressA machine used for bundling and tying up the sheets or sections while under pressure.1911
BurnishThe gloss produced by the application of the burnisher to the edges.1890
BurnisherA piece of agate or bloodstone affixed to a handle, by means of which a gloss is produced on the edges of a book.1911
BurnishersPieces of agate or bloodstone affixed to convenient handles.1890
Calendered PaperPaper with a polished surface jirocured by the passing of the paper through a series of " calenders " or rollers.1911
Cameo BindingA binding having the centre of the boards stamped in relief, in imitation of antique gems or medals.1911
CancelA page, sheet, or other part of a printed book containing errors which are to be cut out and replaced by other printed matter. Such leaves are marked by the printer with an asterisk.1911
CancelsLeaves containing errors which are to be cut out and replaced by corrected pages (see ASTERISK).1890
CapThe envelope of paper used to protect the edges while the volume is being covered and finished.1890
CartoucheAn ornamental shield or tablet, with the edges cut up, perforated and ornamented, used as a field for the title of a book or an inscription.1911
Case-WorkWhen the cover is made independent of the book, the book being afterwards fastened into it. Refers principally to cloth and bible work.1890
CasingThe operation of inserting a sewn book into its " case."1911
Catch-LettersLetters (usually three) placed at the top of pages in dictionaries, gazetteers, etc., those on verso page generally representing the first letters of the first word on that page, and those on recto the first letters of the last word on that page.1911
Catch-WordA word used and seen in early printed books at the bottom of the page, which word is the first on the following page. To denote the first and last word in an encyclopædia or other book of reference.1890
Centre ToolsIndependent tools cut for the ornamentation of the centre of panels and sides.1890
ChequeringTo divide a surface like a chess-board in squares of alternately different ornament or colours, formed by equidistant vertical and horizontal lines.1911
ClaspThe hook or catch used for fastening the boards together when the book is closed; used formerly on almost every book.1890
ClaspsMetal hooks or catches used for fastening the boards of a book (when closed) together. Formerly used extensively, but seldom seen on modern books.1911
Clearing-OutRemoving the waste-paper, and paring away any superfluous leather upon the inside, preparatory to pasting down the end-papers.1890
ClothPrepared calico, sometimes embossed with different patterns, used for cloth bindings.1890
Cloth BoardsBooks bound in cloth-covered cases.1911
CocklingKertas bergelombangA rippled or curled paper surface, usually after damp followed by uneven drying.Hibrkraft ↗
CollateTo examine a book by the signatures, or page by page, to see that the sheets are in proper sequence, and that none are in duplicate or missing.1911
CombAn instrument with wire teeth used in marbling.1911
CombsInstruments with wire teeth used in marbling.1890
Corner bumpingSudut tumpulHardcover corners dented or blunted by a knock or a fall.Hibrkraft ↗
CornersThe triangular tools used in finishing backs and sides. The leather or material covering the corners of half-bound books. The metal ornaments used usually in keeping with clasps.1890
CreaserThe tool used in marking each side of the bands, generally made of steel.1911
CroppedWhen a book has been cut down too much it is said to be cropped.1890
CrownA sheet of paper, 20 by 15 inches. Foho, 15 by 10; quarto, 10 by yh', octavo, yh by 5.1911
CumdachA rectangular box (usually made of bronze, brass or wood, and plated with silver or gold which was ornamented) which was made for the preservation of precious books. Also called book-shrine. CUT DOWN (AND UP).— When a plough-knife dips downward out of the level it is said to " cut down," and vice versa, " cut up."1911
CushionA leather cushion on which the gold leaf is cut.1911
Cut DownWhen a plough-knife dips downward out of the level it is said to “cut down”; on the contrary, if the point is out of the level upwards it is said to “cut up.”1890
Cutting PressThe " lying press " turned so that the side with the runners is uppermost.1911
Damaged gilt edgesTepi emas rusakGilding along the edges of the book, scratched or faded.Hibrkraft ↗
Date LabelA label to show dates of issue or return, generally attached by a thin line of paste to the front fly-leaf of lending library books.1911
Deckle EdgeThe rough or raw edge of paper; specifically the ragged edge of hand-made paper produced by the " deckle " or frame of the mould on which the paper is made.1911
DentelleAs the word expresses. A style resembling lace work, finished with very finely cut tools.1890
DiaperA pattern consisting of a simple figure constantly repeated in geometrical form; the pattern may consist of figures separated by the background only, or of com228 MANUAL OF LIBRARY BOOKBINDING partments constantly succeeding one another, and filled with a design1911
DieAn engraved stamp used for stamping a design.1911
Divinity CalfA dark brown calf used generally for religious books, and worked in blind or antique.1890
Dork A Petits FersSmall hand tools used in gilding and binding.1911
DotjbledIn finishing, when a tool is worked a second time and not placed exactly in the original position, it is said to be " doubled."1911
DoubledWhen in working a tool a second time it is inadvertently not placed exactly in the previous impression, it is said to be “doubled.”1890
DoublureThe inside face of the boards, especially applied to them when lined with leather or silk and decorated.1911
Dummy CopyA book composed of blank leaves made up to enable publishers and bookbinders to estimate their requirements.1911
EadingThe small twist formed when winding the cotton or silk in head-banding.1911
Edge-RolledWhen the edges of the boards are rolled, either in blind or in gold.1890
EmbossingThe act or process of producing raised figures or designs upon surfaces by means of sunken dies, the material being interposed between the sunken die and the raised counterpart. END-PAPERS,1911
End-PapersThe papers placed at each end of the volume and pasted down upon the boards.1890
Fanfare BindingsA temi derived from the title of a book bound for Charles Nodier by Thouvenin having fanfare for the principal word. The style consists of geometrical compartments formed by interlaced fillets, the intervening spaces being filled in with sprays of palm and laurel, and other foliated ornaments.1911
FeintA ruling term used to denote that the paper is ruled with faint cross lines.1911
FilletA cylindrical tool used in finishing, upon which a line or lines are engraved.1890
FinisherA person engaged in the work of " finishing."1911
FinishingThe department that receives the volumes after they are put in leather. The ornaments placed on the volume. The person who works at this branch is termed a finisher.1890
Finishing PressA small press, used for holding books when being finished.1890
Finishing StoveA heating box or fire used for warming the various tools used in finishing.1890
FlexibleWhen a book is sewn on raised bands, and the thread is passed entirely round each band. It is the strongest sewing done at the present time. This term is often misused for limp work, because the boards are limp or flexible.1890
Fly-TitleThe half-title in front of the general titlepage, or that dividing sections of a work.1911
FolderA flat piece of bone or ivory used in folding sheets, and in many other manipulations; called also a folding stick. A female engaged in folding sheets.1890
Folding MachineA machine invented to fold sheets, generally used in newspaper offices.1890
FolioA sheet of paper folded to form two leaves or four pages.1911
FormatThe size and shape of a book, e.g., octavo, quarto, etc.1911
ForwardingThe branch that takes the books after they are sewed, and advances them until they are put into leather ready for the finisher. The one who works at this branch is called a forwarder.1890
FountThe complete number of letters, etc., constituting a set of type.1911
French JointA joint formed by keejnng boards a short distance from the back, splitting boards and placing tapes between, allowing greater play at hinge and permitting the use of a much thicker leather than otherwise.1911
FrontispieceThe plate or illustration facing the titlepage of a book.1911
Full-BoundWhen the sides and back of a volume are covered with leather it is said to be full-bound.1890
GatheringCollecting the several sheets when folded, and arranging them in sequence according to the signatures. Machines for doing this work are called gathering machines.1911
Gauffre EdgesSee Edges. GAUGE. — The tool used in forwarding to take the correct size of the book, and to mark it upon the boards for squaring.1911
GiltApplies to both the edges and to the ornaments in finishing.1890
Gilt TopSee Edges. GLAIRE. — An adhesive substance (made by beating up the white of eggs) used to retain gold in finishing and edge gilding.1911
Gold CushionA cushion for cutting the gold leaf on.1890
Gold KnifeThe knife for cutting the gold; long and quite straight.1890
GougeA tool used in finishing; it is a line forming the segment of a circle.1890
Graining BoardsBoards used for producing a grain on calf and russia books. Grain of various form is cut in wood, and by pressure the leather upon which the boards are laid receives the impression.1890
GroovesThe projections formed on the sides of books in backing, to allow the boards to lie even with the back when laced in.1911
GuardsStrips of paper inserted in the backs or books intended for the insertion of plates, to prevent the book being uneven when filled; also the strips upon which plates are mounted.1890
GuidesThe groove in which the plough moves upon the face of the cutting press.1890
GuillocheAn ornamental pattern composed of intersecting curved lines.1911
GuillotineA machine for cutting paper, with a knife having a perpendicular action.1911
Guinea-EdgeA roll with a pattern similar to the edge of an old guinea.1890
Gutter splitSobekan tengahPaper torn right at the centre fold, common in music books and atlases.Hibrkraft ↗
Half-BoundWhen a volume is covered with leather upon the back and corners; and the sides with paper or cloth.1890
Half-TitleThe short title preceding the full title-page. Also termed " Bastard title." HAND (OR HANDLE)1911
Hand-LettersLetters fixed in handles; used singly for lettering.1890
Head-BandThe silk or cotton ornament worked at the head and tail of a volume, as a finish and to make the back even with the boards.1890
Head-CapThe fold of leather over the head-band.1911
Headcap damageKerusakan kepala punggungThe top of the spine torn or lost through the habit of pulling a book off the shelf by hooking a finger over it.Hibrkraft ↗
Hinge repairPerbaikan engselDamage at the inner fold where the cover meets the text block.Hibrkraft ↗
HoleingPiercing the boards with a bodkin for the slips to pass through.1911
Hollow BackA book bound with the leather, cloth, or other material attached at the joints, and not fastened to the back of the book itself.1911
Hydraulic PressA press used in edition binding. operated by the pressure of a liquid under the action either of gravity or of some mechanical device, as a force pump.1911
ImperfectionsSheets rejected on account of being in some respect imperfect, and for which others are required to make the work complete.1890
In BoardsWhen a volume is cut after the mill-boards are attached, it is said to be cut in boards.1890
India PaperA fine paper used for engravers' proofs.1911
India-RubberedBooks composed of single plates or leaves are sometimes coated at the back with a solution of indiarubber in lieu of guarding or overcasting.1911
Ink/Oil StainsNoda Tinta/MinyakA foreign stain soaked into the paper fibres. Treatment depends on which solvent is safe for that paper.Hibrkraft ↗
Inlaying Or OnlayingAdding a different leather from that of the cover for decorative purposes.1911
InsetThe inner pages of a sheet, cut off in folding certain sizes; to be inset in the centre of the sheet.1890
Inside MarginsThe border made by the turn-in of the leather on the inside face of the boards.1911
InterlacingOrnament composed of bands, etc., woven together.1911
InterleafAn extra leaf, usually blank, inserted between the regular leaves of a book.1911
Jansenist StyleApplied to bindmgs devoid of ornamentation on the outside of the covers, sometimes having, however, elaborately tooled doublures. The name is taken from Jansenius, Bishop of Ypres, who avoided the decoration of the altar.1911
Japanese VellumA costly hand-made Japanese paper, manufactured from the inner bark of the mulberry tree, having a vellum surface.1911
Japon VellumA British made substitute for Japanese vellum.1911
JointsThe projection formed in backing to admit the mill-boards. The leather or cloth placed from the projection on to the mill-board is called a joint.1890
Kettle-StitchThe chain-stitch which the sewer makes at the head and tail of a book. A corruption of either chain-stitch, or catch-up stitch.1890
KeysLittle metal instruments used to secure the bands to the sewing press.1890
Knocking-Down IronA piece of iron having a small leg in the centre by which it is secured in the lying press. When fastened there it is used to pound or beat with a hammer the slips into the boards after they are laced in, so that they do not show when the book is covered.1890
Lacing-InAttaching the boards by the operation of passing the slips, on which the book is sewn, through holes pierced in the boards.1911
Large-Paper EditionCopies of a work printed on paper with wide margins.1911
Law CalfLaw books are usually bound in calf left wholly uncoloured, hence the term for white calf.1890
Lay CordsThe cords, stretched on the sewing frame, to which the sheets of a book are sewn.1911
LeatherettePaper or cloth having a surface in imitation of leather.1911
Lettering BlockA piece of wood, the upper surface being slightly rounded, upon which side labels are lettered.1890
Lettering BoxA wooden box in which hand-letters are kept (see HAND-LETTERS).1890
LettersLetters fixed in handles, and used singly for lettering.1911
Lining-PapersThe coloured or marbled paper at each end of the volume. Called also end-papers.1890
Loose signaturesSeksi longgarA gathering whose sewing thread has broken, so that it is working loose from the text block.Hibrkraft ↗
LushA book having its cover and edges quite even, the cutting operation having been done after the cover (usually paper boards or limp cloth) had been attached to the book. CUTTER,1911
Magazine CaseA cover for periodicals, usually having some contrivance for holding the magazine — cord, rod, etc. Also called " Periodical case " and " Reading case."1911
MarblerOne who marbles the edges of books and paper.1890
MarblingThe art of floating various colours on a size, from which it is transferred to paper or book edges. To stain or vein leather like marble.1890
Marking-UpWhen the back of a book is being marked for flexible sewing.1890
Mill-BoardThe boards that are attached to the book. Various kinds are in use now; the most common is made of straw, the best of old naval cordage.1890
MillboardLarge scissors used for cutting and squaring millboard. SHEETS, IN. — Sheets not folded, or if folded not bound.1911
Millboard MachineA machine used for cutting and squaring boards. The edge cut by this machine is not so square as that cut by the plough, and it should, therefore, only be used for cheap work.1911
Missing endpapersKertas katan hilangLoss of the plain paper that attaches the text block to the inside of the cover.Hibrkraft ↗
Missing ribbonsPita pembatas hilangA page-marker ribbon broken or pulled away from the spine.Hibrkraft ↗
MitredWhen the lines in finishing meet each other at right angles without overrunning each other, they are said to be mitred. Joined at an angle of 45°.1890
MosaicA decoration formed by inlaying small pieces of leather of various colours to form a pattern.1911
MullA thin loosely woven cotton cloth glued on to the backs of books to help to hold the sections together. Known as " Super " in America.1911
Mutton-ThumperAn old term indicating a bad workman.1890
Mutton-ThumpingA term used in bygone days, indicating the common binding of school books in sheep-skin.1890
NetworkA design made of intersecting lines forming squares set lozengewise.1911
Ng The Head-BandAdjusting the leather hi covering so as to form a kind of cap to the head-band.1911
Oard PapersThe parts of the end-papers which are pasted to the boards.1911
Off-SetThe impression made by the print against the opposite page, when a book has been rolled or beaten before the ink be dried. (Also SET-OFF.)1890
Or Cutting MachineThe machine by which the edges of the leaves of books are cut or trimmed. See also Rotary Cutting Machine.1911
Or Lining-PapersThe sheets placed at the beginning and end of a volume, half of each being pasted down upon the boards. Some end-papers are blank, others are coloured or printed, and others are marbled.1911
Out Of BoardsWhen a volume is cut before the boards are affixed, it is done out of boards. Nearly the whole of common work is done out of boards.1890
OvercastingAn operation in sewing, when the work consists of single leaves or plates. Over-sewing.1890
PalletThe tools used for finishing across backs.1890
PanelA compartment of the external cover of a book enclosed in a border or frame; also the space between two bands on the back of a book.1911
Papering-UpCovering the edges after they are gilt, to protect them while the volume is being covered and finished (see CAP).1890
ParingReducing the edges of the leather by forming a gradual slope.1890
PeelA wooden instrument used to hang up damp sheets for drying.1890
PencilA small brush of camel’s hair used for glairing.1890
PiecedAny space that has another leather upon it, as a lettering piece.1890
PlateAn illustration printed from a plate. Term often incorrectly applied to illustrations printed from woodcuts. Any full-page illustration printed on different paper to that of the book is usually called a " plate."1911
PloughThe instrument used for cutting the edges when the book is in the lying press.1890
PocketA slip or small envelope pasted on to the inside of the front (or back) board of a book, to form a pocket for the book-card. The envelope made to receive loose maps, etc.1911
Pointille StyleThe style associated with the name of Le Gascon ; the designs are worked in innumerable gold dots.1911
PointsSmall holes made in the sheets during the printing process which serve as guides in registering when the sheets are folded by machinery.1911
PolaireThe leather cases or satchels in which the ancient monks placed their books.1911
PolisherA steel instrument for giving a gloss to the leather after finishing.1890
PolytychA codex consisting of several leaves.1911
PressOf various kinds, viz.: lying, cutting, standing, blocking, finishing, etc.1890
Press PinA bar of iron used as a lever for standing presses; a smaller kind for lying presses.1890
PressesThese are of several kinds, namely, lying, cutting, standing, blocking, and finishing presses. The frame on which a book is sewn is called a " sewing press."1911
Pressing BlocksBlocks of wood used for filling up a standing press when there are not enough books.1890
Pressing BoardsBoards used for pressing books between.1890
Pressing PlatesPlates of metal japanned or nickelled, used for giving finish to the leather on a book.1911
ProofThe rough edges of certain leaves left uncut by the plough, are “proof” that the book is not cut down (see also WITNESS).1890
Publisher'S BindingThe original cover of a book, generally cloth-cased work. .1911
PulledWhen a book is cut from its cover and all the sheets are separated.1911
Quarter-BoundA book with leather back and cloth or paper sides.1911
QuireTwenty-four sheets; also, a set of all the sheets required to make one complete book.1911
RaspedThe sharp edge taken off mill-boards.1890
Re-CasingThe re-insertion of a book into its original cover, with or without re-sewing.1911
RectoThe right-hand jiage of a book; always the odd page.1911
RegisterThe ribbon placed in a volume for a marker. A list of signatures attached to the end of early-printed books for the use of the binder. In printing—when on looking through a leaf the print on the recto and verso is not exactly opposite, it is said to be out of register.1890
Rol'NdingThe term applied to the process of rounding the back of a book, to prevent an objectionable concave form.1911
RollA hand-tool having a brass wheel on the circumference of which is engraved a pattern which reproduces itseh as the wheel is rolled over the leather.1911
Rolling MachineA machine introduced to save the labour of beating, the sheets being passed between two revolving cylinders.1890
RollsCylindrical ornamental tools used in finishing.1890
Rotary Cutting MachineA machine for cutting millboards and strawboards which has a series of circular cutters.1911
Rounding And Backing MachineA machine that rounds and backs books by one continuous operation.1911
Roxburghe BindingPlain leather back, no raised bands, lettered in gold near the top, cloth or paper sides, leaves gilt at top, otherwise unopened.1911
Run-UpWhen the back has a fillet ran from head to tail without being mitred at each band, it is said to be “run-up.”1890
RunnerThe front board used in cutting edges.1890
RwarderA person engaged in the work of " forwarding."1911
Sawing MachineA machine for sawing the backs of books quickly.1890
Sawing-InWhen the back is sawn for the reception of the cord in sewing.1890
Sawtng MachineA machine which does the work of sawing-in." 240 MANUAL OF LIBRARY BOOKBINDING1911
Set-OffPrint is said to " set-off " when part of the ink from a page is impressed on the opposite page. This will happen as a result of rolling or beating while the ink is damp. Sometiines termed " off-set."1911
Setting The Head-BandAdjusting the leather in covering so as to form a kind of cap to the head-band.1890
SewerThe person who sews the sheets together on the sewing press—generally a female.1890
SewingThe operation of fastening together with thread or wire the sections of a book. The process is distinct from stabbing and stitching.1911
Sewing MachineA recent invention for the sewing of books with wire and thread.1890
Sewing PressA frame, consisting of a board having on one side two upright columns, connected at the top by a cross-piece, between which and the base are stretched tapes or cords to which the sections of a book are successively sewed.1911
Shaving TubThe paper cut from the edges of a volume are called shavings. The receptacle into which they fall while the forwarder is cutting is termed the shaving tub.1890
ShearsLarge scissors used for cutting up mill-boards.1890
SheepAn old term for all common work covered in sheep-skin.1890
SignatureThe letter or figure under the footline of the first page of each sheet, to indicate the order of arrangement in the volume.1890
Silverfish damageKerusakan gegatSmall irregular holes across the paper surface where silverfish have grazed it.Hibrkraft ↗
SizeA preparation used in finishing and gilding, formerly made with vellum, but can now be bought ready for use. When used on paper a thin solution of glue.1890
Size CopyA dummy of blank paper to show size of bound book. ;1911
SlipsThe pieces of twine that project beyond the back of the volume after it is sewn.1890
SpottingAs powdering, but with a geometric basis, the ground occupying larger space than the ornament.1911
SquaresThe portions of the boards that project beyond the edges after the book is cut.1890
StabbingThe binding together of one or more sections with wire or thread passed vertically through the left-hand side of the folded sheets. Piercing the boards with a bodkin for the slips to pass through is sometimes termed " stabbing."1911
Stabbing MachineA small machine used for making the holes through the backs of pamphlets.1890
StampAn engraved block, die or the like, upon which is cut the design for the sides or back of a book.1911
Standing PressA fixed heavy press with a perpendicular screw over the centre.1890
StartWhen any of the leaves are not properly secured in the back, and they project beyond the others, they are said to have started. When the back has been broken by forcing the leaves they start.1890
StiffenerA thin mill-board used for various purposes.1890
StitchingThe operation of passing the thread through a pamphlet for the purpose of securing the sheets together.1890
StopsSmall circular tools, adapted to “stop” a fillet when it intersects at right angles; used to save the time mitringmitreing would occupy.1890
Straight-EdgeA small board having one edge perfectly straight.1890
Sub-TitleA bastard, fly, or half-title placed before the lull title page.1911
TackySticky. TAG. — A small label pasted to the back of a library book, on which the call number or classification symbol is written or printed. 242 MANUAL OF LIBRARY BOOKBINDING1911
Tape damageKerusakan selotipSticky or dried yellow staining left by ordinary adhesive tape used to mend a tear in the past.Hibrkraft ↗
Tenon SawA small saw used by bookbinders for sawing the books for sewing. More strictly speaking a carpenter’s tool.1890
Three-Quarter BoundWhen the leather is attached to the back and a fairly large portion of the sides and corners of a book it is said to be " three-quarter bound."1911
Thrown OutMaps, tables, or diagrams likely to be much consulted during the reading of a book, are sometimes " thrown-out " by the binder. This is done by making the " guard " the size of the page and pasting in at end of book, so that the map, etc., may remain in view during reading. TICKET (French, ETIQUETTE).— The small label bearing the binder's name, sometimes affixed to the inner boards.1911
TidelinesGaris batas airBrownish stain lines left in the paper after water has evaporated.Hibrkraft ↗
TiesSilk, leather, cord, or other slips are sometimes attached to the boards of books for decorative purposes, or to prevent sagging; their use is justified only in the case of thick volumes, containing many folded maps or plates, which are liable to sag.1911
Tight BackThe cover of leather or other material pasted or glued to the back of the book, so that it does not become hollow when open.1911
TippingWhen a single leaf is pasted on to a section of a book it is said to be " tipped in."1911
TitleThe space between the bands upon which the lettering is placed. The leaf in the beginning of a book describing the subject.1890
ToolThe metal implement on which is cut the ornament or part of ornament which is to be transferred to the book-cover.1911
ToolingThe ornamentation obtained by impressing the heated tools on the covering material.1911
ToolsApplied particularly to the hand stamps and tools used in finishing.1890
Torn dust jacketJaket buku sobekDamage to the loose paper jacket that protects a hardcover.Hibrkraft ↗
TrimmingShaving the rough edge of the leaves of a book that is not to be cut.1890
TriptychA codex consisting of three leaves, hinged or tied together.1911
TubThe stand which supports the lying emd cutting press. Originally an actual tub to catch the shavings.1911
Turning-UpThe 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.1890
Two Sheets OnThe niethocl of sewing books when two sections are treated as one. In hand-sewing two sheets at a time are placed on the sewing-frame ; the thread is passed from the kettle-stitch of the lower section, and brought out at the first tape or cord, when it is inserted in the upper section, and so on. In hand-sewing or machine-sewing by this method two sections only receive the same number of stitches as one sheet would do by the " all along" method.1911
Tying-UpThe 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.1890
TypeMetal letters used in printing and lettering.1890
Type-HolderAn instrument for holding the type when used for lettering.1890
Uncut EdgesSee Edges. UNOPENED. — A book is said to be unopened when the bolts or folds of the sheets are uncut.1911
Ut Of BoardsWhen a volume is cut before the boards are affixed.1911
VarnishUsed as a protection to the glaire when polished on the covers of books.1890
VolumeA book distinguished from other books or volumes of the same work, by having its own title, paging, and register.1911
WasteThe advertisement sheets, etc., generally to be 244 MANUAL OF LIBRARY BOOKBINDING found at the beginning and end of serial publications, are termed " waste."1911
WatermarkThe wire-mark or design in a sheet of paper to distinguish the maker or mill, consisting of a semi-translucent name or device seen when the paper is held against the light.1911
Waterproof SheetsSheets of celluloid such as are used by photographers.1911
WhippingAnother term for overcasting, but when longer stitches are made.1890
Whole BoundA book wholly covered with one piece of the same material. Also termed " Full bound."1911
Wire StitchingThe fastening of a single section with wire driven through the centre of the fold and clinched.1911
WitnessWhen a volume is cut so as to show that it has not been so cut down, but that some of the leaves have still rough edges. These uncut leaves are called “Witness” (see PROOF).1890
Wtre SewingSewing the sections of a book with wire staples driven through the centre of the sections and through tapes, canvas or muslin, to which the staples are clinched.1911
XtraIn the best manner: coloured end leaves, double head-bands, etc.1911
Ying PressA small portable press of wood in which pressure is given at the ends of two stout square blocks by two large wooden screws. The under side of the cutting press, used in backing. Erroneously called a " laying press."1911

Sources

The definitions above were written by Hibrkraft. The terms follow standard international conservation vocabulary, and every entry links to its source so that you can check it yourself. The bookbinding dictionary is quoted in full from the works listed below.

Checked 1 September 2026: all seven sources above are still live and still carry the entries we quote. For the three running web sources — AIC BPG and Ligatus — we have also noted their Wayback archives, so these quotations stay checkable if the original addresses change. The public-domain book sources have been in the archive from the outset.

  1. BPG Animal Skin and Leather — American Institute for Conservation — Book and Paper Group (AIC Wiki). free to read online
  2. BPG Glossary of Terms — American Institute for Conservation — Book and Paper Group (AIC Wiki). free to read online
  3. Book repair and restoration: a manual of practical suggestions for bibliophiles — Mitchell Buck (1918), Nicholas L. Brown, Philadelphia. full text, free
  4. Language of Bindings Thesaurus — Ligatus, University of the Arts London / University of Edinburgh. free to read online
  5. Manual of Library Bookbinding, practical and historical (Glossary of terms used in bookbinding and allied industries) — Henry T. Coutts and George A. Stephen (1911), Libraco, London.
  6. Procedures for salvage of water-damaged library materials — Peter Waters (1975), Library of Congress. free to borrow
  7. The Art of Bookbinding: a practical treatise — Joseph W. Zaehnsdorf (1890), George Bell and Sons, London.

Questions

The 12 questions we are asked most

Do I have to come to Cileungsi in person, or can I send the book from another city?
You do not need to come in person. Hibrkraft serves the whole of Indonesia, from Sabang to Merauke. The process:
  • Send photographs of the book over WhatsApp — assessment and estimate are free.
  • We reply with the service level, an estimated cost and a working time.
  • The book is shipped to the workshop. We send unboxing photographs and video the moment it arrives.
  • When the work is done it is shipped back with double protection and a FRAGILE label.

The full sequence is in From photograph to finished book.

What is the difference between Repair, Reconditioning, Restoration and Conservation?
The difference lies in the extent of the damage and in what the work is for:
  • Repair — light damage: tears, a loose binding, detached pages. From Rp 35,000, 3–5 working days.
  • Reconditioning — readable but dull or dirty. Appearance restored without erasing the book's character. From Rp 45,000, 5–7 working days.
  • Restoration — heavier damage on an ordinary book. Components are replaced and the structure may change. From Rp 85,000, 7–10 working days.
  • Conservation — rare or historical material. Every material is reversible and every step is recorded. From Rp 125,000, 10–20 working days.
How do I find out what repairing my book will cost? Is the consultation chargeable?
Consultation and cost estimates at Hibrkraft are 100% FREE and carry no obligation. How it works:
  • Message us on WhatsApp at +62 815 1119 0336.
  • Describe the book's condition and send a few photographs — cover, spine, and the damaged area.
  • We reply with the right service level, an estimated cost and a working time. Usually within hours, not days.
What if my book turns out to be beyond repair?
We will tell you at the consultation stage if the book is likely to be beyond repair. In our experience, though, nearly every book can be saved to some degree.
What if the final cost comes to more than the first estimate?
Our first estimate is based on the photographs you send. The real condition is sometimes different once the book has been examined in the hand.
Is it safe to send a valuable book by courier?
We understand the worry. Here is what we guarantee:
  • Confirmation photographs — we send unboxing photographs and video as soon as the book arrives, so you know exactly what condition it reached us in.
  • Packing guidance for fragile books before you send them.
  • Return shipping with double protection and a FRAGILE label.
  • Optional insurance for books of high value.
How long does repairing a book take?
The working time depends on the service:
  • Repair — 3–5 working days.
  • Reconditioning — 5–7 working days.
  • Restoration — 7–10 working days.
  • Conservation — 10–20 working days.

Shipping time is separate. Larger projects are scheduled with you.

What kinds of book can Hibrkraft repair?
We take on many kinds of book:
  • Scripture — Qur'an, Bible, Torah, Vedas and others.
  • Family books — photo albums, diaries, recipe books, inherited records.
  • Collectors' books — rare novels, vintage comics, art books.
  • Academic books — textbooks, lecture notes, theses.
  • Antiquarian books — manuscripts, old texts, historical volumes.
  • Important documents — marriage books, certificates in book form.
Does Hibrkraft handle bulk repair for libraries or institutions?
Yes — we have experience with institutional projects:
  • EFEO Indonesia — conservation of archive books, including Indonesië Vrij, the text of Mohammad Hatta's 1928 defence speech.
  • ANRI — the National Archives of the Republic of Indonesia.
  • Libraries, schools and private collections, worked through in batches so the collection is not out of use for long.

For institutional needs, start at the corporate page.

What materials does Hibrkraft use for book repair?
We use only high-quality materials meeting international conservation standards:
  • Adhesive — pH neutral, acid-free, reversible. For conservation we use a starch-based paste.
  • Paper — acid-free, for mending and lining. Japanese tissue included.
  • Thread — linen or cotton, purpose-made for bookbinding.
  • Cloth — bookcloth for covers.
  • Leather — genuine leather for restoring leather bindings.
  • Protection — archival-grade boxes for conservation storage.
What is the IIC, and why does it matter?
The IIC (International Institute for Conservation of Historic and Artistic Works) is the international body for conservation professionals. Membership of the IIC indicates that we follow its literature and working standards — reversible materials, nothing discarded, every step recorded. One thing should be clear: this membership is held by the company, and is not an accreditation of a conservator in one person's name. The two are often taken to be the same, and they are not. This membership and every other public record about us is listed on the badges page, each with the strength of its evidence.
Is there a guarantee on the finished repair?
Yes — we guarantee every job we do:
  • 12 months against production defects — stitching and binding, detached pages, a binder structure that has skewed or torn.
  • Free during the warranty period, and we cover return shipping on a valid claim.
  • Not covered: damage in use, normal wear, or repairs made outside Hibrkraft.
  • After the warranty period repair is still possible — at a cost we tell you first.

Library

Three books to read before you decide

Most books that reach our bench are worse off than they were when their owner first noticed something was wrong — usually because the wrong kind of help was applied. These three explain how to recognise the damage, how to hold it steady for now, and how to choose the tier of repair. Readable straight in your browser, free.

The cover of Atlas Kerusakan Buku, gold title on a dark ground

A visual atlas

Atlas Kerusakan Buku

Recognising damage by sight, before touching anything. Foxing, mould, brittle paper, loose pages — what each is called, what causes it, and what makes it worse.

PDF · A5 · 92 pages · 11.7 MB

Read the PDF
The cover of Sebelum Dikirim, gold title on a dark ground

Before you send it

Merawat, Mengemas, Mengirim

Holding it steady, photographing it, packing it, and knowing when to stop touching it. What damages books most often is mistaken first aid.

PDF · A5 · 120 pages · 9.7 MB

Read the PDF
The cover of Empat Tingkat Perbaikan Buku, gold title on a dark ground

Telling the tiers apart

Empat Tingkat Perbaikan Buku

Repair, reconditioning, restoration, conservation — and what is given up at each tier. Settling the tier first makes both the price and the result predictable.

PDF · A5 · 131 pages · 10.6 MB

Read the PDF

The file opens in your browser rather than downloading straight to storage. All three are written in Indonesian, A5 in size, and may be printed for your own use.

Reading before you decide

All writing
Perbaiki atau Jilid Ulang Buku? Panduan Memilih Layanan Perawatan Buku TerbaikPerbaiki atau Jilid Ulang Buku? Panduan Memilih Layanan Perawatan Buku Terbaik DIY vs. Jasa Reparasi Buku. Untung Rugi yang Perlu Kamu TahuDIY vs. Jasa Reparasi Buku. Untung Rugi yang Perlu Kamu Tahu Perbedaan Antara Restorasi dan Reparasi BukuPerbedaan Antara Restorasi dan Reparasi Buku

Send photographs of the book

The first assessment is free. We reply with the tier that fits, an estimate of the cost, and how long the work will take.

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© 2026 PT Hibrkraft Kreasi Indonesia. All rights reserved. Handcrafted leather journals & book restoration. Pesan/Custom: +62 815 1119 0336