diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-02 22:42:29 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-02 22:42:29 -0800 |
| commit | 29966567d3d2fb4b08e8866e6fffbea91d633921 (patch) | |
| tree | cd7ff238123ad06d7a66545c050428e0d382017b /old/68844-0.txt | |
| parent | d7100c67edcd891c2d635c7c30e039aa8297dda6 (diff) | |
Diffstat (limited to 'old/68844-0.txt')
| -rw-r--r-- | old/68844-0.txt | 2731 |
1 files changed, 0 insertions, 2731 deletions
diff --git a/old/68844-0.txt b/old/68844-0.txt deleted file mode 100644 index 2391aef..0000000 --- a/old/68844-0.txt +++ /dev/null @@ -1,2731 +0,0 @@ -The Project Gutenberg eBook of Bookbinding for beginners, by Florence -Ordway Bean - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Bookbinding for beginners - -Authors: Florence Ordway Bean - John C. Brodhead - -Release Date: August 26, 2022 [eBook #68844] - -Language: English - -Produced by: Alan, Peter Becker and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK BOOKBINDING FOR -BEGINNERS *** - - - - - - BOOKBINDING - FOR BEGINNERS - - By FLORENCE O. BEAN - Assistant in Manual Arts - Boston Public Schools - - JOHN C. BRODHEAD - Assistant Superintendent - Boston Public Schools - Collaborating - - - SECOND EDITION - - - PUBLISHED BY - THE DAVIS PRESS - Worcester, Mass. - 1918 - - - Copyright 1914 - SCHOOL ARTS PUBLISHING COMPANY - - - Second Edition - Copyright 1918 - THE DAVIS PRESS - - - - -INTRODUCTION - - -The present day demand for industrial education has had the effect of -somewhat discrediting the more formal manual training commonly found -in the upper elementary grades and early high school years. This work -is usually conducted in special shops and by special teachers, and the -question is being raised whether, with all these advantages, more vital -results might not be attained. - -Whether these criticisms are justified or not, the present interest in -industrial education is strengthening the demand for more effective -construction work in grades four, five and six. It is a growing -conviction that there must be laid, in the earlier grades, a strong -foundation on which to build a practical education in the later grades -whether directed toward industrial, commercial or professional life. - -The appearance of this book, therefore, is timely because it -outlines a course suitable for grades five and six which stimulates -constructive activities and develops industrial intelligence. It should -be noted that its industrial significance is much wider than its -title, “Bookbinding for Beginners,” would indicate, as even a hasty -examination of the book will show, and also that it is so planned that -it may be used successfully in schools where special teachers and -expensive equipments are impossible. - -The book is different from, and, I believe, superior to others of its -kind for the following reasons: - -First, because the projects it presents, the methods it advises, -and the results it anticipates have all been worked out by actual -experience with thousands of boys and under conditions which may be -duplicated in almost any schoolroom. The author’s personal experience -with the problems incident to the giving of manual training by the -grade teacher includes that which she gained as a successful grade -teacher herself, supplemented by some years of supervisory work in a -large city system. She is therefore conversant with every possible -phase of the school problem. - -Second, because the methods of instruction which the book employs are -such as to develop in the pupils the very qualities which are the -surest foundation for subsequent success in manual or mental work of -any kind, namely initiative and originality combined with intelligent, -logical, careful attention to details. - -Third, because it gives the teacher just the help needed to save her -from all unnecessary work in securing and handling suitable material, -in stimulating the pupils to intensive activity and self-expression, -and in judging or measuring the results of her work, without relieving -her of the necessity of intelligent effort on her part. It thus -gives the overburdened teacher the maximum help, and the specially -interested, the maximum opportunity for original supplementary work. - -For the above reasons I confidently recommend the volume to the -attention of all who are seeking to introduce an inexpensive but -effective form of manual training into the middle grades of the -elementary schools. - - Frank M. Leavitt - - Associate Professor, Industrial Education. - University of Chicago. - - - - -FOREWORD - - -The growing demand for various forms of manual training in the lower -elementary grades has led to the publication of this little volume of -“problems in elementary bookbinding,” based on the work done in the -fifth grade of the Boston public schools, where their practicability -has been fully demonstrated. Some of the most valuable suggestions have -been obtained from the teachers and are an outgrowth of their classroom -experience. Nothing is here presented which is simply theoretical. - -To Mr. John C. Brodhead, a deep appreciation of his keen criticism, -his helpful suggestions, and his never-failing interest cannot be too -strongly expressed. For their valued suggestions, thanks are due the -teachers of Boston whose efficient labors have insured the success -of the course. Acknowledgment is also made of indebtedness to the -Sloyd Training School for material, and to Miss Helen E. Cleaves and -Mr. Ludwig Frank for their interest and assistance in the details -pertaining to design. - -THE AUTHOR. - - - - -[Illustration: BOOKBINDING FOR BEGINNERS] - - -Among the various materials which lend themselves readily to a manual -training course with large classes are those of the bookbinders’ -craft. They are inexpensive, easily handled, and require no tools or -equipment that cannot be used in an ordinary classroom. The operations -necessary in the use of these materials not only give excellent -training in manual dexterity, but present remarkable opportunities for -the practical application of studies in proportion, space division, -color, lettering and applied design. The craft itself is one that comes -in touch with everyday life and any skill acquired in the use of these -materials is of permanent value. - -The lessons to be outlined in the following series presuppose some -instruction in paper-folding, cardboard construction, and simple -mechanical drawing. Though desirable, this is not essential. While in -some ways better suited to the middle grades of the elementary schools, -selection may be made from the lessons here outlined which will give -excellent training to the upper grades in those schools where the -curriculum does not include shop-work, cooking, or sewing. - -To secure this flexibility of the course, each problem is outlined in -several ways, with varying degrees of difficulty. The selection should -depend upon the grade in which it is to be given. Some of the more -dexterous pupils may be able to work out a problem in several ways. - -In each lesson outlined, there is a chance for the exercise of -individuality in the details of the model as to size, shape, -decoration, and color. Concerning choice of material, it seems wiser -that this should be exercised by the teacher or supervisor rather than -by the pupil. - -The object of the course is educational, not industrial, therefore, -those methods which stimulate inventiveness, ability to plan simple -work, and dependence on one’s own initiative are most desirable. - -The directions given under each problem have been so worded that they -call for the greatest amount of thought and initiative on the part of -the worker. The use of such instruction develops power to think, to -plan constructive work and to carry it to completion. At first, it may -be necessary for the teacher to elaborate some points especially in -connection with the working drawings or sketches, but after a little -training, each pupil should be able to lay out and cut all parts from -his own drawings; as the work progresses, he should depend less and -less upon the teacher’s assistance in making his plans. - -High standards of work and correct processes should always be set -before the pupil, and these are best assured by the teacher becoming -thoroughly conversant not only with the general construction of an -article to be made, but with the best methods of securing neat and -accurate results. Eventually, the pupil’s mental attainments will show -in the tangible work of his hands. - -Two hours each week for one school year may profitably be devoted to -this work. In the upper grades some of the easier problems should be -omitted, and more time devoted to actually bookbinding, introducing as -much variety as time and materials will allow. - - - - -EQUIPMENT - - -This equipment is sufficient for the whole course and should last -for several years. A strong wooden box with compartments insures an -orderly arrangement of tools and prevents breakage. Several rooms may -use one equipment and by means of the box, transportation is greatly -facilitated. Some system of distributing and collecting material -should be devised, and not more than five minutes consumed in making -preparations for work. - - One for each pupil - - Rule - Pr. 6-inch Scissors - Pencil, medium - Tapestry Needle, No. 17 - Wooden Triangle, 45°, 7-inch - - For class use, the number to be governed by the way in which they are - to be used, by the amount of money to be expended. For twenty-five - pupils, 12 paste-brushes and 5 punches answer very well. - - Paste-brushes 1 inch flat - Eyelet Punches - - One of each helpful, but not necessary - - Paper Cutter, 12 inch to 15 inch - Straight Edge - Large Shears - - - - -MATERIALS - - -The materials necessary for this course may be purchased from any -of the large school supply houses, or from dealers in bookbinders’ -supplies. Before an order is given, it is recommended that the -materials be seen, at least in sample, as names sometimes vary in -different commercial houses. The sizes and prices are also liable to -variation. In selecting colored papers, avoid brilliant hues, and -choose soft colors. - - FOR STIFF FOUNDATION - - Approximate - size - Newsboard 26” × 38” - - Newsboard is in reality a box board, and differs from binders’ board - in the quality of the fibre. But for such articles as are described in - this course, it is the more satisfactory of the two. Both newsboard - and binders’ board are sold in bundles each weighing 50 lbs. The board - is numbered according to the number of sheets in the bundle. Thus No. - 50 means that the bundle contains 50 sheets. Board of this number is - light in weight, easily handled by small children, and is well suited - to the articles here described. Most book covers are made of No. 30 - (30 sheets to the bundle), which is twice as thick as No. 60. The - sheets of newsboard are rather large to be handled conveniently. If - desired, they will be cut in quarters by the dealer at slight expense. - - FOR COVERING FOUNDATION - - Vellum de luxe 38” wide - - Vellum de luxe is a sized and tinted cloth of an inexpensive grade of - cotton, which is quite suitable for the purposes of this course. If - material of a higher grade is desired, art canvas, art vellum, etc., - may be purchased. These come in a great variety of colors. It is - better to use but one color in the class for economy’s sake, but, if - this is not to be considered, different articles may be of different - colors. Choose quiet colors such as “old blue,” “dull green,” “deep - red.” - - Cover Paper (light weight) 22” × 28” - - WALL PAPER - - By observing a harmony of coloring between paper and vellum some - beautiful results may be obtained. If one is fortunate enough to - secure a “sample book” there is a chance for great variety. If it must - be purchased outright two or three well chosen patterns will suffice. - - FOR LINING Approximate - size - - Marbled Paper 20” × 25” - Bark wove Paper 24” × 36” - - FOR LIMP COVERS - - Screenings 24” × 36” - Cover Paper 22” × 36” - Kraft Paper 24” × 36” - Drawing Paper (gray) 9” × 12” - Red Rope manila 24” × 36” - Oak tag stock 9” × 12” - Tough check 22” × 28” - - FOR INSIDE - - Page Paper 17” × 22” - Page Paper 8½” × 11” - Drawing Paper (white) 9” × 12” - Drawing Paper (gray) 9” × 12” - Drawing Paper (man.) 9” × 12” - Newspaper (white) 6” × 9” - - FOR STITCHING AND SEWING - - Linen Thread 40 yds. to skein - Silk 4 yds. to skein - Raffia (plain) 4 oz. package - Raffia (colored) 4 oz. package - - PASTE - - Most of the various pastes on the market serve very well the needs - of these problems. A far less expensive and quite as satisfactory - a paste may be made from wheat or rice flour provided one has the - simplest facilities for boiling. Take two tablespoonfuls of flour and - wet with warm water. Over this pour one pint of boiling water and boil - three minutes. ½ teaspoonful of powdered alum added to this will keep - it sweet for some time. If an extra strong paste is desired a small - quantity of glue may be added to the paste while it is still hot. If - solid glue is used this should first be dissolved in hot water. - - ACCESSORIES - - Eyelets 250 in box - - Purchase eyelets of the same make as the eyelet punch (see list of - equipment), since those of a different make are not always an exact - fit. - - Macreme cord 8 oz. ball - Tape (white) 4 yds. in a piece - Tape (colored) 10 yds. in a piece - Stay Tape (cloth) ¾” wide - “ “ (paper) ¾” “ - “ “ (cloth) 1” “ - “ “ (paper) 1” “ - “ “ (cloth) 1¼” “ - “ “ (paper) 1¼” “ - Super 1 yd. wide - Bookbinder’s Twine ½ lb. ball - Head Bands Different widths - - Gummed Tissue Roll or Envelope of - 5 or 6 yds. - - - - -Problem I - -BOOKLET - - - TIME: 4 hours. - - MATERIALS: For the inside, any of the paper so listed. - For the cover, any of the paper so listed. - For stitching, any material so listed. - -The simplest form of a book consists of a cover and inside sheets in a -single fold, sewed through the center. Choose materials from the lists -given. - -Three definite methods of working out this problem are here outlined, -arranged in the order of their difficulty. Other combinations will -suggest themselves. - -METHOD A. First determine the purpose for which the booklet is to be -used, and decide on shape and size of page best suited to this purpose. -If for spelling or pocket memoranda, it may be long and narrow; if for -language a larger page is desirable; or if for map work, the size and -shape of the maps should be considered. Take any sheet of paper and -experiment in folding to obtain satisfactory size and proportions. - -A single sheet of paper folded through the center is called a folio. -This sheet will be twice the width of a page and of the same length. -(Commercially, a folio is made from paper varying from 22 × 16 to 44 -× 32. Therefore, books to which this term is applied are generally of -large size.) - -With pencil and rule draw a plan of the open folio and properly -dimension the drawing. (See Plate I.) - -If there has been no previous training in simple mechanical drawing, -the use of extension and dimension lines, arrow heads, and the proper -placing of figures should be explained. If some proficiency in this -kind of drawing has been acquired, a freehand sketch may take the place -of an accurate drawing. Plate II shows some of the line conventions -used in making a working drawing. - -[Illustration: PLATE I. Accurate working drawings and freehand sketches -such as children should produce before making the booklet.] - -[Illustration: PLATE II. Line Conventions.] - -In the same manner as for the pages, draw a plan of the cover, which -should project beyond the pages from ⅛ to ¼ of an inch. Lay out and -cut the cover and one sheet for the inside, keeping carefully on the -lines. - -Having cut one sheet of the inside, lay the sheet on as many pieces -of the paper as are needed, (from three to seven make a booklet of -desirable thickness); then make a hole with a pin or needle at each -corner, piercing all at one time. On each sheet draw the four sides, -using rule and pencil. This is easier than to measure each one. The -folded sheets should be placed one inside the other to form the inside -of the booklet, and the whole placed inside the folded cover, with the -edges of the cover projecting slightly. - -[Illustration: PLATE III. Sketches illustrating a simple method of -stitching a booklet.] - -With a needle make a hole through the center of the fold, and another -near each end of the fold (from one-half an inch to an inch and a half -from the end) according to the size of the booklet, as shown in Plate -III. With thread or raffia sew through the center hole, from the inside -out, back to the inside through an end hole, outside through the center -hole, inside through the other end hole, and tie the ends in a square -knot (see illustration, Plate IV) near the center of the fold. Other -equally satisfactory methods of sewing may be worked out. - -B. Determine the purpose of the booklet first and then its size and -shape. As in A draw plans of the inside and cover. With rule and -pencil lay out parts on materials to be used. Cut and sew as in A. - -[Illustration: PLATE IV. The position of the threads in tying a square -knot.] - -Simple lettering on the cover adds much to the appearance of the -booklet. Choose a title appropriate to its contemplated use, as -“NOTES,” “SKETCHES,” etc., which should be executed in rather large -Roman capitals. On a separate sheet, mark out an oblong of height and -width desired for the title and practise on this. If title is long, -make letters narrow, if short, letters may be broadened, to fill up -more space. When satisfactory results are obtained, cut out and place -on the cover, moving up and down to determine its best position. The -base line of the title should be placed below the top at one-fifth -to one-quarter of the entire distance from the top to the bottom of -the cover. After the position is determined, the title should be -transferred either by tracing or copying. The pupil’s name in much -smaller capitals should be worked out in the same manner and placed -below the center with a somewhat wider margin at the base than at the -top. Do not enclose the title in an oblong or other figure. A single or -double line as a border around the cover looks well, if carefully done. -(See illustration, Plate V.) - -C. For the cover use gray drawing paper, tinted, other materials as -desired. - -Draw plans as in A and B. A larger surface than required for the cover -should be tinted before it is marked out, so that any streaking along -the edge may be cut off. To mix a wash of the color selected, put two -or three tablespoonfuls of water in the water-cup and add a little -paint until the desired tone is produced, being quite sure to have -enough to cover the whole surface. Try to have the wash clean, not -muddy, and beware of too much paint! The colors should be soft, not -crude, and somewhat neutralized by the addition of the complementary -color. The best results are produced by the use of green, pale yellow, -brown, dull orange, and red. Blue is very likely to streak and is -seldom satisfactory. - -[Illustration: PLATE V. The simplest possible designs for book covers, -involving good spacing and careful lettering.] - -When ready to apply the wash, place the paper on an inclined -surface--45° or more from the horizontal. A sheet of heavy cardboard -or a book answers this purpose admirably. With a full brush make a -horizontal stroke across the top of the paper. The second stroke should -be just below this leaving no dry spots between. Being careful to keep -the brush full of paint, continue in this manner until the entire -surface is covered. The surplus amount of paint which will settle along -the lower edge should be taken up with the brush, which has first been -squeezed dry between the thumb and finger. When the paper is dry, mark -out the cover and cut. Cut out the leaves and sew as in A. The cover -may be lettered as in B. - - -SCRAP BOOK - -A. This form of book is excellent for a thin scrap book. The pages may -be of any size but if definite ideas are lacking it is advised that the -size of an ordinary magazine be taken as a basis. Wrapping paper may be -used for both leaves and cover. - -B. Sometimes it is desirable to take two or three stories from -magazines and fasten the pages together, inclosing all in covers. Trim -neatly the edges of such leaves where they were torn from the binding -and assemble them in proper order. For each pair cut a strip of thin -paper of exactly the same length as the page and say one inch to one -inch and a half in width. To each of these strips paste two leaves. -When all have been pasted and dried assemble again and stitch through -the backs as already shown. - - - - -Problem II - -A HOLDER FOR THE PARTS OF A MODEL - - -Before proceeding further, some kind of a permanent holder should be -provided to keep all together the various pieces of the model. This -prevents the confusion and loss of time incident to passing several -kinds of materials each by itself. - -[Illustration: PLATE VI. Pattern for a simple envelope.] - -One lesson might be used for the making of a portfolio for this -purpose, cut from screenings or heavy wrapping paper, and patterned -after an envelope, from 6” × 9” to 9” × 12” in size. (See Plate VI.) -The contents are more securely held by providing some kind of a -fastener. The following method is a good one: In the center of one side -of the flap plan to punch a hole. This should first be re-enforced by -cutting from heavy paper a circle of ³⁄₁₆ to ⅜ radius and pasting it in -the correct place. Through both thicknesses punch the hole. Into this -insert twine, first looping it in the centre and then passing both ends -through the loop. Use this to tie the envelope. - -If large pads of paper are used in the schoolroom, their cardboard -backs may be utilized. Take two of the same size, punch holes along -three sides of each, near the edges and lace them together. If one of -the long sides of the resulting holder has been left open, materials -can be removed with greater ease than if a short side is so used. A set -of holders thus made is very durable. - -New paper bags make good holders although less desirable than either of -the other two. - - - - -Problem III - -MOUNTS AND PADS - - TIME: 6 hours. - - MATERIALS: Newsboard, vellum, and paper for memorandum pad, or - calendar, or pad to be mounted. - - -We shall now begin to deal with materials that are more exclusively -employed in bookbinding work. The simple articles considered at first -are not books; but because the processes involved and the materials -used will be used later in the more difficult work of binding a real -book, they are made a part of this course. - -The wise teacher will become somewhat familiar with handling the -required materials before attempting to give instruction. It is -recommended that two or more models from each problem be made by the -teacher before selecting one for the class. - -The articles described in Problem III (See Plate VII) consist of a -foundation of a single piece of newsboard, covered back and front with -a bookbinding cloth. - - -A. MOUNT OF A CALENDAR OR PICTURE - -First secure the article to be mounted and then determine the size and -shape most desirable for the mount. Never make the mount first and then -attempt to find something to fit it. - -To determine the size of the mount, place the calendar or picture on a -sheet of paper and find the most pleasing margins by laying a pencil on -each side of the article. Increase or decrease this margin by moving -the pencils back and forth until a satisfactory position is found, as -shown in Plate VIII. Indicate this position by a line on each side. In -the same manner, establish top and bottom margins. The margin at the -top may equal that at the side, or be a trifle wider or narrower;[1] -the one at the bottom may equal the side margins or be wider, but never -narrower, and always greater than the top margin. Draw lines for top -and bottom and the size of the foundation is indicated. A fraction of -an inch may be added or subtracted to give even measurements. - -[1] In a vertical sheet, wider; in a horizontal sheet, narrower. - -[Illustration: PLATE VII. Mounts and pads made by children.] - -Working drawings should now be made of the completed model, showing the -location of the calendar, also of the front and back. - -Make them either accurately or freehand as described in Problem I. If -the latter method is used, some sense of proportion should be observed. -That is, do not draw 3 inches as long as 6 inches, nor 4 inches longer -than 7 inches. The size of the foundation has already been determined. -The front covering should be ½ inch larger on each side than the -foundation, to allow for laps which are to fold onto the back of the -newsboard. The back covering should be from ¹⁄₁₆ to ⅛ of an inch -smaller than the foundation on each side, as the finished product looks -much neater if no raw edge is visible from the front. - -[Illustration: PLATE VIII. Deciding upon the right size mount for a -picture by experiment with pencils.] - -In Plate IX, the first drawing is of the face of the completed model -showing the location of the calendar. This also shows the size of the -foundation. The other two drawings show the size of the two pieces of -vellum. If the first drawing seems too complicated, omit the location -of the calendar, and draw and dimension only the outside rectangle to -give the size of the foundation. - -The pieces of material given out should be a little larger than the -finished size, although unnecessary waste should be avoided. No -attempt should be made to cut these pieces carefully or regularly. -Each pupil should be led to depend on his own initiative in the use -of the rule and triangle. An irregular edge which is not a guide, is -more educational than straightedges and right angles which are of -considerable assistance. - -[Illustration: PLATE IX. The completed mount showing the location of -the calendar, and the two pieces of vellum.] - -With rule, triangle, and pencil, carefully lay out each part from the -drawings already made, and cut the coverings with the scissors.[2] The -foundation is more successfully cut with the paper cutter, as to cut -it with scissors is a very difficult task for little hands and likely -to loosen the scissors at the joint. The most desirable way is for each -pupil to cut his own newsboard, in which case the ruler fastened to the -cutter may be used to insure the correct size without any preliminary -measuring. If the cutter is deemed unsafe for the pupils’ use, the -proper size may be marked on the newsboard with pencil and the pieces -cut by a large boy or by the teacher. - -[2] Selvage should never be allowed to remain on a covering of vellum. -A “raw edge” pastes down more closely and is, therefore, less apparent. -Vellum tears very easily lengthwise, and a torn edge may be allowed if -it is to be covered. If not to be covered, all edges should invariably -be cut. - -When the pieces have all been cut, place the newsboard on the back side -of the front piece of vellum, with the margins equal, and draw around -it. Cover the surface inside the pencil lines with a thin, even coat of -paste. - -Much of the success of the work depends on the pasting and rubbing. -The paste is of the right consistency when put up by the dealer, and -if it dries somewhat after being opened, a little water thoroughly -stirred in will make it all right. The brush well filled with paste -should be passed over the surface of the covering material with long -even strokes. No dry spots should be left, and especial pains should -be taken to cover the surface close to the pencil lines. Look across -the pasted surface toward the light to see if it is entirely covered; -looking directly down upon it does not reveal the dry places. Rub the -brush rather heavily over the surface to make the paste sink into the -cloth. - -While pasting, several sheets of newspaper are invaluable to protect -the desk, the model, and the fingers. With a few quick strokes of the -card-cutter, cut off the folds of a newspaper, leaving loose sheets the -size of half or a quarter page. Each desk should have several sheets, -placed one on top of another. When the top sheet has become sticky, -discard it. A perfectly clean surface beneath it is ready to be used -in the same way. Press the newsboard on the pasted surface, turn it -over,[3] and rub it down very hard on the right side of the vellum. -When rubbing the vellum on the right side, a small piece of cloth for -each pupil prevents finger marks, and enables the pupil to rub harder -as the cloth protects the hand. - -[3] When turning over any part of the model which has a pasted surface, -take hold near the center as far as possible, as handling by the edges -or corners is likely to remove paste from the places where it is most -needed. - -Before pasting projecting parts, the corners should be cut. Two methods -are shown in the illustrations. In the first, two adjacent projections -are turned onto the back of the foundation. Be careful that they -fit very closely to the sides of the newsboard, press down with the -fingers, and hold them very firmly. At the corner will be a surplus -piece which should be pinched to stand upright. Slanting the scissors -very slightly upward, cut from the corner toward the center. (See Plate -X). The second method is to make slanting cuts from the outside of the -vellum toward the corners of the newsboard. (See Plate XI). Apply paste -to the projecting sides, fold over and rub down; treat the ends in the -same manner. - -[Illustration: PLATE X. Clipping the corners.] - -If it is desired that the completed mount shall hang on the wall, make -a loop of ribbon, tape, or vellum. If tape or ribbon is used, choose -the color very carefully; that which matches the vellum is the best -choice; but, if a contrast is preferred, choose a soft color which has -some quality in harmony with the vellum. Paste this loop to the back -of the foundation, allowing it to project above the top. Apply paste -to the back covering and rub it down very firmly, being careful that -no loose edges are left. Instead of pasting on a loop, a hole may be -punched near the top with the eyelet punch, and an eyelet inserted. -This should be done after the back is pasted on. - -[Illustration: PLATE XI. One method of cutting the corners.] - -According to plan, paste on the calendar or picture. Dry all under a -weight. If several mounts are to be placed under the same weight, it -is better that each should be separated from the others by a sheet -of blotting paper, or several thicknesses of newspaper. Allow them -to stand over night. In the morning they will be found sufficiently -pressed. - - -B. MOUNT FOR MEMORANDUM PAD - -Secure a small pad, and plan a mount to extend beyond the pad ⅛ inch or -more on each side. Draw plans, work out, and paste as in A. Instead of -a loop by which to suspend the pad, make a holder for a pencil to be -placed on the right side of the mount. Cut a strip of vellum one-half -or three-quarters the length of the mount. At each end of the strip -turn about ⅛ inch onto the wrong side to give a finished edge. To -secure the correct size, fold the strip over the pencil to be used, -and, with the pencil still folded in, paste the two long edges of -the strip together, and then to the back of the newsboard, having it -placed midway between the top and bottom edges. The pasting of the back -covering then follows. Remove the cardboard back from the pad before -pasting it to the mount. Dry under weight. - - -C. POCKET MEMORANDUM PAD - -This is intended to be carried in the pocket, and its size should be -governed by its use. Avoid rectangles which approximate the square, -but choose rather such proportions as 2 × 3 or 2½ × 4. As in A, make -working drawings for the three pieces. If desired, the first drawing -may be of the completed face. (See Plate XII.) Lay out and cut all -parts. - -[Illustration: PLATE XII. A front view of the memorandum pad accurately -drawn to show proportions; also drawings of the vellum coverings.] - -On the front piece of vellum lay the newsboard as in A, and draw around -it. From the corners indicated by the pencil lines measure equal -distances along adjacent lines, and connect the points by straight -lines. Be careful not to make these lines too near the corners, ¾ of an -inch to 1 inch being a good measurement for a small pad. Cut on these -lines with a sharp knife, or folding the ends of the line together, cut -along the line with scissors. - -Apply paste to the front piece, being careful not to paste outside -the slanting lines at the corners, for this space should be left free -to hold the sheets of paper. One way to protect these corners is to -insert a piece of newsboard or paper in the slits, from the right side -of the vellum, so that the corners on the wrong side are covered. The -paste may then be applied with freedom. Remove the protecting piece -of newsboard and paste the vellum to the foundation. Finish as in A -without the hanger, or, if desired, add pencil holder as in B. Cut -several sheets of white paper ⅛ of an inch smaller than the newsboard, -and, when the paste is thoroughly dry, insert them in the slits. - - -D. BLOTTER - -Like C except that it should be large enough to hold a school blotter. -Increase the size of the corners to be proportionate to the size of the -blotter. - - - - -Problem IV - - TIME: 8 hours. - - MATERIALS: Newsboard, vellum, and lining paper. - - Note: As in Problem II, each of these models has a foundation of a - single piece of newsboard, covered on the front with vellum, but on - the back with lining paper. - - -A. A NEEDLECASE - -As shown at A in Plate XIII, the needlecase should be planned to hold -four papers of needles, two at each end. The size of the case will -depend on the size of the papers of needles, and must be planned -accordingly. Make the width a little more than twice the width of a -paper of needles, and allow a little space lengthwise between the -papers of needles to permit their easy removal. The pockets are formed -of strips of vellum pasted on to each end of the foundation, and their -depth should be a little more than half the length of a paper of -needles. - -An accurate working drawing of the completed case should be made (see -Plate XIV). From this, mark out and cut the newsboard to the correct -size. The front covering of vellum should have laps on the sides only -and may well be a little shorter than the foundation. Make freehand, -dimensioned sketches of this piece, of the vellum pockets, and of the -marbled paper. The pockets should have ½ inch laps on three sides for -pasting to the back. On the other edge, which is to be free, allow at -least an eighth of an inch to be turned over like a hem onto the wrong -side for a neat finish. The paper for the back should be one-fourth of -an inch narrower and shorter than the foundation. - -Mark out and cut with the scissors, the pieces of vellum and marbled -paper. The front covering should be pasted on first. Before pasting the -pockets (which should be fastened to the back only) turn over the hem, -and crease it hard, but do not paste. The hem will extend onto the side -laps. From these laps cut off the under side of the hem that it may not -be double. Paste on the pockets and the back. Dry all under weight. - -[Illustration: PLATE XIII. A needlecase, a checkerboard and a blotter. -Good problems upon which to practise the processes involved in -bookbinding.] - - -B. A CHECKERBOARD - -First decide on the size of the small squares, remembering that there -are eight in each direction. Also allow for a margin, outside the -squares, which should vary in proportion to the size of the squares. -A single or double border line enclosing the squares is a desirable -addition. (See B, Plate XIII.) - -Make working drawings of the foundation, the front covering of vellum, -and the back covering of lining paper. In selecting vellum for this -model, have in mind the application of a color which is to be used on -alternate squares. Either a deep red vellum with alternate squares of -black or a dull green vellum with alternate squares of red is a good -combination. - -[Illustration: PLATE XIV. An accurate working drawing of the completed -needlecase, and dimensioned sketches of the pieces used for covering.] - -Lay out and cut all parts, using the card cutter for the newsboard, -and the scissors for the vellum and the lining paper. As in previous -models, lay foundation on the back of the piece of vellum, draw around -it, and cover with paste the surface enclosed by the pencil lines. -Again place the foundation on the vellum, press it down hard, turn -over both pieces and rub the vellum on the right side until it is -smooth. When thoroughly rubbed down, paste laps, being careful to make -neat corners. Paste on lining paper and dry under weight. - -During a subsequent lesson, mark out the checkerboard, accurately, -with rule and pencil. Only alternate squares need be colored, and this -may be done with water colors, crayon, or pencil. If water colors are -chosen, they should be used with as little water as possible. Before -applying the paint to the vellum, the glaze of the surface may be -reduced by rubbing over it the powder which comes from common white -chalk. Rub the powder in with the fingers and lightly brush off what -remains. On a separate piece of vellum, practice the application of -color before applying it to the checkerboard, both to test the color -itself, and to become somewhat familiar with the best method of -application. After the paint is thoroughly dry, the surface may be -cleaned by rubbing carefully with a piece of cloth. Finish by putting -on the outside border line with pencil. - - -C. A BLOTTER - -This is to be a more elaborate production than the blotter described in -Problem III (D). Compare C, Plate XIII. - -First determine the size of the foundation, which may vary from -small-blotter to desk-blotter size. Consider proportions very -carefully. A small blotter admits greater variance between length and -width than one of larger size. Make dimensioned drawings of foundation, -front covering of vellum or cover paper, and back covering of marbled -paper. - -When the foundation has been cut and the front covering pasted on, plan -the corners which are to consist of separate pieces. Determine their -size by setting off a triangle at one corner with a rule or pencil, -moving the rule or pencil to vary the size of the triangle until one of -satisfactory size is decided upon. Lay out on paper a triangle of the -chosen size. The thickness of the foundation, plus the thickness of the -one or more sheets of blotting paper which are to be placed under the -corners, must be taken into consideration. Before adding the laps which -are to extend onto the back for half an inch or more experiment with -patterns cut from paper (see Plate XV). - -The corners may be made of linen, vellum, cover paper, or skiver (a -prepared leather which has been split by machinery). Cut them out by -the pattern. To give a finish to the edge which is to be free, turn -it over about ¼ of an inch. If leather is used, a portion of the -under side along the edges should be additionally skived off, before -turning over, to make the laps very thin. Cover paper, if used, may be -re-enforced by pasting a piece of muslin onto the back. - -[Illustration: PLATE XV. Diagram for blotter corner.] - -These corners present an opportunity for applied design. The most -satisfactory decoration for leather is “tooling.” On the other -materials suggested, a design may be applied by stenciling or block -printing.[4] - -[4] Simple directions for these processes may be found in the _School -Arts Book_ as follows: Tooling, June, 1908; Stenciling, June and -October, 1908, March, 1912; Block-printing, June, 1907. - -The designs should be simple and appropriate (see Plates XVI), and the -color scheme carefully planned. Unless a special study has been made -of color harmonies, a combination of analogous colors or complementary -colors is a wiser choice than a more complicated combination. Practise -on paper until a pattern is secured, and apply it to the corners by the -method decided upon. - -[Illustration: PLATE XVI. Blotter pad corners with original units by -grammar-school children.] - -When pasting on the decorated corners, the sheets of blotting paper -should be placed on the foundation so that there will be room for -their use. Paste the laps to the back of the foundation, being very -careful to place the corners in exact position. Leave the sheets -of blotting paper under the corners until after the whole has been -pressed; otherwise the weight would crush the corners. When putting in -new sheets of blotting paper, they can be more easily slipped under -the corners if a small triangle has been cut from each corner of the -blotting paper. A sheet of lining paper about ⅜ of an inch shorter -and narrower than the foundation should be pasted to the back. Dry all -under weight. - - - - -Problem V - -MOUNTS AND COVERS - - TIME: 6 hours. - - MATERIALS: Newsboard, vellum, and lining paper. - - NOTE: Each article in this problem has two foundation pieces covered - by a single piece of vellum, which forms a hinge between them, and the - whole is lined with marbled paper. - - -A. A CALENDAR STAND - -First make or secure a calendar, which should be of small size. If -desired, a picture may be used with the calendar, but it should -harmonize with it in size and color. In such a case plan to have the -space between the two much smaller than the margins, so that the eye -will take them in as a group, and not as two separate objects. Decide -on the margins as described in Problem II, and thus arrive at the -proper size for one of the foundation pieces of newsboard. (See Plate -XVII.) - -Make a dimensioned sketch of this piece, and plan to have two made of -newsboard. For the outside covering plan a strip of vellum which shall -be long enough to cover both pieces of newsboard when placed about -one-eighth of an inch apart, and to make half-inch laps on each side -and end. Plan a strip of vellum about an inch wide and as long as the -width of the foundation pieces to form the back of the hinge; and two -pieces of lining paper, each one-eighth of an inch smaller in both -directions than the foundation pieces. Make dimensioned sketches of -these pieces (see Plate XVIII), lay out and cut all parts. - -In the center of the narrow strip of vellum mark off a space one-eighth -of an inch wide, extending lengthwise of the strip. Apply paste -and lay the two pieces of newsboard on the vellum and with edges -against the lines drawn. Press hard on the newsboard, turn it over, -and rub down the vellum. A hinge is thus formed for the two pieces -of newsboard. Lay these pieces on the large piece of vellum and draw -around the whole. Apply paste to the vellum inside the pencil lines. -Lay the double foundation on the pasted surface with the narrow strip -of vellum on top. Rub down the outside surface very hard, leaving no -wrinkles or rough places; clip the corners as described in Problem II, -paste the laps, fold them over, rub them down, and line the mount with -the pieces of marbled paper. Connect the front and back halves of the -mount by a single or double strap of vellum pasted to the inside of -each. Finish by pasting on the calendar and picture. - -[Illustration: PLATE XVII. Calendars.] - - NOTE. If the calendars are made for Christmas, a most appropriate - time, the children are sometimes desirous of decorating with Christmas - seals. These are not so desirable as a decorative picture, but if the - teacher feels that to forbid their use would be dispiriting to the - child, she should insist that only one seal should be used and that - on the back of the standard where it will carry its message, but will - not detract from the appearance of the face of the mount. An envelope - might be made in which to present the calendar, and the seals used on - the outside of the envelopes. - -[Illustration: PLATE XVIII. Freehand sketches of the parts of a simple -calendar mount.] - - -B. ANOTHER CALENDAR MOUNT - -Plan the back standard to be smaller than the front instead of the same -size. Plate XIX suggests a suitable trapezoidal shape. In this case -the vellum must be of the same length as before, but cut to fit the -different widths of the newsboard (compare Plate XX). - -Plan a narrow strip of vellum to line the hinge, as in A. Paste this -piece and the outside covering as before. Cut the lining paper of the -correct shapes and apply to the back. - -[Illustration: PLATE XIX. The foundation pieces for an easel mount.] - - -C. A NEEDLE-BOOK - -This consists of covers with leaves of flannel. Decide upon the size of -leaves, which should not be too large and in good proportion. One piece -of flannel should form two leaves, as in booklets described in Problem -I. Plan the covers to be one-eighth of an inch larger in each direction -than the leaves. These should be constructed like the calendar mount -already described in A, but the space between should be greater, -perhaps three-eighths of an inch. Make dimensioned sketches of all -parts. The parts should then be laid out, cut, and pasted. Finish the -edges of the leaves by pinking (cutting in small points). Four leaves -are sufficient. Sew them to the cover as described in Problem I. - -[Illustration: PLATE XX. The flat of vellum for covering the -foundation.] - - -D. A COVERED MEMORANDUM PAD - -Secure a small pad. Plan covers, as described in B, which shall project -about one-eighth of an inch in each direction beyond the pad. Plan to -have the space between them about ⅜ of an inch more than the thickness -of the pad. When the covers are finished, paste the pad firmly to the -inside of one cover. If desired, loops of vellum to hold the pencil may -be pasted on the side of the pad, as described in Problem I. - - - - -Problem VI - -FOLDING CHECKERBOARD[3] - - TIME: 6 hours. - - MATERIALS: Newsboard, vellum, squared paper. - - -This checkerboard (Plate XXI) is planned with squares ¾” in size, and -of these there should be 8 on each side alternating dark and light. By -making a foundation 7½” square, it gives a margin of ¾” on all sides, -resulting not only in a satisfactory appearance, but providing a place -for extra checkers. This board folds through the center and is small -enough to be easily carried in the pocket. The illustration is intended -to show the construction to the teacher. Such a drawing should not be -attempted by the pupils whose efforts should be confined to simple -sketches of the necessary pieces as in the other problems. - -Cut two pieces of newsboard 3⅝” strong × 7½”, and a piece of vellum -about 9” square. It will be observed that the width of the newsboard -is less than half the length in order to allow a space between the two -pieces of newsboard without which the completed board would not close. - -On the back side of the piece of vellum mark off in heavy lines the -positions of the two pieces of newsboard and allow ¼” or ³⁄₁₆” space -between them. Paste the newsboard to the vellum as already described, -cut the corners and paste the edges. A strip of vellum 2” × 7” should -be pasted to cover the space between the two pieces of newsboard and -extend well onto them. - -[3] From “War Time Occupations.” - -[Illustration: PLATE XXI] - -The paper used for lining may be prepared in one of several ways, -either by machine or by hand, and may be in one piece or two. The -former is less likely to be confusing. The easiest and quickest method -is to have the squares printed in dark ink on white or light gray paper -of good quality, and fairly tough. The use of linoleum is suggested -as one method of printing squares, or a line plate may be made, the -squares printed from it and finished linings for the checkerboards -furnished to those who are making them. The light squares may be -left as they are or may be colored with water color, crayon, or oils. -All the outside squares should be lined in, either when printed or -afterward by hand. A border line about ¼” outside the squares adds very -much to the general appearance. - -If all the markings and coloring must be done by hand, paper -commercially ruled into ¼” squares is recommended. This secures -accuracy, and saves much tiresome ruling. Three such spaces on each -side form a ¾ inch square and when the checkerboard is laid off by -small dots on outside lines, proceed to color alternate squares by one -of the following methods: - -A. With soft pencil darken alternate squares leaving others of the -original color. Begin with the upper row, and take successive rows -downward. Across the paper lay a rule just below the lower edge of the -squares to be darkened. With the pencil make vertical strokes only, -using the side of the pencil to give an even surface free from ridges. -Be careful with the lines at the right and left edges that they do not -extend into the adjoining space. The edge of the rule will stop the -strokes at the right place at the bottom and they should not extend -quite to the top as this can be adjusted later. When all rows are -finished, turn paper around so that what was top is now bottom, and -complete squares by the same method. - -B. Instead of pencil, colored crayons may be used in the same manner as -already described. - -C. Crayons of two colors may be used in alternate squares, or one color -and a black pencil. Orange and black or red and black are pleasing -combinations. - -D. Ink or water may be applied with a brush. - -When completed place the “board” so that a dark square is in the upper -left and lower right corners respectively, and cut open vertically, -removing about ¼” from the center two halves. If no space is left, the -paper soon cracks in folding; if too little space is left, the edges -soon turn and later become ”dog-eared“; if too much is left, it is -confusing to the players, as theoretically there should be no space at -all. Paste these pieces to each half of the cover, placing them about -¼” apart, and dry flat under weight. - -When thoroughly dry, the inner surface should be varnished with shellac -or valspar to give stability to the color. Otherwise, it soon becomes -rubbed and the appearance, if not the utility, of the board is spoiled. -One coat is sufficient to hold the color, but if a polished surface is -desired two are needed. - -The question of coating the outside with shellac or other polish is an -open one, and may be decided to suit the individual taste. - -It is sometimes desirable to show that an article is the product of the -schoolroom, and in this case a neatly printed label with a space for -the pupil’s name, etc., may be pasted to the outside. - -If larger boards are desired make the squares one inch in size leaving -¾” margin. The foundation consists of two pieces of newsboard, each 4⅝” -× 9½” and the vellum for covering should be 11½” square. The process of -assembling is like that used in the small board. - - -CHECKERS - -I. Dowels. Checkers may be made from dowels ⅝” or ¾” for small -checkerboards and ⅞” or 1” for the larger boards. Broom handles, etc., -may be used as substitutes for the dowels. - -The checkers should be of a uniform thickness, and this is best secured -by using a combination mitre-box, saw, and gauge. If this is not -available, any other means may be employed to saw the dowels into disks -⅛” or ³⁄₁₆” in thickness. - -Lay a piece of sandpaper on a flat surface and rub the checkers on this -to remove saw marks. Two grades of sandpaper give a better finish than -one. - -To play the game, it is necessary that there should be two colors of -checkers. Some woods present sufficient difference in their natural -colors to serve this purpose, but it is generally better that one set -at least should be artificially colored. For this, use stain or ink. -Place some of the fluid in a shallow dish, and drop the checkers into -it. Remove at once with nippers or two sticks, and lay on a paper to -dry. - -Most stains will stand some water, but common ink would wash out if -rained on. So to preserve the color, checkers dyed with ink should -afterward be dropped into a thin shellac and taken out and dried. Those -of natural color should also be shellaced as they keep clean much -longer. After the shellac is dry, there is a little roughness on the -surface. If this is rubbed off with fine sandpaper the checkers are -much more agreeable to handle. Twelve checkers of each color are needed -for a set but three or four extra ones may be added. Put these in a -strong bag securely tied. - -II. Button Molds. Instead of using dowels, as just described, wooden -button molds may be colored and used. - -III. Buttons. Two contrasting colors of flat buttons make excellent -checkers. - - - - -Problem VII - -PICTURE FRAME - - TIME: 4 hours. - - MATERIALS: Newsboard, vellum or paper. - - -First choose size of picture and then width of frame. This may be -uniform on all sides or one may observe the rules for margins shown on -pages 21 and 22. Make a careful drawing of the outside of the frame -and opening, and then lay out and cut the newsboard as indicated. For -covering, plan and cut a piece of vellum, grass cloth, paper or other -material which shall extend beyond the newsboard on each side for at -least one-half an inch. On this material indicate the position of -the newsboard including the opening for the picture. Also draw lines -one-half an inch inside and parallel to the lines showing opening. -Cut on these lines and at each corner cut oblique lines to allow the -laps to fold under. For the back there should be planned and cut -another piece of newsboard one-eighth of an inch shorter than the front -and of the same width; and to cover it a strip of covering material -three-eighths of an inch longer and one-quarter of an inch narrower -than the newsboard. (See Plate XXII.) - -[Illustration: PLATE XXII. Dimensioned sketches of the parts of a -picture frame.] - -To assemble: Paste the foundation of the front to the covering and turn -under and paste the laps at the opening. At this time paste only one -outside lap and that the top one. Over one end of the newsboard-back -turn the outside strip about half an inch and paste this down leaving -the remainder of the piece free. Place this piece of newsboard against -the front, with the pasted end at the top, and over both pieces of -newsboard paste the three laps attached to the front side. Fold back -the free piece and paste as a lining over the back. To this may be -pasted a patent hanger--a ring attached to a gummed disk. The picture -should be inserted at the opening in the top. - -[Illustration: PLATE XXIII. A folding picture frame.] - -If a double frame is desired (see Plate XXIII) make a frame for each -picture but use for the back of each a piece of heavy paper which -should not have an additional covering. Make a foundation which folds -through the center planning to have it extend slightly beyond the -frames as shown in Plate XXII; to each half of this foundation attach -the frames already made. - -C. Either style of frame may be made with a covering of silk, grass -cloth, leather, and slightly padded. For this purpose use sheet wadding -which should be firmly attached to the front of the foundation. Over -this lay the covering material and paste the laps only, not the broad -faces. - - - - -Problem VIII - -HINGED COVERS - - TIME: 8 hours. - - MATERIALS: Newsboard, vellum, paper for leaves, eyelets, cord, and (if - desired) cover paper for C and D. - - NOTE: In selecting materials, choose those which harmonize with each - other, i.e., the vellum, cover paper, and lining paper should be of - the same hue. - - -The problem is to make two separate hinged covers between which loose -leaves may be bound, the whole to be fastened together with macrame or -other cord. This may be designed for one of many uses, suggestions for -several of which follow (see Plate XXIV). - -[Illustration: PLATE XXIV. Examples of hinged covers made by grammar -school children.] - - -A. A SKETCH BOOK - -[Illustration: PLATE XXV. Freehand dimensioned sketches showing parts -of a sketch book cover.] - -In making dimensioned sketches for the various parts (see Plate XXV) -determine first the size of the pages and plan the covers to extend -beyond them about one-eighth of an inch. Make the sketches of the pages -and the newsboard foundations. Lay out and cut the latter, of full -size, and then from either a long or short side of each, in accordance -with plan, cut a strip to form a hinge. The width of these strips -may be from three-quarters of an inch to one inch. Vellum should be -planned to cover completely one side of both pieces of each cover, to -fold around the small piece and to lap over onto the large piece about -one-half inch. It should also fold over the other three edges about -one-half inch. (See Plate XXVI.) The lining paper should cover to -within about one-eighth of an inch of the edges of the large pieces -and should not extend onto the hinge. Constant bending soon breaks -paper, but with ordinary use does not affect the tough vellum. Make -dimensioned sketches of these pieces (see Plate XXV) and lay out and -cut all remaining parts. - -[Illustration: PLATE XXVI. A diagram showing the position of the two -pieces of newsboard on a piece of vellum.] - -Properly place main part of newsboard on vellum, drawing around it. Lay -small part one-eighth of an inch from main part and draw around it. -Remove the pieces of newsboard and apply paste to vellum inside the -pencil line, being careful to cover the surface smoothly and evenly; -lay both back pieces in place, turn the vellum over and rub down. Cut -from the projecting vellum on the hinged side a small piece even with -the edges of the hinges as far as the outside corners (see Plate XXVI), -and clip off the outside corners as before described. Apply paste to -projecting vellum, fold over first the hinged side and its opposite, -then the other two sides, and rub down. Paste the lining paper in and -dry the covers separately under weight. Remember to place newspaper or -blotting paper between each pair, otherwise the moisture from one will -cause wrinkles in the other. - -For the leaves, use drawing paper, which may be cut singly or in folio -(with single fold). The latter method is preferable, as folded sheets -are easier to place at the back, look better, and are more secure. - -[Illustration: PLATE XXVII. Two methods of cutting and folding paper -for the pages of a scrap book or postcard album.] - -Two holes in each cover are sufficient for the cord, but a little care -should be taken to determine the best position for them. The distance -of each from the end of the hinge strips should be from one-fifth to -one-sixth of its length, and, of course, they should be placed midway -between the long edges. After punching the holes, see that the leaves -are properly marked so that the holes in them will exactly fit the -holes in the cover. To do this, place one sheet on the cover, leaving -correct margins, and through the center of each hole mark the paper -which should then be punched. Treat the other sheets in the same -manner. Eyelets should be inserted in the covers only, and for that -purpose a good eyelet punch is necessary. Directions for its use and -sample eyelets accompany punches when sent from the dealer. - -Complete by tying all together with a piece of cord. Make a small flat -bow on the front cover. - - -B. A SCRAP BOOK - -This should be planned and worked out in the same manner as the Sketch -Book, but it should be somewhat larger, possibly 6 × 8½ inches. For the -leaves, screenings or wrapping paper may be used. - -To prevent covers from flaring after the book has been filled, the -thickness at the back should be increased by additional folds in the -paper, as shown in Plate XXVIIA. The “stub” should be about one inch -wide after it is folded. The Japanese method, which is to fold a very -long strip many times in the same manner, forms a pleasing arrangement -(see Plate XXVIIB). - - -C. A POSTCARD ALBUM - -Make the covers described in A and the leaves of a heavy paper. -Green or brown screenings look well and give a background generally -harmonious with colored postcards. The size of the leaves should be -sufficient to leave a generous margin around the card. If two are to be -placed on one page, have the space between less than the margins around -the edges. A little additional margin at the bottom is always pleasing. -Slits for holding the cards may be made in the following manner: cut a -blank sheet of paper of the size of a postal card and from each corner -measure both vertically and horizontally 1 to 1¼ inches and connect -the adjacent corners with straight lines. Place this pattern in proper -position and use the ends of the lines on it to locate the lines to be -drawn on the page itself. It a hole is punched at each end of the line, -it gives a neat appearance and prevents the paper from tearing easily. -The lines on the page should be cut with a sharp knife. Insert each -card by placing its corners in the slits. - -A second set of oblique lines parallel to those already described may -be drawn and cut three-eighths of an inch farther from each corner. -This will form a strap to hold the cards in place, and on the opposite -side of the leaf cards may be inserted in the outside slits. - - -D. A CLIPPING FILE - -[Illustration: PLATE XXVIII. Relative positions of newsboard and vellum -in making the cover of a clipping file.] - -Between two separate covers several envelopes--say five--are to be -fastened and used for holding clippings, etc. Select the envelopes--3½ -by 9 inches is a convenient size. Plan covers to be about one-eighth -of an inch longer on each end than the envelopes and seven-eighths of -an inch wider. This allows three-quarters of an inch for the guard -and also a projection of one-eighth of an inch on the opposite side. -Strips of vellum should be planned to cover completely both sides of -the hinge, to lap over onto the large piece about one inch both outside -and in, and to extend beyond each end about one-half inch. To cover -the rest of the newsboard, cover paper should be used and the pieces -should lap over the vellum about three-quarters of an inch on the side -next to the hinge and fold over the other edges about one-half an inch. -The lining paper should cover to within one-eighth of an inch of the -edges of the large pieces of newsboard. Make dimensioned sketches of -all pieces and lay out and cut all parts. - -Draw a line through the center of the vellum showing where the back -edge of the small piece of newsboard should come. Lay main part -one-eighth of an inch from this line and draw around the edges of both -pieces except where the large piece projects beyond the vellum (see -Plate XXVIII). Apply paste to vellum, lay pieces of newsboard in place, -turn it over and rub down. Cut from the projecting vellum a small piece -even with the ends of the hinges as far as the outside corners. Apply -paste first to projecting ends, then to long strip; fold over and rub -down. - -Properly place cover on cover paper and draw around it. Apply paste to -cover paper and finish as when vellum is used for entire cover. Paste -in the lining paper and dry under weight. - -Strips of vellum about 2½ inches wide and one inch longer than the -envelopes should be folded lengthwise down the middle to form guards. -Cut strips of newsboard three-quarters of an inch wide, and of the -same length as the envelope. Apply paste to half the vellum and lay -the newsboard on it with one edge against the center fold. Against the -other edge of the newsboard lay the lower edge of the envelope with its -ends and the ends of the newsboard in the same straight lines. Treat -the ends of vellum in the same manner as on the covers. Punch holes in -covers and guards, insert eyelets, and fasten together by tying, or -with paper fasteners. - - - - -Problem IX - -BOXES - - TIME: 6 hours. - - MATERIALS: Newsboard, stay-tape or vellum, and a thin paper. - - -First determine the size of the box, which should be made for a -definite purpose. Consider the proportions of the width, length, and -height; also the height of the sides of the cover. - -A box consists of foundations of newsboard, the edges of which are -stayed with strips of tape or vellum, and the outside covered with -paper. The cover should be larger than the bottom by ⅛ inch in both -directions to allow it to slip over the box. This amount will vary -somewhat with the thickness of the newsboard, the paper with which it -is covered, and the skill of the worker. - -The foundation for each part is to be developed from a single piece -of newsboard. The box and cover are to be covered with a thin paper. -A great variety of paper for this purpose may be purchased, either -figured or in plain colors. - -For the box plan a strip of paper long enough to extend around the -four sides and to provide for a lap where the ends join. Be generous -with this lap, as it will be found that the paper “takes up” when it -is pasted on. The width of the strip should be at least one inch more -than the depth of the box. For the cover, plan covering paper like the -newsboard development, but with its sides ½ inch or more wider to fold -over the edges. Let the corner squares serve as laps. Make dimensioned -sketches of all pieces and lay out and cut all parts. (See Plate XXIX.) - -Along folding lines of the foundations score deeply with a knife, one -blade of the scissors, or with a pin, and fold with the crease on the -outside. It is essential to the success of the box to have this crease -on the outside to insure a sharp, straight, and strong edge, which -might otherwise be rounded, irregular, and weak. - -[Illustration: PLATE XXIX. Drawings of the pieces required in making -boxes.] - -Fasten the corners of both box and cover together with pieces of tape -or strips of vellum, lapping onto the sides. (See Plate XXX.) If -possible, allow the corners to dry before proceeding further. - -Paste the strip of paper around the box, allowing ½ inch to project -beyond both top and bottom edges. Rub down well. Make a vertical cut -at each corner of upper projection and fold and paste laps down on the -inside. (See Plate XXXI.) - -Make a V-cut at each corner of the lower projection, fold and paste -the laps against the bottom. (See Plate XXXII.) It will probably be -necessary to apply more paste before finally rubbing these laps down. - -[Illustration: PLATE XXX. The box in process of construction showing -method of “staying” the corners.] - -[Illustration: PLATE XXXI. Showing method of pasting the laps to the -inside of the box.] - -Paste top of cover to the paper, leaving equal margins on all sides. -From the two long edges make cuts to the corners of the newsboard -foundation at right angles to its edges. Fold and paste paper over -the ends of cover first, and then onto the inside, using the thumb to -push the paper over the edges. (See Plate XXXI.) The cuts made from -the long edges give an extra length to end coverings. Paste this extra -piece onto long sides and then paste the part naturally to be used to -cover these sides. The appearance of the box will be greatly improved -by running the thumb and finger along the folded edges of the cover to -sharpen them. - -[Illustration: PLATE XXXII. The laps are being pasted to the bottom of -the box.] - -[Illustration: PLATE XXXIII. Here the paper is being pasted to the side -of the cover.] - -In this manner, boxes of any size may be made. Small boxes may be -covered with linen, cretonne, or other kinds of cloth. In this case it -may be better (after making the foundations as already described) to -paste the covering to the inside of the foundation only, otherwise the -surface might be discolored by the paste oozing through the cloth. - -A box with a glass top is sometimes desirable for holding specimens -of various kinds. Such a box may be made as above described with the -following changes: If it is to be a sealed box the specimens should -be properly placed in the box and the glass (which should be as large -as the outside measurement of the box to prevent its dropping in) -laid over the top before pasting down that part of the covering which -projects above the box itself. When properly arranged this should then -be pasted to the glass exactly as the laps are pasted to the bottom of -the box. - -If a removable cover is desired, cut strips of newsboard for the sides -and a strip of material for covering them in the same manner that -the box is covered. After staying the corners with vellum, paste on -the strip of covering material; one edge of this should lap over the -newsboard and be pasted to the inside of the cover and the other should -hold the glass in position after it has been placed on the newsboard. - - - - -Problem X - -POSTCARD HOLDER - - TIME: 8 hours. - - MATERIALS: Newsboard, vellum, and lining paper. - - -Before beginning this holder, it may be well to have collections made -of cards relating to a definite subject. Interest in the study of -various industries, history, and geography is greatly increased by the -use of pictures, and in many places sets of cards prepared for such a -purpose may be purchased. - -[Illustration: PLATE XXXIV. The postcard holder partly open.] - -This holder consists of an outside case into which the inner holder -slips. (See Plate XXXIV.) The size of the faces may be determined by -individual pupils, but, if the blocks to be described later are used, -it will be quite essential to have a uniform size so that the blocks -may be used interchangeably among the pupils. For this reason, it is -recommended that the broad faces of the outside be about one inch -larger in each direction than a postcard, and the narrow faces 1¼” wide. - -Plan the foundation of a single piece of newsboard, as wide as the -outside length of the holder, scored to divide it into the four faces -above referred to, and a fifth division the exact size of one narrow -face. Arrange these faces to be joined at their long edges with a -narrow face on each end of the strip of newsboard so that when folded -together one narrow face will be double, which gives greater stability -to the shape of the holder. Plan a strip of vellum 2 inches wider than -the length of the case, and long enough to extend around it, allowing -for a lap at one corner. It will be found in putting on this vellum -that it will require a piece longer than the sum of the width of the -faces as, however closely it may be put on, it “takes up” at the -corners. Therefore be generous with the lap as a little extra length -does no harm. - -For the inner holder plan a strip of newsboard ⅛” narrower than the -case, scored to divide it into five parts. Two parts are to be of the -same length as the case, alternating with two narrow faces ⅛” less than -thickness of the case (that they may fit inside) and the fifth piece -about one-half the length of the long faces. - -Plan two strips of vellum to cover the narrow faces, and lap onto the -adjoining faces about 1”. Allow ½” at each end to turn over the edges. -For each of the three broad faces, plan a covering of lining paper -which shall allow an edge of vellum to show at the joints, and shall -lap over the other edges of the newsboard. Notice that these three -pieces are of three different sizes. - -Make dimensioned sketches of all pieces (See Plate XXXV) and lay -out and cut all parts. Along the folding lines of both newsboard -foundations, score and fold as explained in connection with the box. - -[Illustration: PLATE XXXV. Dimensioned sketches of the parts of the -postcard holder.] - -When pasting the vellum onto the outside case, it will be found of -great advantage to have blocks of wood to work around. If there is a -woodworking room in connection with the school, these blocks may well -be made there. They should be at least the full length of the case and -may project beyond the ends. Their thickness should be the width of -the narrow faces, and their width may be the same as that of the broad -faces, or narrower. If narrower, the blocks may be slipped along as the -vellum is being rubbed down. - -The strip of vellum for covering the outside is so large that it is -difficult for a child to cover it with paste, before a part of it has -dried. It is better, therefore, to paste a little more than enough for -one face at a time, rub this down, apply paste again, and so on to the -end. By putting the paste a little beyond were it is needed there is a -certainty of leaving no dry areas at the corners. - -[Illustration: PLATE XXXVI. An illustration of the method of covering -the outside of the case when a block of wood is used.] - -If blocks are to be used, paste together the two end divisions of the -newsboard, put the block inside, and paste on the strip of vellum. -Place one end of the vellum flush with one edge of the case, and cover -one broad face first. (See Plate XXXVI.) Before rubbing down the vellum -on the next face, be sure that it is pulled as closely as possible over -the edge, leaving no wrinkles or loose places. When all the faces have -been covered, there should remain a margin of vellum to lap onto the -face first covered. If this is pasted down very closely, it will be -almost invisible. - -If no blocks are available, three faces should be covered before -joining the two end pieces of newsboard, which should then be covered -as one piece. Lay each face as it is being pasted so that one edge is -at the edge of the desk or table, and allow the rest of the case to -hang over the side. (See Plate XXXVII.) In this way the faces may be -easily covered. Next make a longitudinal cut on the projecting vellum -as far as the newsboard at each corner of the case. The resulting laps -may then be easily pasted down onto the inside of the case. - -[Illustration: PLATE XXXVII. An illustration of the method of covering -the outside of the case when no block of wood is available.] - -Over the narrow faces of the inner holder paste the strips of vellum, -cut for this purpose. Paste and fold their ends over the edges of -the newsboard. These ends fit a little better if two slits are made -in each at the fold of the newsboard. Cover the broad faces with the -lining paper, turning and pasting the laps over the edges closely. -The corners should be cut as in the flat objects described in previous -articles. This inner part should not be pressed as a flat piece as this -would cause the paper to crack open when folded for use. - -If desired, the inside may be lined with white paper, in which case the -pieces should be put in separately instead of in one long strip. This -is difficult for any but most skillful workers. - -B. A holder of similar construction, but of convenient size to hold -note or letter paper makes an excellent filing case. - - - - -Problem XI - -SLIP BOX[4] - - TIME: 6 hours. - - MATERIALS: Newsboard, vellum, thin paper. - - -This box (Plate XXXVIII) by varying the size may be used for holding -pencils, checkers, a picture puzzle, or for other purposes. - -Accurately lay out the box on the newsboard as shown in the drawing and -cut on the outside lines, preferably with the cardboard cutter. Along -the edges of the base score with a sharp knife or strong pin and turn -up the sides with the lines outside. The corners should be stayed with -a strip of vellum as shown to hold the box in shape. - -Cut a strip of lining or other thin paper long enough to extend around -the box and lap over about ½ inch; the width should be at least one -inch greater than height of sides. Paste this strip to the sides of the -box allowing surplus width to extend equally above and below. - -At each corner of the box make cuts in the paper so that it may be -pasted to the inside of the box at one edge and to the bottom of the -box at the other. It is advised that no attempt be made to line either -the inside or the base. The case should be enough larger than the box -to allow the latter to slip easily but not fall out. By making each -side of the case ⅛ of an inch wider than the corresponding sides of -the box, this is accomplished. It will be noticed that three narrow -faces are shown in the drawing. Lap the broader outside face B over the -narrower one A and paste securely. This gives stability to the outside. - -Cut a strip of vellum long enough to paste around the box and extend -beyond it at least ½ inch at each end. Paste this to the foundation; at -each corner make cuts in the vellum, and paste projecting parts to the -inside of the foundation. - -[4] From “War Time Occupations.” - -[Illustration: PLATE XXXVIII.] - - - - -Problem XII - -A PORTFOLIO - - TIME: 6 hours. - - MATERIALS: Newsboard, vellum, cover paper, lining paper, tape. - - -(A). This portfolio consists of two foundation pieces of newsboard, -covered and lined with paper and joined by a back of vellum. Let the -size and shape of these covers be determined by the use to which they -are to be put. They may be for drawings, maps, compositions, etc. The -size of the newsboard will practically be the size of the finished -portfolio, and should be somewhat larger than the papers it is to hold. - -Plan the back, which consists of two pieces of vellum, wide enough to -allow for the space desired between the covers, and also to lap onto -each cover at least one inch. One piece of vellum should be long enough -to lap over the ends of the newsboard about ½ an inch, and the other -piece should be about ⅛ of an inch shorter than the newsboard. - -Plan the cover paper to be large enough to allow for ½ inch lap to fold -over the three free edges, but remember to allow a margin of vellum to -show at the other edge. Plan the lining paper to be small enough to -allow the foundation to extend beyond it at least ⅛ of an inch on all -sides. - -Make dimensioned sketches of all pieces and lay out and cut all parts. -(See Plate XXXIX.) Place the newsboard foundations on the short piece -of vellum the proper distance apart, with equal amounts of vellum -extending under each. The newsboard, of course, will extend at each end -a trifle beyond the vellum. When the proper position is determined, -draw pencil lines lengthwise of the vellum indicating the edge of each -cover. Put paste on the vellum and rub down well onto the newsboard -forming the inside of the hinge. To make sure that the upper and lower -edges of the covers are in a continuous straight line, place a rule -or straight edge against one cover, extending across and beyond the -vellum; place the second cover against the rule and the edges will be -in a straight line. (See Plate XL.) Paste the second piece of vellum -onto the outside and turn the projecting ends over the newsboard, -pasting them down. - -[Illustration: PLATE XXXIX. Dimensioned sketches of the parts of a -portfolio.] - -Properly place one foundation piece on the cover paper, allowing the -vellum to show where it laps onto the newsboard, and draw around -it. The amount of vellum which is to show is a problem in space -division. Just how much will look well on the particular cover under -consideration should be carefully thought out. - -Apply paste to the cover paper, noting that it requires more skill to -spread paste uniformly on a heavy paper than on vellum or lining paper. -Place one piece of newsboard on the paper as previously marked, turn -them over and rub down. A piece of cloth held in the hand and used for -rubbing the surface prevents finger marks; or the rubbing may be done -on a piece of paper laid over the surface. The cover paper should cling -firmly to the foundation at every point and this should be assured -before proceeding. Apply paste to the projecting laps, fold them over -and rub down. Treat the other half in the same manner. - -[Illustration: PLATE XL. Pasting the newsboard to the vellum back.] - -It is desirable to tie the portfolio together on one side at least. For -this purpose secure tape of harmonizing color and ⅜ or ½ inch in width. -About ½ an inch from and parallel to the front edges cut a slit through -both paper and newsboard of the same length as the width of the tape. -(This needs to be done with a knife or, better yet, with a chisel.) -Insert a piece of tape from 6 to 9 inches long in each slit and -securely paste at least 1 inch to the inside of the newsboard, allowing -the greater length to project from the outside. Paste the lining paper -on the inside of each half and this will cover the pasted end of the -tape. The portfolio is then complete. - -(B). By a different arrangement of tape the same kind of portfolio may -be used as a magazine holder or cover for a paper book or pamphlet. -Plan the newsboard foundations to project ⅛ of an inch beyond the book -on three sides. The space between the two pieces of newsboard should -be at least an inch greater than the thickness of the book so that the -covers will lie flat when the book is inside. It will be seen that with -so wide a space the inner edge of the newsboard will not extend as far -back as the back of the book, and in planning the newsboard it should -actually be narrower than the book. Make dimensioned sketches of all -pieces and lay out and cut all parts. - -[Illustration: PLATE XLI. A magazine in a stiff cover.] - -Construct the covers as for the portfolio, but insert the tape as -follows: About ¾ of an inch from both upper and lower edges of the back -cover, and just where the cover paper laps onto the vellum, make slits -of the same width as the tape and parallel to the edges. Push one end -of the tape through from the outside and paste, with the end turned -toward the edge. Carry the tape over the adjacent edge along inside -of the cover and over the opposite edge where it should be inserted in -the second slit and pasted on the inside as at the other end. A little -slackness of tape is not objectionable. The lining paper may come to -the edge of the tape, or, with more difficulty, be slipped under it. - -[Illustration: PLATE XLII. Simple borders suitable for use on a -portfolio.] - -When one cover of the book has been placed under the tape, it should -hold it securely. (See Plate XLI.) - -If desired, there is here an excellent opportunity for the application -of a cover design. This may consist of simple straight line borders -in lower grades, or of more elaborate designs in upper grades. (See -Plate XLII.) Lettering also may be used either singly or combined with -decorative figures. The design should be carefully planned before -any attempt is made to place it upon the finished cover. Erasures -are always noticeable and should be avoided. It is recommended that -straight lines should be drawn with a rule, and the distance of the -border from the edge measured either with a rule or a piece of paper. -The decoration may be applied with ink, crayons, or water color. Common -ink diluted gives the effect of a darker tone of the color of the paper -and as it is easily obtained it is on the whole a satisfactory medium. -(See Plate XLIII.) - -[Illustration: PLATE XLIII. Some cover designs made by students at the -Sloyd Training School, Boston, Mass.] - - - - -Problem XIII - -STATIONERY HOLDER - - TIME: 8 hours. - - MATERIALS: Newsboard, vellum and paper. - - -A very satisfactory stationery holder (see Plates XLIV and XLV) may -be made by substituting pockets, etc., for the plain lining of the -portfolio. Make the outside as described in Problem XII. Then cut for -each half, a piece of newsboard one-quarter of an inch shorter and -narrower than the outside pieces. Cover one of these smaller pieces -with the same paper that is used on the outside turning over a margin -of one-half an inch on each of the four sides. At each corner attach -suitable pieces for holding a blotter. (See page 33.) When pressed and -dried this forms a lining for one side. The other piece of newsboard -should be used as a foundation for a “bellows pocket” for holding -stationery. First bind one long edge with a strip of vellum having it -show on the upper surface for about an inch and a half. The pocket -should be made of vellum and when completed, should be as large as -the newsboard foundation. To give strength and stability to this cut -a piece of paper of the same size as the newsboard. Plan and cut a -piece of vellum 5 inches longer and an inch and a half wider than this. -Lay the paper lining on the vellum with an equal amount of vellum -projecting at each end, and fold the vellum over one long edge of the -paper for its entire length and to the depth of about one inch. Paste -the hem thus made to the paper but do not paste the broad face as this -will cause wrinkling. Then fold the vellum over each end of the paper -sharply and make a reverse fold one inch from the end. Place this -vellum on the newsboard with the hem of the pocket against the bound -edge of the newsboard, and on the other three sides turn over the -projecting vellum and paste to the under side of the newsboard. Before -pasting in this piece and the blotter for linings, a fastener or tape -should be inserted as already described. - -[Illustration: PLATE XLIV. Stationery Holders (closed) made by students -at the Boston School of Occupational Therapy.] - -The holder may be made more elaborate by adding a third page which -should be narrower than the other two and when folded together will -appear as a flap. Cut a piece of newsboard for its foundation and -fasten to one of the large pieces in the same manner as the two -large pieces are attached. To line this, cut a piece of newsboard -one-quarter of an inch shorter and narrower than the outside piece and -cover it with a single piece of vellum; or pockets may be added and a -strap for holding pen or pencil. - -Some very handsome cases can thus be made by using wall papers on the -broad faces. Narrow stripes or gold bands used as border decorations -on the corners of the blotter or the edge of the pockets are very -effective while figures well cut may be appliqued to the outside or the -inside. - -[Illustration: PLATE XLV. An open stationery holder made at the Boston -School of Occupational Therapy.] - -For fastening, use cord, tape or ribbon which should be inserted before -the linings are pasted in. To illustrate: Pass a ribbon across the -outside of the middle piece, putting each end through a slit--say one -inch from the edge--and glue these firmly to the newsboard. Through -a slit in the other broad face pass another length of ribbon on the -end of which shall be a Japanese bead; on the narrow face in similar -fashion attach a loop of ribbon (made by passing both ends through the -same slit). When closed the case may be fastened by putting the bead -through the loop. - -Another style of fastener consists of a cord or braid similarly -inserted with a fancy knot in place of the bead. - - - - -Problem XIV - -SEWING AND BINDING A BOOK - - TIME: 10 hours. - - MATERIALS: Newsboard,[5] vellum, cover paper, white paper, tape, - sewing linen, and “super.” - - -There are several ways of sewing a book and even more ways of binding -it after it is sewed. The first method here given is the simplest, -and is such as is feasible in a fifth or sixth grade without a sewing -frame, a press, or other apparatus than the simple tools required in -the previous problems. - -First determine the shape and size of the book. It is better at first -not to attempt a book which is very thick, seven to twelve signatures -being sufficient for a beginning. A “signature” is the name applied to -a folded sheet, several of which go to make up the inside of a book. If -the sheet is folded once it is called a “folio”; if twice, a “quarto”; -if three times, an “octavo.” (See Plate XLVI.) These signatures, when -sewed together, form what is technically known as “the book,” and the -covers and back “the case.” - -[5] A book-cover may be made of heavier newsboard than the articles -previously described, although in elementary grades it will probably be -more convenient to use one weight only. Number 30 is commonly used for -books of ordinary size (say 7½ × 5¼ inches), while for larger books (10 -× 7 inches) a still heavier board is used. - -With a piece of cheap paper experiment a little, folding it one or -more times and if necessary trimming the edges to change size or -proportions. When the size is determined, cut a sufficient number of -sheets, fold, and “stack” (pile) them for sewing. If the paper provided -is too small to be used for a “quarto,” place one “folio” inside -another which will give two thicknesses of paper at each fold and will -have the same effect as a “quarto.” If desired, two or three sheets -of paper may be placed together before folding so that there will be -several thicknesses at the back. - -[Illustration: PLATE XLVI. Diagram to show methods of folding sheets of -paper.] - -These signatures are to be sewed over three pieces of tape, one to -be at the middle of the fold, one from 1 to 1½ inches from each end, -according to the size of the pages. On the back of the first signature -mark carefully the position of the edges of each piece of tape, and -additional points ½ an inch from each end. The latter points show the -location of the “kettle stitches.” - -Replace this signature on the others and mark across the backs of all, -locating similar points on other signatures with as much accuracy as -possible. (See Plate XLVII.) The major folds should then be “jogged up” -evenly at the back, and the minor folds at the “head” or top. - -At each point on each signature make a hole for sewing by opening the -signatures and piercing through with a needle from the back. Replace -the signatures in the same order as before. Cut three pieces of tape -about three inches long. Place the first signature on the deck or table -with the fold of the back toward the operator. The left hand should be -placed inside the signature to receive and return the threaded needle -which is pushed through from the outside by the right hand. (See Plate -XLVIII.) Pass the thread in through the first hole (leaving an end -long enough for tying), out through the second hole, over the tape, in -through the third hole, out through the fourth hole, over the second -tape, in through the fifth hole, out through the sixth hole, over the -third tape, in through the seventh hole, and out through the eighth or -last hole of the signature. - -[Illustration: PLATE XLVII. Marking the signatures before stitching.] - -Close this signature and place the second signature on top of the -first; then pass the thread in through the eighth hole of the second -signature, and out through the seventh hole, over the tape, in through -the sixth hole and so on until the thread comes out through the first -hole. Tie the thread to the loose short end in a square or hard knot. -Place the third signature on top of the second and proceed as before. -On reaching the end of the third signature, pass the needle under the -stitch connecting the first and second signatures and through the -loop formed by the thread. (See Plate XLIX.) Pull tightly to form the -“kettle stitch” which should be made at the end of every signature -hereafter. In the same manner any number of signatures may thus be -sewed to form a book. - -[Illustration: PLATE XLVIII. Sewing a book over tapes.] - -For fly-leaves, prepare four single sheets folded once, to be of the -same size as the leaves of the book. Place these folded sheets one on -top of another leaving about ⅛ of an inch of the folded edge of each -exposed, the upper sheet being protected by a piece of waste paper. Rub -paste over the exposed surface of all four at the same time. (See Plate -L.) Remove the upper sheet and with its pasted edge downward place it -upon the front signature of the book, its folded edge being flush with -the folded edges of the sewed part, and the tapes thrown back out of -the way. After rubbing this sheet well down, open it and place the -second sheet inside the first, having its pasted edge downward also. -See that the folds exactly fit, and rub down the second sheet. Turn the -book over and repeat the process on the opposite side. (See page 93-D). -Before proceeding farther the “book” should be dried under weight. - -[Illustration: PLATE XLIX. The needle is in position to form the -“kettle stitch.”] - -[Illustration: PLATE L. Applying paste to the folds of the fly-leaves.] - -Lay the “book” flat on the desk and with a wooden mallet hammer the -folds at the back which will make the signatures lie close together. -Turn the “book” over and repeat the process. A few strokes are -sufficient. Cover the back with paste (or, if available, hot glue; do -not attempt cold), and rub it well in with the fingers that it may hold -the signatures together and prevent their spreading. Use only a thin, -even coat of paste; pull the tapes tightly across the back, and paste -their ends to the outside leaves. - -[Illustration: PLATE LI. Dimensioned sketches of the parts of a book.] - -Cut a strip of “super” a little shorter than the length of the back, -and wide enough to extend on to the fly-leaves about 1 inch. Place this -over the freshly pasted back and rub it well on. Paste the part of the -“super” which extends onto each side to the outside leaves over the -tapes. When perfectly dry cut off about two-thirds of the width of each -outside leaf, leaving a stub onto which the super and tapes are already -pasted. The ends of these stubs should be slanted by cutting from the -binding toward the front of the book. - -The “case,” which should be a trifle longer than the “book,” should -be constructed similarly to the portfolio but without tape or lining -paper, and with but one strip of vellum (the long one) on the back. -Plan to have the covers extend beyond the front and ends of the book -about ⅛ of an inch; but as the newsboard foundations should set forward -from the binding about ¼ of an inch. Their width should be a trifle -less than the width of the pages. Make dimensioned sketches of all -pieces and lay out and cut all parts. (See Plate LI.) - -Place the pieces of newsboard on each side of the “book” in the exact -position they are intended to occupy. Take a narrow strip of paper and -attach its ends to the outside of the pieces of newsboard (see Plate -LII) so that when the latter are removed from the “book” they will be -attached to each other the correct distance apart; that is the space -between them will be at least ½ an inch greater than the thickness of -the book. Place them on the vellum and trace along the inner edge of -each after ascertaining that the distance between them is the same at -both ends. Remove the paper which connects the covers and paste them to -the vellum in the position already marked out, but do not yet turn over -the ends of vellum. Cut a strip of heavy paper of just the width of -the back of the “book” and paste in the middle of the piece of vellum, -after which the ends of vellum should be turned over and pasted down. -Complete the “case” by pasting on the cover paper after which it should -be pressed and dried. - -[Illustration: PLATE LII. Determining the distance between covers.] - -When this is done place the “book” as far back in the “case” as it -is possible to do and be certain that the edges of the covers are in -alignment. Make tiny pencil marks at the front edge of the leaves -to guide the placing of the “book” after the paste is spread. When -necessary lines or points have been located remove the “book” from the -“case” and prepare to paste. - -Under the first whole leaf place a piece of newspaper considerably -larger than the “book” to protect the pages. Spread paste over the -surface of this leaf, first under the stub which should then be pushed -down with the brush to hold it securely to the outside leaf; then -cover the outside of the stub with paste. Place the “book” in the -“case” following the guide lines previously made, and press the covers -together with the hands. Lay the book on the desk or table with the -pasted half down. (See Plate LIII.) Open at the pasted leaf a very -little way and carefully rub the lining onto the cover, smoothing -out any wrinkles which may appear. Turn the book over and repeat the -process with the other cover. Do not open wide until the book has been -pressed. - -[Illustration: PLATE LIII. Pasting “book” inside the “cover.”] - -This should be done very effectually and for this purpose two boards -clamped together with handscrews make a better press than a weight. If -two thin pieces of tin, zinc, or blotting-paper are placed between the -“case” and the “book” while in press it will prevent the moisture from -being absorbed by the leaves, causing them to wrinkle. - - -VARIATIONS - -Several variations of the “case” are possible. - -(A). The simplest is to cover the outside corners with vellum. If -this is to be done, the vellum corners are to be applied before the -cover paper. The width of the corner piece, exclusive of the laps and -measured on a line bisecting the right-angle, should equal the width of -the strip of vellum which shows at the back. This rule holds true in -all high class bindings such as morocco, Levant, calf, etc. (See Plate -LIV.) - -By experimenting a little, a pattern (trapezoid) may be made for the -corner pieces by which to cut them. (See Plate LIV.) Plan these pieces -to extend under the paper at least ¼ of an inch. - -[Illustration: PLATE LIV. Diagram to illustrate the size of separate -corners, also method of cutting them.] - -After the cover paper has been cut in rectangular shape, according to -the original plan, the two outside corners should be trimmed to allow -the proper amount of vellum to show. This may be accomplished in one of -two ways. Using the same pattern as for the vellum corners, fit its two -opposite non-parallel edges as close to the corner as possible and cut -along the inside edge of the pattern. Or, one may place the newsboard -on the paper and trace around it, lay off the size of the finished -corner and cut on the resulting oblique line. After the vellum corners -have been pasted on firmly, place the cover paper carefully and paste -it on as already described. - -(B). After the “case” is completed in either of the two ways described, -it may be decorated with lettering or by the application of other -design. In this instance the suggestions given in connection with the -portfolio should be followed. - -(C). The entire “case” may be covered with vellum. Generally a cloth -covering is not desirable on a hand-sewed book, but if for a special -reason one is to be used, have a single piece of vellum cut large -enough to cover both back and sides. After finding the correct distance -between the two pieces of newsboard, lay them on the vellum, in the -manner already described, trace around them, and complete the “case” by -pasting. - - - - -Problem XV - -SEWING A BOOK ON A FRAME - - TIME AND MATERIALS: As for Problem X, except bookbinder’s twine is to - be used instead of tape. - - -To carry out this problem a few common wood-working tools will be -necessary. A sewing frame may be made by older pupils, a working -drawing for which is here given. (See Plate LV.) - -The wooden upright screws may be purchased. Instead of tapes the book -is to be sewed on bookbinder’s twine. Cut three pieces 6 inches longer -than the distance between the upper and lower bars. Tie one end of each -securely to the upper bar and slide them along to position. (See Plate -LVI.) Tie the other ends to the lower bar, pulling them as taut as -possible. - -The signatures should be “jogged up” and carefully placed in a vise, -back up and extending above the jaws about half an inch. It may be -better (depending on the shape and size of the vise) to place the -signatures between two boards, and then the whole in the vise. On the -back of one signature mark off the position of the “kettle stitches” -and twine 5 points in all--and, if T-square, try square or triangle -are available, square lines across; otherwise lay off these points on -both outside signatures and thus insure cuts which shall be “square -across” the back. At each point saw across all signatures with a back -saw, making a cut about ⅛ of an inch deep. Hold the saw perfectly -horizontally, that the cuts may be of uniform depth on all signatures. -If vise and saw are not available, V-cuts may be made on each signature -with scissors instead. - -[Illustration: PLATE LV. Working drawing of sewing-frame.] - -To sew a printed book, begin at the front with the “head” toward the -right. Place the first signature on the frame (page 1 down), with the -back toward the operator and the three inside cuts against the twine, -leaving the cuts at the ends for the “kettle stitches.” If necessary, -move the pieces of twine along the bars so that they exactly fit the -cuts and sink into them. (See Plate LVI). Tighten the twine by turning -the wooden nuts and commence to sew. Hold the signature open with the -left hand, and, commencing at the head, (right) insert the needle from -the outside through the first hole. Bring the thread out through the -second hole on the right of the twine, cross it, and return the thread -through the same hole on the left of the twine. It will be seen that -this process is virtually the same as sewing over tapes. Continue -across the first signature and, when completed, close it, lay the -second signature on top, and, in the same manner, sew across it from -left to right. Pull the sewing threads tightly and always forward in -the direction of the sewing. If they are pulled backward, the paper -will be torn. - -[Illustration: PLATE LVI. A sewing-frame in use.] - -After sewing across the second signature, tie the thread to the loose -end as in a book sewed on tapes. When the third signature has been -sewed, make loop stitch as already illustrated, (forming a part of the -“kettle stitch”) and repeat this stitch at the end of each signature. -When the sewing is finished, grasp the book firmly and slide it up on -the cords about 1½ inches; then cut the twine from the frame, leaving -about 1¼ inches projecting beyond the book on both sides. Pull the -twine with both hands to straighten it. Put in fly-leaves and “super” -and bind as before. The ends of the twine should be frayed out, and, -after the fly-leaves are in, pasted in fan-shape to the outside leaf. -Put on the case as shown in Problem XIV. - - -ADDITIONAL POINTS - -(A). The binding may be made stronger by “whip-stitching” the -fly-leaves after they are pasted in. For this purpose, take an ordinary -sewing needle (about No. 2) and linen thread (No. 35). Begin at the -right and, with “over-and-over” stitches about ¼ of an inch apart, sew -through the outside signature and the fly-leaves. A knot should be made -at each end to fasten the threads. Turn the book over and repeat the -operation on the opposite side. - -(B). If heavy paper is used for the fly-leaves, the outside leaf should -be torn or cut off carefully before putting on the case. Leave just a -narrow margin at the fold to hold the other half from coming out. This -being done, there is but one thickness with which to line the cover, -but two free leaves are left as before. - -(C). Head-bands may be used on a book sewed on a frame. Cut pieces to -fit across the back of the book and paste one at each end after the -“super” has been pasted on. - -(D). Any book is made more attractive by using colored “end papers” -or fly-leaves. These may be of the same material as the cover or of -contrasting material. A small surface pattern worked out in crayon or -water color for this purpose makes an excellent problem in applied -design and at the same time adds much to the appearance of the book. -When using any paper for fly-leaves which has a right and wrong side, -the sheets should be folded wrong side out. Note that only two folios -of colored paper should be used while the other two are white--that is -at each end of the “book” there will be one white folio with a colored -one inside it. When stacking the sheets to apply the paste, place a -colored sheet at the bottom, then a white sheet, then a colored sheet, -and a white sheet on top. When pasting these to the book, this brings -a white sheet first and a colored sheet inside, so that when pasted to -the “case” one-half forms its lining and the other half is free. - - - - -Problem XVI - -REBINDING A PAPER-COVERED BOOK - - TIME AND MATERIALS: As for Problem XIV or XV except the “book.” - - -Signatures for sewing may be obtained by taking apart some good paper -covered book. Foreign books frequently come in this shape, and are much -less expensive than in any other binding. - -Carefully remove the cover and the sewing threads, if any, and scrape -the glue from the back. Then proceed with the sewing and binding as -already described. - -It may be desired to have fly-leaves of lithographed or lining paper. -In this case have two rather heavy sheets of such paper folded once -with the plain side out, and two folded sheets of white paper. When -pasting these onto the book, place a white sheet first, and then place -a figured sheet inside it. When completed, each cover will have a -lining of figured paper faced by a fly-leaf of the same, and a plain -second fly-leaf next to the printed pages. - - - - -Problem XVII - -BINDING NEW PRINTED SHEETS - - TIME AND MATERIALS: As for Problem XIV or XV except the “book.” - - -Unsewed but printed signatures may sometimes be obtained from a printer -or publisher. Fold and assemble the sheets, using great care to observe -the correct order. Sew and bind by one of the methods already given. - - - - -Problem XVIII - -REBINDING AN OLD BOOK - - TIME AND MATERIALS: As for Problem XIV or XV except the “book.” - - -A school book whose leaves are still in good condition, but with broken -cover or loose binding, may often be preserved for much longer service -by rebinding. Sometimes one has a worn book which has personal value, -and a new cover is desired. - -First remove the old covers, being careful not to injure the leaves, -pull out the sewing threads and remove glue, “super,” and fly-leaves. - -Some repairing may also be necessary. Torn edges may be pasted together -or faced with gummed tissue, or, if the tears are not to deep, the -edges may be trimmed off. - -Broken places in the folds may be mended if necessary by using strips -of paper about 1 inch in width and as long as the leaves. If many -strips are pasted onto the folds, the back of the book will be thick -and bulky. For this reason, a thin tough paper should be used. Paste -the fold of two adjoining leaves lengthwise on the center of one of -these strips, so placed that, however badly torn, the leaves will -assume their proper position, and the extra piece will be on the -outside of the fold. - -Illustrations are usually printed on a single sheet, often of paper -different from the leaves of the book. To insert these, cover the back -with a piece of waste paper, leaving a margin along one edge as in -the case of the fly-leaf. Cover this margin with paste and insert the -leaf in its proper place, pasting it down to the adjacent leaf. The -illustration should usually be on the right of the book. - -When all repairing has been done, re-assemble the signatures and bind -as a new book. - - - - -ORIGINAL PROBLEMS - - -A final test of the pupil’s efficiency lies in his ability to plan and -carry to completion an original project. Originality does not consist -in making an article never heard of before, but in adapting to one’s -specific needs, principles and processes already learned through class -instruction. - -A fitting close to a course in elementary book-binding is such a -problem. If pupils choose to make articles such as the memorandum pad -or the hinged covers which have already been taught, they should be -accepted as original work, provided that each pupil selects the size -and proportions himself, and does not depend on the teacher to repeat -the instruction in detail. Yet more credit should be given one whose -originality extends further as in the case of a boy who made for his -father’s use a holder for conductor’s checks, or the one who made a -mount for telephone numbers. - -All articles constructed should be such as are appropriately made of -the materials used. Models, such as are sometimes made of cardboard, -to be constructed later of different materials should be excluded from -this course. - -It is by no means essential or desirable that originality be held in -abeyance until the end of the course but rather, it should be fostered -during each succeeding lesson. The pupils who work more rapidly than -the average of the class may always have on hand an extra piece of work -to be done when the regular assignment has been completed. - -The adaptation of any problem to a specific purpose should always be -considered an opportunity for the development of class originality. For -example, a principal may want several portfolios in which to keep a -particular kind of papers; or a set of hinged covers to hold a “Course -of Study” may be desired for each teacher’s desk. These should be -considered class problems and worked out as such. - -It should be continually borne in mind that the object of the course is -the development of the child. When he is conscious of the ability to -make an article of intrinsic value a long step has been taken. “To help -the pupil to help himself” is the highest aim of education. - - - - -TEAM WORK - - -Some of these problems may be given, especially in older classes as -“team work.” The class may be divided into sections doing specific -parts of the work under a foreman. - -This method is a good one when the aim is the output or when an insight -into the construction of articles in large quantities is desired. - - - - -AFTERWORD - - -The border-line between educational handwork and technical bookbinding -has now been reached, and it is not the writer’s purpose to cross -it. If this book of problems assists others in solving the quest for -interesting and educational handwork, its mission will have been -accomplished. - - - - - Transcriber’s Notes: - - Italics are shown thus: _sloping_. - - Small capitals have been capitalised. - - Variations in spelling and hyphenation are retained. - - Perceived typographical errors have been changed. - -*** END OF THE PROJECT GUTENBERG EBOOK BOOKBINDING FOR BEGINNERS *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |