Meet the President: Duncan Campbell, Campbell-Logan Bindery

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1 Formerly The New Library Scene a PUBLICaTION from HBI and THe LIBrary BINdINg INsTITUTe VOLUME 8 ISSUE PGA Blvd. Ste. 600 Palm Beach Gardens, FL Meet the President: Duncan Campbell, Campbell-Logan Bindery Having served on the Board of Directors for thirteen years, Duncan Campbell became President of HBI/LBI in April He is an industry lifer, working from the age of fourteen for the company his grandfather started out of his basement in Duncan has seen many changes in the industry and assumes leadership in the organization at a time of great change. Here are some of his thoughts on the issues facing the industry today: In what kind of work does Campbell- Logan Bindery specialize? We are mechanized but not automated, so we do small runs of , specializing in hand work. We don t have machines where we put pages in one end and books come out on the other end; our method is more like using hammer and nails instead of a nail gun. There was a lot of consolidation and technological change from the late 1970 s to the early 90s, and many binderies had to choose what was best for them. A lot of binders leveraged the growing computer power of those years and became more automated. We ve been the same size since the 1970 s, with employees. We do a lot of handwork, primarily as a library binder, and now This edition of ShelfLife printed compliments of Library Binding Service. do a lot of small edition binding. We work with letter-press printers; they print by hand and we bind by hand. As library binding has been diminishing, we have been doing a lot more custom box-making, custom portfolios for art students and photographers, and some museum work when, for example, they do a deluxe version of the show catalogue. Most recently we have been making custom ipad cases, mostly for photographers and designers who want to show their portfolios electronically. We actually made a series of prototypes for a customer 2 years ago and now he s got an online store, partnered with a local high-volume manufacturer and is selling hundreds of units a month. In 1997 we also started importing and selling Japanese book cloth. Spring

2 Meet the President: Duncan Campbell, Campbell-Logan Bindery (continued from page 1) I saw on your website that you sell Japanese book cloth. What is that used for? Is it a rare product in America? It is used to wrap the cover boards for hardcover binding. In Japan, it s also marketed as decorative wall covering. We run it through the glue machines to make turned-edge covers. It s not rare to see it used in the United States, but not common, either. How long have you been a member of HBI/ LBI and what made you decide to move into association leadership? My grandfather was a member; I think we were certified in In 2000, I was asked to be a member of the Board of Directors. I accepted that position and went through one or two rotations on the Board before being asked to be Treasurer. Once I accepted that position, it put me on the track to becoming President. What are your key priorities for the association now that you are President? Do you have some special projects you want to accomplish? HBI/LBI is considering a merger with BMI, Book Manufacturers Institute. In a way, it brings both organizations full circle. In 1933, LBI emerged from BMI, because the book manufacturers not only did the binding, but also printed the entire book, and at the time, library binders just did the binding. A number of our members are printing now, not just binding. They re printing brand new books. They re partners with companies like Amazon or Blurb and when you buy a book online, it gets printed and bound in a number of days or hours. More than a few members of LBI are bookmakers, while others are still largely library The Inkunabula Art building, home to Campbell-Logan Bindery, located in the historic Warehouse District of Minneapolis, MN. binders. The intent of the merger is to keep HBI/LBI together, or intact but within the BMI organizational structure. We have a number of associates who belong to both organizations, but only two binder members who currently cross over. Can you discuss the association s participation in the development of an international photo book standard? Our involvement in this started in Paul Parisi from then ACME BookBinding sat in on a meeting taking place in Washington, DC, that involved the ISO photo book standard. There, he saw an opportunity for HBI/LBI to have a 2

3 Meet the President: Duncan Campbell, Campbell-Logan Bindery (continued from page 2) place in developing that standard. Much of the discussion centered around the durability of photo books. Library books get a lot of abuse, more than any books but junior-high textbooks, probably, and the HBI/LBI Board of Directors agreed that there was a need for our presence there to help the ISO committee develop standards for a very durable photo book. The Board voted for HBI to become a member and we began sending representatives One of two designer bindings of The Private Typecasters, one binder s copy and one author s copy, by Greg to meetings. The association has received a lot of good Campbell for Bird & Bull Press. exposure working with the likes of Kodak, Fuji, and other international companies who send representatives. We have helped the ISO Committee answer a lot of questions, and they have helped us understand what s involved in writing an international standard. It s a little different than domestic or self-contained standards. How are members trying to diversify their products in today s marketplace? What pressures are you seeing on the industry? Some library binders are diversifying by expanding into printing, everything from simple printing such as thesis binding all the way up to four-color digital printing using machines like the HP Indigo. There has been some consolidation; and companies are realizing that binding is really just more about information storage. For example, at least one LBI member has a branch of their company that handles digital archiving. Photo books for individual photographers or wedding companies is a growing market along with self publishing. Restaurant menus are another product into which library binders have been expanding. The pressures on library binding are, well, obviously the Internet and online journals. But even budget constraints are keeping some libraries from binding magazines even when they re still receiving physical subscriptions. How has digital technology affected the business? Are there some opportunities driven by advances in digital technology? Binders who have become printers have jumped over offset printing and gone to digital printing. The binding equipment itself is now highly computerized. Equipment companies that used to build machines for making thousands of the same book, are now making equipment set up to read bar codes and to be self-adjusting. They can effectively print and bind thousands of unique books per day, one right after the other. As far as library binding, libraries are going to online databases and magazines, which saves floor space and subscription costs, but makes it harder for library binders. As an industry, we have to find better fits for the capacity we have. Self-publishing is increasing; for example, selfpublished novels and memoirs, genealogies, cookbooks, and we ve even had a number of couples who are now engaged or married who save their s of courtship and bind them. We ve done proof copies for people who then shop the book around to publishers. One man 3

4 Meet the President: Duncan Campbell, Campbell-Logan Bindery (continued from page 3) picked out a cover cloth and stamping options and created a full proof of his photo book that he took to publishers, showing them exactly what he wanted in size and color. He s since published multiple books and has galleries in LA and New York showing his work. His strategy has become somewhat of a model for photography students at the Minneapolis College of Art & Design. Do you think the increasing power of online publishing will doom the book production and binding business, or will people always want solid books? books, such as Stephen King s The Shining, get an artist to do new graphics for limited editions of copies. We ll do the binding more or less by hand. A person who read The Shining may like the idea of having a trophy copy of the book. Books as physical items may not be as popular in 100 years as they are today, but they will still be published, though they may be considered more of a luxury item. Duncan can be reached at duncan@campbelllogan.com. I think people will always want books. Some customers who obtain the rights to republish major Saddle-sewn, Single Section Hardcover Bindings By Werner Rebsamen Some bookshelves likely contain a variety of very thin hardcover bindings, leaving one to wonder the reasoning behind binding these pieces at all. Why not just saddle-stitch such thin pamphlets like a magazine? There are many good reasons why publishers and others seek more expensive bindings versus saddle-stitching. Some examples where binding is preferred include: Children s books require user-friendly, strong bindings. In most cases, these books are sewn through the fold and are reinforced, or at least they should be. Greeting cards are moneymaking enterprises. Why publish a few poems as a saddle-stitched pamphlet when you can triple or quadruple the selling price with a hardcover binding that looks like a real book? It s a matter of packaging and marketing. Publishing small, written items are a way for publishers to market something that might otherwise be unmarketable. Bookbinding is an attractive way to package an item when there is very little to print. Other tactics include using high-bulk 4

5 Saddle-sewn, Single Section Hardcover Bindings (continued from page 4) Partially cut-open hardcover binding showing sewing thread, reinforcement and spine strip. Photo courtesy of Werner Rebsamen. paper. These thick, fluffy sheets give buyers the feeling of getting more for their money. Photo and yearbook publishers employ similar strategies. we call the process saddle-sewing or saddle-stitching, the latter being done with metal wires. You might wonder what the difference is between a signature and a section. In North America, we call a folded sheet being used for the production of books or magazines a signature; while in other parts of the English-speaking world, it is called a section. As ShelfLife is read all over the world, we must include both terms. In our trade, we may come across many other names commonly used for folded signatures or sections, usually connected to a specific format or the amount of pages. Saddle-Binding Terminology The term saddle is derived from the saddle of a particular machine used for binding. Saddlesewing is done with folded signatures or sections. If we sew one folded signature/section next onto the next until a book is complete, it is much different than sewing through the fold of a single section saddle binding. When saddle-sewing a book block, we interconnect those sewn-throughthe-fold sections with threads. In the bookbinding trade, we refer to that type of saddle-sewing as Smyth-sewn, making reference to the inventor of that type of book sewing process. Limitations/Shingling Single signature or section bindings have their limitations. When you insert one folded signature into the other, you create a problem known as creep. The inner sheets are being pushed out. In other words, the dimension of the inner sheet is somewhat smaller than those on the outside. This requires an adjustment that must be made with regard to the images, text, margins and other elements on the page. If that is not done before printing, the text and other images will not align, or worse, may be cut off or lost during the book trimming process. If we staple or sew a single, or several, folded signature or sections inserted into each other, How many signatures/sections can you insert into each other and bind through the fold? That, 5

6 Saddle-sewn, Single Section Hardcover Bindings (continued from page 5) of course, depends on the type and weight of paper used. Such bindings seldom exceed 1/8-inch in bulk. For a single section, saddle-sewn book, 1/4-inch thick should be considered an absolute maximum. Preparations for Hardcover Binding There are several ways to prepare single signature/section bindings for hardcover binding. Unlike a saddle-stitched or even a saddle-sewn product like passports, a binding designated for a hardcover binding needs to have an end sheet. This can be a self-contained cover or a reinforced end sheet. Whereas on book blocks, we use folded, four-page end sheets, those cannot be used on single section bindings. A tape-reinforced, single sheet that is folded once and then sewn or stitched together simultaneously with all other sheets, through the fold, is best. The tape reinforcement can be a cambric cloth or other similar, strong materials. The width should be such that the tape is glued onto the board panels at least 3/8 of an inch. In other words, a tape, 1½ inches wide is an absolute minimum. A second loose sheet of endpaper is optional and preferred in order to make it look more like a real hardcover binding. My decision to write this article came about because of an unfortunate choice of endpapers for such single section hardcover bindings. A photo book printer/binder selected a so-called combined end sheet. Two single folio sheets were combined with a reinforcing cambric strip. The binder then used conventional saddle-stitching with wires as a method of binding. A woven cloth alone is a relatively weak solution to hold the printed content with two or three metal staples in place. After little use, those staples broke through the cambric cloth and the book block separated from the cover. This unfortunate incident required some experimentation, using reinforcing materials like strips of Tyvek, Polyester fabrics, or a combination of these or similar materials. A little R & D and testing solved the problem for this particular client. Nevertheless, for a quality, single section hardcover binding, this writer, an experienced expert on bookbinding, still prefers saddle-sewing. Saddle Binding Methods The magazines you read, like Time, for example, are saddlestitched. You will note that, in the center are three metal staples. In earlier days, with only two staples, the inner sheets detached. These days, O.C. managers test magazine papers with bursting tests and then decide on the binding procedures. Generally, I would not recommend the use of wire stitching if printed keepsakes are designated for hardcover binding. As outlined earlier, I A binder seeking help for saddlestitched hardcover bindings that failed. have received many examples of Shown is the spine section only as not bindings gone wrong, particular to reveal any proprietary images. Photo from newer people in our industry. courtesy of Werner Rebsamen. I then recommended sewing to address these problems. Hardcover bindings, like family photo books, are keepsakes. Using metal staples might produce a cost savings, but can negatively impact the product over time. Our end users are less concerned about the price of a treasured keepsake; they want a quality product that will last virtually forever. Your children s grandchildren should be able to enjoy them. 6

7 Saddle-sewn, Single Section Hardcover Bindings (continued from page 6) Sewing through the fold can be done by hand or by machine. If sewn by hand with a linen thread, a figure eight pattern is usually sufficient. Sewing is most often done by machine, usually with one that allows varying the length of the stitches. In specialized binderies, this writer has observed some sophisticated saddle-sewing machines computer controlled, counting the amount of stitches with automated thread cut-off devices. Some systems feature lock stitches or apply a small amount of an adhesive to lock the stitches. (With a magnifying glass, take a look at your saddle-sewn U.S. passport! I m sure other nations passports are similar.) A sewn, single section book then is trimmed on three sides and is ready for casing-in. fold it over the single section spine. This makes a somewhat awkward looking hardcover binding. The preferred method for such hardcover case bindings are the ones with a spine strip. Without a board inlay, titles cannot be stamped or printed onto the spine. Granted, the spine strip most likely is very small. If the booklet inside is 1/8-inch thick, that strip most likely is no more than 1/4-inch wide. For thin hardcover bound books, we select thin cover boards as a matter of aesthetics. Heavier, thicker boards would give the binding a clumsy look. In addition, a binder needs to create a somewhat wider hinge, usually 3/8-inch wide. The cover panels need to flex freely without exerting too much stress onto the sewn or stitched spines. Hardcover Cases for Single Section Bindings As for hardcover cases, we have two options. We can create a cover without a spine strip and Single section bindings lay flat and are a joy to read. Photo courtesy of Werner Rebsamen. Librarians and schoolbook administrators need to familiarize themselves with the ANSI/NISO/ LBI or NASTA binding specifications. A problem with today s children s books is that the majority are printed and bound abroad for the lowest price possible. These bindings are not bound to last, as they most often lack any kind of reinforcements. The majority of the covering materials used on such hardcover bindings consist only of weak, printed papers. Therefore pre-binding publishers creating original products in accordance to these specifications are, at least in North America, a must and are very popular for such small books. This is particularly important if books are to be used in school or library environments. Book manufacturers and library and pre-binders must follow these strict binding and material specifications to create 7

8 Saddle-sewn, Single Section Hardcover Bindings (continued from page 7) the most durable products, helping them withstand the harsh end use environments like schools and libraries. The Benefits of Single Section Hardcover Bindings The first thing you might appreciate about a single section hardcover binding is its enhanced ability to lay flat. This kind of a binding can be read or used without using your hands to keep it open. If the product is saddle-stitched, with or without a heavier paper cover, it will not last. In addition, once placed into a bookshelf, it is impossible to identify it. If the same product is hardcover bound, it will offer durability, beauty and, best of all, the spine strip allows hotstamping or printing of a title. When you specify such a binding, make sure that it is reinforced as described in this article. The enclosed picture of a beautiful, single section binding that failed is self-explanatory. Imagine the disappointment of the reader/owner, having paid top dollar for a fancy book only to experience the content coming loose from the cover. As mentioned, in order to create a precious keepsake, whether it is a bibliophile item, a collection of poems, a small story, children s This publisher s binding client had enough money for a fancy, marbleized end sheet but could not afford a reinforcing strip. Despite machine sewing through the fold, the binding failed in no time. Photo courtesy of Werner Rebsamen. books, a yearbook, a photo book, or some other important piece, we do not have to create and accumulate large amounts of pages to create a beautiful book. A thin, well-made hardcover binding, with fewer pages, can also be bound in a way to be enjoyed for generations to come. HBI and the Library Binding Institute (LBI), publisher of ShelfLife, reserves the right to refuse copy which is not in accordance with HBI/LBI s established policies. Specifically, HBI/LBI endorses no machinery, equipment, material or supply or supplier thereof; other than the ANSI/NISO/LBI Z Library Binding Standard, HBI/LBI endorses no method of binding. Copyright 2013 by HBI and the Library Binding Institute. Subscriptions to ShelfLife are available through most subscription agencies or you may write directly to HBI/LBI, 4440 PGA Boulevard, Suite 600, Palm Beach Gardens, FL ShelfLife is published quarterly in Spring, Fall, Summer and Winter. Annual subscription rates are $29.00 for domestic subscribers, $31.00 for Canadian subscribers, and $36.00 for international subscribers. Subscribers must submit a missing issue claim within 90 days from each specific issue s date of publication. If these terms are not adhered to, the publisher will be unable to fill the request. All manuscripts are welcomed for publication review. ShelfLife is indexed in Library Literature and Information Science Abstracts, ISSN