Millimeter Binding (Edelpappband)

The German-style millimeter binding (Edelpappband) is the "ennobled" version of the paper-covered case binding and should not be confused with the equally elegant but fundamentally different Danish millimeter binding (link to John Hyltoft: Danish Millimeter Binding from GBW Standards 1995). I described the case-bound German version of the millimeter binding in The Bonefolder, Volume 1, No. 2, Spring 2005, and Renate Mesmer the "in boards" version at the GBW Standards in 2005.

Ernst Collin discussed aspects of this binding on "Wednesday" in his Pressbengel, link to the English Bone Folder at left.

See also the 2005 Bonefolder Edelpappband / “Millimeter” Binding Bind-O-Rama where readers explored this structure, many for the first time.

Below are some maquettes I made to illustrate the covering stages for the version with the narrow leather edge along top and bottom (or fore-edges) and the version with invisible corners.

Below a diagram showing some of the design variants possible.

Overall images of the three books above

The Enchiridon of Epictetus, Press Intermezzo, 1997.

Edelpappband / millimeter binding: Endpapers of red Roma paper; top edge gilt; endband of pastepaper around thread core, vellum trim along top and bottom edges; covered in hand-made pastepaper; title in gold on front cover. 16.5 x 12 x 1cm. Bound 2005.

Saturday Night, 1953 / The Elements, Angorfa Press, 1998.

Edelpappband / millimeter binding: Sewn on 3 ramie tapes; plain endsheets same as text; solid graphite edges; red eel-skin leather endbands; "millimeter / edelpappband" case covered in original pastepaper by binder with blue eel-skin leather trim at head, tail, and along foreedges; title stamped in black on spine. 18 x 13 x .7cm. Bound 2003. The book, in the "Cased Binding" category, was awarded the Harmatan Leather Award for Forwarding in the Society of Bookbinders' 2003 Bookbinding Competition.

Fritz and Trudi Eberhardt, Rules for Bookbinders, The Boss Dog Press, 2003.

Edelpappband / millimeter binding: Endpapers same as text; top edge in graphite and burnished; dark red leather endband around thread core; vellum trim at head/tail caps with invisible corners; covered in handmade pastepaper; title in graphite on front cover. Soft “Ascona-style” slipcase covered in paper to match book with title in graphite on spine. 18 x 12.5 x 1cm. Bound 2005.

Other examples can be seen among the bindings here.

Something Fishy - Fish Leather for Binding

In 1919, after the end of World War I, there were severe shortages and civil unrest in Germany. This situation repeated itself after World War II. These shortages led to a high level of experimentation with ersatz (replacement/alternative) materials such as straw for paper and board, spun paper, ..., silk instead of linen for sewing thread, but also colored straw for inlays (Strohintarsien). Ernst Collin and others wrote articles on the subject in such periodicals as the Archiv für Buchgewerbe, the Buchbinderlehrling, and the Allgemeiner Anzeiger für Buchbindereien. This post is about one of those "ersatz" materials, fish leather.

In "Fischhaut zu Bucheinbänden" from the Archiv für Buchgewerbe ( Vol. 56, 1919) the bookbinder Franz Martini of Charlottenburg (Berlin) recounted a war experience in which he saw cod skins that had been pulled off the fish in a field kitchen in Belgium and discarded. Drawing on his experiences at the bindery of Lüderitz and Bauer, he examined the skins to ensure there were no cuts/tears, then carefully removed the scales and made parchment from them, using them to bind various such as military journals. Based on these experiments he deemed the fish parchment superior to calf or sheep for durability and working properties such as the ability to mold over raised cords without wrinkling.

Martini had the leather tested at the national testing center on the recommendation of Paul Kersten (Director of the School for Artistic Bookbinding in Berlin), and the Director of Royal Library of Berlin. The results of this testing were impressive, especially in terms of fold and tear strength where the fish parchment easily reached 50,000 double folds without damage.

Material: Fish skin (untanned), sheep parchment, calf parchment
Mittlere Reißlänge in mm = average breaking length in mm
Mittlere Dehnung in % = average stretching in %
Resistance to folding.

After these tests Martini also developed a way to tan these fish skins to leather, also taking out a "utility model" (Nr. 674 741), a more limited form of patent, on this invention. Below some images of bindings he  created with these tanned skins from the Archiv für Buchgewerbe. Obviously, fish skins are most suited to half/quarter bindings due to their shape... Images from Archiv für Buchgewerbe ( Vol. 56, 1919).

Half-leather extra binding with leather onlay and original pastepaper

Half-leather extra binding with leather onlay and original pastepaper

In the 1934 Allgemeiner Anzeiger für Buchbindereien (Vol 49, Nr 19), Ernst Collin wrote an article titled "Bucheinbände aus Fischhaut" ("Bookbindings in Fish Leather") that described the process in more detail, illustrated with photographs by Ernst. Shown is the same Franz Martini as mentioned above demonstrating how to remove the skin from the fish and prepare it. Martini has been able to demonstrate the effectiveness of tanning fish on a variety of species including cod, halibut, shark, eel, and others. Ernst points out that one of the reasons fish leather is not common is that most consumers prefer to cook the fish with the skin on - he suggests wrapping in gauze for the same effect, the cooking method is not mentioned.

From "Bucheinbände aus Fischhaut"
Click to enlarge.

The article recaps an earlier article by Paul Kersten from the  1917 (Nr 7) Allgemeiner Anzeiger für Buchbindereien which was similar to the 1919 article mentioned above. Ernst's article also states that Martini's attempt to patent the process failed as it was not unique enough and had been described in earlier publications.

Ernst concludes by praising this material and encouraging the German fisheries to take advantage of the need for durable yet affordable native materials to help contribute to sustainability and German economic independence.

The 1938 volume of the Buchbinderlehrling, a periodical for apprentices, describes the manufacture of fish leather in the context of the 4-year plan to make Germany independent of imports, and increased rationing in advance of the looming war...

The fish were carefully skinned and then tanned in rotating drums using a vegetable tannage -  sumac, dividivi, or willow. Unfortunately the tannins in most domestic plants were not effective enough. To dye the skins, aniline dyes and pigments (for darker colors) were used. Finally, the leather is pressed and glazed. Overall, these processes are identical to tanning other animal skins with an equivalent quality possible. Fish leather retains its flexibility and softness. It is also very resistant to tearing.

The article concludes by reminding the upcoming bookbinders that this is a material that they will need to become comfortable with, just as all other binding materials.

A final article on the subject from the 1946 (Nr 12) issue of the Allgemeiner Anzeiger für Buchbindereien leads with "Fish Leather Developed by Bookbinder." It recaps the articles mentioned above, and concludes by saying fish leather has established itself as a binding (and other leather trades) material, but no one remembers that a bookbinder first developed it.

Images of fish leathers below from my leather "stores." Of these the eel is the thinnest and smoothest by far, and only really useable on millimeter bindings, on small/light books, or for onlays. Almost no paring is required for use.

The other fish leathers, trout, salmon, cod, and carp are available glazed and suede. Paring is possible, but what I've found most effective is pasting out the back for dimensional stability and letting it dry on Mylar. Peel off and sand (a "micro" belt sander is great) with a little edge-paring. These leathers can easily be used as a structural element of the binding, just as any other leather - they're not just for onlays...

Click to enlarge

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The dogfish/shark and stingray skins are very difficult to pare, the former being very rubbery - kills Scharfix blades, fast.  The stingray is very hard and best used as an in/onlay. Cutting with a knife also very difficult. Probably the reason I haven't used it yet. Abigail Bainbridge wrote a great description of working with shagreen for the West Dean College Current Projects blog.

Click to enlarge

See also:
"Fips" and His Eels: Fish Skin in Bookbinding

Book Arts arts du livre Canada (Vol 10., Nr. 2, 2019)

"Fish Tales, experiments with fish skin for bookbinding

The New Bookbinder: Journal of Designer Bookbinders (2020)

Below examples of bindings using fish leather that I have made. Click image to enlarge.

On Søren Kierkegaard by Edward F. Mooney

Bound in salmon leather on spine with stained birch veneer covered boards; endpapers of handmade Roma paper; graphite top edge; leather endbands; title stamped in gold on front cover with goat leather onlays. Enclosed is cloth-covered slipcase. Bound 2013.

The Book of Origins – Le Livre des Origines, André Ricard, 2004

Modified Bradel binding (Gebrochener Rücken); textblock sewn on three slips of Cave Paper brown walnut dyed paper; endpapers of Cave Paper brown walnut dyed paper; gilt top edge; sewn silk endbands; Bradel case with 1/4 veined calf vellum spine and undyed goatskin sides; slips laced through at joint; decor of codfish leather onlay and blind tooling.
22.5 x 14.5 x 2.5 cm. Bound 2005. Collection of Karen Hanmer.

Gaylord Schanilec and Clarke Garry, Mayflies of the Driftless Region, Midnight Paper Sales Press, 2005

“Open joint” binding; sewn on 3 brown salmon leather slips; flyleaves and doublures of Cave Paper “layered indigo day” paper; graphite top edge; rolled endbands brown salmon leather; spine covered in gray salmon leather; boards covered in full vellum with printed illustrations from text below; salmon leather slips attached to boards and framed with decorative weathered wood veneer; tied mayfly attached to front board. 26.5 x 19 x 2 cm. Bound 2013.

Ladislav Hanka, Remembering Jan Sobota, 2013

Modified Bradel binding (Gebrochener Rücken); layered Indigo Night Cave Paper endpapers; sewn link stitch on 5 reinforced slips of same paper as ends; endbands of endpaper paper around core; spine covered in brown Kangaroo with cutouts to reveal slips and sewing; boards covered in brown tie-dyed Pergamena deer parchment; onlays of suede Salmon leather with fishing fly mounted into lacuna in parchment; title stamped in gold on front board. 33 x 25.4 x 1 cm.Bound 2013.

Mayflies of the Driftless Region - Done

Heading into the home stretch thanks to a week off at home. Plenty of procrastination, a speciality, but also good work on Mayflies and another binding...

First the open joint (offener Falz) where the only board attachment to the textblock is via the tapes, in this case a laminate of vellum and fish leather. The gray elements are stained birch veneer.

Then, an overview with boards attached, exterior and interior.

Attaching the final design elements to the middle of the fore-edge.

Attaching the tied mayfly to front board

Overall

Mayfly detail

Final steps, detail, touch-up where needed, make box!

To the Dorfner/de Gonet style (bottom of first post in series), I like it and have another binding using it in the works. Even though this is a smallish to average sized book, the tapes/slips must be flexible when opening cover, yet rigid so textblock does not sag. Nice to be able to work covers and textblock separately and then join.. I'm sure I'll have other thoughts as I give it the look(s) over...

Mayflies of the Driftless Region

Good progress on Mayflies of the Driftless Region, vellum down, title stamped, doublures in place. Below some images. Half circles are aged wood veneer that will flank the fish-leather slips of all slips. Just didn't have scrap pieces.

Front cover

Front cover and spine

Cave Paper doublure with "open" joint

Back cover

Next step, gluing down slips and adding wood veneer to each side of slip to make a half-circle...

Read part one here.

Mayflies of the Driftless Region

Working on Gaylord Shanilec's Mayflies of the Driftless Region for Designer Bookbinders' "Contemporary Bindings of Private Press Books" exhibition that will open in the UK and travel to venues in the US. Book is due in the UK early January, 2014.

Gaylord kindly included prospecti when he sent the textblock and I bound those in at the back along with tipping in an original print (for the standard edition cover) opposite the title page.

Textblock sewn on three vellum back salmon leather slips and backed towards 90 degrees at shoulder. Double-folio Johannot endpapers to go with textblock.

Graphite top edge (others left untrimmed), wrapped salmon leather endband to match slips. Spine stiffener covered with salmon leather turned in at head and tail with leather very thin and wide enough to go down shoulders and onto endpaper. Cave paper flyleaves glued on at base of shoulder and on leather and at foredge for greater flexibility.

Wrapped endbands, graphite top edge, and prospecti guarded in at rear of textblock...

Spine view

Illustration from text scanned and output via inkjet. Sealed with varnish to prevent bleeding. A different illustration will go on the back board. Slips will extend onto covers on top of vellum, amount TBD

Vellum laid on top of artwork. Will show through with more clarity when vellum is pasted to boards.

Next steps, attach artwork to boards, cover in vellum, stamp title on front board, attach boards to textblock via slips...

Structure is an open joint binding (in German, Franzband mit offenem Falz), a style that is attributed to Otto Dorfner, a contemporary of Ignatz Wiemeler who also taught at the Bauhaus and bound some of the Cranach Press works... It is also used heavily by Jean de Gonet in France [Site has some broken links, click on "reliures" for bindings]. De Gonet also had a fantastic retrospective at the BNF, amazing catalog available via amazon.fr. Sonya Sheats a binder working in the Boston area uses it beautifully as well. Erin Fletcher did a very nice multi-part interview with her on her blog. Toon Van Camp a binder in Belgium describes the structure as he learned in a workshop with Brother Edgar Claes. Anne Puls, a German binder creates beautiful designs using this technique, something I would love see her write up.

Watch the design evolve as I post updates  while working on the binding.

Edit 11/10/13: Read part 2 here.

Lacunose 1

First attempts at creating lacunose panels, a technique developed by English binder Paul Delrue.These may still be in progress, haven't decided yet. Been a lot of fun so far.

The panels were created on a sheet of mylar that kept everything dimensionally stable and allowed me to sand easily. To create the effect first made mostly random base and sanded until smooth from both sides, occasionally brushing on the very dilute PVA and letting it dry, occasionally laying on another thin piece of leather. Then laid-on the cut out shapes and sanded some more, mostly from behind, finishing off lightly from the front so the whole panel is smooth.

Click image to enlarge

Paul demonstrated this technique at the Guild of Book Workers Standards of Excellence Seminar in Portland, OR (2004). Download the handout for that demonstration here, or go to Paul's website for a more extensive tutorial.

The Bone Folder, con't (About stiffened paper bindings)

It has been some time since our Bibliophile and Bookbinder had their last conversation about bookbinding and the trade. In the spirit of Collin and his Bone Folder (Der Pressbengel) I  continue that conversation to draw in some German binding styles not included in the original text but of that time. I invite you to join the conversation in the "comments" section below, too.

From Marburg, Bildarchiv Foto Marburg

Several months later…

BOOKBINDER: Hello. What brings you back so soon? I haven’t even begun working on the books you dropped off after our last conversation about bookbinding. How is your book about our conversations coming along? Is it done yet? (chuckles)

BIBLIOPHILE: Don’t laugh. I’ve been working on it constantly and the more I do so the more questions I have. I had no idea there were so many facets to bookbinding and even art. As I was looking through some reference books at home and at the library I came across some bindings that you did not tell me about, perhaps because they are too common and beneath a binder of your reputation. Yet, as I was pondering them they struck me as perhaps the most honest in how they were made and are used.

BOOKBINDER: Really, this could be very interesting. Do you have examples with you?

BIBLIOPHILE: Not of both, but I do have an example of the smaller one in my coat pocket. It is very simple binding on a trade publication, comfortable to hold, not too delicate, unadorned, and very affordable. I have seen it used for school books, notebooks, address books and never really paid any attention to how they were made. But since our conversations I find myself critically looking at anything resembling a book. You have opened my eyes more than I could have imagined when we first met.

BOOKBINDER: Hmmm, yes that is a stiffened paper binding [Steifbroschure]. We, and by that I mean the trade, use it often for ephemeral items, or as an interim binding for something that book lovers like you might want to have bound properly. Although I am familiar with them and made one during my apprenticeship, it is not something I am interested in producing in my bindery – I usually refer them to a colleague who specialized in more modest, less expensive bindings. He also does work for some of the libraries in the area. I suppose they do have their place though.

BIBLIOPHILE: Tell me more about them so that I may understand your aversion to them. I could see them as a very useful binding for many books that may not be worthy of a fancier binding.

BOOKBINDER: Well, there are many reasons, but the main reason is that the structure is weaker and looks cheaper when compared to a “real” binding.

Often, especially for things that are to be rebound properly like a finely printed text, this minimal structure is appropriate in the short term, but what happens if it is never bound? If “holländern” [a very rudimentary form of sewing a text that originated in Holland ^[PDV1] is used the sewing is very weak and the only thing holding the text together is glue and a single thread. Then, we often use a very thin calico cloth that is glued directly to the spine to cover with everything else being paper. The cheapest ones may not even cover the thin boards – not a very durable combination. That may not matter, but why not bind the book properly from the beginning?

BIBLIOPHILE: As always Master you make good points, but what if I want to read the text and think about it before asking you to bind it. Wouldn’t it be better to have it protected at least that little bit?

BOOKBINDER: Perhaps… For the other types of “books” you mentioned such as school books, notebooks, address books it may well not matter much if they do not last. Still, there are simple ways we can use to make them stronger. We could, for example, sew them on tapes, and stiffen the boards with thin card. Perhaps one could even use a stronger cloth on the spine, perhaps with a nice decorated paper, or one could cover the whole book in cloth and just turn in at the fore-edges. But even then, why not bind properly?

BIBLIOPHILE: That is very interesting and gives me ideas. Still, I believe that you are right in saying that the binding is not very durable. That would also mean one shouldn’t use it for larger or heavier books. In that case I agree that one should just bind it properly to begin with. But, don’t you think that the style has its place in your selection of tools? I am trying to remember who it was, but I recently read in one of your trade publications that "'good enough’ is sometimes an appropriate, and even a noble goal, not an abomination.“ ^[PDV2]  I think it was in the Allgemeiner Anzeiger für Buchbindereien. Don’t you think that might be the case with these unassuming bindings?

BOOKBINDER: I suppose you might be right, but there is a reason that these stiffened paper bindings are not described very often in our bookbinding manuals. Often one does not even need to know how to bind a book in order to make one. Even a printer could make one – a trade that often does not even understand the importance of grain direction.

Here, look at the example you brought. You can see that the endpaper is nothing more than a single leaf that has been hooked around the first signature. Then the sewing is very weak, the holländern I mentioned earlier. Then, the boards are only thin pieces of card like that used for file folders, how much protection can they offer. Also, the thin cloth is adhered directly to the spine. See how the cloth on the spine is starting to fray at the spine. It is not even turned in or reinforced as in the case of a proper binding. There are not even squares to protect the textblock like we have on even the most basic paper-covered case binding. Imagine what would happen if it was covered in nothing but a thin paper…

BIBLIOPHILE: I apologize if I am causing you distress, but I am very eager to learn and understand all I can about your beautiful craft and the trade. You have work to do, and I must go. I will try to stop by again soon with that other style of binding I wanted to learn about. Until then…

Several weeks later…

BIBLIOPHILE: Hello Master! Thank you for sending your apprentice over with the first of the books you bound for me. I am completely enamored with the delicate paper case bindings you made for my collection of poems. The pastepaper harmonizes beautifully with the delicate leather trim on the spine – headcaps you called them? – and the corners. Here is my payment. Unfortunately I was on my way out when he came by and couldn’t pay then.

BOOKBINDER: I am delighted that you are pleased with the binding. It is a style I truly love for its honest simplicity, especially when well done.

I’ve been thinking more about our earlier conversation – the one about those stiffened paper bindings. I was especially struck by your comment about something “good enough” being an appropriate goal. It is a very basic binding, one that is very easy and economical to make. That doesn’t mean it can’t be well made with almost the same amount of effort. When I was making a delivery to a very good client, a professor with a large library and many students, I noticed several books on a table that were bound in that way. Of the ones I saw that even the oldest one from the 1860s, a dissertation., It wasn’t pretty, thin cloth on the spine with boards undecorated except for the front of the wrapper that had been glued on, but had held up quite well with seemingly heavy use. Then I noticed others with marbled papers and other combinations of materials. I admit with a sense of chagrin that they have grown on me as an acceptable style of binding that I could see producing in my bindery. A nice economical alternative that could appeal to many who would like something very basic yet attractive. I will need to experiment so that I can discover the many variations that are possible. It would even be useful for my apprentices to learn. They even teach it in trade school now because of that Professor Adam (1849-1931) in Düsseldorf. He has spent a great part of his life trying to change how we train apprentices, and what they learn. It might even be something I could offer my clients in a more distinctive version. I do need to be careful about my reputation, especially in this economy.

BIBLIOPHILE: I’m sorry, but I must rush out. Next time I will remember to bring that other book I wanted to ask about. It’s rather strange style of binding – one I have not encountered before.

BOOKBINDER: Until then, and hopefully I will have finished some more of your books. I thank you for this conversation and making me challenge my assumptions.

---

• [PDV1] Ludwig Brade, Emil Winkler, Das illustrierte Buchbinderbuch heißt es im 23. Abschnitt über Broschüren: "Durch das Heften der Broschüren bezweckt man die inneren Lagen der Bogen beim Aufschneiden derselben fest zu halten, damit sie nicht herausfallen, deshalb wird es so einfach als möglich ausgeführt und zwar auf die Art, welche man holländern nennt. Diese Bezeichnung hat ihren Ursprung darin, daß man jene Heftart zuerst in Holland anwendete und sie später auch in andere Länder überging.
•  [PDV2] Karen Hanmer in an email to the author about this binding style. 4/26/2012.

German Stiffened Paper Bindings - 2

That there was once the idea that books were functional items, not fetishized objects that should take as long as possible to make and should include many unnecessary features.

That "good enough" is sometimes an appropriate, and even a noble goal, not an abomination. 

Karen Hanmer (4/26/2012)

Known as broschuren and steifbroschuren in German, these brochures, pamphlets, and other related bindings have long been a part of the German bookbinding tradition. These can range from single section pamphlets with simple wrappers to adhesive bound or sewn textblocks in wrappers, to hard cover variants. In all cases the common thread is providing the texts with a simple yet functional binding that may or may not be intended to be permanent.

In my previous post I provided some images of historical examples of this structure from Syracuse University Library's von Ranke collection. In this post I will provide a more tutorial-like description (a more formal article is in preparation) of some of the variations that are common.

The textblock I have used is my translation of Collin's Der Pressbengel available as The Bone Folder in a pdf version laid out in signatures. See the link in the left side bar to download. As was, and remains, common to most books, the letter-sized paper I used has the grain running perpendicular to the spine resulting in some cockling of the textblock due to moisture from the adhesive used to attach the boards and covering... There, got that out of the way.

Forwarding of these is very minimal, endsheets generally a single sheet or folio that is folded/hooked around the first and last signature or a simply a tipped on folio.

Historically, sewing was generally a simple unsupported stitch (Holländern). Several books would be sewn together in stacks and then separated into the individual volumes by cutting the threads between after the pasting/gluing up of the spines. Staples were also common in lieu of sewing with thread. After being separated, the spines were repasted/glued and inserted into a folded paper wrapper. In some cases the wrapper was also pasted to the endsheet to make a slightly stiffer cover.

Detail from Stitches and Sewings for Bookbinding Structures by Betsy Palmer Eldridge.
Presented at the Guild of Book Workers Standards of Excellence, October 2008

Detail from Wiese's Der Bucheinband.

In the variant with stiff boards, endpapers were identical, with a single tipped on folio also being used, especially in the 20th century. Sewing was often more robust using a linked stitch, but also tapes, slips, or recessed cords being used. After sewing, the spine was pasted/glued as before. The book could also be rounded but was not backed to save a step.

Detail from Wiese's Der Bucheinband.
1) Single leaf tthat is hooked around first signature and becomes the pastedown after sewing.
2) Single folio tipped onto first signature.
3) Single folio hooked around first signature.

Next thin boards were cut to the height of the textblock, with a width that allowed for a narrow “groove” and for edge square. The top/bottom endsheets are pasted/glued out, the boards positioned and the book given a quick nip in the press. The book would then be covered with full paper, cloth on spine and paper on boards, or full cloth. Cloth would generally be thinner, and was not turned in, except occasionally at fore edge. Next, all three edges were trimmed flush unless a fore-edge square was left, in which case only top and bottom were trimmed. Finally a label could be applied.

Steps that follow will describe several variants that can be applied to sewn and adhesive bound structures using soft and stiff boards (Steifbroschuren).

Adhesive bound:

I use this style to bind text printed out from Google Books, books that arrived with spiral-type bindings, or simple substantial photocopied articles... Not beautiful but very functional.

Cut single folio endsheets to fit textblock. Precut thin cloth/muslin to height of textblock and ca 6cm wider than spine. Put endsheets on both sides of textblock and double-fan adhesive bind applying thin cloth centered on spine ensuring that it is well adhered with glue seeping through. Put in press with boards just shy of spine edge and close press tightly.

When dry, cut boards proportionate in thickness to the size of the book to the height and width of the textblock. To attach boards  apply adhesive first to the outer sheet, put down cloth hinge, apply adhesive over cloth (all as if casing in) and then put down first board, setting it back from the spine by about 5 millimeters. Repeat with other side. Insert fences of thin cardstock between pastedowns and text, and put in press giving it a good hard nip.

To cover, cut cloth to cover spine and reaching onto board (or fully cover spine and both boards). Work cloth into groove ensuring good adhesion to spine, then onto remaining board. Using edged casing-in boards give quick nip, take out. If only spine was covered, leave remaining board bare or cover with a contrasting paper or cloth.

If a fore-edge square is left, trim this to the desired size before covering, cover, trim so that it is no more than a centimeter, and then turn-in.Put between boards and under weight to dry.

Trim 3 sides so as to be flush, i.e. no squares. If a fore-edge square was left, trim only at head and tail.

Apply label to spine of front board as/if desired.

Adhesive bound before trimming showing layers.

Adhesive bound after trimming

A selection of adhesive bound volumes.
At left only spine covered with bare boards.

Simple unsupported stitch (geholländert):

Sewn using the very basic unsupported stitch described above is historical and not something I would apply to a binding that will be used. An unsupported linked stitch will work much better.

Sew textblock using an unsupported linked stitch with a single-folio endsheet hooked around the first and last signatures. This will become the pastedown. After sewing square up and glue up spine.

Single leave hooked around first signature prior to sewing.

Sewing completed, but not yet glued up. Image shows how signatures are only connected with each other at one point with two stations total.
See earlier diagrams above for more detail.

When dry, cut thin boards proportionate in thickness to the size of the book to the height and width of the textblock. To attach boards  apply adhesive first to the outer sheet and then put down first board, setting it back from the spine by about 5 millimeters. Repeat with other side. Insert fences of thin cardstock between pastedowns and text, and put in press giving it a good hard nip.

Boards attached after sewing
From left: Simple unsupported; sewn on tapes; unsupported link stitch.

To cover, cut paper or cloth to cover spine and reaching onto board (or fully cover spine and both boards). Work material into groove ensuring good adhesion to spine (there should be no "hollow"). If only spine was covered, leave remaining board bare or cover with a contrasting paper or cloth.

If a fore-edge square is left, trim this to the desired size before covering, cover, trim so that it is no more than a centimeter, and then turn-in. Put between boards and under weight to dry.

Trim 3 sides so as to be flush, i.e. no squares. If a fore-edge square was left, trim only at head and tail.

Interior view after trimming.

Exterior view after trimming.

Apply label to spine of front board as/if desired.

Folio endsheet hooked around first and last signatures and sewn on tapes:


Sew textblock on tapes with using a double-folio endsheet section that is hooked around the first and last signatures.  After sewing glue up spine.

Single folio hooked around first signature prior to sewing.

When dry, cut thin boards proportionate in thickness to the size of the book to the height and width of the textblock. To attach boards  apply adhesive first to the outer sheet and then put down first board, setting it back from the spine by about 5 millimeters. Repeat with other side. Insert fences of thin cardstock between pastedowns and text, and put in press giving it a good hard nip. [See earlier image above]

To cover, cut paper or cloth to cover spine and reaching onto board (or fully cover spine and both boards). Work material into groove ensuring good adhesion to spine (there should be no "hollow"). If only spine was covered, leave remaining board bare or cover with a contrasting paper or cloth.

If a fore-edge square is left, trim this to the desired size before covering, cover, trim so that it is no more than a centimeter, and then turn-in. Put between boards and under weight to dry.

Trim 3 sides so as to be flush, i.e. no squares. If a fore-edge square was left, trim only at head and tail.

Interior view after trimming. Note tapes under pastedown.

Exterior view after trimming.

Apply label to spine of front board as/if desired.

Spine covered separately with fore-edge squares:

For these these last two books, I used a single folio endsheet tipped-onto the first and last signatures. Sewing was with an unsupported linked stitch. After sewing the textblock was glued up.

Single folio tipped-on endsheet.

When dry, cut thin boards proportionate in thickness to the size of the book to the height and width of the textblock. To attach boards  apply adhesive first to the outer sheet and then put down first board, setting it back from the spine by about 5 millimeters. Repeat with other side. Insert fences of thin cardstock between pastedowns and text, and put in press giving it a good hard nip. [See earlier image above]

Trim at head and tail only and trim fore-edge square to desired size.

Images below show variant in which the spine with spine stiffener was applied first leaving a hollow. In addition the spine was lined with muslin to offer more support.

Spine lined and (leather) covered stiffener ready.

Spine-stiffener attached to endsheets.

To cover, cut paper or cloth to cover spine and reaching onto board (or fully cover spine and both boards). Work material into groove ensuring good adhesion to spine (there should be no "hollow"). If only spine was covered, leave remaining board bare or cover with a contrasting paper or cloth.

Spine covered in cloth with paper sides. Fore-edge square left with paper turned-in around.

Spine covered with leather before applying boards.
Boards covered with paper turned in at spine edge, fore-edge square left with paper turned-in around.

If a fore-edge square is left, trim this to the desired size before covering, cover, trim so that it is no more than a centimeter, and then turn-in. Put between boards and under weight to dry.

Interior view showing turn-in at fore-edge.

Trim 3 sides so as to be flush, i.e. no squares. If a fore-edge square was left, trim only at head and tail.

Apply label to spine of front board as/if desired.

The finished books:

Note thickness of the boards. Two on the left use 20pt folder stock.
Two on right 25pt pressboard which is stiffer than the folder stock.

Specimen Book by Barbara Tetenbaum uses this structure.

 Notes:

While the images above show 4 distinct models, this structure is very modular and can be elements can be easily moved around. It can also be used for single signature items.

From top: Single signature; multiple signature or adhesive bound; multiple signature or adhesive bound with hollow spine; board construction with fore-edge turn-in; tipped on endsheet (to whatever kind of textblock 

Have fun and experiment.

Related resources:

Books: All titles in German but most with good diagrams...

• Adam, Paul. Title: Die praktischen Arbeiten des Buchbinders. Wien: A. Hartleben's Verlag, 1898.  
• Published in English as Practical Bookbinding,  London: Scott, Greenwood & Co., 1903.
• Henningsen, Thorwald. Handbuch für den Buchbinder. St. Gallen: Rudolf Hostettler Verlag, 1969.
• L. Brades illustriertes Buchbinderbuch: Ein Lehr- und Handbuch der gesamten Buchbinderei und aller in dieses Fach eingeschlagenden Techniken. Halle: Verlag von Wilhelm Knapp, 1921.
• Lüers, Heinrich. Das Fachwissen des Buchbinder. Stuttgart: Max Hettler Verlag 1943.
• Moessner, Gustav. Die täglichen Buchbinderarbeiten: Eine Unterweisung in den einfachen Arbeiten der Buchbinderei. Stuttgart: Max Hettler Verlag, 1969.
• Rhein, Adolf. Das Buchbinderbuch. Halle (Saale): VEB Wilhelm Knapp Verlag, 1953.
• Wiese, Fritz. Der Bucheinband: Eine Arbeitskunde mit Werkszeichnungen. Hannover: Schlüterische Verlagsanstalt und Druckerei, 1983.
• Zahn, Gerhard. Grundwissen für Buchbinder: Schwerpunkt Einzelfertigung.Itzehoe: Verlage Beruf + Schule, 1990.

Examples of these and other variants. In German, but with lots of diagrams.

• http://www.google.com/search?q=steifBroschur