Langsung ke konten
No Result
View All Result

Ruang ilustrasi

Ilustrasi penjilidan domain publik

Di halaman ini ada 283 gambar dari 28 buku tentang penjilidan, pembuatan kertas, marbling dan penyamakan kulit, terbit antara tahun 1853 dan 1925, yang sekarang sudah menjadi milik publik. Kami membuatnya karena nyaris tidak ada bahan berbahasa Indonesia tentang kerajinan ini yang bisa dibaca bebas siapa saja, jadi kami kumpulkan yang tersedia dalam bahasa lain dan menyertakan sumber lengkap pada setiap gambar.

Semua gambar berasal dari transkripsi EPUB Project Gutenberg, dan setiap buku sumbernya sudah menjadi milik publik di Amerika Serikat — ilustrasinya digunting sendiri oleh tangan relawan Project Gutenberg dari halaman aslinya, jadi keterangan di bawah tiap gambar adalah salinan naskah cetak, bukan tebakan mesin OCR. Keterangan itu kami tampilkan persis seperti tercetak; untuk yang berbahasa Jerman atau Prancis, terjemahan dalam kurung siku adalah tambahan kami sendiri. Tidak ada satu pun gambar di halaman ini yang kami buat. Halaman ini memuat paruh EPUB dari rak riset kami yang berisi 184 karya domain publik; terbitan setelah tahun 1929 tidak disertakan karena status haknya belum kami pastikan.

Penjilidan

Gambar tentang kerja penjilidan itu sendiri — menjahit lembaran, memasang sampul, alat-alat tukang jilid, dan tahapan kerja di bengkel penjilidan pada masanya.

98 ilustrasi · 9 buku · 1856–1925
  • TABLE-SHEARS.
    TABLE-SHEARS.James B. Nicholson, A Manual of the Art of Bookbinding, 1856, hlm. 174. Project Gutenberg
  • TABLE-SHEARS.
    TABLE-SHEARS.James B. Nicholson, A Manual of the Art of Bookbinding, 1856, hlm. 177. Project Gutenberg
  • LETTERING AND GILDING PRESS, No. 1.
    LETTERING AND GILDING PRESS, No. 1.James B. Nicholson, A Manual of the Art of Bookbinding, 1856, hlm. 285. Project Gutenberg
  • EMBOSSING PRESS, No. 2.
    EMBOSSING PRESS, No. 2.James B. Nicholson, A Manual of the Art of Bookbinding, 1856, hlm. 285. Project Gutenberg
  • PATENT PAPER AND BOOK TRIMMER.
    PATENT PAPER AND BOOK TRIMMER.James B. Nicholson, A Manual of the Art of Bookbinding, 1856, hlm. 288. Project Gutenberg
  • Carols V. Gerichtsordnung (1597) Vine colored Levant—inlays of red and green leather. Interlacing bands and decoration tooled in gold.
    Carols V. Gerichtsordnung (1597) Vine colored Levant—inlays of red and green leather. Interlacing bands and decoration tooled in gold.Trow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 4. Project Gutenberg
  • The Book of the Presidents Maroon Levant—“arms” (Tiffany & Co. design) inlaid in colored leather. Plain mitred panels, tooled in gold.
    The Book of the Presidents Maroon Levant—“arms” (Tiffany & Co. design) inlaid in colored leather. Plain mitred panels, tooled in gold.Trow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 7. Project Gutenberg
  • The Book of the Presidents—Doublé Levant—national colors. Tooled in gold.
    The Book of the Presidents—Doublé Levant—national colors. Tooled in gold.Trow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 8. Project Gutenberg
  • The Historic Hudson—Doublé Green Levant. Pictorial inlay and decoration tooled in gold.
    The Historic Hudson—Doublé Green Levant. Pictorial inlay and decoration tooled in gold.Trow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 12. Project Gutenberg
  • Memorial Volume—Doublé Royal Purple Levant. Floral design inlaid and hand colored.
    Memorial Volume—Doublé Royal Purple Levant. Floral design inlaid and hand colored.Trow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 14. Project Gutenberg
  • Specimen decorative backs for half or full leather bindings. Edition work or single volumes.
    Specimen decorative backs for half or full leather bindings. Edition work or single volumes.Trow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 18. Project Gutenberg
  • Trow Directory, Printing and Bookbinding Company 201–213 East 12th Street New York City
    Trow Directory, Printing and Bookbinding Company 201–213 East 12th Street New York CityTrow's Printing and Bookbinding Co., Bib-li-op-e-gis-tic: Pertaining to the Art of Binding Books, 1889, hlm. 20. Project Gutenberg
  • Ornamen tepi dari sebuah jilidan Mesir-Arab.
    Randverzierung von einem egyptisch-arabischen Einbande.[Ornamen tepi dari sebuah jilidan Mesir-Arab.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Menggantung lembaran kertas yang telah diratakan. (Untuk halaman 10.)
    Aufhängen planierter Bogen. (Zu Seite 10 .)[Menggantung lembaran kertas yang telah diratakan. (Untuk halaman 10.)]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Von einem arabischen Einbande.
    Von einem arabischen Einbande.Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 6. Meratakan garis lipatan.
    Fig. 6. Niederstreichen des Falzstrichs.[Fig. 6. Meratakan garis lipatan.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 7. Memegang lembaran untuk lipatan kedua.
    Fig. 7. Ergreifen des Bogens zum zweiten Bruch.[Fig. 7. Memegang lembaran untuk lipatan kedua.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Ornamen tepi dari sebuah jilid Arab-Mesir.
    Randverzierung von einem arabisch-ägyptischen Bande.[Ornamen tepi dari sebuah jilid Arab-Mesir.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Bingkai tepi dari sebuah jilidan Arab.
    Randleiste von einem arabischen Einbande.[Bingkai tepi dari sebuah jilidan Arab.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Skema jahitan Oriental.
    Schema der orientalischen Heftung.[Skema jahitan Oriental.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 13. Mesin jahit kawat dari Preuße & Co. di Leipzig.
    Fig. 13. Drahtheftmaschine von Preuße & Co. in Leipzig.[Fig. 13. Mesin jahit kawat dari Preuße & Co. di Leipzig.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 14 dan 15. Memeriksa dan meluruskan buku yang telah dipres.
    Fig. 14 u. 15. Prüfen und Nachrichten abgepresster Bücher.[Fig. 14 dan 15. Memeriksa dan meluruskan buku yang telah dipres.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 14 dan 15. Memeriksa dan meluruskan buku yang telah dipres.
    Fig. 14 u. 15. Prüfen und Nachrichten abgepresster Bücher.[Fig. 14 dan 15. Memeriksa dan meluruskan buku yang telah dipres.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 20. Mesin pres dari Chr. Mansfeld di Leipzig.
    Fig. 20. Abpressmaschine von Chr. Mansfeld in Leipzig.[Fig. 20. Mesin pres dari Chr. Mansfeld di Leipzig.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 24. Mesin pemotong tepi dengan roda gila dari Dietz & Listing di Leipzig.
    Fig. 24. Beschneidemaschine mit Schwungrad von Dietz & Listing in Leipzig.[Fig. 24. Mesin pemotong tepi dengan roda gila dari Dietz & Listing di Leipzig.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • Fig. 27. Potongan hias, diwarnai penuh warna, dari sebuah Alkitab Köln, abad ke-17.
    Fig. 27. Zierschnitt, farbig ausgemalt, von einer Kölnischen Bibel, 17. Jahrh.[Fig. 27. Potongan hias, diwarnai penuh warna, dari sebuah Alkitab Köln, abad ke-17.]Paul Adam, Der Bucheinband: Seine Technik und seine Geschichte, 1890. Project Gutenberg
  • FLORENTINE. Small folio.
    FLORENTINE. Small folio.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Monastic. Venetian.
    Monastic. Venetian.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • GROLIER. Royal folio
    GROLIER. Royal folioJoseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • GASCON. 8 vo T. Way, Photo-lith.
    GASCON. 8 vo T. Way, Photo-lith.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Roger Payne.
    Roger Payne.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Knocking-down Iron screwed into Press.
    Knocking-down Iron screwed into Press.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Martini’s Folding Machine.
    Martini’s Folding Machine.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Rolling Machine.
    Rolling Machine.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Shewing Book with Map thrown out.
    Shewing Book with Map thrown out.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Sawing-in Machine.
    Sawing-in Machine.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Sewing Press.
    Sewing Press.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Ordinary sewing. 2 sheets on 2 bands.
    Ordinary sewing. 2 sheets on 2 bands.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Ordinary sewing. 2 sheets on 3 bands.
    Ordinary sewing. 2 sheets on 3 bands.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Ordinary sewing. 2 sheets on 5 bands.
    Ordinary sewing. 2 sheets on 5 bands.Joseph W. Zaehnsdorf, The Art of Bookbinding: A Practical Treatise, 1890. Project Gutenberg
  • Figs. 2 and 3—Holding whilst folding.
    Figs. 2 and 3—Holding whilst folding.Paul Adam, Practical Bookbinding, 1903, hlm. 14. Project Gutenberg
  • Fig. 8—Suggestions for mounting on guards.
    Fig. 8—Suggestions for mounting on guards.Paul Adam, Practical Bookbinding, 1903, hlm. 24. Project Gutenberg
  • Figs. 9-13—Suggestions for folding plates and maps.
    Figs. 9-13—Suggestions for folding plates and maps.Paul Adam, Practical Bookbinding, 1903, hlm. 26. Project Gutenberg
  • Fig. 24—Machine for sawing-in.
    Fig. 24—Machine for sawing-in.Paul Adam, Practical Bookbinding, 1903, hlm. 43. Project Gutenberg
  • Fig. 78—Tooled cover.
    Fig. 78—Tooled cover.Paul Adam, Practical Bookbinding, 1903, hlm. 136. Project Gutenberg
  • Fig. 79—Specimen of tooling done in the Düsseldorf Technical School.
    Fig. 79—Specimen of tooling done in the Düsseldorf Technical School.Paul Adam, Practical Bookbinding, 1903, hlm. 137. Project Gutenberg
  • Fig. 80—Leather binding by Oswald Kob, Bozen.
    Fig. 80—Leather binding by Oswald Kob, Bozen.Paul Adam, Practical Bookbinding, 1903, hlm. 137. Project Gutenberg
  • Fig. 81—Cover with laurel motive done in the Düsseldorf Technical School.
    Fig. 81—Cover with laurel motive done in the Düsseldorf Technical School.Paul Adam, Practical Bookbinding, 1903, hlm. 137. Project Gutenberg
  • Figs. 85 and 86—Two designs in gold for squares.
    Figs. 85 and 86—Two designs in gold for squares.Paul Adam, Practical Bookbinding, 1903, hlm. 145. Project Gutenberg
  • Figs. 91, 92, 93, and 94—Four backs tooled in the Düsseldorf Technical School.
    Figs. 91, 92, 93, and 94—Four backs tooled in the Düsseldorf Technical School.Paul Adam, Practical Bookbinding, 1903, hlm. 148. Project Gutenberg
  • Fig. 95—Group of backs tooled in Carlsruhe Technical School.
    Fig. 95—Group of backs tooled in Carlsruhe Technical School.Paul Adam, Practical Bookbinding, 1903, hlm. 148. Project Gutenberg
  • Figs. 96 and 97—Two richly decorated insides done in the Düsseldorf Technical School.
    Figs. 96 and 97—Two richly decorated insides done in the Düsseldorf Technical School.Paul Adam, Practical Bookbinding, 1903, hlm. 148. Project Gutenberg
  • Figs. 98, 99, 100, and 101—Four richly tooled backs.
    Figs. 98, 99, 100, and 101—Four richly tooled backs.Paul Adam, Practical Bookbinding, 1903, hlm. 148. Project Gutenberg
  • Figs. 103 and 104—Tooling on heads.
    Figs. 103 and 104—Tooling on heads.Paul Adam, Practical Bookbinding, 1903, hlm. 153. Project Gutenberg
  • Showing a Method of Sewing on Tapes The catching up of the alternate groups of threads as they cross the bands renders the sewing firmer. There are other methods of achieving this end. From report of the Committee on Leather for Bookbinding. Edited for Society of Arts. London: Bell & Sons, 1905.
    Showing a Method of Sewing on Tapes The catching up of the alternate groups of threads as they cross the bands renders the sewing firmer. There are other methods of achieving this end. From report of the Committee on Leather for Bookbinding. Edited for Society of Arts. London: Bell & Sons, 1905.John Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 32. Project Gutenberg
  • Showing Method of Attaching Tape Slips or Ends of Bands to a Split Board Leaving a “French Joint” From report of the Committee on Leather for Bookbinding. Edited for Society of Arts. London: Bell & Sons, 1905.
    Showing Method of Attaching Tape Slips or Ends of Bands to a Split Board Leaving a “French Joint” From report of the Committee on Leather for Bookbinding. Edited for Society of Arts. London: Bell & Sons, 1905.John Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 34. Project Gutenberg
  • Sample 1—Gothic condensed, 18 point. CARNEGIE PUBLIC LIBRARY Free for the people Sample 2—Schoeffer, 18 point. CARNEGIE PUBLIC LIBRARY Free for the people Sample 3—Lining condensed title, 12 point. CARNEGIE PUBLIC LIBRARY Free for the people
    Sample 1—Gothic condensed, 18 point. CARNEGIE PUBLIC LIBRARY Free for the people Sample 2—Schoeffer, 18 point. CARNEGIE PUBLIC LIBRARY Free for the people Sample 3—Lining condensed title, 12 point. CARNEGIE PUBLIC LIBRARY Free for the peopleJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 55. Project Gutenberg
  • Type Cabinet
    Type CabinetJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 56. Project Gutenberg
  • (L) Backing Boards, Metal (R) Backing Boards, Wood, Steel Faced
    (L) Backing Boards, Metal (R) Backing Boards, Wood, Steel FacedJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 121. Project Gutenberg
  • Boards, Brass Bound, in Case
    Boards, Brass Bound, in CaseJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 125. Project Gutenberg
  • Oswego Hand Wheel Drive Cutter
    Oswego Hand Wheel Drive CutterJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 131. Project Gutenberg
  • Finishing Presses
    Finishing PressesJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 135. Project Gutenberg
  • Finishing Stand
    Finishing StandJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 136. Project Gutenberg
  • Lettering Pallet
    Lettering PalletJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 149. Project Gutenberg
  • Flat Polisher
    Flat PolisherJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 151. Project Gutenberg
  • Sewing Bench
    Sewing BenchJohn Cotton Dana, Notes on Bookbinding for Libraries, 1906, hlm. 155. Project Gutenberg
  • BOOKBINDING FOR BEGINNERS
    BOOKBINDING FOR BEGINNERSFlorence O. Bean, Bookbinding for Beginners, 1914, hlm. 7. Project Gutenberg
  • Plate I. Accurate working drawings and freehand sketches such as children should produce before making the booklet.
    Plate I. Accurate working drawings and freehand sketches such as children should produce before making the booklet.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 13. Project Gutenberg
  • Plate II. Line Conventions.
    Plate II. Line Conventions.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 14. Project Gutenberg
  • Plate III. Sketches illustrating a simple method of stitching a booklet.
    Plate III. Sketches illustrating a simple method of stitching a booklet.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 15. Project Gutenberg
  • Plate V. The simplest possible designs for book covers, involving good spacing and careful lettering.
    Plate V. The simplest possible designs for book covers, involving good spacing and careful lettering.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 17. Project Gutenberg
  • Plate VI. Pattern for a simple envelope.
    Plate VI. Pattern for a simple envelope.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 19. Project Gutenberg
  • Plate VII. Mounts and pads made by children.
    Plate VII. Mounts and pads made by children.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 22. Project Gutenberg
  • Plate IX. The completed mount showing the location of the calendar, and the two pieces of vellum.
    Plate IX. The completed mount showing the location of the calendar, and the two pieces of vellum.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 24. Project Gutenberg
  • Plate XII. A front view of the memorandum pad accurately drawn to show proportions; also drawings of the vellum coverings.
    Plate XII. A front view of the memorandum pad accurately drawn to show proportions; also drawings of the vellum coverings.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 28. Project Gutenberg
  • Plate XIV. An accurate working drawing of the completed needlecase, and dimensioned sketches of the pieces used for covering.
    Plate XIV. An accurate working drawing of the completed needlecase, and dimensioned sketches of the pieces used for covering.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 32. Project Gutenberg
  • Plate XVI. Blotter pad corners with original units by grammar-school children.
    Plate XVI. Blotter pad corners with original units by grammar-school children.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 35. Project Gutenberg
  • Plate XVII. Calendars.
    Plate XVII. Calendars.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 36. Project Gutenberg
  • Plate XVIII. Freehand sketches of the parts of a simple calendar mount.
    Plate XVIII. Freehand sketches of the parts of a simple calendar mount.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 38. Project Gutenberg
  • Plate XXII. Dimensioned sketches of the parts of a picture frame.
    Plate XXII. Dimensioned sketches of the parts of a picture frame.Florence O. Bean, Bookbinding for Beginners, 1914, hlm. 47. Project Gutenberg
  • INTRODUCTION
    INTRODUCTIONSamuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 17. Marking of cloth for Case Binding.
    Fig. 17. Marking of cloth for Case Binding.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 18. Laying on of the cover.
    Fig. 18. Laying on of the cover.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 19. Half cloth cover showing turn-ins at a.
    Fig. 19. Half cloth cover showing turn-ins at a.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 20. Zigzag end. a, b, c, separate folios.
    Fig. 20. Zigzag end. a, b, c, separate folios.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 21. Sewing Frame and sewing on tapes. a, finished catch or crowsfoot stitch. b, the beginning of the catchstitch.
    Fig. 21. Sewing Frame and sewing on tapes. a, finished catch or crowsfoot stitch. b, the beginning of the catchstitch.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 22. Ready for backing. a, Joint. b, Backing boards. c, Lying, or finishing press.
    Fig. 22. Ready for backing. a, Joint. b, Backing boards. c, Lying, or finishing press.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 23. putting on double boards. a, The slip.
    Fig. 23. putting on double boards. a, The slip.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 24. Putting on the leather back. a, cord.
    Fig. 24. Putting on the leather back. a, cord.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 25. Sewing on cords. a, stitch around the cord.
    Fig. 25. Sewing on cords. a, stitch around the cord.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 26. Lacing cords into boards.
    Fig. 26. Lacing cords into boards.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 27. Detail of holes and trough for cords.
    Fig. 27. Detail of holes and trough for cords.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 28. Board pulled down ready for the head to be cut.
    Fig. 28. Board pulled down ready for the head to be cut.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Fig. 29. Putting on the headband.
    Fig. 29. Putting on the headband.Samuel Jesse Vaughn, Printing and Bookbinding for Schools, 1922. Project Gutenberg
  • Figure 4—Sewing Bench with 3 cords attached.
    Figure 4—Sewing Bench with 3 cords attached.Ben Davidson, Bookbinding Self Taught, 1925, hlm. 13. Project Gutenberg
  • Figure 5—Showing the inside stitch of a section
    Figure 5—Showing the inside stitch of a sectionBen Davidson, Bookbinding Self Taught, 1925, hlm. 18. Project Gutenberg
  • Figure 7—Pattern for the four corners. Dotted lines represent the margins.
    Figure 7—Pattern for the four corners. Dotted lines represent the margins.Ben Davidson, Bookbinding Self Taught, 1925, hlm. 24. Project Gutenberg
  • Figure 8—Outside cover of a book bound in two materials. Buckram for back and corners; cloth or paper for the sides.
    Figure 8—Outside cover of a book bound in two materials. Buckram for back and corners; cloth or paper for the sides.Ben Davidson, Bookbinding Self Taught, 1925, hlm. 26. Project Gutenberg

Kertas dan Marbling

Gambar tentang cara kertas dibuat dan dihias — dari bahan mentah menjadi lembaran, sampai pola marbling yang dituang di atas air sebelum dipindahkan ke kertas.

97 ilustrasi · 8 buku · 1855–1920
  • THE PAPER MAKING MACHINE.
    THE PAPER MAKING MACHINE.Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (12 front)
    (12 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (13 front)
    (13 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (14 front)
    (14 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (15 front)
    (15 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (17 front)
    (17 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (18 front)
    (18 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (19 front)
    (19 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (20 front)
    (20 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (21 front)
    (21 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (22 front)
    (22 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (23 front)
    (23 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (24 front)
    (24 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • (25 front)
    (25 front)Richard Herring, Paper and Paper Making, Ancient and Modern, 1855. Project Gutenberg
  • Cotton. × 50. Linen. × 50. Esparto. × 50. Mechanical Wood-pulp. × 50. Chemical Wood-pulp. × 50.
    Cotton. × 50. Linen. × 50. Esparto. × 50. Mechanical Wood-pulp. × 50. Chemical Wood-pulp. × 50.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 29. F IG. 30.
    F IG. 29. F IG. 30.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 38. F IG. 39.
    F IG. 38. F IG. 39.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 47. F IG. 48.
    F IG. 47. F IG. 48.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 51. F IG. 52.
    F IG. 51. F IG. 52.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 69. F IG. 70.
    F IG. 69. F IG. 70.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 71. F IG. 72.
    F IG. 71. F IG. 72.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 73. F IG. 74.
    F IG. 73. F IG. 74.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • F IG. 77. F IG. 76.
    F IG. 77. F IG. 76.C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • COMPRISING:
    COMPRISING:C. F. Cross & E. J. Bevan, A Text-book of Paper-making, 1888. Project Gutenberg
  • Fig. 83. Fig. 84. Fig. 85.
    Fig. 83. Fig. 84. Fig. 85.Alexander Watt, The Art of Paper-Making, 1890. Project Gutenberg
  • Fig. 17 A .—Voelter's Wood-pulping Machine. [ To face page 78.
    Fig. 17 A .—Voelter's Wood-pulping Machine. [ To face page 78.Alexander Watt, The Art of Paper-Making, 1890, hlm. 78. Project Gutenberg
  • Fig. 69. Fig. 70. Fig. 71.
    Fig. 69. Fig. 70. Fig. 71.Alexander Watt, The Art of Paper-Making, 1890, hlm. 209. Project Gutenberg
  • Fig. 72. Fig. 73. Fig. 74.
    Fig. 72. Fig. 73. Fig. 74.Alexander Watt, The Art of Paper-Making, 1890, hlm. 209. Project Gutenberg
  • Fig. 75. Fig. 76. Fig. 77.
    Fig. 75. Fig. 76. Fig. 77.Alexander Watt, The Art of Paper-Making, 1890, hlm. 213. Project Gutenberg
  • Fig. 78. Fig. 79. Fig. 80.
    Fig. 78. Fig. 79. Fig. 80.Alexander Watt, The Art of Paper-Making, 1890, hlm. 213. Project Gutenberg
  • Trying of Colors for Nonpareil Marble. Black 3 to 4-1/2 inches in diameter. Blue, yellow and red in rings within each other. See Page 105 .
    Trying of Colors for Nonpareil Marble. Black 3 to 4-1/2 inches in diameter. Blue, yellow and red in rings within each other. See Page 105 .Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 169. Project Gutenberg
  • Size too consistent. Result of drawing the colors with a stylus. See Page 104 .
    Size too consistent. Result of drawing the colors with a stylus. See Page 104 .Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 171. Project Gutenberg
  • Ribbon-like Throwing on of Colors. [First color] for Nonpareil Marble. See Page 105 .
    Ribbon-like Throwing on of Colors. [First color] for Nonpareil Marble. See Page 105 .Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 173. Project Gutenberg
  • Throwing on of the other colors for Nonpareil Marble. [Ribbon-like in two stripes.] See Page 106 .
    Throwing on of the other colors for Nonpareil Marble. [Ribbon-like in two stripes.] See Page 106 .Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 175. Project Gutenberg
  • Drawing of the colors thrown on [see preceding table] for Nonpareil or Comb Marble. See Page 106 .
    Drawing of the colors thrown on [see preceding table] for Nonpareil or Comb Marble. See Page 106 .Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 177. Project Gutenberg
  • Fd. Tondorf Clichè,—Property of Otto Spamer.
    Fd. Tondorf Clichè,—Property of Otto Spamer.Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 227. Project Gutenberg
  • 5 Qt. Cans, per Qt. One Qt. Jars. In Pint Jars Scarlet Red $1.00 $1.25 $ .70 Carmine Lake 1.00 1.25 .70 Oriental Blue, [light] 1.00 1.25 .70 Indigo, [dark] 1.00 1.25 .70 Yellow, [lemon] 1.00 1.25 .70 Green 1.00 1.25 .70 Black 1.00 1.25 .70 Brown 1.00 1.25 .70 White 1.00 1.25 .70
    5 Qt. Cans, per Qt. One Qt. Jars. In Pint Jars Scarlet Red $1.00 $1.25 $ .70 Carmine Lake 1.00 1.25 .70 Oriental Blue, [light] 1.00 1.25 .70 Indigo, [dark] 1.00 1.25 .70 Yellow, [lemon] 1.00 1.25 .70 Green 1.00 1.25 .70 Black 1.00 1.25 .70 Brown 1.00 1.25 .70 White 1.00 1.25 .70Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 241. Project Gutenberg
  • Kepala iklan bergaris hias bertuliskan The American Bookbinder, dengan BUFFALO, N. Y. dalam huruf kecil di bawahnya.
    Kepala iklan majalah The American Bookbinder, Buffalo, N.Y. — bukan pelat teknikJosef Halfer, The Progress of the Marbling Art, 1893, hlm. 241. Project Gutenberg
  • Judul hias dalam huruf dekoratif bertuliskan Complete • Marbling • Outfits., dengan ornamen panah kecil di ujung kanan.
    Judul hias iklan: Complete Marbling Outfits — bukan pelat teknikJosef Halfer, The Progress of the Marbling Art, 1893, hlm. 242. Project Gutenberg
  • Louis Dejonge & Co.,
    Louis Dejonge & Co.,Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 243. Project Gutenberg
  • BOOKBINDERS',
    BOOKBINDERS',Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 243. Project Gutenberg
  • ... A Technical Journal written by Bookbinders for Bookbinders, and the ...
    ... A Technical Journal written by Bookbinders for Bookbinders, and the ...Josef Halfer, The Progress of the Marbling Art, 1893, hlm. 244. Project Gutenberg
  • Judul hias bertuliskan TRADE LISTS. diapit garis bertitik di kedua sisinya.
    Judul hias iklan: Trade Lists — bukan pelat teknikJosef Halfer, The Progress of the Marbling Art, 1893, hlm. 244. Project Gutenberg
  • THE THRASHER— Page 57
    THE THRASHER— Page 57Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 15. Project Gutenberg
  • THE SORTING AND SHREDDING ROOM— Page 57
    THE SORTING AND SHREDDING ROOM— Page 57Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 23. Project Gutenberg
  • THE RAG CUTTERS— Page 59
    THE RAG CUTTERS— Page 59Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 30. Project Gutenberg
  • THE WASHERS AND BEATERS— Pages 62 and 64
    THE WASHERS AND BEATERS— Pages 62 and 64Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 38. Project Gutenberg
  • Cut— Page 59 Washed— Page 62 Bleached— Page 63 RAGS IN VARIOUS STAGES
    Cut— Page 59 Washed— Page 62 Bleached— Page 63 RAGS IN VARIOUS STAGESFrank Osgood Butler, The Story of Paper-making, 1901, hlm. 46. Project Gutenberg
  • After Leaving the Beaters— Page 64 After Leaving the Jordan— Page 71 RAG PULP
    After Leaving the Beaters— Page 64 After Leaving the Jordan— Page 71 RAG PULPFrank Osgood Butler, The Story of Paper-making, 1901, hlm. 54. Project Gutenberg
  • THE MODERN FOURDRINIER MACHINE— Page 73
    THE MODERN FOURDRINIER MACHINE— Page 73Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 61. Project Gutenberg
  • THE FIRST PRESS ROLLS— Page 75
    THE FIRST PRESS ROLLS— Page 75Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 70. Project Gutenberg
  • THE SIZE-TUB— Page 81
    THE SIZE-TUB— Page 81Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 78. Project Gutenberg
  • BLOWPIPES COOLING CALENDER ROLLS
    BLOWPIPES COOLING CALENDER ROLLSFrank Osgood Butler, The Story of Paper-making, 1901, hlm. 85. Project Gutenberg
  • SLITTING AND WINDING— Page 78
    SLITTING AND WINDING— Page 78Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 94. Project Gutenberg
  • THE SUPERCALENDERS— Page 82
    THE SUPERCALENDERS— Page 82Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 102. Project Gutenberg
  • CUTTING FROM THE ROLL— Page 82
    CUTTING FROM THE ROLL— Page 82Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 110. Project Gutenberg
  • SORTING OF FINISHED SHEETS— Page 83
    SORTING OF FINISHED SHEETS— Page 83Frank Osgood Butler, The Story of Paper-making, 1901, hlm. 120. Project Gutenberg
  • Fig. 7. Penguji kekuatan kertas Schopper.
    Fig. 7. Schoppers Festigkeitsprüfer für Papier.[Fig. 7. Penguji kekuatan kertas Schopper.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 8. Penguji kekuatan kertas Schopper.
    Fig. 8. Schoppers Festigkeitsprüfer für Papier.[Fig. 8. Penguji kekuatan kertas Schopper.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 10. Penguji kekuatan 50 dan 100 kg Schopper untuk karton, map arsip tebal, kain, dsb.
    Fig. 10. Schoppers 50 und 100 kg Festigkeitsprüfer für Pappe, starke Aktendeckel, Stoffe u. s. w.[Fig. 10. Penguji kekuatan 50 dan 100 kg Schopper untuk karton, map arsip tebal, kain, dsb.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 11. Penguji kekuatan Wendler.
    Fig. 11. Wendlers Festigkeitsprüfer.[Fig. 11. Penguji kekuatan Wendler.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 12. Penguji kekuatan Wendler.
    Fig. 12. Wendlers Festigkeitsprüfer.[Fig. 12. Penguji kekuatan Wendler.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 13. Penguji kekuatan menurut Hartig-Reusch.
    Fig. 13. Festigkeitsprüfer nach Hartig-Reusch.[Fig. 13. Penguji kekuatan menurut Hartig-Reusch.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 14. Gambar skematis alat penguji Hartig-Reusch.
    Fig. 14. Schematische Darstellung des Hartig-Reuschschen Prüfers.[Fig. 14. Gambar skematis alat penguji Hartig-Reusch.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 16. Penguji kekuatan Leuner.
    Fig. 16. Leuners Festigkeitsprüfer.[Fig. 16. Penguji kekuatan Leuner.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 18. Penguji kertas Rehse.
    Fig. 18. Rehses Papierprüfer.[Fig. 18. Penguji kertas Rehse.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 20. Pfuhls Knitterer.
    Fig. 20. Pfuhls Knitterer.Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 21b. Tampak depan dan denah mesin pelipat Schopper.
    Fig. 21b. Vorderansicht und Grundriß des Schopperschen Falzers.[Fig. 21b. Tampak depan dan denah mesin pelipat Schopper.]Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 22. Schoppers Dickenmesser.
    Fig. 22. Schoppers Dickenmesser.Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 23. Rehses Dickenmesser.
    Fig. 23. Rehses Dickenmesser.Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 24. Postsche Aschenwage.
    Fig. 24. Postsche Aschenwage.Wilhelm Herzberg, Papierpruefung: Anleitung zum Untersuchen von Papier, 1902. Project Gutenberg
  • Fig. 1. —Sheet of Papyrus, showing the layers crossing one another (Evans).
    Fig. 1. —Sheet of Papyrus, showing the layers crossing one another (Evans).R. W. Sindall, The Manufacture of Paper, 1908, hlm. 3. Project Gutenberg
  • Fig. 2. —An Early Paper Mill (from “Kulturhistorisches Bilderbuch,” A.D. 1564).
    Fig. 2. —An Early Paper Mill (from “Kulturhistorisches Bilderbuch,” A.D. 1564).R. W. Sindall, The Manufacture of Paper, 1908, hlm. 7. Project Gutenberg
  • Fig. 3. —The Paper Mill of Ulman Stromer, A.D. 1390 (supposed to be the oldest known drawing of a Paper Mill).
    Fig. 3. —The Paper Mill of Ulman Stromer, A.D. 1390 (supposed to be the oldest known drawing of a Paper Mill).R. W. Sindall, The Manufacture of Paper, 1908, hlm. 12. Project Gutenberg
  • Fig. 4. —The First Paper Machine, A.D. 1802. Plan and Elevation.
    Fig. 4. —The First Paper Machine, A.D. 1802. Plan and Elevation.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 17. Project Gutenberg
  • Fig. 5. —The Improved Paper Machine of A.D. 1810.
    Fig. 5. —The Improved Paper Machine of A.D. 1810.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 18. Project Gutenberg
  • Fig. 6. —A Rag Sorting House.
    Fig. 6. —A Rag Sorting House.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 47. Project Gutenberg
  • Fig. 7. —A Rag Duster.
    Fig. 7. —A Rag Duster.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 49. Project Gutenberg
  • Fig. 8. —A Rag Cutter.
    Fig. 8. —A Rag Cutter.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 51. Project Gutenberg
  • Fig. 9. —Interior of Paper Mill for Hand-made Paper (R. Batchelor & Sons).
    Fig. 9. —Interior of Paper Mill for Hand-made Paper (R. Batchelor & Sons).R. W. Sindall, The Manufacture of Paper, 1908, hlm. 51. Project Gutenberg
  • Fig. 10. —View of a Rag Boiler, showing connections.
    Fig. 10. —View of a Rag Boiler, showing connections.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 52. Project Gutenberg
  • Fig. 11. —A Breaking and Washing Engine.
    Fig. 11. —A Breaking and Washing Engine.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 54. Project Gutenberg
  • Fig. 12. —Oettel and Haas' Apparatus for the manufacture of Electrolytic Bleach Liquor.
    Fig. 12. —Oettel and Haas' Apparatus for the manufacture of Electrolytic Bleach Liquor.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 58. Project Gutenberg
  • Fig. 13. —The “Hollander” Beating Engine.
    Fig. 13. —The “Hollander” Beating Engine.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 59. Project Gutenberg
  • Fig. 15. —Apparatus for Sizing Paper in continuous Rolls.
    Fig. 15. —Apparatus for Sizing Paper in continuous Rolls.R. W. Sindall, The Manufacture of Paper, 1908, hlm. 63. Project Gutenberg
  • BOILER ROOM, CRANE & CO. The contents of the rotary boiler have been emptied upon the floor. The next step is to wash and bleach.
    BOILER ROOM, CRANE & CO. The contents of the rotary boiler have been emptied upon the floor. The next step is to wash and bleach.William Bond Wheelwright, From Paper-mill to Pressroom, 1920. Project Gutenberg
  • WET MACHINES WHERE THE PULP IS CUT OFF IN SHEETS, THE BROWN CO. To the right are the hydraulic presses for removing moisture from the pulp. The pulp is shipped about seventy per cent moist.
    WET MACHINES WHERE THE PULP IS CUT OFF IN SHEETS, THE BROWN CO. To the right are the hydraulic presses for removing moisture from the pulp. The pulp is shipped about seventy per cent moist.William Bond Wheelwright, From Paper-mill to Pressroom, 1920. Project Gutenberg
  • RAGROOM, PIONEER MILL, CRANE & CO. The two girls in the foreground are sorting shirt cuttings. Those beyond are cutting them into suitable sizes preparatory to boiling.
    RAGROOM, PIONEER MILL, CRANE & CO. The two girls in the foreground are sorting shirt cuttings. Those beyond are cutting them into suitable sizes preparatory to boiling.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 23. Project Gutenberg
  • WOOD GRINDER
    WOOD GRINDERWilliam Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 29. Project Gutenberg
  • CYLINDER MACHINE FOR DRYING PULP, THE BROWN CO. The web of pulp is shown as it passes from the cylinder mold over the couch roll toward the driers.
    CYLINDER MACHINE FOR DRYING PULP, THE BROWN CO. The web of pulp is shown as it passes from the cylinder mold over the couch roll toward the driers.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 36. Project Gutenberg
  • THE BEATER-ROOM, CRANE & CO. The beater at the far end of the room is equipped with a washing drum. This drum is lowered into the tub during the process of washing.
    THE BEATER-ROOM, CRANE & CO. The beater at the far end of the room is equipped with a washing drum. This drum is lowered into the tub during the process of washing.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 36. Project Gutenberg
  • FOURDRINIER MACHINES, CRANE & CO. A good view of the surface-sizing vat is obtained in the machine on the right hand. The paper is being slit just before its introduction into the vat.
    FOURDRINIER MACHINES, CRANE & CO. A good view of the surface-sizing vat is obtained in the machine on the right hand. The paper is being slit just before its introduction into the vat.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 45. Project Gutenberg
  • FOURDRINIER MACHINE, S. D. WARREN & CO. View showing the “Fourdrinier” part of a modern book paper-machine.
    FOURDRINIER MACHINE, S. D. WARREN & CO. View showing the “Fourdrinier” part of a modern book paper-machine.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 50. Project Gutenberg
  • CYLINDER VATS, MADE BY THE PUSEY & JONES CO. The felts which convey the paper are omitted so as to get a clearer view of the molds.
    CYLINDER VATS, MADE BY THE PUSEY & JONES CO. The felts which convey the paper are omitted so as to get a clearer view of the molds.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 52. Project Gutenberg
  • COATING ROOM, APPLETON COATED PAPER CO. This view of the “wet end” of the coating machines shows the rolls going through the coating process, the web of paper traveling along the drying racks appears in the background.
    COATING ROOM, APPLETON COATED PAPER CO. This view of the “wet end” of the coating machines shows the rolls going through the coating process, the web of paper traveling along the drying racks appears in the background.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 57. Project Gutenberg
  • FINISHING-ROOM, CRANE & CO. The machine on the right is a plater.
    FINISHING-ROOM, CRANE & CO. The machine on the right is a plater.William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 59. Project Gutenberg
  • SUPERCALENDER STACKS, APPLETON COATED PAPER CO. For a description of the Supercalendering process, see pages 55 and 56 .
    SUPERCALENDER STACKS, APPLETON COATED PAPER CO. For a description of the Supercalendering process, see pages 55 and 56 .William Bond Wheelwright, From Paper-mill to Pressroom, 1920, hlm. 66. Project Gutenberg

Kulit dan Penyamakan

Gambar tentang penyamakan dan penyiapan kulit untuk sampul buku, dari kulit mentah sampai bahan yang siap dijilid.

63 ilustrasi · 7 buku · 1853–1917
  • The principal Materials required for this work are—
    The principal Materials required for this work are—James Revell, A Complete Guide to the Ornamental Leather Work, 1853, hlm. 15. Project Gutenberg
  • Interior penyamakan; sekitar sepuluh pekerja mengerok kulit di atas balok miring dan bak batu memanjang, dengan papan penanda bertuliskan PEAUX D'ITALIE dan PEAUX DU PAYS tergantung di dinding kanan.
    Ruang pengerjaan kulit dengan bak memanjang dan balok miringH. R. Procter, A Text-book of Tanning, 1885. Project Gutenberg
  • Interior penyamakan dua tingkat; para pekerja mengaduk isi bak memanjang dengan galah panjang, sebuah jendela besi berbentuk lengkung memisahkan ruang depan dari ruang belakang, dan kulit-kulit tergantung di dinding kanan.
    Ruang bak dengan jendela lengkung dan pekerja bergalahH. R. Procter, A Text-book of Tanning, 1885, hlm. 32. Project Gutenberg
  • Dua adegan berdampingan di ruang bermesin: di kiri seorang pekerja mengaduk bak melingkar besar dengan dayung, di kanan dua pekerja memiringkan drum kayu bersudut di atas tong; keduanya digerakkan puli dan sabuk dari poros di langit-langit.
    Bak putar dan drum kayu yang dimiringkan, digerakkan sabukH. R. Procter, A Text-book of Tanning, 1885, hlm. 52. Project Gutenberg
  • Ruang berkubah dengan belasan tong kayu bundar besar tertanam di lantai; beberapa pekerja mengangkat kulit dari tong, sekelompok orang berdiri di ujung ruangan, dan sebuah lampu gantung menerangi bagian tengah.
    Gudang berkubah dengan deretan tong kayu besar tertanam di lantaiH. R. Procter, A Text-book of Tanning, 1885, hlm. 64. Project Gutenberg
  • Ruang kerja tinggi dengan poros transmisi dan roda sabuk di langit-langit; seorang pekerja membungkuk di atas bak berangka kayu di kiri, seorang lainnya berdiri di dekat meja kerja di kanan, dan gulungan kulit tergeletak di lantai.
    Ruang bermesin dengan poros transmisi dan rangka pengangkatH. R. Procter, A Text-book of Tanning, 1885, hlm. 128. Project Gutenberg
  • Aula panjang bertingkat dengan puluhan pekerja berjajar di balok kerja miring; tumpukan kulit berbentuk kerucut memenuhi lantai, lampu gas tergantung berderet, dan kulit-kulit tergantung di sepanjang galeri atas.
    Aula besar dengan puluhan pekerja berjajar di balok kerjaH. R. Procter, A Text-book of Tanning, 1885, hlm. 176. Project Gutenberg
  • Ruang kerja panjang dengan deretan jendela lengkung; para pekerja di kiri menangani kulit dalam tong kayu bundar, yang lain bekerja di meja panjang di kanan di bawah lampu gantung, dan beberapa tong berdiri di latar depan.
    Ruang berjendela lengkung dengan tong bundar dan meja kerja panjangH. R. Procter, A Text-book of Tanning, 1885, hlm. 208. Project Gutenberg
  • Ruang bermesin dengan empat mesin bertenaga sabuk dan roda gila besar; para pekerja duduk mengoperasikan mesin, dua perempuan menangani tumpukan kulit di meja kiri, dan sebuah kursi kayu berdiri di latar depan.
    Ruang mesin bersabuk dengan pekerja perempuan di meja kiriH. R. Procter, A Text-book of Tanning, 1885, hlm. 240. Project Gutenberg
  • Section of Calf-skin. (For key, see Fig. 9 .)
    Section of Calf-skin. (For key, see Fig. 9 .)H. R. Procter, The Principles of Leather Manufacture, 1903. Project Gutenberg
  • Fig. 77. —Section of Leach-Bottom.
    Fig. 77. —Section of Leach-Bottom.H. R. Procter, The Principles of Leather Manufacture, 1903. Project Gutenberg
  • Fig. 1. —Lymph-corpuscle of frog, showing gradual change of form. (Ranvier.)
    Fig. 1. —Lymph-corpuscle of frog, showing gradual change of form. (Ranvier.)H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 11. Project Gutenberg
  • Fig. 2. —Yeast-cells, much magnified.
    Fig. 2. —Yeast-cells, much magnified.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 12. Project Gutenberg
  • Fig. 3. —Epithelium-cells. Ranvier. p , pressure-marks; g , granular protoplasm.
    Fig. 3. —Epithelium-cells. Ranvier. p , pressure-marks; g , granular protoplasm.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 13. Project Gutenberg
  • Fig. 5 —Sulphurous acid apparatus.
    Fig. 5 —Sulphurous acid apparatus.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 25. Project Gutenberg
  • Fig. 6. —Method of marking weight on hides; 97 lb.
    Fig. 6. —Method of marking weight on hides; 97 lb.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 34. Project Gutenberg
  • Fig. 7. — Hypoderma bovis. 1, egg; 2, maggot; 4, chrysalis case; 6, fly, magnified (Brauer); 3, 5, chrysalis and fly, natural size (B. Clark).
    Fig. 7. — Hypoderma bovis. 1, egg; 2, maggot; 4, chrysalis case; 6, fly, magnified (Brauer); 3, 5, chrysalis and fly, natural size (B. Clark).H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 43. Project Gutenberg
  • Fig. 9. —Vertical section of calf-skin, magnified about 50 diameters. a , epidermis; b , grain or papillary layer; c , fibrous layer of skin; d , hairs; e , fat-glands; f , sweat-glands; g , opening of ducts of sweat-glands; h , hair-muscles.
    Fig. 9. —Vertical section of calf-skin, magnified about 50 diameters. a , epidermis; b , grain or papillary layer; c , fibrous layer of skin; d , hairs; e , fat-glands; f , sweat-glands; g , opening of ducts of sweat-glands; h , hair-muscles.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 47. Project Gutenberg
  • Fig. 10. —Epidermis layer.
    Fig. 10. —Epidermis layer.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 48. Project Gutenberg
  • Fig. 15. —Fat-cells in connective tissue. a , fat-globule; p , protoplasm; n , nucleus; m , cell-wall. (Ranvier.)
    Fig. 15. —Fat-cells in connective tissue. a , fat-globule; p , protoplasm; n , nucleus; m , cell-wall. (Ranvier.)H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 52. Project Gutenberg
  • Photo-micrographs of Grain of various Skins ( A. Seymour-Jones ).
    Photo-micrographs of Grain of various Skins ( A. Seymour-Jones ).H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 52. Project Gutenberg
  • Fig. 19. —Plan of Archbutt and Deeley’s Apparatus.
    Fig. 19. —Plan of Archbutt and Deeley’s Apparatus.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 95. Project Gutenberg
  • Fig. 21. —American Wash-wheel.
    Fig. 21. —American Wash-wheel.H. R. Procter, The Principles of Leather Manufacture, 1903, hlm. 111. Project Gutenberg
  • 1. Blind-stamped leather binding of the Winchester Domesday Book . English, 12th Century.
    1. Blind-stamped leather binding of the Winchester Domesday Book . English, 12th Century.Georges de Recy, The Decoration of Leather, 1905. Project Gutenberg
  • FIG. 1.— TRACING-POINT
    FIG. 1.— TRACING-POINTGeorges de Recy, The Decoration of Leather, 1905, hlm. 20. Project Gutenberg
  • 2. Casket covered with stamped leather, cuir bouilli . German, 14th Century.
    2. Casket covered with stamped leather, cuir bouilli . German, 14th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 22. Project Gutenberg
  • 3. Coffret covered with leather, incised, coloured and gilt. French, 14th Century.
    3. Coffret covered with leather, incised, coloured and gilt. French, 14th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 24. Project Gutenberg
  • 4. Casket covered with embossed leather, cuir bouilli . French, early 15th Century.
    4. Casket covered with embossed leather, cuir bouilli . French, early 15th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 28. Project Gutenberg
  • 5. Case of cut and embossed leather, cuir bouilli . Italian, 15th Century.
    5. Case of cut and embossed leather, cuir bouilli . Italian, 15th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 32. Project Gutenberg
  • FIG. 15.— TOOL FOR WORKING REED DECORATION
    FIG. 15.— TOOL FOR WORKING REED DECORATIONGeorges de Recy, The Decoration of Leather, 1905, hlm. 34. Project Gutenberg
  • 6. Blind-stamped Morocco binding with gilt roundels and coloured cameo design. Celsus. De Medicina. Venice , 1477. Italian, 15th Century.
    6. Blind-stamped Morocco binding with gilt roundels and coloured cameo design. Celsus. De Medicina. Venice , 1477. Italian, 15th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 37. Project Gutenberg
  • FIG. 17.— CUTTING-OUT KNIFE
    FIG. 17.— CUTTING-OUT KNIFEGeorges de Recy, The Decoration of Leather, 1905, hlm. 40. Project Gutenberg
  • 8. Brown leather binding, cut and engraved, with punched background. German MS. Chronicle of Events. German, 15th Century.
    8. Brown leather binding, cut and engraved, with punched background. German MS. Chronicle of Events. German, 15th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 44. Project Gutenberg
  • 9. Cover of Case for a cup in wood covered with leather, cuir bouilli , embossed, painted and gilt. Italian, about 1500.
    9. Cover of Case for a cup in wood covered with leather, cuir bouilli , embossed, painted and gilt. Italian, about 1500.Georges de Recy, The Decoration of Leather, 1905, hlm. 49. Project Gutenberg
  • FIG. 28.— GOUGE OUTLINER. FIG. 29.— OUTLINING WHEEL. FIG. 30.— GOUGE OUTLINER. FIG. 31.— STRAIGHT OUTLINER.
    FIG. 28.— GOUGE OUTLINER. FIG. 29.— OUTLINING WHEEL. FIG. 30.— GOUGE OUTLINER. FIG. 31.— STRAIGHT OUTLINER.Georges de Recy, The Decoration of Leather, 1905, hlm. 56. Project Gutenberg
  • 10. Cover of work-box of wood covered with embossed leather, cuir bouilli . German, 16th Century.
    10. Cover of work-box of wood covered with embossed leather, cuir bouilli . German, 16th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 56. Project Gutenberg
  • 12. Shield of cut and embossed leather, cuir bouilli . Italian, 16th Century.
    12. Shield of cut and embossed leather, cuir bouilli . Italian, 16th Century.Georges de Recy, The Decoration of Leather, 1905, hlm. 60. Project Gutenberg
  • Fig. 16 LIME YARD ("Dri-ped" Tannery)
    Fig. 16 LIME YARD ("Dri-ped" Tannery)K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910. Project Gutenberg
  • Fig. 1 MECHANICAL FLAYING ( dépouille mécanique )]
    Fig. 1 MECHANICAL FLAYING ( dépouille mécanique )]K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 22. Project Gutenberg
  • Fig. 2 PIM'S SYSTEM OF FLAYING
    Fig. 2 PIM'S SYSTEM OF FLAYINGK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 24. Project Gutenberg
  • WARBLE FLY (1) Egg, (2) Larva, (3 and 4) Chrysalides, (5) Natural form of fly, (6) Magnified fly.
    WARBLE FLY (1) Egg, (2) Larva, (3 and 4) Chrysalides, (5) Natural form of fly, (6) Magnified fly.K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 28. Project Gutenberg
  • A KIP CONTAINING 584 HOLES CAUSED BY THE WARBLE FLY (The skin belongs to W. D. Mark & Sons, Hide Factors, Newcastle.)
    A KIP CONTAINING 584 HOLES CAUSED BY THE WARBLE FLY (The skin belongs to W. D. Mark & Sons, Hide Factors, Newcastle.)K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 29. Project Gutenberg
  • Fig. 3 HOLE IN COW HIDE, MADE BY THE GRUB OF THE WARBLE FLY (Magnified fifteen times)
    Fig. 3 HOLE IN COW HIDE, MADE BY THE GRUB OF THE WARBLE FLY (Magnified fifteen times)K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 30. Project Gutenberg
  • Fig. 5 SHAVING CYLINDER
    Fig. 5 SHAVING CYLINDERK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 53. Project Gutenberg
  • Fig. 6 BLADED CYLINDER FOR "BUFFING" LEATHER
    Fig. 6 BLADED CYLINDER FOR "BUFFING" LEATHERK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 54. Project Gutenberg
  • Fig. 7 BAND-KNIFE SPLITTING MACHINE
    Fig. 7 BAND-KNIFE SPLITTING MACHINEK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 54. Project Gutenberg
  • Fig. 8 SHAVING KNIFE
    Fig. 8 SHAVING KNIFEK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 56. Project Gutenberg
  • Fig. 9 SHAVING LEATHER (Old method)
    Fig. 9 SHAVING LEATHER (Old method)K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 56. Project Gutenberg
  • bet, pp. 56 & 57 Fig. 10 DRAWING OF SHAVING MACHINE
    bet, pp. 56 & 57 Fig. 10 DRAWING OF SHAVING MACHINEK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 57. Project Gutenberg
  • Fig. 12 shaving-machine (Haley)
    Fig. 12 shaving-machine (Haley)K. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 61. Project Gutenberg
  • Fig. 17 DEHAIRING KNIFE
    Fig. 17 DEHAIRING KNIFEK. J. Adcock, Leather: From the Raw Material to the Finished Product, 1910, hlm. 80. Project Gutenberg
  • Fig. 3.—Puer Wheel, with Cover Removed.
    Fig. 3.—Puer Wheel, with Cover Removed.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 12. Project Gutenberg
  • Fig. 4.—Elevation of Puer Wheel (back).
    Fig. 4.—Elevation of Puer Wheel (back).Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 13. Project Gutenberg
  • Fig. 5.—End Elevation of Puer Wheel.
    Fig. 5.—End Elevation of Puer Wheel.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 14. Project Gutenberg
  • Fig 6.—Sir John Turney’s Scudding Machine for Sheep Grains.
    Fig 6.—Sir John Turney’s Scudding Machine for Sheep Grains.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 16. Project Gutenberg
  • Fig. 9.—Diagram of Connexions of Electrometric Apparatus.
    Fig. 9.—Diagram of Connexions of Electrometric Apparatus.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 76. Project Gutenberg
  • Fig. 10.—Electrometric Apparatus.
    Fig. 10.—Electrometric Apparatus.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 78. Project Gutenberg
  • Fig. 12.—Curve obtained by Measuring Apparatus. (The dotted lines show the pressure on taking off the load.)
    Fig. 12.—Curve obtained by Measuring Apparatus. (The dotted lines show the pressure on taking off the load.)Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 85. Project Gutenberg
  • Fig. 13.—Improved Apparatus for Measuring the Degree of Falling. (Sand.)
    Fig. 13.—Improved Apparatus for Measuring the Degree of Falling. (Sand.)Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 86. Project Gutenberg
  • Fig. 26.—Curves showing Rate of Hydrolysis.
    Fig. 26.—Curves showing Rate of Hydrolysis.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 129. Project Gutenberg
  • Fig. 33.—Evolution of Gases from Pure Cultivation of B. Furfuris.
    Fig. 33.—Evolution of Gases from Pure Cultivation of B. Furfuris.Joseph Turney Wood, The Puering, Bating and Drenching of Skins, 1912, hlm. 277. Project Gutenberg
  • the revolving drums
    the revolving drumsSara Ware Bassett, The Story of Leather, 1917. Project Gutenberg
  • PETER AIDS IN A SURPRISE AND RECEIVES ONE
    PETER AIDS IN A SURPRISE AND RECEIVES ONESara Ware Bassett, The Story of Leather, 1917, hlm. 1. Project Gutenberg

Perbaikan dan Perawatan Buku

Bagian paling tipis di halaman ini — bukan karena perbaikan buku kurang penting, tapi karena literatur lama memang jauh lebih banyak menulis soal membuat buku daripada merawatnya. Reparasi buku justru pekerjaan inti kami, jadi kekosongan ini kami sebutkan apa adanya, bukan disembunyikan.

25 ilustrasi · 4 buku · 1892–1918
  • BOOK-CASE OF CHAINED BOOKS IN HEREFORD CATHEDRAL.
    BOOK-CASE OF CHAINED BOOKS IN HEREFORD CATHEDRAL.William Blades, Books in Chains, and Other Bibliographical Papers, 1892. Project Gutenberg
  • Fig. 60. Chained book, from a Dominican House at Bamberg, South Germany.
    Fig. 60. Chained book, from a Dominican House at Bamberg, South Germany.John Willis Clark, The Care of Books, 1901. Project Gutenberg
  • Fig. 2. Plan of the temple and precinct of Athena, Pergamon; with that of the Library and adjacent buildings.
    Fig. 2. Plan of the temple and precinct of Athena, Pergamon; with that of the Library and adjacent buildings.John Willis Clark, The Care of Books, 1901, hlm. 9. Project Gutenberg
  • Fig. 6. Elevation of a single compartment of the wall of the Library discovered in Rome, 1883. From notes and measurements made by Signor Lanciani and Prof. Middleton.
    Fig. 6. Elevation of a single compartment of the wall of the Library discovered in Rome, 1883. From notes and measurements made by Signor Lanciani and Prof. Middleton.John Willis Clark, The Care of Books, 1901, hlm. 23. Project Gutenberg
  • Fig. 11. A Roman taking down a roll from its place in a library.
    Fig. 11. A Roman taking down a roll from its place in a library.John Willis Clark, The Care of Books, 1901, hlm. 35. Project Gutenberg
  • Fig. 13. A Roman reading a roll in front of a press (armarium). From a photograph of a sarcophagus in the garden of the Villa Balestra. Rome.
    Fig. 13. A Roman reading a roll in front of a press (armarium). From a photograph of a sarcophagus in the garden of the Villa Balestra. Rome.John Willis Clark, The Care of Books, 1901, hlm. 38. Project Gutenberg
  • Fig. 16. Great Hall of the Vatican Library, looking west.
    Fig. 16. Great Hall of the Vatican Library, looking west.John Willis Clark, The Care of Books, 1901, hlm. 46. Project Gutenberg
  • Fig. 17. A single press in the Vatican Library, open. From a photograph.
    Fig. 17. A single press in the Vatican Library, open. From a photograph.John Willis Clark, The Care of Books, 1901, hlm. 48. Project Gutenberg
  • Fig. 20. Groundplan and elevation of the book-recesses in the cloister of Worcester Cathedral.
    Fig. 20. Groundplan and elevation of the book-recesses in the cloister of Worcester Cathedral.John Willis Clark, The Care of Books, 1901, hlm. 84. Project Gutenberg
  • Fig. 21. Groundplan of part of the Abbey of Fossa Nuova. To shew the book-room and book-press, and their relations to adjoining structures: partly from M. Enlart's work, partly from my own measurements.
    Fig. 21. Groundplan of part of the Abbey of Fossa Nuova. To shew the book-room and book-press, and their relations to adjoining structures: partly from M. Enlart's work, partly from my own measurements.John Willis Clark, The Care of Books, 1901, hlm. 85. Project Gutenberg
  • Fig. 23. Groundplan of part of Furness Abbey.
    Fig. 23. Groundplan of part of Furness Abbey.John Willis Clark, The Care of Books, 1901, hlm. 88. Project Gutenberg
  • Fig. 24. Arches in south wall of Church at Beaulieu Abbey, Hampshire, once possibly used as book-presses.
    Fig. 24. Arches in south wall of Church at Beaulieu Abbey, Hampshire, once possibly used as book-presses.John Willis Clark, The Care of Books, 1901, hlm. 88. Project Gutenberg
  • Fig. 25. The cloister, Westminster Abbey. From Mr Micklethwaite's plan of the buildings.
    Fig. 25. The cloister, Westminster Abbey. From Mr Micklethwaite's plan of the buildings.John Willis Clark, The Care of Books, 1901, hlm. 91. Project Gutenberg
  • Fig. 32. Library of the Grey Friars House, London, commonly called Christ's Hospital. From Trollope's History.
    Fig. 32. Library of the Grey Friars House, London, commonly called Christ's Hospital. From Trollope's History.John Willis Clark, The Care of Books, 1901, hlm. 108. Project Gutenberg
  • Fig. 35. Ground-plan of the Library at Citeaux.
    Fig. 35. Ground-plan of the Library at Citeaux.John Willis Clark, The Care of Books, 1901, hlm. 112. Project Gutenberg
  • (4.) CALF.
    (4.) CALF.E. Wyndham Hulme & Cyril Davenport, Leather for Libraries, 1905. Project Gutenberg
  • (5.) SHEEP (ROLLER BASIL).
    (5.) SHEEP (ROLLER BASIL).E. Wyndham Hulme & Cyril Davenport, Leather for Libraries, 1905. Project Gutenberg
  • INLAID LEVANT BINDING
    INLAID LEVANT BINDINGMitchell S. Buck, Book Repair and Restoration, 1918. Project Gutenberg
  • VELLUM BINDINGS (1674 AND 1878)
    VELLUM BINDINGS (1674 AND 1878)Mitchell S. Buck, Book Repair and Restoration, 1918, hlm. 24. Project Gutenberg
  • ORIGINAL SHEEP BINDING (1684 REBACKED )
    ORIGINAL SHEEP BINDING (1684 REBACKED )Mitchell S. Buck, Book Repair and Restoration, 1918, hlm. 38. Project Gutenberg
  • MODERN LEVANT BINDING
    MODERN LEVANT BINDINGMitchell S. Buck, Book Repair and Restoration, 1918, hlm. 50. Project Gutenberg
  • SOLANDER SLIP-CASE
    SOLANDER SLIP-CASEMitchell S. Buck, Book Repair and Restoration, 1918, hlm. 76. Project Gutenberg
  • LEATHER SLIP-COVERS
    LEATHER SLIP-COVERSMitchell S. Buck, Book Repair and Restoration, 1918, hlm. 88. Project Gutenberg
  • KELMSCOTT PRESS BOOK
    KELMSCOTT PRESS BOOKMitchell S. Buck, Book Repair and Restoration, 1918, hlm. 98. Project Gutenberg
  • BLACK LETTER VIRGIL
    BLACK LETTER VIRGILMitchell S. Buck, Book Repair and Restoration, 1918, hlm. 110. Project Gutenberg

Silakan dipakai

Silakan pakai gambar-gambar ini untuk belajar, mengutip, atau sekadar melihat bagaimana pekerjaan ini dilakukan lebih dari seratus tahun lalu. Kalau ingin melihat halaman aslinya, ikuti tautan Project Gutenberg yang tercantum pada tiap gambar.

Rekam Jejak

  • 15 Tahun Berkarya
  • 100.000+ Produk Dibuat
  • 4,9 Rating Google · 85 ulasan
  • 5 Negara UAE · MY · CA · DE · NL
  • 2.000 pcs Kapasitas / Bulan
Dipercaya
Pertamina · POLRI · PPLi · Unilever
Diliput
TVRI · Trans7 · MNC Home Living · iNews Radio
Media Cetak
Tabloid Nova · Bogor Today · Tren Bogor
Penghargaan
Juara UDUNAN 2020 · Ekraf Jabar · Mitra Jabar
Tim Hibrkraft berkumpul di depan bengkel di Bogor
Tim Hibrkraft, Bogor
Unduh Company Profile Hibrkraft PDF · 18 halaman · 15,5 MB

Untuk pengajuan vendor, tender dan kerja sama korporat.

No Result
View All Result

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