Springback Fine Binding

I love springback bindings, especially the German version I learned during my apprenticeship. Below images of one I completed on the textblock of the exhibit catalog for L'Infinito, one of those international bookbinding competitions and exhibitions. This one was organized by the Provincia di Macerata. Competitors were asked to design bindings for the poem L'Infinito by Italian poet Giacomo Leopardi (1798-1837). The catalog has a section for the 125 bindings that formed the exhibition and are considered the best of the entries submitted. The remaining 475 submissions are divided by national school and reproduced without commentary. I lifted the description from Oak Knoll Books who have a copy of the catalog available in case someone wants to bind it. ;-) I never bought the set book for the exhibit, but did get the catalog as I have a great weakness for exhibit catalogs for my personal library.

Exhibit catalogs in my library. An intervention might be called for...

This all makes for a very hefty tome, just begging for a springback binding. I wanted to show the underlying structure and love veiney calf parchment. This is what I came up with:

German-style springback; sewn on three tapes with endsheets of Roma paper; graphite top edge; red leather wrapped endband; covered with two veined calf vellum panels at top and bottom with center panel painted with textured acrylic; spine and sewing exposed in center panel and painted with textured acrylics; title stamped in gold. 28 x 25.5 x 6.5 cm. Bound 2004.

Parchment panels that wrapped around at head and tail. 

Detail of spine with the book closed.

Detail of spine with the book opened.

Looking down the "hollow" of the spine.

My tutorial for the German style of springback can be viewed here and downloaded here.

Just make sure the spring isn't too "strong." 😉

Square Back Bradel Binding Tutorial on the Pressbengel

What a delight to discover during a random web search...

Watch Queensland, Australia based Darryn Schneider of DAS Bookbinding demonstrate a square back Bradel binding (German case binding) using my instructions and the downloadable sheets for my translation of Ernst Collin's Pressbengel (as The Bone Folder).

The demonstration on YouTube is nicely done, and is a great use of the downloadable text in signatures. Intended audience is students and workshops, and it can be used for just about any common codex-based structure.

Enjoy!

Ps., I'm always happy to see bindings on the textblock by individuals and those in workshops. Bonus points for those using parchment they made from fish. ;-)

The Bone Folder by Ernst Collin.

Watch on YouTube here.

I also recommend checking out his many other tutorials, also on his YouTube Channel.

Fritz Otto Doing a Colored Edge and Endband

↣ Happy New Year 2020! ↢

Here's hoping we don't go too full-on Weimar,

but some bindery projects will help keep us sane, maybe.

Coloring the freshly plowed top-edge using a paste paper technique.

I think I'm liking the effect!

Next, I add some shape and crispness to the rolled leather endband.

And, a little more in that spot...

OK, that's done. What's next?

Book and Paper Arts for School Students, a tale of two Pralles

Willi Pralle, Papier- und Papparbeit. Schulzesche Verlagsbuchandlung, Oldenburg, 1938.

Given the date of publication and the torn-out title page in my copy, I'm going to assume that it contained information linking it to the National Socialist government... Per the OCLC record, it was published for the Gauwaltg. d. NS.-Lehrerbundes im Gau Weser-Ems (Administration of the NS Teacher's Federation in the Weser-Ems District) that was based in Oldenburg.

The book would have been used in the teaching of paper and book-related crafts to/by teachers working with the lower school grades.

Interestingly, a Heinrich Pralle taught this subject at the Staatliche Kunstgewerbeschule zu Hamburg where Franz Weisse and Ignatz Wiemeler also taught. The book Die staatliche Kunstgewerbeschule zu Hamburg (1913) shows examples of works created by Pralle's students starting page 383. Given the similarity in name and focus, were they father and son?

Workshop where teachers would have been taught these paper crafts and more at the
Staatliche Kunstgewerbeschule zu Hamburg ca. 1913.
Click to enlarge.

Paper crafts as taught by Heinrich Pralle at the
Staatliche Kunstgewerbeschule zu Hamburg ca. 1913.
Click to enlarge.

The purpose of this instruction (in German) was to get children used to working with their hands, something that privileged those in rural areas over the cities because the children were more likely to have direct contact with this kind of work. From Die staatliche Kunstgewerbeschule zu Hamburg, "The pupil's workshops should not train craftsmen, they should educate in the children of all professions in the right understanding, sharp vision, and aptitude. Manual dexterity is valuable if mind and body are to be cultivated."

Willi Pralle's book introduces the topic in the same manner with specific instructions for a number of excercises... A similar book is So fertige ich allerlei Buchbinderarbeiten (1911) by Richard Parthum.

The illustration depicts a class-sized tool cabinet for the making of paper crafts.

Schematic for a simple octavo stab-sewn notebook and loose documents.

Schematics for making round boxes with lids.

Tipped in paste paper swatches.

Tipped-in paste and marbled papers.

Bookbinding Materials Swatches, Con't

I'm continuing to go through my old trade manuals and journals scanning the materials swatches that were so often included. This time the swatches are from "L. Brade's Illustriertes Buchbinderbuch," edited and reworked by Paul Kersten in 1921. The closest edition available in Hathitrust is from 1916, but is lacking the materials samples and advertising.

The swatches themselves were provided by various workshops and wholesalers, included the contact information, and were mounted on different stocks for whom contact information was also provided.

Enjoy!

Marbled with colors by Paul Szigrist, Leipzig.

Marbled with colors by Paul Szigrist, Leipzig.

Printed and batik artists' papers from the firm of Hanns Doenges, Wiesbaden.

Papers sold by Wilhelm Leo's Successors, Stuttgart.

Hand-colored papers from Künstlerpresse, Dresden.

Hand-colored papers from Künstlerpresse, Dresden.

Endpapers, some decorative from Wilhelm Valentin, Berlin.

Endpapers, some decorative from Wilhelm Valentin, Berlin.

More Sprayed and Stenciled Papers

Below a sample of Peka-Spritz-Papier made by Hübel & Denck in Leipzig from the article "Das Spritzverfahren in der Buchbinderei" by Paul Klein in the Buchbinderlehrling, 1928. I shared other papers using this technique by Hübel  & Denck from their Monatsblätter in this earlier post.

Steifbroschure (stiffened paper binding) by Amy Borezo on Ernst Collin's Bone Folder from the 2012 Bind-O-Rama, More examples including historical ones can be found by clicking on the steifbroschure label. Just scroll down.

Airbrushed Cave paper over boards; tipped on Tiziano endsheets;
unsupported link stitch. Dimensions: 21.5 x 13.8 x .8 cm.
In reading the text… I appreciated the discussion of the various kinds of decorated papers.
It inspired me to create my own decorated cover paper for this book using a metal bonefolder
 to score a geometric pattern into the paper, which I then folded, airbrushed, flattened,
and attached to the cover.

Amy wrote a short post on how she made the paper for Bonefolder Extras here. The second edition text of Ernst Collin's Bone Folder can also be freely downloaded laid out for binding using the link in the left sidebar.

Frühe Anleitung für Buchbinderarbeiten gerichtet an Laien | Early Introduction to Bookbinding for Amateurs

Ernst Collins erstes Buch war Buchbinderei für den Hausbedarf [1915], eine Anleitung für Laien und Amateure. Obwohl in England recht verbreitet, könnte diese, nach meinen Recherchen, die erste solche Anleitung die zuerst in deutscher Sprache erschienen ist. Douglas Cockerells Bookbinding and the Care of Books, daß auch an Amateure gerichtet war erschien zuerst 1902 in Übersetzung als Der Bucheinband und die Pflege des Buches, und 1925 in einer neuen Ausgabe mit neuer Einleitung von Maria Lühr. 

So dachte ich wenigstens bis ich So fertige ich allerlei Buchbinderarbeiten von Richard Parthum (Heft 24 in der Selbst ist der Mann Serie, Leipzig, [1911]) fand. Dieses kleine Heft ist wie einige der Englischen an Schulkinder, auch in Sonderschulen... gerichtet. Neben der Broschüre beinhaltet es auch einige andere Projekte wie Kästen für Schreibzeug oder Schmuck um den Eltern Freude zu machen. Es kann in ganzen Umfang unten gelesen werden.

Ernst Collins’s first book published was Buchbinderei für den Hausbedarf [1915], a basic bookbinding manual specifically for amateurs. Based on a review of the literature, this is perhaps one of the first such manual written originally in German. Douglas Cockerell’s Bookbinding and the Care of Books first appeared in German as Der Bucheinband und die Pflege des Buches in 1902, with a 1925 edition with new introduction by Maria Lühr.

That's at least what I thought until I discovered So fertige ich allerlei Buchbinderarbeiten by Richard Parthum (Pamphlet 24 in the Selbst ist der Mann series, Leipzig [1911]). This small pamphlet is like many of its English counterparts directed at school children, including those in "special schools." Illustrations and instructions are minimal, but give a good sense of the projects that include portfolios and a variety of boxes for writing implements or jewelry designed to please the parents. The full pamphlet can be viewed at the bottom.

Umschlag | Cover

Mappe mit "Frosch" | Portfolio with expandable pocket

Ziehmappe mit Gestaltingsideen für die Decke | Portfolio with ideas for cover design

Wer kennt noch mehr? | Who knows of more?

Hier die ganze Broschüre zum Lesen...
Here the whole pamphlet for reading

"Spring" Binding Hath Sprung - Zum Frühling

The ground in Syracuse (NY) still has snow and the temperatures are still unseasonably cold from time to time, BUT the Sun crosses the Equator tomorrow and the first day of spring is here. The days are getting longer, our clocks "sprung" forward in the US on the 8th, so why not "celebrate" one of my favorite binding structures, the springback.

Hier in Syracuse, NY, liegt noch Schnee, die Temperaturen sind noch gelegentlich niedriger als normal, ABER die Sonne überquert den Equator morgen und der Frühling ist hier! Die Tage werden länger und wir haben in den USA am 8. auf Sommerzeit umgestellt. Also, warum nicht den Frühling mit dem Sprungrücken feiern? (im Englischen ein "gutes" Wortspiel...)

Above the logo for the first Bonefolder Bind-O-Rama (2004) that was featured on the cover of the Bonefolder. While published in the fall, the Bonefolder was announced early in the spring.

Oben, das Logo für das erste  Bind-O-Rama des Bonefolder von 2004. Das Heft kam im Herbst des Jahres zum ersten Mal heraus, wurde aber im Frühling angekündigt.

The Bonefolder, Vol 1, no. 1, Fall 2004

And from the Bind-O-Rama, this miniature springback by Roberta Lavadour.

“A Counting” – English-style springback, leather cover with double straight bands laced with deer vellum. 600 pages of 9 lb. Canary paper with painted edges. Inscription notes the multiplier for each of the 300 page spreads needed to equal the number of dead and wounded American soldiers and Iraqi civilians since March 2003. 7.5 x 7 x 2.5 cm. Bound 2004.

The mechanics of this springback reflect Richard Bakers demonstration at the Guild of Book Workers Seminar on Standards of Excellence in Hand Bookbinding in Denver CO, with a few references to Vaughans 1929 classic, Modern Bookbinding. The new purpose of this springback is to pop up the pop-up. The book measures 5.5 inches by 6.5 inches by 1.5 inches. Bound 2004.

Historical ledger bindings in an archive...

The structure is most common to the German and English binding traditions and has seen increased interest in the US since the early 2000s with articles and presentations largely by Peter D. Verheyen, Donia Conn, Richard Baker, and Karen Hanmer.

Sprungrücken gibt es am Häufigsten in der deutschen und englischen Buchbindertradition, und hat in den USA aber Anfang der 2000er neue Aufmerksamkeit gesehen in Aufsätzen, Vorführungen, und Kursen, hauptsächlich durch  Peter D. Verheyen, Donia Conn, Richard Baker, und Karen Hanmer.

Poster for the German tradition by Verheyen and Conn based on materials for our article in The New Bookbinder.
Guild of Book Workers Standards Friday Forum poster session, Minneapolis, MN, 2002

Richard Baker "hammering over" the headcap for the English-style.
Guild of Book Workers' Standards, Denver, CO 2003.

Cut-away model of German springback
Schnittmodell vom deutschen Sprungrücken

Interactive cut-away diagram (auf Englisch) here

These tutorials, with bibliographies can be found at | Anleitungen auf Englisch gibts hier:

• The Springback: Instructions in the German tradition for a binding designed for account, ledger, and guest books. By Peter D. Verheyen and Donia Conn.
• The Springback: Instructions in the English tradition for a binding designed for account, ledger, and guest books. By Peter D. Verheyen.

The structure is also described in all the leading bookbinding manuals published in German and in England.

Die Einbandart ist in allen gängigen Fachbüchern zu finden, also Henningsen, Lüers, Moessner,Wiese, Zahn...

[Edit 28 April, 2015: Nice article from West Dean Conservation in the UK on a student's first time making an English style springback | Schöner Aufsatz von einem West Dean Conservation Studentin in der UK: Springback Binding with Richard Nichols by Lucy Cokes]

Donia Conn cutting the spine on the German style
Rücken Ende absägen beim deutschen Sprungrücken

What's the attraction to this arcane structure that has long since been replaced by Microsoft Excel and now mostly sees use for guest books? It's the energetic springing flat of the pages as the book is opened that seem to give it wings.

Warum die Aufmerksamkeit für diese ausgestorbene Einbandart die vielleicht noch für Gästebücher anwendung sieht? Es ist das kraftvolle Öffnen und die flach-liegenden Seiten die dem Einband Flügel verleihen...

At left, "Not possible...," at right, "whoa! Wow!"
"As seen at the 1948 journeyman's exam in Cologne"
Sprungrücken, Das Falzbein, 1948, pg 96

So, let's spring into spring with renewed energy!
Also, ab in den Frühling mit erneuter Energie... !

Designing Spines

In designing bookbindings, the spine is one of the defining characteristics because it is often integral to the structure and what is most visible of the book when shelved. Below a series of images relating to the design of spines in chronological order starting with Paul Adam's 1898 Die praktischen Arbeiten des Buchbinders (Practical Bookbinding, 1903, as it was titled in the English edition). The captions for the images are often pedantically charming.

"Simple spines"
Paul Adam (1898),  Die praktischen Arbeiten des Buchbinders

Only use German (fraktur) faces for titles if the book is printed using fraktur,
and Roman faces if the book is printed in Roman.
In other words, don't mix typefaces.
Paul Adam (1898), Die praktischen Arbeiten des Buchbinders

The "better" 1/4 linen binding. The caption goes on to say that the proportions are to be seen as fixed
"standards" with linen from spine and corners each covering 1/3 the width of the board...
The top part of the image shows the appropriate rounding for spine/foredge.
Paul Kersten (1909), Die Buchbinderei und das Zeichnen des Buchbinders
für Fortbildings und  Handwerker-schulen.

The spines of "better" 1/4 linen bindings
Paul Kersten (1909), Die Buchbinderei und das Zeichnen des Buchbinders
für Fortbildings und  Handwerker-schulen.

The spines of "better" 1/4 leather "extra" bindings with laced-on boards.
Paul Kersten (1909), Die Buchbinderei und das Zeichnen des Buchbinders für Fortbildings und  Handwerker-schulen.

Colors: This diagram shows how colors should be selected for binding designs,
with the lower diagrams  depicting (from top to bottom) the spine, sides, label, and top edge decoration.
Thorwald Henningsen (1935), Vorlagen für Buchbinder

The design of the bindings would then be depicted as above.
Thorwald Henningsen (1935), Vorlagen für Buchbinder

During my apprenticeship we had kept "spines" like these made of binders board in the appropriate thickness with swatches of the covering materials for spine and sides glued on including stamping the title with the selected face, size, and color foil at the appropriate height, measured from the bottom. As most of day-to-day work was "library binding," all done by hand, this would ensure that the title runs would be uniform. If a title changed size, measure title placement from bottom would ensure that it was still on the same level when on the shelf.What makes This book interesting is that the text is tri-lingual, German, French, and Italian as the book was designed for trades schools in Switzerland.

"Hand tooling" of the spine. The diagrams work the binder from a sketch to design,
show how the spine should be devided, title placement and spacing as well as suggestions for design.
Fritz Wiese (1937), Werkzeichnen Für Buchbinder

Originally published in German in 1983, this book continues the tradition of depicting spines and
book designs in this way. Like the German original, the captions are charmingly pedantic. Zeier wrote this
book for amateurs, one of the few in German at the time to do so, but his roots as a teacher in trade and design schools
are front and center.
Franz Zeier (1990), Books, Boxes, and Portfolios.

Franz Zeier (1990), Books, Boxes, and Portfolios.

Smitten by this book when I first bought it in German back in 1984, I have given a copy of the English edition to just about every one of my students and interns as I feel it is the best introduction to the German case binding in the English language, one that will allow those without full binderies to learn to construct a variety of bindings and other structures.