4
NON-ADHESIVE BINDINGS
Sarah Smith
THE COPTIC BOOK
With so much access to books today, we start to take for granted all the structural steps leading to the paperback books we carry in our bags. There have been many iterations to the codex form that have lead us to our current moment in bookmaking. The earliest known form of the codex, as we know it today, was created in Egypt in the fourth century and was given the name “Coptic binding.” The word Coptic comes from the structure’s creators, the Copts, who were Egyptians of the Christian faith. When the Copts’ faith spread to Ethiopia, so did the Coptic structure starting in the fourth century. The fourth- through thirteenth-century versions of this structure were bound in vellum or papyrus, sewn on supports, and bound in decorated leather. These elements may not seem familiar when you look at a contemporary Coptic book, but the most important structural element of this binding is still being used—the chain stitch.
Prayer book
Artist: Wäldä Marya, 19th century, Ethopia. Parchment (vellum), pigment, leather, wood, string. Metropolitan Museum Museum, purchase 1895.
COPTIC BINDING
Contemporary Coptic books are known to have an exposed spine showing off this chain stitch. They are a good choice for any level of binding skill and require few materials. The contemporary Coptic structure uses no adhesives or sewing support, so the spine is flexible and each spread opens flat. The cover is sewn directly onto the text block, so there are fewer moving parts to deal with during the binding process. Because there are no adhesives, it is easy to incorporate alternative materials into the binding. For example, you can choose to use a piece of wood, felt, or plastic for the cover.
As long as you can create a clean hole in a material, you can use it as a cover. The only thing to keep in mind when choosing a material is that the hole will be rotating around a piece of thread to open and close the book. You don’t want anything that will be sharp enough to cut the thread over time.
Because this structure is held together by thread only, it is easily reversible. This allows for a little less pressure when you get to the final steps of sewing your book. If you are truly unhappy with the look or feel of the book when you are finished sewing, you can take the book apart and start again. However, it is best to keep the re-sewing to a minimum so you do not stretch out your sewing stations too much.
The Coptic structure is a great option for artist books, and its flexibility gives a lot of page real estate to play with. Each spread opens flat because there is no backing material holding the shape of the spine. There will be a little gap between signatures where the sewing thread may be visible, but this could be incorporated into the concept of the content in some way. Because the sewing pattern on the spine of the book can be seen, it is an opportunity to create a visual element that supports the book concept further. In my example, I’ve used a gridded plastic material for the cover. This material is not a traditionally used material in bookmaking, but with this binding structure the cover material can be just about anything. I will also demonstrate a decorative variation of the chain stitch.
MATERIALS AND TOOLS
Text paper
Cover material
Heavy-weight paper for jigs
Thread
Waxed linen book thread
Straightedge
Cutting mat
Snap blade
Bone folder
Weights
Ruler
Awl
Hammer or hand drill (if cover material is thick)
Curved needle
Choosing Materials
As I mentioned in the introduction, any material can be used for the cover—even paper. The cover material needs to be thin enough for a hole to be drilled or punched through it and thick enough that the hole will hold up over time and use. The text block paper can range from a thin text-weight paper to a thick handmade paper.
Prepare the Text Block and Covers
1. Decide on the size of the book, how many signatures, and how many pages per signature. For Coptic binding, you will need at least 5 signatures to see the chain stitch pattern. For text-weight paper, use 3 to 6 sheets per signature; for cover-weight paper, use 3 or 4 sheets per signature. My example uses a heavy-weight paper, so each signature will be 3 sheets. Determine the total number of sheets your book will need by multiplying the sheets per signature by the number of signatures. My example has 7 signatures with 3 sheets per signature, so I will need 21 sheets in total.
2. Now that we know how many sheets we need and the size of the book, we can start cutting materials to size. As mentioned in earlier chapters, the grain direction of the paper needs to be parallel to the spine, so be sure to keep that in mind before cutting the paper.
3. If you are cutting each sheet by hand, you will need a straightedge, a snap blade, and a cutting mat. The height of the sheets is the final height of the book. The width of the sheets is the final width of the book times 2. The grain direction of each sheet should run from head to tail. Figure A
4. Gather the number of sheets per signature and fold each stack in half. Burnish the spine with a bone folder. In my example, I gathered 3 sheets and folded them in half as a group. Figure B
5. Place the folded signatures under weight while you prep the cover material. You’ll want to press out the air in the center of each signature so your book lies flat. Figure C
6. Cut the 2 covers to the same height and width as the text block. The covers are flush to keep the text block from sagging if the book is stored upright on a shelf. If you are using board or paper, remember to check the grain direction and make sure the grain is running parallel to the spine.
Create a Jig (Refer to template B shown here.)
1. Create the sewing stations for the thread to pass through in the fold of each signature. To make sure that the sewing stations are punched where we want them, we will create a paper jig or template.
2. The sewing pattern in my example is decorative, so I will need more than one punching jig. Some sketching and pre-planning is needed. I created a pen sketch consisting of 6 horizontal lines that represent my signatures, and then with a pencil tested out different patterns until I found one I liked. The pattern I chose is symmetrical, so I only have to create 4 different jigs.
3. Signatures 1 and 7 will use the same jig; signatures 2 and 6, signatures 3 and 5, and signature 4 will have their own jigs.
4. Determine the spacing of your sewing stations. Figure D
5. Because the sewing stations at the head and tail are important for the function of the binding, they need to be close to the head and tail. The first station needs to be 1/2 inch (1.3 cm) from the head and the last station 5/8 inch (1.5 cm) from the tail on all jigs.
6. Use a heavy-weight paper to create your jigs. Cut each jig the height of the book and about 3 inches (7.5 cm) wide. Label the head and tail of each jig to ensure that your holes are the right orientation. Mark where each hole will be punched and cut a small V shape in the jig. This V is used as a small cradle for your awl to rest on and ensure that your awl is going in straight. Figures E and F
7. The holes in the cover should match up with the sewing station holes of your first and last signatures. They should be placed 1/8 inch (3 mm) away from the spine. Figure G
Punch the Signatures
1. You will punch one signature at a time. Hang the spine off the edge of the table so your awl can go directly through the center of the signature. Figure H
2. Place the jig inside the signature with the V shape facing the spine. Double-check that the head of your jig and the head of your signature are matching up.
3. Use your awl to poke holes were your jig indicates. Hold your tool at an angle, perpendicular to the spine, so the holes are directly on the spine.
4. Continue this process for each signature, changing jigs as needed. Figure I
Punch the Covers
1. If you are using board, place the jig on top of the board and use an awl to create a hole directly through the board. If you are using very thick board, you may need a tap of a hammer on the awl for this step. If you are using wood or another thick, rigid material, a hand drill can be used. Figure J
Sew the Cover and Signature 1
1. The length of your book thread is the height of your book times the number of signatures. Figure K
2. Thread the needle and secure the thread as shown here: Hold the small tail of the thread in two places, and unwind the thread until you see daylight through the thread. Put the full length of the needle through this small hole in the thread. Pull the long side of the thread until the needle is locked in place. Figure L
3. Place the front cover face down on the table and stack your first signature on top of it. Make sure your sewing stations are aligned. Figure M
4. Begin sewing from the inside of signature 1, from the tail side sewing station. Pull the thread out, but leave a 2-inch (5 cm) tail of thread inside the signature. Figure N
5. Bring the needle around the spine on the cover material. Enter the cover material through the sewing station from the face of the board to the interior of the board. You want the needle to exit the cover sewing station in between the cover and signature 1 with the needle on the tail side on the thread that just exited signature 1. Figure O
6. Pull the tension of the thread so the cover and signature 1 are touching tightly.
7. Reenter the same sewing station on signature 1 and tie a knot with the tail you left inside the signature. Figure P
8. Moving toward the head of the book, put your needle through the next sewing station, moving from the inside of the signature to the outside. Figure Q
9. Go around the covered board and enter the second sewing station on the cover material from the face of the materials to the inside of the material. Exit the needle in between the cover and signature 1 on the tail side of the thread that just exited the second sewing station. Figure R
10. Pull the needle straight toward your body to tighten the thread. Figure S
11. Reenter the second sewing station. Figure T
12. Repeat this sewing action for the other sewing stations on this signature.
13. When you reach the head sewing station, exit the signature from inside to outside. Go around the spine of the cover material as before.
14. Direct the needle up through the last sewing station on the cover. Exit the needle in between the cover and the first signature on the tail side of the thread that just came out of the last signature.
15. Stack signature 2 face down on top of signature 1. Figure U
16. Place a weight in the center of signature 2 to keep it in place as you sew. Figure V
Signature 2
1. Enter the head sewing station from outside to inside the signature. Figure W
2. Traveling toward the tail (going left), exit the needle from the next sewing station. Once your needle is out of the sewing station, put your needle through the thread that is connecting signature 1 and the board. Figure X
Note: When grabbing that thread with your needle, travel from the tail side of the book to the head side. Because the head of our book is on the right-hand side and the tail is on the left-hand side, the needle will enter in between signature 1 and the cover on the left side of the sewing, loop around the sewing, and exit the right side of the sewing.
3. Pull the thread tight and reenter the second sewing station of signature 2. Figure Y
4. Repeat this sewing action for the rest of the sewing stations on signature 2.
5. When you reach the last sewing station, loop but do not reenter signature 2. Leave the needle on the outside of signature 2 and remove the weight from the center of signature 2. Figure Z
6. Stack signature 3 on top on signature 2 and place the weight in the center of signature 3. Figure AA
Signature 3
1. Enter the tail sewing station of signature 3.
2. Traveling toward the head (going right), exit the next sewing station and insert your needle in between signatures 1 and 2 on the head (or right side) of the sewing that is holding signatures 1 and 2 together.
3. Exit the needle to the tail, or left side, of the sewing. Figure BB
4. Pull the thread taut and reenter the sewing station in signature 3. Figure CC
5. Repeat this sewing action all the way down the signature.
Note: The direction the needle enters the previous two signatures is important in creating the chain links. Be sure to pay attention to which side you are entering and exiting with your needle.
6. When you reach the last sewing station, loop but do not reenter signature 3. Leave the needle on the outside of signature 3 and remove the weight from the center of signature 3. Figure DD
7. Stack signature 4 on top of signature 3 and place a weight in the center of signature 4.
Signature 4
1. Enter the head sewing station of signature 4. Figure EE
2. Traveling toward the tail (going left), exit the next sewing station and insert your needle in between signatures 2 and 3 on the tail, or left side, of the sewing that is holding signatures 2 and 3 together. Exit the needle to the head, or right side, of the sewing. Figure FF
3. Pull the thread taut and reenter the sewing station in signature 3.
4. Repeat this sewing action all the way down the signature.
5. When you reach the last sewing station, loop but do not reenter signature 4. Leave the needle on the outside of signature 4 and remove the weight from the center of signature 4. Figure GG
6. Stack signature 5 on top of signature 4 and place a weight in the center of signature 5.
Signature 5
1. Follow the same instructions as signature 3.
Signature 6
1. Follow the same instructions as signature 4.
Signature 7 and Covers
1. Your needle should be outside the tail side of signature 6. Do not put the weight inside signature 7.
2. Place the cover material with the face of the material facing up. Figure HH
3. After you have looped through the tail sewing station on signatures 4 and 5, bring the needle up to the cover material.
4. Enter the cover material from the face of the materials to the inside through the tail sewing station. Figure II
5. Exit the needle between signature 7 and the cover material. Loop the needle in between signatures 5 and 6. Figure JJ
6. Pull the thread tight and enter the tail sewing station of signature 7. Figure KK
7. Traveling toward the head of the book (going right), exit the next sewing station. Figure LL
8. Go up and loop through the second cover station from the face to the inside of the cover. Figure MM
9. Exit the needle on the left side of the thread that is connecting the cover to signature 7. Figure NN
10. Insert the needle between signatures 5 and 6 on the head, or right side, of the sewing connecting the two signatures and exit the tail, or left side. Figure OO
11. Pull the thread tight and reenter the second sewing station in signature 7. Figure PP
12. Repeat this sewing action for the rest of the sewing stations on signature 7 and the cover. Once you reenter the last sewing station, tie off inside.
13. Loop the needle under your sewn thread, then pull the slack of the thread through, leaving a little loop. Put your needle through the loop and pull until the knot is tight and secure.
14. Trim off the excess thread and needle. Figure QQ
PAPER CASE: LIMP VELLUM BINDING
Limp Cover Bindings
In Gary Frost’s paper “A Brief History of Western Bookbinding without One Mention of Decoration,” he helps contextualize one of the first non-adhesive bindings. “In Italy the development of limp cover binding represents the redirection of hand-binding structure away from the needs of larger, heavier books and into the design problems of quantity production binding for smaller books. The most simplified form of this binding structure was produced in Italy from the mid-17th to the mid-19th century. This was a limp, paper covered binding for popular imprints, undoubtedly one of the least expensive and fastest forms of good hand bookbinding ever devised. These paper bindings were produced in groups with highly simplified, abbreviated sewing and no trimming.”
The focus of the book is less on ornamentation, but on the materials and the functionality of the book. This focus on functionality draws a line from the craft of bookmaking to the design world of functionality. The decision to simplify the book form for the sake of function shows a shift in the way that people thought of books. In the sixteenth century, distributing information quickly and easily was more important than the labor-intensive ornate texts that preceded them.
These moisture-free binding styles are historically important, and they remain an important tool for bookbinders from the novice to the experienced. The history of accessibility is still present in the non-adhesive structures we use in contemporary bookmaking. Non-adhesive structures require little to no large specialty equipment and can be created using a wide variety of materials. These structures are great for home studio binders because of the simple tools and materials needed, and yet, they can have a big impact, too. An artist can communicate a complex idea through non-adhesive binding by being intentional with the materials and structure. Just because something is simple does not mean it is any less powerful.
In the fourteenth century, following the trend of ornate, leather-bound books, book users were looking for a structure that was more about function and less about the craft of bookmaking. Around this time, the limp vellum binding style came to be popular. The limp vellum binding uses a single piece of vellum folded into a cover. The front and back covers gain strength from the doubled-over vellum. The text blocks are sewn on sewing supports and woven through the vellum cover. The simplicity and lightweight ease of the structure made it popular in the sixteenth and seventeenth centuries. The durability of the vellum cover protected these books over time, so we still have a wide variety of them to reference today. For the contemporary limp binding, paper is used as an alternative for vellum. The term “limp vellum case” has now transitioned into “paper case.” Like the vellum case, the paper case uses one sheet of paper that is folded to create the cover.
MATERIALS
20 sheets text-weight paper for text block
Cover-weight paper for accordion
Cover-weight paper for cover
Scrap paper
Linen thread
TOOLS
Snap blade
Straightedge
Cutting mat
Bone folder
Weights
Ruler
Pencil
Awl
Scissors
Needle
Binding of Sonetti Lussuriosi by Pietro Aretino, illustrated by Giulio Romano and engraved by Marcantonio Raimondi, published Venice, c. 1527 (vellum), Italian School (16th century) / Private Collection / Photo © Christie’s Images / Bridgeman Images
The user of the book gets to be palm-to-face with a sheet of paper during the entire reading experience. The paper case binding requires no adhesive or board cutting, so the materials and tools needed are easily accessible. This structure is brought to life by folds, which are very exciting in the world of bookmaking. The idea that a single sheet or plane can get one fold and suddenly be dimensional with four planes is magical.
Because the paper for the case is folded at the head, tail, and fore edge, the material is doubled over and strengthened. There are many different text block options available for this cover style, and anything from a simple accordion to a signature-sewn text block on tapes can be cased.
There are also many opportunities for artists in this structure. First, many subtle shifts can be achieved through material choices. Because the cover and text block are paper, matching different textures, weights, and fibers can change the physicality of the book object. There are also many printing options for this style of case because we start with a flat piece of paper. An artist can put imagery onto the flat sheet, then fold it into a cover.
The Paper Case Book
The text block style I have chosen to show you is a combination of a few structures that were taught in earlier chapters, with a slight folding variation. It is good to keep in mind that you can create many different types of books by combining the basic structures. You can make something that visually seems complex, but is actually structurally simple. The example I am including here is a variation on a flag book text block with a paper cover. A flag book is an accordion book with pamphlets sewn into the valleys of the folds, so you can get the dimension and stiffness of a folded sheet and the flexibility of a sewn nested pamphlet.
Choosing Materials
Choose three papers that seem cohesive. You will need a text-weight paper for the text block, a cover-weight paper for the accordion, and a cover-weight paper for the cover. Choose a size for the book. To achieve the variation on the accordion in my example, the book will need to be a square format.
Here are some ratios to go by:
• The width of the text-weight paper: the width of the book times 2.
• The height of the text-weight paper: the height of the book.
• The width of the accordion paper: the width of the book times 7.
• The height of the accordion paper: the height of the book.
• The width of the cover: the width of the book times 4 plus the spine thickness.
• The height of the cover: the height of the book times 2.
Prepare the Text Block
1. The text block will consist of 5 pamphlets with 4 sheets per pamphlet, so you will need 20 sheets of paper.
2. With a snap blade, straightedge, and cutting mat, cut the text-weight paper to be the height of the book, and the width of the book times 2. Figure A
3. Stack 4 sheets of the text-weight paper and fold them as a group in half. Figure B
4. With a bone folder, burnish along the spine fold. Figure C
5. Repeat this step for all 5 pamphlets. Figure D
6. Place the pamphlets under weight to press out excess air. Figure E
Prepare the Accordion
(Refer to template A shown here.)
1. Cut the accordion paper height to the height of the book, and the width of the book times 7. Figure F
2. On both ends of this long sheet create a tab that is half the width of your book. For example, if your book is 4 inches (10 cm) wide, then your tab will be 2 inches (5 cm).
3. Measure half the book width in from the left side of the sheet and score the sheet. Fold in the tab on the left side. Figure G
4. Measure half the book width in from the right side of the sheet and score the sheet. Fold in the tab on the right side. Figure H
5. Fold the long sheet in half from folded tab edge to folded tab edge. Bring the tab fold from the left side to the center fold and burnish down. Bring the tab fold to the center fold and burnish down. Figure I
6. Your paper should be divided into 4 even panels with a tab on either side. Now you will halve each panel by lining up each side of the panel and burnishing down the middle. Figure J
7. The end result should be 12 even panels and 2 tabs, one on either side. The width of 2 panels combined should now equal a square. Figure K
8. Score a diagonal line from the top left corner of panel 1 to the bottom right corner of panel 2. Figure L
9. Score a diagonal line from the top right corner of panel 2 to the bottom left corner of panel 1. Now you have an X going across panel 1 and 2. Score this same X through panels 3 through 12. Figure M
10. After scoring the X shapes, go back and burnish the scores to create a crisp fold. You should be able to match the top right corner of panel 2 to the bottom left corner of panel 1 and burnish down.
11. Match the top left corner of panel 1 to the bottom right corner of panel 2 and burnish down. Burnish down all X shapes from panels 3 through 12. Figure N
12. Now that all of the folds are stiff, you should be able to reverse the fold in the center of panel 1 and 2. The center of the X will now become a pyramid shape. Figure O
13. Make panels 3 through 12 into this pyramid shape. Figure P
14. Put the accordion under weight and retrieve your pamphlets. Figure Q
Create the Punching Jig
We will use the three-hole pamphlet stitch to connect each pamphlet to the accordion.
15. Cut a scrap piece of paper the same height as your book and around 3 inches (7.5 cm) wide. Figure R
16. Draw a mark in the center of the scrap piece. Draw 2 more marks, one above and one below the center mark and 1 1/2 inches (3.8 cm) away from the center mark.
17. Cut small V shapes on the very edge of the paper in the 3 places where a mark was drawn. These V marks will represent your sewing stations for the pamphlets. Figure S
18. Mark the head and tail of your jig so all of your holes will be consistent.
Punch the Pamphlets and Accordion
1. Nest the punching jig inside one pamphlet at a time. Double-check that the head of the jig is in the same direction as the head of the pamphlet. Figure T
2. Punch 3 holes in pamphlet 1. Repeat for pamphlets 2 through 5.
3. Retrieve the accordion. Nest the punching jig in the valley between the first and second pyramid shape and punch 3 holes. Figure U
4. Repeat for the other valleys between the pyramids.
Sewing
1. Cut a piece of thread 3 book-lengths long and thread the needle.
2. Untwist the short tail of the thread that was just put through the eye of the needle.
3. Put the needle back through the twist in the short tail.
4. Pull the long end of the thread until the needle is locked in place.
5. Nest pamphlet 1 into the valley between pyramids 1 and 2. Figure V
6. Enter the needle into the center hole from the inside of the pamphlet, leaving a 2-inch (5 cm) tail.
7. Travel the needle though the pamphlet and the accordion, then put it up through the hole to the right of center. Figure W
8. Once inside the pamphlet, go back though the center hole from inside to outside.
9. Go into the hole to the left of the center hole from outside to inside.
10. Tie off using the tail you left from the first sewing station. Figure X
11. Repeat this sewing pattern for the other 4 pamphlets. Figure Y
Create a Paper Case
1. Measure the spine width of the book. Don’t pinch the spine to its skinniest possibility, but allow some air in there so the cover can close properly. Figure Z
2. Measure and cut your paper to size. The width of the paper is your text block width times 4, plus the spine width. The height of the paper is the text block height times 2. Figure AA
3. From the top of your sheet, draw a mark that is half the height of the text block. For example, if the height of the book is 4 inches (10 cm), measure 2 inches (5 cm) down from the top of the sheet and draw a mark. Figure BB
4. Draw a mark that same distance from the bottom of the sheet. Your sheet should now be segmented into 3 rows. The middle row should be the same height as your text block. The top row should be half the height of your text block. The bottom row should be half the height of your text block. Figures CC and DD
5. Score and fold along these marks so that the head and tail of the paper meet in the center. This folded paper should the same height as your text block. Figure EE
6. From the right side of the folded sheet, draw a mark that is the same width as your the block. Figure FF
7. From that mark create another mark that is the same width as the text block.
8. To the right of that mark, draw a mark to measure the width of the spine. To the right of that mark draw another mark that is the width of the text block. Double-check that all of your measurements are correct before scoring.
9. With a bone folder and straightedge, score from head to tail along the first mark. Keep good pressure on the straightedge, reach under the material, and press the material up against the straightedge to create a stiff score. Repeat this for the 3 other scores. Figure GG
10. You should now have a sheet that is folded into 5 columns and 3 rows. Open the folded sheet.
11. You now need to trim off the 4 corners of the sheet. Cut along the folded mark from the bottom right corner to the top edge of the sheet of the top left cell of the 3 x 5 grid. Figure HH
12. Cut from that same corner to the left edge of the sheet. You should no longer have a top left section.
13. Cut from the bottom left corner to the top of the sheet of the top right cell of the grid. Cut from the same corner to the right edge of the sheet. Repeat these cuts to the bottom left cell and the bottom right cell. Figure II
14. Cut along the spine scores in the top and bottom rows only. Figures JJ and KK
15. Taper all cut edges so they are no longer square. This will help when we fold all of the edges in. Cut 1/4 inch (6 mm) off the right and left side of the sheet. Figure LL
16. Fold the top flaps down and the bottom flaps up.
17. Fold the left and right sides in to create the paper cover.
18. Mark where the corners of the left and right flaps meet the top and bottom. Figure MM
19. Cut 2 slits in the right flap and 2 slits in the left. These slits are for the corners of the right and left flaps to fit within. Figure NN
20. After the slits are cut, fold the top and bottom flaps under the left and right flaps. Slip the corners of the left and right flaps into the cut slits in the top and bottom flaps.
21. Fold spine-wide flaps in from the top and bottom. These will strengthen the spine with a double paper thickness. Figures OO and PP
Case in the Text Block
1. Taper in the corners of the tabs of the front and back of the text block. Figure QQ
2. Slide the tabs into the cover. Figure RR
