Whitbread D. The Design Manual (анг.яз.)

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Binding

Publications that need to be bound are usually printed not

as single sheets but in signatures of 8, 16, 32 or 64 pages.

These are then collated into the correct reading order and

bound with their cover. There are numerous binding

processes available that are brieﬂy described and illustrated

in this section. Your printer can show you examples.

Saddle stapling/saddle stitching

Pre-folded sections or sheets are collated and placed on a

saddle, which is like an inverted V. The cover is added and

the staples or stitching applied.

Paperback/soft cover/perfect binding

The most imperfect binding technique, perfect binding is

the one that doesn’t fold ﬂat, and when you force it to open

ﬂat, the glue breaks and the pages all fall out. This is, of

course, the worst case scenario, but it readily identiﬁes the

technique. Part of the problem is caused by the fact that the

pages start off in sections, but the fold is trimmed off and

the inside edges are roughened so the glue can adhere to

each page. There are many glues that can be used and some

are close to perfect.

Perfect binding also allows papers of differing weights

and qualities to be collated and bound into a publication, so

it has an attraction for magazine producers who want to

bind in preprinted advertising sections, samples and

subscription cards.

The other attraction of perfect binding is that it gives a

square-backed spine, but it is best to do this with about 96

pages. It can be done with 64 pages, but is less successful.

Burst binding

A variation on perfect binding, burst binding seeks to

rectify perfect binding’s main problem of guillotining the

fold by retaining the fold and forcing glue through notches

or punctures along it. Sadly, it is still imperfect and

sometimes too much glue is forced through, further

limiting the ability of the book to be opened.

PRICE COMPARISON

Binding

$$$ Hardback/case binding/section

sewn

$$ Soft cover/paperback/perfect

bound/burst bound

$ Saddle/side stitching

280 Production

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Finishing processes 281

Hardback/casebinding/section sewn

As implied by one of its names, the book’s sections are

collated and sewn in order. This is then bound into a cover.

Section-sewn books can have a paper cover drawn on, so

not all section-sewn books are casebound.

But all casebound books are section sewn. The ‘case’

referred to in casebinding is the hard covers that are created

to wrap around the spine of the sewn sections to protect the

book’s pages. The case consists of boards covered and

connected by cloth, paper or leather. This is attached to the

sewn sections with cloth and endpapers. It is often then

decorated with head and tail bands and sometimes a ribbon

for bookmarking.

Often the case will be further protected by a dustjacket,

which is a wraparound paper cover with ﬂaps that tuck

inside the covers.

Ring binding

A ring binder allows material to lie ﬂat inside a binder. The

pages are drilled two, three or four times to align with

standard ‘rings’. The binder and its cover might be printed

before assembly or they might have printed sheets bound

into plastic pockets on the spine, back and front covers.

There might be a set of dividers supplied or collated into

the text.

Often the text is shrink-wrapped for distribution, so the

pages aren’t harmed in the process.

Spiral binding

A series of ﬁne holes is drilled down the side of the

guillotined and separate pages of the publication. Then a

spiral of wire coated in plastic is threaded through the

holes. Spiral binding allows pages to lie ﬂat; different

weights and qualities of paper can be bound together.

Wiro binding

Wiro binding is similar to spiral binding but the wire is

doubled up and fed through the holes in a different pattern.

Half Canadian binding

Half Canadian binding is wiro binding with a cover that has

been bound in which folds out over the wire from the back

to the front, creating a square-backed spine.

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282 Production

Binding

Saddle stapling ■

or saddle stitching

Ring binding ■

Spiral binding ■Paperback ■

or softback or perfect binding

Half Canadian binding ■

Wiro binding ■Burst binding ■

Hardback ■

or case binding or section sewn

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Finishing processes 283

Office binding styles

Side stapling

Separate sheets that are collated with separate back and

front cover sheets are stapled two, three or four times

through the left-hand side of the front cover and out the

right-hand side of the back cover. The staples are some-

times covered with a strip of binding cloth, which gives a

relatively square back and protects the reader’s hands from

the staples.

Remember that side-stapled documents cannot be

opened ﬂat and material that is too close to the spine

may be lost.

Plastic comb binding

Another side-binding process, using a comb binder, cuts a

pattern of rectangular holes through the collated document.

A plastic comb is then uncoiled, the pages inserted, and the

comb recoiled to bind the document. These documents lie

almost ﬂat.

Plastic strip binding

This is another side-binding process that uses a series of

punctured ﬁne holes down the left side of the collated

document. A plastic strip with protruding plastic spikes is

fed through the holes and another plastic strip placed at the

back. The excess length of the plastic spikes is trimmed and

the back strip melted to the remaining spike. Although this

is narrower than side stapling, the document still cannot be

opened out ﬂat.

Thermal binding

This is an ofﬁce version of perfect binding, using heat to

melt a glue strip to a document within a pre-folded cover.

Post-and-eye binding

A variation on ring binding, post-and-eye binding uses a

small post with an internal thread that takes a screw on the

other side of the document. The post goes through the

holes drilled down the side of the document.

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284 Production

Craft bindings

Japanese binding

A sewn side-binding technique that has long been used

commercially in Japan creates patterns with contrasting

thread and secures the pages effectively. The book will

not open ﬂat.

Zigzag bindings

Zigzag bindings are a binding style from China that

connects concertina-folded pages to pockets in separate

front and back covers. The covers then protect and

strengthen the book, often enabling it to stand.

Twigs

This is a side-binding technique that simply passes looped

twine through two holes drilled through the book and its

covers. A twig is then passed through the looped twine and

the twine is tightened and tied at the back of the book.

Many different objects can be used in lieu of twigs or twine.

READ MORE ABOUT IT

Shereen LaPlantz, Cover to cover: Creative techniques for making beautiful

books, journals and albums, Lark Books, Asheville, North Carolina, 1995,

ISBN 0 937274 81 X.

Kathy Blake, Handmade books: A step-by-step guide to crafting your own books,

Bulfinch Press, Little, Brown and Company, New York, 1997,

ISBN 0 8212 2220 1.

Angela James, The handmade book, New Holland, London, 2000,

ISBN 1 85974 437 0.

Jean G. Kropper, Handmade cards and books, Lothian, Melbourne, 1995,

ISBN 0 85091 708 5.

Foils

Foil stamping or foil embossing is based on the letterpress

principle, but uses metallic and non-metallic ‘foils’ on a

plastic mylar substrate or ‘carrier’. When stamped onto

paper by the raised image die (the metal plate), the foil is

transferred from its plastic carrier to the page. This is

achieved through heating the metal plate in order for the

adhesive on the foil to melt to the paper. The pressure from

the press usually leaves a ﬁne indent along the edge of the

image area in the softer surface of the paper.

Foiling can combine with embossing or debossing to

create some impressive effects.

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Finishing processes 285

Office and craft bindings

Side stapling ■ Post-and-eye binding ■

Japanese binding ■

Plastic strip binding ■

Plastic comb binding

Zigzag binding

Twig binding ■Thermal binding

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286 Production

Metals, vinyls, clear, holograms, printed foils

Foils used to be thin metallic sheets, but the term now

refers generically to any material transferred in this way.

Therefore, coloured vinyl ‘foils’ and even clear plastic ‘foils’

can be stamped onto papers. White vinyl, for example, can

be stamped onto a navy textured sheet of paper to provide a

smooth surface on which to overprint in a process colour.

Metallic foils come in a broad range of metallic colours

and ﬁnishes, from shiny and reﬂective to matte and low

sheen, from traditional gold, silver and bronze to brushed

aluminium and anodised colours. Some have holograms

embedded within them or have been overprinted with

patterns created by laser.

Hologram preparation is very expensive and can take a

long lead-time.

There can be limitations on the area that is able to be

printed in one stamp: the foil comes in reels of particular

sizes and you may want to discuss wastage with your

embellisher before getting too carried away.

Embossing and debossing

Embossing creates a raised image by stretching the paper

itself. Conversely, debossing presses an image into the paper.

This is achieved by a variation on the letterpress process,

where male and female dies clamp and stretch the paper’s

ﬁbres by a combination of heat and pressure.

Blind embossing is where the paper is raised with no

printing on the image area.

Sculptural embossing is where there are many sculptured

levels in the male and female dies, rather than one lift. A

sculptural die is much more expensive because it is actually

sculpted by an artisan—it cannot be created photographi-

cally because it is not simply one level raised or lowered like

embossing and debossing.

With all embosses, there is minimal interruption to

the paper sheet, making the process one of the most

environmentally friendly because all it does is stretch the

ﬁbres involved. If a cover is just blind embossed, it can go

straight into repulping, because there isn’t even a need

for the de-inking process.

PRICE COMPARISON

Raised levels

$$$$$ Hologram/sculptural emboss

$$$$ Foil stamp

$$$ Emboss/deboss

$$ Laminated stickers (hand

applied)

$ Thermography

Female

Paper

Male

Paper

Female

Embossing

Debossing

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Thermography

At the conclusion of an offset print run, a ﬁne resin dust

can be applied to a printed piece. It sticks to the wet print

area and excess dust is removed from non-image areas by

vacuum. The sheet is passed through a heater where the

dust pools and swells on the inked area. When cooled, the

resin sets as a solid plastic raised image. This is known as

thermography and is used regularly on business cards.

The technique should always be used on solid ink but

does not always work on large ﬂat areas.

Thermography should be avoided on items that might

pass through the heating units in laser printers or photo-

copiers, as the resin will melt.

Die-cutting, scoring and perforation

A forme is created which includes a plan for scores and

cuts, using dulled metal for the scores and knives or sharp

blades for the cuts. This forme is called the die and it is

then stamped out of a sheet, using a variation of the

letterpress process.

If you want a perforation in a shape other than a straight

line, it is prepared in the same way but with knife blades

that have notches in them. Where the notch is, the paper is

not pierced.

With die-cutting, notches are used at regular intervals so

that cut pieces will not fall into the machinery of the

printing press, which explains why die-cuts need to be

pushed out of the paper that surrounds them.

Laser cutting

Die-cutting is limited by the ﬂexibility of the blades used to

cut the shapes and the cost of creating the die forme. If you

require greater detail, you might consider laser cutting. It is

capable of intricate detail and burns the paper away

according to the digital ﬁle created for the cut. In this way,

you can cut intricate outlines on sticker bases, where the

laser only cuts the top layer, leaving the base intact.

Finishing processes 287

DOING IT CHEAPER

Die-cut folders and brochures

Use existing dies for folders and

brochures—most printers save the

formes of previous jobs ‘out the

back’. Ask to see your printer’s

collection of dies and see if any of

them can be used. This will save you

the cost of preparing the die.

A diecut used on a brochure cover.

Client: Rosanna Golf Links

Studio: Adstract Art

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Pop-ups

The novelty of pop-ups is a method of engaging the reader

with a print product. It can be so unexpected and effective.

There are some simple pop-ups that you might consider

using in a printed piece. Their application is limited only by

your imagination. As far as stretching your budget to pop-

ups, simple ones might be able to be created with just a bit

of handwork, rather than expensive dies and scores.