Attracting Women to the Bookbinding Trade

Another recent acquisition, Die Buchbinderin, #5 in the series Die Frau im Handwerk (Women in the Trades). The pamphlet was written by Agnes Richter, herself a Buchbindermeisterin, and published with permission of the Soviet military administration in 1949. 

In short it outlines the trade and apprenticeship in the way it would have been introduced and experienced by Babette/Bärbel.

Cover showing the seals of the trades in the series.
See the last image for the other publications in the series.

The series was written for all women thinking about starting a
career in the trades, other trade Meister, the Guilds, etc.

The authors' forward

Forward: This small pamphlet is particularly written for those women and girls deciding what trade and career to choose. I want to introduce a trade to them, one that has always employed women, but is particularly encouraging them formally learn the trade.

I want to describe the bookbinding trade and all of its varied facets so that girls leaving school and women contemplating a new career are filly informed about the work, apprenticeship, the exams, and opportunities for advancement.

I would be delighted if this publication helped career guidance counselors and supports the trade unins in their work. They could bring eager and interested future binders to the trade.

To those in the trade, I ask you to share your critiques so that I can update and improve this publication.

To those that helped finding illustrations and other documentation, my heartfelt thanks.

Schönbeck/Elbe, fall, 1948.

The author

Some statistics from Die Buchbinderin.
The years 1939 and 1942 are being compared.

In 1939 there were 7697 binderies in the trade, in 1942, 5498.

The table above shows how those working in these binderies were represented by type. Left column: Bindery owners, family members as "helpers", salaried staff, journeymen, apprentices, workers, totals. Top row: ["type"], [year], male total, male %, female total, female %, trade average %.

1939 and 1942 are interesting years to compare. In 1939 the war in Europe had really started, and by the end of 1942 the outcome would become much clearer. How much of the decline in binderies and males can be attributed to being closed, bombed out, drafted for the front, ...? The increase in females partially also to replace males lost, like Rosie the Riveter. Based on the print run figures in some of my earlier copies of Der Buchbinderlehrling, a comparison between pre-1929 (let's say 1927) and some time in the early 50s would have given a better sense, but that would be after this pamphlet came out. The Buchbinderlehrling would definitely have been required reading for apprentices represented in the date range of the table.

Binding by Maria Lühr (in German with pictures), first
Buchbindermeisterin in Germany. Lühr got her start with
W. Collin in Berlin and studied with Cobden-Sanderson, among others.
She also wrote the introduction to the 2nd German edition of Cockerell's
Bookbinding and the Care of Books (1925).

Bookbinder working on a folding machine.

Apprentices making cases for books.

The Meisterin checking the work of the apprentices.

From the author's conclusion

In her conclusion, the author offers practical suggestions about the career prospects and options for a master bookbinder. Among these other paper-based trades, work in libraries and archives, in conjunction with a small paper goods store. In the case of the latter, this would ideally be with the binder's husband or someone else who could run the store so that the binder could focus on the actual binding work.

She also responds to the often asked question of why invest in the training of women through to their master's certificate if they are likely to leave the trade to get married to focus on raising a family and managing a household. In her answer she points out that the number of women who will find husbands after the lost war (remember this was written in 1949) is substantially lower, and that as a result of labor shortages women will still be needed to contribute to a family's income, even in the best of circumstances. These women will be glad that they will be able to continue in their chosen careers and not have to take in odd work-from-home piecework. Yes, a portion of these women will leave the trade, but there are also plenty of men who do the same and were thus lost to the trade. 

So, for those that stick with it and practice their trade and craft to the highest standards, there will always be opportunities.

The list of other publications in the Series.
#1 a general introduction; #2, the potter; #3, the glassblower;
#4 the spinner and weaver; # 5 the bookbinder. The list of those in preparation
is quite representative of the trades learned by men and women.

Now, in the 21^st century the tables have flipped and women represent the majority of those learning and working as bookbinders (and conservators). At the same time, the numbers of binderies and available positions have contracted greatly due to any number of changes. On the positive side, the number of people practicing the books arts and number of learning opportunities has been increasing for decades. Those experiences cannot be compared to the traditional trade apprenticeships, schools, and overall situation described in Die Buchbinderin and publications like the Buchbinderlehrling and its successor Das Falzbein that ceased publication in 1960... I still need to write up a summary like I did for the Buchbinderlehrling.

Become a Bookbinder!

Video produced by the Bund Deutscher Buchbinder Innungen (Federation of German Bookbinding Guilds) to promote the trade to potential apprentices.

Colliniana 2021 - Ernst Collin Updates

I was both thrilled and petrified to have been asked to write an article about Ernst Collin for the historically Berlin-based Pirckheimer-Gesellschaft and its journal Marginalien. It was to be "grundlegend", a general introduction to Collin and his familial background. Thrilled because this is a tremendous opportunity to "reintroduce" Collin to German audiences and share the findings that I have shared here in a more formal way. Petrified, because it was definitely a huge lift for me to write in German at this level and for the journal it represents, in part because of some of the feedback I received for Die Collins (the German edition) – that anxiety was warranted. I was VERY thankful to a German friend and colleague at the University, and the editor of the Marginalien who coaxed me along and made me presentable. The article will appear in the next issue, 2021/2, Nr.241.

Recently, I was also able to acquire two more copies of the "regular" edition of the catalog to Deutsche Einbandkunst (1921) that was published by Ernst Collin. In addition to being the publisher, he had two short essays in the catalog (one uncredited). The wrappers of the "regular" edition were all made from decorated papers provided by several vendors. See the examples in my collection, and all the luscious advertising in the post. The exhibit also included 12 bindings by Georg Collin in the retrospective section. Georg Collin had died on December 24, 1918.

Retrospective (Memorial) component of the exhibit.
Georg Collin at the top of the list.

Now that the copyright wall is moving again, more articles by Ernst Collin, and about him and the Pressbengel have moved into the public domain to become accessible via HathiTrust. Among these a bibliophilic back and forth between a reviewer of the Pressbengel and Paul Kersten who defended the work. Today, this exchange might have happened on social media... There were also a number of advertisements for his Corvinus Antiquariate in the Zeitschrift für Bücherfreunde.

I also acquired a copy of the Festschrift  celebrating 50 years of the Buchbinder-Fachschule Berlin. This was the bookbinding trade school that was led by the bookbinding guild in Berlin. All other districts in Germany would have had an equivalent, either standalone, or as part of a more general trade school. 

The Kunstklasse (Art class) at the Fachschule that Ernst Collin mentioned himself studying at under Paul Kersten and others in the article “Ein viertel Jahrhundert kunstbuchbinderischer Erziehung - 25 Jahre Berliner Kunstklasse“ (Archiv für Buchbinderei, Vol. 29, Nr. 9, 1929. (106-108)) was briefly mentioned in the Festschrift, but Kersten was not in the list of faculty past and current. Re-reading Collins article about a quarter century of the Kunstklasse I learned that it had been a part of the Guild's Fachschule, but that split off after 19 years in 1923. The Kunstklasse then moved to an arts & crafts school in Charlottenburg in the western part of Berlin. According to Collin, the split happened due to differences in pedagogy and philosophy, the Kunstklasse being there to free students from creative constraints, whereas the Guild's more rigid approach was geared to the requirements of the trade. Those differences were also apparent when I visited the Berufsschule (trade school) during my apprenticeship.

Back to the Collins, Georg Collin was listed as having taught there 1893-1896. An added item of interest was that the Festschrift was printed by Paetsch & Collin, the last firm the Collins, in this case Gertrud, were associated with. What was left of W. Collin was aryanized in 1939. Details to this relationship and the history of the firm under Gertrud have not been found. I was also very pleased that my copy of this little publication came from the collection of Werner Kiessig, the [East] Berlin based member of the Meister der Einbandkunst.

Fifty years Buchbinder-Fachschule Berlin in 1938.

Georg Collin taught at the school 1893-1896.

From Paetsch & Collin to Werner Kiessig.
Kiessig was born Berlin in 1924 and started his apprenticeship
there in 1939, one year after this Festschrift was published.
Did he own it since it was published? He would have enrolled at the school.

Finally, 3 more items for the collection, 2 bindings by W. Collin and the complete run of Die Heftlade, the journal Ernst Collin published for the Jakob-Krause-Bund (JKB). The W. Collin bindings include a full cloth publishers binding with another, new to me binder's stamp on the back, and a binding with leather relief, link above.

Start-up Costs

Starting up is always an investment. If you're going to do good work, you really need a dedicated space that meets your needs. So, after my return from my apprenticeship in Germany and the School for Book Conservation in Ascona (read about my "path" starting here), my father and I built a bench in two parts with storage and other features. We got my set-up this going as quickly as I could to keep my bench skills up and earn some $$ while looking for a job as a conservator. VERY important to work with others at this early career stage for professional development and mentoring. Then, of course, I needed supplies, some equipment, ... My father, as was his habit, kept track and made sure I did as well. While the dollar amount is no longer available, I recently rediscovered this pie-chart he made to remind me. 

Pie (and other) charts, the bane of my existence. 🙄

Set-up was for bench and equipment like vacuum pump and home built suction box; travel for the MARC train from Baltimore to DC and Bookmakers, then owned by Gus Valetri. That was in a tiny office space in an old DC office building; subscriptions were Designer Bookbinders, Institute of Paper Conservation, IADA's Maltechnik-Restauro, Abbey Newsletter, Guild of Book Workers, ...; books, well you can never have enough of them, but I started small (and enjoyed the 40% discount from working at the campus bookshop part-time); photo documentation equipment; supplies included papers, board, leather, dyes/pigments, hand tools.

The benches as first set up in my childhood basement.

Here, the 2-part bench with flat files and storage on one side, light table / paring surface on the other half. I still use the benches and presses... The press on the bench served as the model for the Arnold Grummer Quiknip, a great press for those starting out that will give a lifetime of service. The flexibility to break the benches down in their component parts made it easy to modify (read bring them down to a more normal desk height) due to changes in mobility..., something I describe in Bookbinding and Adapting to Life Changes. 

When taken apart, the bench with both halves and drawers
could fit into the back of a late-1980s sub-compact.
Above my first car! Same color/style, too. It gave me 6 years of
very reliable service, despite its reputation.

I still keep track of expenses and income, but it would not be prudent to tally all that up, especially for the books... 

Deutsche Einbandkunst, 1921

Ernst Collin edited and published Deutsche Einbandkunst, the catalog for the Jakob Krauße Bund's (J-K-B) exhibition that was held in the Weißer Saal of Berlin’s Schloßmuseum September-October 1921. The catalog featured essays by Ernst (2), Paul Kersten (2), G.A.E. Bogeng, and others. Ernst’s essays were “Wer ist ein Bücherfreund” (“Who is a Bibliophile”) and the uncredited “Über Bucheinbände” (“About Bookbindings”) describing the various structures hand bookbinders applied and what viewers would encounter in the exhibit. Other essays provide context to the J-K-B of which Kersten was director and other aspects of the exhibit such as bindings by Jakob Krauße drawn from various libraries. Displayed bindings are minimally described in the checklist that is divided into several parts: Deceased members Georg Collin (12), Eduard Ludwig (15), Fritz Nitsch (1) and active members including Otto Dorfer (24), Paul Kersten (42), Otto Pfaff (14), and Hugo Wagner (12). In total, there were several hundred bindings and other works. The catalog also contains forty pages of advertisements for antiquarians and booksellers, binderies, printers, and purveyors to the trade. Ernst wrote several articles about this exhibition in other publications for the book trades and general public.

The catalog was produced in two versions, a deluxe of twenty unbound copies on handmade wove rag (IXX), with the remaining copies (21-2,000) on a machine-made wove rag paper. My copy of the deluxe edition (Nr. XX) was bound in an unsigned ¼ leather binding with cloth sides and gilt top edge. 

Of interest is that the decorated wrappers for the regular edition were made by ten different decorated paper makers. Below some examples

The pastepaper example illustrated above from my collection (Nr. 1887)
was made by Xaver Wittmann, Abt. B.B.K., Konstanz a. R[hein]
who provided 200 pieces.

I was recently able to acquire two more copies of the catalog with different decorated papers for the wrappers.

Copy #1939, paper also made by Xaver Wittmann,
Abt. B.B.K., Konstanz a. B[odensee].

Advertisement for Xaver Wittman from the catalog.
They also sold "hand painted" book cloth, in addition to decorated
papers for covering and endpapers.

Copy # 375, paper made by Beyer-Preußer & Glasemann,
Niedernhausen im Taunus.

.

Advertisement for Beyer-Preußer & Glasemann from the catalog

"Quality decorated papers of all kinds for covering and endpapers
using our own proprietary techniques."

Colophon with all the papers and their makers.

Below, all advertisers in the catalog. In addition to some of the exhibitors, the advertisers included booksellers, publishers, hand- and large trade binderies, and suppliers of all sorts. Download from here.

UNESCO Recognizes Bookbinding as Cultural Heritage.

Bookbinding has been added to the Inventory of Intangible Cultural Heritage by the German UNESCO Commission 2021. The declaration calls out the role the bookbinding trade has had in ennobling the printed word in all its aspects, as well as preserving that record. While the images below call attention to the art of printing books, without bookbinders there would be no books. Printing was added to the Inventory in 2018. The bookbinder is always the last in the chain of production, and often overlooked in colophons and elsewhere, even in fine press books. No more! Image below featuring Bauer's 500 Jahre Buchdruckerkunst, 1440 - 1940 (500 Years of Book Production), and Fritz Otto, from the Pirckheimer-Gesellschaft's blog. The Bauer tunnel book is now part of RIT's Cary Graphic Arts Collection.

From the Pirckheimer-Gesellschaft's blog

Fritz Otto feels it is past time to correct this oversight in print, and is pushing to create a tunnel book on the theme of bookbinding. Hmmm, we'll see what we can do.

Visit to a Hand Bindery in Trier - Buchbinderei Mohr

Was searching YouTube for some bindery videos from Germany and came across this one from the Buchbinderei Franz Mohr in Trier, Germany. The Buchbinderei was founded in 1864 (via Archive.org), and was stop 1 on my apprenticeship interview tour in May 1985. The location was very convenient as I flew into Luxembourg from Baltimore... Trier has an incredibly rich history.

The Buchbinderei Mohr as I saw it in May 1985.

View in same direction from the video.

Device for fan gluing (Klebebindung, aka Lubecken) that starts at 2:08. It appears to be the same
as being used [by the Geselle?] in the foreground of the first image.

Here the video that shows the steps of case binding journals and periodicals for town, municipal, medical, law, ... Below the full video.

I did not end up apprenticing there, but it was the hand-bindery the other two I visited were compared to in terms of the type of work completed and overall atmosphere.

Fritz Eberhardt’s Finishing Tools and Technique

It was once again my pleasure to collaborate with Don Rash and his Boss Dog Press by translating essays from the German that highlight the work of one of that tradition's finest binders, a student of Ignatz Wiemeler. From the downloadable prospectus: 

The Boss Dog Press is pleased to announce the upcoming publication of Fritz Eberhardt’s Finishing Tools and Technique, the sixth book from the Press and the third volume in the series Eberhardtiana. The goal of this series is to preserve the writings and art of fine hand bookbinders Fritz Eberhardt (1917-1997) and his wife Trudi (1921 -2004). In addition to being two of the finest binders of the twentieth century, Fritz and Trudi were teachers, mentors and good friends to many practitioners of the book arts, and their work and lives deserve to be remembered and celebrated. It has been the honor of the Press to do this in a small way.

Finishing Tools follows 2004’s Rules for Bookbinders and 2014’s Three Lectures. It catalogs 94 unique finishing tools which Fritz fabricated for tooling in blind and gold on his design bindings. Each tool is represented by a description, measurements, and a scanned image of the tool’s impression. There will also be digital photographs of the tools, of the electric tooling station that Fritz used, and of a paper tooling pattern used on Fritz’s design binding of Gordon Craig’s Paris Diary. The catalog proper is preceded by two essays dealing with Fritz’s work, one by Professor Hans Halbey and one by Fritz himself. The essays were published together in the March 1990 issue of the German bibliophile journal Philobiblon. 

Millimeter binding (Edelpappband) covered in decorated paper
by the binder with tooling based on Eberhardt's unique tools,
leather trim at top and bottom, and title stamped in gold. 

Title page with photo of Eberhardt tooling a binding.

One of Eberhardt's bindings and the beginning of the essay where
he discusses his binding philosophy.

Photos of Eberhardt's tools with description and
printed impression of the design.

From the colophon:

This is the third volume of EBERHARDTIANA. It was compiled, designed and executed by Don Rash, with the ongoing support of Elaine Rash. Types used are digital versions of Herman Zapf's Aldus for the text and Michaelangelo for the titling. The book was composed in Adobe InDes1gn. Boxcar Press supplied the polymer plates for printing. The paper was made at the University of Iowa Center for the Book by Tim Barrett and student co-workers, and as printed damp on the BDP Washington handpress. Inks are Graphic Chemical Albion

Matte Black and Hanco Leaf Brown. The tool impressions in the catalog were done by scanning smoke proofs, converting them to printable images in Adobe Illustrator and printing them with the text. All photographic images are digitally printed onto 48 gram Asuka paper.

The edition consists of 80 copies, with 10 copies (I-X) unbound, and with 50 regular copies (1-50) and 20 hors commerce copies(A-T) bound in full decorated paper over boards with leather strips at head and tail.

To learn more about the Eberhardt's, read their oral history recorded by Valerie Metzler, in which they discuss their life, their training, their time in the United States, and much more. It can be found in Volume 37, Number 2, 2002 of the Guild of Book Workers' Journal. Very much worth reading.

500 Years of the Art of Printing

Just received this lovely tunnel book, 500 Jahre Buchdruckerkunst, 1440 - 1940, that was issued by the Bauersche Gießerei (Bauer Type Foundry) in Frankfurt. It was created by the illustrator Fritz Kredel. Kredel was helped out of Germany by Melbert Cary in 1938. RIT's Cary Graphic Arts Collection was endowed by the Mary Flagler Cary Charitable Trust as a memorial to Mr. Cary, together with funds to support the use and growth of the collection. As they don't seem to have a copy, it seems only fitting to gift it to them. 

For a while it seemed the little gem was lost. But no, the journey from the antiquarian dealer in Madgeburg to Syracuse took 3 months and the item dropped out of postal tracking systems after 2 months, only to reappear the day before it arrived. Who knows where it languished, Frankfurt airport, New York?!? 

Here Fritz Otto helps me set it up for these pictures by holding on to the far end.

Fritz Otto holding the far end...

Side view showing the panels.
The accordion folds are at the top and bottom.

Shall we peek inside?

Oh look, a print shop. Type casting at front, right; type setting at front left;
printing in the middle, note the sheets hanging above, so the ink can dry;
and in the way back inspecting the final product.

As this is a German print shop, the paper will in all likelihood be unsized at this stage. As described in Prediger's Der Buchbinder und Futteralmacher (1741), the binder will size and beat the paper with a specially shaped heavy hammer before binding. Jeff Peachey describes this process in detail on his blog.

Another Sprayed and Stenciled Paper

Recently acquired another volume of the Archiv für Buchbinderei (Vols. 21-22, 1921-22). Another article by Ernst Collin, and 2 brief mentions/reviews of his Pressbengel. More about the Schablonenspritzpapier technique here and here. 

Fish Skin Tanning in Newsreels

Thank you to Gloria Conti, conservator working in Scotland who found this Italian newsreel from 1938 titled Le tante utilizzazioni della pelle del pesce. The film shows the processing of fish skins into various products. Gloria provided a translation of the brief narration below.

The many uses of fish leather 

In Germany fish leather is very in vogue. After being tanned, worked, dried, and handled with meticulous patience, it can be used to make many things like we see here: shoes, handbags, gloves, belts, and even to bind books.

Thank you Gloria. 

The imagery looks like the photos used to illustrate Franz Weisse's article "Fischhaut - Fischleder - Fischpergament" published in Das deutsche Buchbinderhandwerk, Vol 2, Nr 9, 1938. I described that article and shared some of the images in my post "Fish Skin - Tanned Fish Skin - Fish Parchment."

Perhaps the footage and images were taken together?

Often, when one gives, one also receives, so here a similar newsreel clip from British Pathé, 1949. This was shared on the Adventures in Fish Skin Tanning (closed) group at Facebook. It describes the process as having been developed by two Poles. No books in this one.

The first clip described the tanning... of fish skin in Germany. The second in the U.K.

My question, are there articles and references in the bookbinding literature outside of Germany that describe using fish for binding...?

Bookbinding and Adapting to Life Changes 2

In my post "Bookbinding and Adapting to Life Changes," I wrote about changes I've made to my studio equipment and how I approach some tasks... One of the things I mentioned was the challenge of using a board shear (Kutrimmer 1070) when one cannot push down on the foot clamp peddle. Being seated on a scooter makes it even more challenging... The wheels on my old indoor scooter were small diameter, but when I needed a new one this fall the wheels were larger, and I found that I could force myself on the clamp. That worked, but was a bit hairy (tipping danger) and caused the light board shear to wander.

Well, as we say in German, "what one doesn't have in the legs..., one needs to have in one's brain." (Was man nicht in den Beinen hat muss man in der Birne haben.). But, a small ramp... Hmmm. Sooo, threw together a simple ramp made of staggered off cuts of thin pink foam insulation board held together with a rubber band.

Very sophisticated construction... 🙄 First test. Will it work?

Fritz Otto was worried he'd have to hold the ramp
in place as it slide on the carpet while I moved back
and forth on the scooter. But, it worked. Just a few tweaks...

On to board shear ramp Mk. 2. This ramp has one more thickness of pink foam board (5 total), binders board top, e-flute corrugated bottom, some glue and packing tape to hold pieces in place, and velcro to hold it in place on the carpet. 

Much more robust and sophisticated construction.
It's also almost twice as wide.

Velcro hooks on bottom to keep it from moving on the carpet.

I should be in business for 80% of my cutting needs. I'll take it. For those other times, Hope is always happy to help. The independence will feel good though.

[Edit 13 March, 2021]

Thanks to Jeff Peachey I even have a very solid and attractive wooden "forever" ramp now.

The incline and Jeff's message. I love the twisted humor.

Indexing Shears

Lots of books have need for indexing tabs, books such as directories, address books, and ledgers. The marks for the index are placed along the fore-edge of the book. These can be half-round cuts called "thumb indexes" like those found on many dictionaries, or they can be strips of decreasing length that are cut out of the fore-edge. It is the latter I will show here. 

Mary Sullivan of Crowing Hens Bindery in Nashville, TN reached out to me about this topic and provided the beautiful images of her German-style indexing shears and an image of the one described in Wm Atkins Account Book Binding - A Classic Article on Folding, Sewing, Equipment,..., pg 33. Note: This is text is available as Print on Demand and is excerpted from The Art and Practice of Printing by John Mason, edited by Wm. Atkins. Mary, by the way makes beautiful springback bindings. Check them out on her website. They open flat and are great for writing in.

Mary Sullivan's German Indexing Shears (top).
Hickock Index Shears from Atkins, pg 33 (below).

Here is an image of shears, including the Registerschere from the 1928 catalog (pg. 38) for Braunwarth und Lüthke in Germany.

The Registerschere is 2nd from right. The elongated shape
between the handles shows the shape of the cutout.

Both feature an adjustable gauge to set the depth of the cut. So, how would one go about using these.?

First, one would need to determine how many cuts need to be made. In most traditions there are letters that might be combined, or even left out. The indexing tabs would also need to be evenly spaced out to have a clean looking index along the foredge. So, how would one do this? Math by dividing height of textblock by number of tabs, or is there an easier way? Well, it so happens that there is, reusable even. As an aside, this idea can also be easily adapted for determining sewing stations of pretty much any number for any common book. Just lay the signature on the template so that the textblock aligns at top and bottom, then transfer marks.

Index Scale Card from Atkins, pg 32.
Note "X" at the top and the added "Mc" at the bottom.

Register-Einteilungsschema from Fritz Wiese's Werkzeichnen für
Buchbinder, 1937. Note the combined and added indexing tabs.
We called a Registerkamm where I was an apprentice. Kamm = comb.

Paul Adams described how to cut these tabs in his Practical Bookbinding (1903) on pages 166-67.

For all such work a thumb index is generally required; each page takes one or more letters, or a specification is given, according to which the binder counts off the number of pages required for each letter—X and Y being here excluded. Nowadays, the indices are cut with index shears, which not only regulates the depth of the index but also avoids the acute angles which are so easily torn in.

Commence cutting from the back, that is, with the Z ; this, being the last letter, is not cut out. Then count off W, cut with the shears, and cut off what remains below to the bottom edge with a sharp knife, to do which a narrow thin board [or sheet of zinc] is slipped underneath. The further you proceed towards A, the longer is the strip which has to be cut out with the knife. When the excisions for the whole alphabet have been made, the letters are pasted on. These are sold ready printed, and nowadays are almost always in one piece for back and front. 

The printed sheet with the alphabet is glued or gummed on the back, and, after drying, the alphabet is creased lengthwise and either cut so or punched out with a suitable tool. The single letters are damped and stuck in position.

When cutting with the shears, it is useful to cut a manageable number of pages at a time for comfort, and to keep "round" of the foredge, such as it will be. This cutting, as well as the vertical cut described by Adam above can be done before or after sewing.

Here what the index looks like. Image taken from Mary's copy of Leonard Monk's A Text Book of Stationary Binding, 1912.

The cut out indices.

Finally, some beautiful images of Mary's German shears, with the final one of them in use.

The brass "clip" at bottom holds the shears closed when not in use.

View of the shears showing the wide cut on the right.

The shears in use showing various cut depths. 

Bernie, Like Elvis, is Everywhere...

We all get to deal with "difficult" clients from time to time. It didn't help that I made Bernie wait in the cold, and that the fish skin box wasn't what he expected. Some days you can't win...

At least he was somewhat dressed for our Syracuse weather. Needs a hat.!

For those not familiar, Bernie Sanders made quite the appearance at President Joseph Biden's inauguration this past Wednesday. Here is the original picture of him in the visitors' seats, just a different view.

You can see the ever-increasing number of memes at Google. The knitting pattern for the mittens is on https://www.ravelry.com/, account required.