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    PostPress

    Print Decorating, Binding and Finishing

    Binding

    Q&A: Perfect Binding – Traditional EVA vs. PUR Adhesive

    by Brittany Willes, editor, PostPress

    Perfect binding and PUR binding – they’re essentially the same process, aren’t they? Actually, no. PUR binding refers to a method of perfect binding that has become increasingly popular in the last few years. As with traditional perfect binding, a book’s pages and cover are glued together at the spine while the three remaining sides are trimmed to give them the classic “perfect” edges. However, there are a few notable differences between the two methods.

    With decades of industry experience, Eckhart & Company, Inc., Indianapolis, Indiana, is more than familiar with the challenges faced by printers and binders looking for the most effective method for binding a given project. When it comes to deciding between traditional perfect and PUR binding, Chris Eckhart, president of Eckhart & Co., offered the following information:

    How is PUR different from perfect binding?

    For sure there are differences between the two binding methods, even if it doesn’t appear that way at first glance. It all comes down to the adhesive used during the binding process. The biggest difference between PUR and perfect binding is that traditional perfect relies on ethylene vinyl acetate (EVA) adhesives, while PUR makes use of polyurethane reactive (PUR) adhesive.

    Book spines that make use of PUR are prepared in much the same way as a traditional EVA-bound book, utilizing a variety of notching, roughing/equalizing heads in order to create fiber. The adhesive then will bond with these fibers during the curing process. The properties of PUR adhesive are designed in such a way that they draw moisture out of the air as part of the curing process. The amount of paper fibers also is reduced with PUR.

    Why opt for PUR instead of EVA binding?

    One of the biggest advantages of PUR is that it offers significantly increased binding strength. Once the adhesive has set, page pull tests are often up to 50 percent stronger than with books that use EVA glue. It also offers greater aging stability, is impervious to print ink oil migration and is capable of bonding to coated and cross-grained stock. Furthermore, PUR is extremely durable. This is particularly helpful in that it is not susceptible to issues brought on by extreme temperatures, like traditional perfect binding can be.

    As with conventional hot melt glues, the initial bond in PUR is formed as it cools and solidifies. Unlike conventional hot melts, PUR contains reactive components (isocyanate groups), which cure in the presence of humidity and form a strong elastomeric film. Furthermore, while EVA’s properties allow it to be reactivated with heat, the film produced by PUR cannot be re-melted and is insoluble to most solvents. Thus, EVA binding exposed to extreme heat is able to melt, while a PUR binding will remain in its solid state. Typically, PUR has a heat resistance of 350°F peel failure, compared with 165°F to 200°F for quality EVA. Extremely cold temperatures provide additional problems for EVA, mainly that it is subject to cracking and brittleness. Again, because PUR cannot be reactivated, it is in no danger of cracking. Typical cold crack for PUR measured at -20°F vs. 30°F for EVA.

    How does PUR achieve its flexibility?

    As mentioned earlier, once the adhesive is set, it is extremely difficult to pull pages from a PUR-bound book. The adhesive cannot be reactivated, giving it increased durability. This might seem like it would make the binding less flexible, but that’s not the case.

    PUR uses a much thinner application of adhesive than compared with EVA (10 to 12ml vs. 25 to 35ml per EVA). This thinner application of adhesive, along with its reactive properties, is what gives PUR its flexibility. In testing, PUR has extremely high flex-test values, often in excess of 1,000 flexes. It is this flexibility that allows also for greater lay-flat characteristics. When applied properly, PUR’s lay-flat ability is comparable to that of true Otabind. Additionally, a thinner application frequently will improve performance and result in improved “mileage” over time. With less adhesive on the spine, there is less distortion of shape and cleaner overall appearance.

    What are some challenges associated with PUR binding?

    PUR is applied using an open roller pot system and, while this system does have advantages – such as better accessibility for operators and providing greater consistency of application with thicker books – it also can be costly in terms of maintenance and cleaning.

    The one-pot system requires a longer cleanup process than traditional EVA systems. The pot must be drained and the adhesive allowed to cure overnight before the pot can be reheated and any remaining adhesive removed. The adhesive pot may require recoating as often as once every three years. The system also allows for greater amounts of glue spoilage.

    When it comes to maintaining a one-pot system, it’s best to check with the equipment manufacturer for guidance on best practices. The technology does exist to apply (essentially spray) PUR onto the binding edge using slot-nozzle technology. This technology has advantages and disadvantages – the biggest advantage being the cleanup is not nearly as extensive as it is with an open pot system.

    Are there times when PUR adhesive is not preferable to EVA?

    In almost every situation, PUR is better than EVA. There is one exception, however: If a book block is being bound or prepared for case binding, the spine can’t be rounded in the casing-in process if PUR is used. In this situation, EVA has a tad bit more roundability/flexibility.

    PostPress would like to thank Chris Eckhart, Eckhart & Co., and Matt Worley, BC Adhesives, for their assistance with this article. Eckhart & Co. has spent decades providing the printing industry with bookbinding and custom information packaging. Based in Franklin, Wisconsin, BC Adhesives combines its technical expertise with ongoing, proactive support to ensure its customers are utilizing the most efficient consumption practices to help customers maximize the efficiency of each application.

    Poly Covers: The Newest Trend in Binding

    by Brittany Willes, editor, PostPress

    When it comes to binding covers, traditional paper covers have long reigned supreme. However, technology since has allowed users a wide variety of cover options to choose from, the most popular being poly covers. Unlike paper covers, poly covers are heat- and stain-resistant, waterproof and exceedingly durable. “Poly covers are the hottest trend in binding covers,” explained Spiral Binding Company Product Manager Joe Bondonna. “They offer a modern and professional look, which is the perfect solution for businesses looking to enhance and protect their corporate message.”

    According to Bondonna, any corporate communication package currently being produced using paper can be produced using poly material. As such, poly covers act as a cost-effective solution for marketing presentation products. Additionally, they are available in see-through translucent poly and opaque poly materials in a variety of colors, thicknesses and finishes that offer a durable and attractive look.

    Poly covers also are able to be custom-designed. Companies like Spiral, which offers custom-branded poly covers, often assist customers with innovative design ideas to create products to fit their customer’s exact needs. “Corporate branding is a key component to every company’s marketing communication,” said Bondonna. “Many of our customers have an existing design plan; however, Spiral can take that design plan and realize it into products that complement a company’s brand strategy.”

    As environmental issues continue to make headlines, many companies have begun paying more attention to their own sustainability practices. Developing eco-friendly practices and reputations is more important than ever – something the use of poly covers can assist with. Even with the – often erroneous – push to “go paperless,” there always will be a need for printed documents. Unlike clear PVC covers, poly covers are 100 percent recyclable, allowing users who routinely bind great quantities of printed documents to do so without fear of creating more environmental pollution and waste materials.

    “Although produced using plastics, poly covers still are completely recyclable and eco-friendly,” said Bondonna. “Most poly materials now are being produced using some pre-consumer waste materials. As more poly materials get returned into the manufacturing supply stream, more poly material will be produced using post-consumer waste. This is similar to how steel, aluminum and glass are recycled.” This is good news for companies committed to reducing waste and helping to create more environmentally sustainable resources.

    In addition to being fully recyclable, poly materials can be used for a great many projects beyond cover materials. “Poly covers are only the tip of the iceberg,” stated Bondonna. For instance, poly materials have been used to create loose leaf binders and tabs, which are just as attractive, durable and versatile as poly covers. “Folders and envelopes have been a traditional document carrier for many years. Versatile poly folders and envelopes can be custom produced with imprinting and material colors to make your documents stand out,” said Bondonna.

    Poly materials even can be used for such products as tote boxes. According to Bondonna, “Having the right kind of outer packaging makes a lasting impression. Tote boxes are an ideal presentation carrier, and they offer a great deal of flexibility. They allow for multiple presentation products to be grouped together in one unified package.”

    Versatile and environmentally-friendly, it’s little wonder that poly covers have become such a popular option for users looking to bind a variety of applications.

     

    Coil Binding for Thick Books

    by Anna Massey, director of marketing, Gateway Bookbinding Systems
    Large punch holes make inserting coil much easier.

    Plastic spiral binding is a common and popular binding choice for all types of printed projects. In addition to being the binding of choice for reports, school agendas and cookbooks, spiral binding often is determined to be the best choice for thicker projects with 250 or more sheets. Coil binding allows these thicker projects to be open cover-to-cover while lying flat. For something that thick, this is a particularly nice feature.

    There are, however, some unique challenges involved when coil binding a book that measures one inch or thicker. One of the most important variables that can – and often does – affect the ability to insert coil into a book of that size is the size of the punch hole being used. It is not uncommon for customers to have smaller, 4mm round 4:1 pitch (four holes per one inch) punch dies. Then, they attempt to insert a 45 or 50mm diameter coil through those smaller holes.

    When it comes to binding thicker books, consider changing to a wider punch pitch with a larger oval-shaped hole. For instance, a 3:1 or 2.5:1 spacing would best fit a 6.5×5.5mm oval hole. It’s a simple equation – the larger the punch hole, the easier the coil will be able to find its way through.

    As the coil is inserted into the thick block of paper that will become the book, the book will start to curve as it follows the curve of the coil. As a result, the “window” that is the punch hole begins to reduce. The smaller the punch hole, the quicker that window closes. With a large oval hole and wider pitch, the additional height of the hole provides a larger window for the coil to find its way.

    Working with a wider pitch and a larger oval punch hole on thicker books is recommended for all types of coil inserters. Whether working with tabletop roller inserters, wheel drive machines or an automated system, utilizing these suggestions can improve productivity as much as 50 percent.

    A PLASTIKOIL Binding Stick is useful for very thick books, allowing different sections to be combined for easy use and storage.

    For those who don’t have the ability to punch with a wider pitch, another option is the PLASTIKOIL Binding Stick. The PLASTIKOIL Binding Stick is a clear plastic stick with a shepherd’s hook on one end. It allows multiple coil bound sections to be combined so they can be used and stored as a single book. For example, a very thick book is divided into two equal sections. Each section is coil bound, and then the sections are stacked on top of each other with the coil overlapping slightly. The binding stick slides between the overlapping rows of coil and locks into place to provide a strong, nearly invisible binding link. The PLASTIKOIL Binding Stick is ideal for combining volumes, addendums, price lists or catalogs.

    As one of the most popular and fastest growing styles of binding, spiral binding offers a number of advantages for binders and their customers. Not only are spiral-bound documents able to lay flat, but the pages also are able to turn a full 360 degrees around the flexible spine. Furthermore, with more than 60 colors available, spiral binding offers the greatest range of colors of any other binding style. Even thicker books can be bound using colored coils. The important thing to remember when binding thicker projects is to select an appropriately size punch hole.

    Anna Massey is the director of marketing at Gateway Bookbinding Systems. With over 30 years of experience in the industry, she is very familiar with the product and the process of plastic spiral binding. For more information, visit www.plastikoil.com.

    Paper Choices Abundant for Binding and Finishing Work

    by Jen Clark, PostPress
    Neenah swatchbooks incorporate printed samples into the front of each booklet to show various inspiring images and print techniques.

    Choosing the right paper stock to convey a message is an important part of the design process. The wrong paper can send the wrong message; and the wrong message can end up being costly in the long-run. Paper not only is there to give the ink a foundation, but to enhance the design of the image designers – and their clients – want to portray.

    The tactile nature of paper gives a printed piece its personality. That personality should fit with the piece’s intended purpose – whether it be low-cost, luxury or somewhere in between. Postpress companies play an important role in paper selection. An understanding of the different types of paper that are available and how these stocks fold, crease or work in packaging design, as well as adapt to foiling, embossing, engraving, thermography, trimming, diecutting and binding, is critical to the ultimate success of the project. The latest developments from two paper companies in the US include specialty coatings and finishes, as well as new colors, textures and weights.

    New developments bring personality

    With its recent acquisition of FiberMark, the customers of Neenah Paper, Alpharetta, Georgia, now have immediate access to thousands of colors, textures, finishes and weights in premium papers, box wraps, folding boards and labels. “Our already expansive portfolio includes a large selection of color and texture in certified digital papers,” said Jamie Saunders, marketing communications, fine paper and packaging, “and we’re adding more all the time to meet market demand.” Neenah also has increased its envelope offering to feature 33 standard styles and sizes. “That makes it super easy to find the perfect match to the majority of our papers,” she said. “Newly expanded capabilities to Neenah include specialty coatings and finishing with a focus on customization.”

    The Strathmore fine paper brand from Mohawk represents 123 years of American craftsmanship.

    In celebration of the Strathmore fine paper brand, which represents 123 years of American craftsmanship, Mohawk, Cohoes, New York, recently introduced four new Heritage Colors within the Strathmore line: Golden Olive, Pyro Brown, Dusk Blue and Riviera Rose, said Diane O’Connor, director of public relations. “This carefully curated palette is inspired by four colors discovered in The Strathmore Archives and represents four distinct periods in the history of Strathmore papermaking.”

    Mohawk also recently introduced new shades and weights of Strathmore Pure Cotton Letterpress papers that have been designed to emulate the look and feel of handmade papers, with a luxurious surface that allows for a beautiful contrast between the sheet and the printed impression. It is available in two vintage shades of white – Ultimate White and Soft White – and two rich colors – Smoke Gray and Chino – carefully selected to meet the creative needs of traditional social stationers and new letterpress printers. The papers come in various weights and calipers for digital printing and for letterpress printing and matching envelopes are available.

    Swatchbooks not only tool to aid decision making

    Paper companies offer many resources to help designers not only to choose the perfect paper for a project but to help them through the entire design and print process. Officials from Neenah and Mohawk agree utilizing swatchbooks are one key to getting the right paper for a project. Swatchbooks showcase the paper offerings currently available and can give ideas on real-world use of specific kinds of paper.

    “Swatchbooks are important for customers to be able to see the entire offering for a brand in one place,” Saunders explained. “We work to make our swatchbooks special by incorporating printed samples into the front of each one that show various inspiring images and print techniques. This allows the designer or printer to be able to really see what our papers are capable of. Seeing a swatch online is nice so that you can do an initial color check, but having a swatchbook or paper samples allows engagement with the paper on another level. Confirming weight, color and caliper is important to the overall outcome of the printed piece.”

    In an effort make it easier for designers and printers to be more creative, productive and efficient with digital printing, Neenah released a series of three print demonstrations. EXPLORE is about inspiring a city, with printed samples designed to cultivate awareness and encourage action. From a creative brochure using three different papers cut to three different sizes to promote a local art space, to a unique triangle box used to create community interest by housing a small surprise, EXPLORE 2 showcases seven different printed pieces of inspiration that are practical, quick, strategic, tangible and printed digitally. EXPLORE 3 is about making events in both work and life more memorable, personal and thoughtful. The folder includes an eclectic mix of creatively designed pieces including an ingenious way to celebrate the purchase of a new home, a birth announcement, a save the date, custom bottle labels and a versioned seasonal menu for a food truck event.

    Over the last year, Mohawk has redesigned its series of swatchbooks to make the paper specification process clearer, easier and more inspirational for designers, printers and paper enthusiasts. “The new Mohawk swatchbook series was designed for beauty and utility to help designers and printers discover the impact of paper, color and texture,” O’Connor said. The nine swatchbooks were developed by Hybrid Design of San Francisco, California. The swatchbooks measure 9×6″ and feature a Quick Spec section to provide a quick, organized overview of all colors, finishes and weights available within the paper grade. Waterfall features allows users to easily search by color, finish, weight or printing technique, including helpful tips on choosing finish and basis weight.

    Beyond swatchbooks, Mohawk’s and Neenah’s websites provide in-depth information on paper styles, as well as best practices for each paper grade. An extensive resources library with an array of information, tips, templates and information about how to select the best paper for print projects is available at www.mohawkconnects.com, O’Connor said. In addition, Mohawk offers two blogs – Felt & Wire and MohawkMakeReady – that provide “practical information, tips, templates, industry resources, videos and inspirational case studies to demonstrate how Mohawk fine paper has successfully been used for print, design and packaging projects,” she said.

    Mohawk produces and makes available a number of free resources, downloads and publications to printers, designers and students, as well as binding and finishing companies to educate these communities about choosing and suitable use of a fine paper for their printed projects. Publications include Paper Basics, Printing Basics and Envelope Basics. It also assists educators with free paper information for their students to help educate students about how to select paper for their print projects. “We also publish various print samples on our papers, including the award-winning Mohawk Maker Quarterly, which serves as a print sample to demonstrate the beauty of projects printed on Mohawk fine papers,” O’Connor said. “The Mohawk Maker Quarterly was designed to communicate experiences that are unique to paper, to elevate print communications and to highlight the beauty and tactility of fine paper. Thousands of free samples of the Mohawk Maker Quarterly are distributed to designers, printers, merchants and paper enthusiasts each year.”

    Neenah offers www.neenahpaper.com and www.neenahpackaging.com to provide the resources needed not only to choose the perfect paper for a project, but to help designers through the entire design, print and finishing process. “We have Personal Proof® which lets you order three printed samples using your own artwork or artwork we’ve provided for you,” Saunders said. “We have created dielines for envelopes, packaging and various end use applications. Our calculators are mathematically engineered to help you figure out how many pounds of paper you need for your job or the recycled content of the paper you choose.” For printers, Neenah created printing tips that detail best practices of how to use specific Neenah brands, posted conversion charts and an entire section of the site dedicated to USPS guidelines. “With our Neenah Cabinet™ app for Mac OSX, iPhone, iPad and Android we have created the quickest, most efficient way to find paper,” she added. “Search papers, envelopes and packaging. Browse by color family, category or gradeline. View colors by waterfall and save favorites. Compare colors, Neenah brands and forward your selections to your printer.”

    In addition, these websites offer information on how projects can be enhanced through postpress techniques such as foil stamping, embossing and diecutting, among others, and then bound into the final product using techniques like saddlestitching or perfect binding – or collated into envelopes or folders – to name a few examples.

    PostPress would like to thank Neenah and Mohawk for contributing to this article. For more information, please visit www.neenahpaper.com and www.mohawkconnects.com.

    Options in Book Cloth Add Style and Durability

    by Rob Mauritz, LBS
    It’s important to work very closely with customers as they determine which material to use when covering their book.

    Bookbinders know that the interior pages of a book add a tactile element to the reading experience, but it’s the cover material and design that attracts attention on the shelf. The book cloth of today adds color and texture to everything from photo books and menu covers to the classics that will remain in libraries for centuries to come.

    A brief history of book cloth

    As book production increased near the close of the 19th century and early part of the 20th century, bookbinders turned to fabric cover material rather than leather. It was cheaper, more colorful and easier to embellish. Book cloth, coated or impregnated with pigmented starch, readily accepted elaborate embossing and metallic stamping foils.

    Although paper also was used for binding, it was not as durable as starch-filled fabric. The artistry of famous book designers, such as Margaret Armstrong and Frederic Remington, survives today because it was created for books bound in starch-coated cloth.

    Innovative bookbinders continued to look for ways to increase the durability of covers and make them waterproof. At the same time, two other innovators – Orville and Wilber Wright – were searching for a better fabric to cover the wings of the Wright Flyer. They had tested almost every cloth they could to cover the wings of the world’s first successful flying machine.

    Meanwhile in New England, a group of bookbinders gathered at a seaside inn. Conversation about cover cloth drifted out to the water and to the nearby sailing ships. According to legend, one of the binders commented, “If only we had a fabric as strong as cotton sail cloth.” All agreed that would be ideal.

    At that time, DuPont was producing nitro-cellulose lacquer for use on the fabric wings of the emerging aviation industry… and the Wright brothers were interested. The conversation led to a solution for the bookbinders. They challenged textile manufacturers in New England to produce a heavy sail-like fabric and coat it with DuPont’s nitro-cellulose lacquer.

    Within a few years, the industry was producing a new durable book cloth, produced in several grades and hundreds of colors. Even today, US passports are covered in a dark blue material that can trace its construction to the early days of book cloth coatings.

    Book cloth produced today is much more durable and protective than the original standard established in the 1950s and 1960s. Hundreds of fashionable colors are available in the popular grades, and book cloths are offered in natural cloth texture and embossed with attractive grains. Today’s weaving and coating techniques produce excellent, attractive and durable bookbinding and packaging fabrics.

    Finding the right cover material

    The old adage says, “Don’t judge a book by its cover.” In the print industry, however, providers WANT customers’ books to be judged by their covers! Therefore, it’s important to work very closely with customers as they determine which material to use when covering their book.

    One of the factors going into this decision is how the book will be used. For example, a book that is going to get heavy use will need a material that can withstand both constant handling and the potential for liquid spills or stains. This material typically is a coated cloth that offers both strength and stain resistance. Heavy books with pages printed on coated paper or extremely thick books with a high-page count also are candidates for a sturdy coated cloth to help withstand heavy use.

    When elegance or beauty is the desired result, uncoated cloth often is the material of choice. Both uncoated cotton and rayon provide a rich appearance and offer a tactile feel that is pleasant to touch. The benefit of rayon is that it is more moisture-absorbent than cotton, which allows it to be dyed in more vibrant colors than cotton. Photo books, coffee table books and art books often use these materials for their covers.

    For variety, nothing compares with vinyl-coated paper. This style of cover material is offered in most every color available and can be embossed in a wide variety of interesting designs. Journals, books, photo albums and menus are the typical end uses for this material.

    All of the aforementioned materials can be decorated using foil stamping, blind embossing and screen printing. It often is wise to test a material when decorating to ensure it meets the needs of the project. For example, very intricate designs should be avoided when foil stamping on uncoated cloth. When printing, vinyl-coated paper or coated cloth will provide the sharpest image. All of these materials are excellent choices for luxury packaging. The design, function and decorating method of the package will dictate the material.

    Rob Mauritz serves as president of LBS. LBS manufacturers and converts materials for use in all types of binding. Included are endpapers, book cloth, buckram, printed covers, book reinforcing materials and Prime One® binders board. Regardless of the project, contact LBS to discuss the best materials for any book, journal, binder or box. To learn more about LBS cover materials, visit www.lbsbind.com.

    Binding Options Emphasized in Standard 6

    The Standard 6 from Sappi focuses on binding techniques and showcases bindery from its early beginnings to present day.

    Sappi, Boston, Massachussetts, released its newest book in The Standard series, The Standard 6, which focuses on binding techniques and showcases bindery from its early beginnings to present day.

    The Standard series began publication in 2005 with Volume 1 on Pre-Press techniques. Volume 2 featured color management and calibration; Volume 3 illustrated varnishes and coatings; Volume 4 highlighted Scoring and Folding; and Volume 5 dealt with Special Effects.

    Patti Groh, Sappi North America’s director of marketing and communications, is the driving force behind the creative guide. “As we looked at the body of work from one to five, we felt that binding was a necessary subject matter to tie the series together,” said Groh. “This is the end of the first volume of The Standard. That’s why we ended up choosing binding.”

    Starting on this project, she didn’t see how Sappi could produce a book that could match the visual impact of The Standard 5, yet a stellar book was produced that shows binding techniques in a unique and reader-friendly format.

    Design and techniques

    The Standard 6 has five sections: the history of binding, binding as design, binding techniques, a guide to binding materials and a glossary.Groh hired Kit Hinrichs, owner of Studio Hinrichs in San Francisco, to do the entire series of The Standard books. Hinrichs draws upon his rich background and depth of knowledge about printing and finishing for each of the books. However, this project was unique because a bindery museum is located across the street from his office. Hinrichs spent a lot of time on historical research, which then was used in creating a graphic novel within The Standard 6 to illustrate the origins of binding.

    Going into the project, there were no predetermined techniques that Sappi planned to highlight in the book. To determine what techniques to feature, Groh involved the printer early on in the process. Sappi hired Classic Color out of Chicago, working specifically with Jeff Hernandez, who has a strong grasp on new binding techniques. Delphine Hirasuna wrote the text for The Standard 1-6; and Groh, Hernandez and Hinrichs worked with a consultant to fully flesh out the history of binding.

    The Standard 6 has five sections: the history of binding, binding as design, binding techniques, a guide to binding materials and a glossary. Sappi also offers the binding materials guide as a separate piece.

    “It’s amazing as a resource,” said Groh. “I love the techniques, embossing and how it feels. All the little details make it feel lifelike.”

    Hinrichs said the entire The Standard series is an important resource for the industry. “Sappi is the only paper company that is doing educational work for the design and business community. They’ve done it for dozens of years. They are really there to help educate this next generation of designers,” he said.

    The Standard 6 has many unique features, such as QR Codes that take readers to videos demonstrating techniques like perfect binding. The book doesn’t simply write about the 22 featured binding techniques – it also offers readers tactile binding samples.

    Production

    Stitched, sewn, folded and drilled binding samples are located throughout, and all the pieces had to fit together into one completed project.

    The Standard 6 went through multiple passes on the printing press to create a unique look, utilizing a combination of UV inks and specialty coatings from Toyo. The cover had 15 registered press units and two registered coating passes.

    There were several production challenges throughout the piece. The illustrations in The Standard 6 used a lot of black ink, and working a project through finishing and bindery operations on all black can be difficult. Sappi overcame challenges to avoid fingerprints by coating the inks with a matte strike through varnish, which kept the fingerprinting to a minimum. The book then went through a white cotton glove assembly process while collating and before it went through the final binding.

    The book doesn’t simply write about the 22 featured binding techniques – it also offers readers tactile binding samples.

    Binding the book also posed a challenge, according to Hinrichs. “How do you have books within books and different kinds of binding within each book?” Stitched, sewn, folded and drilled binding samples are located throughout, and all the pieces had to fit together into one completed project. There were a total of four bindings in the book, including saddlestitching, side sewing and perfect binding. Then all pages and sections were gathered, round hole punched, collated and assembled with a reverse gate cover with a 3/8-inch double wire-o binding lap.

    A Komori LS 40-inch 8-color fully inter-decked UV press was used with a custom coating tower. A Stahl folder performed the folding, and a Bobst 106 was used for the embossing and channel scoring. A JBI BB400 in-line automatic wire-o binding machine completed the project.

    Print community response

    Sappi’s official launch of The Standard 6 was on October 6, 2015, at the American Bookbinders Museum in San Francisco, California. Groh said the book has received an amazing response. “The people who have seen it were in love with the book and stood in line for quite a bit of time to have Kit sign it,” Groh said. “People have learned so much from reading it.”

    In the finished product, Sappi produced an elegant tool that will encourage the creative community to view binding as a design element.

    A Case for Digital Hardcover Binding

    by Richard Romano, Industry Analyst, originally published by PrintPlanet

    Judging a book by its cover

    You’re picking out a gift for the book lover in your life. You’re browsing in your favorite bookstore, and you’ve narrowed your choice down to one of two titles: a lavish, beautifully printed and bound hardcover book and a standard, perfect-bound paperback. Which says “gift” more than the other? Even if the contents were exactly the same – think of a deluxe hardcover edition of Charles Dickens’ David Copperfield vs. the corresponding Penguin Classics mass-market paperback – which would be the more highly valued edition?

    Hardcover books always have been seen as more “deluxe” than paperbacks, and it’s not merely because they cost more. A hardcover always has imparted a greater quality to a title, and there is a reason why the phrase “direct-to-paperback” or “paperback original” always has (correctly or not) been used to describe a title of lesser or less literary quality than a hardback. An analogy is in the movie industry: a movie that has had a major theatrical release is deemed of greater quality than a so-called “direct-to-video” title (again, correctly or not!). A hardcover book obviously costs more to produce, thus has a larger production budget and implies to the prospective book buyer or reader that the producer or publisher of the book feels strongly enough about the title to warrant a lavish binding.

    As digital book production has evolved over the past several decades, the quality of the printing has improved, but publishers and producers of digital books have tended to neglect the binding. In fact, many aren’t even aware that digital books can be casebound – or, if they can, believe that it’s a prohibitively expensive or highly complex process. Neither of these things necessarily is true; digital books can and often are casebound, and it’s easy and affordable to do so. Sure, there are best practices and techniques, but there are best practices and techniques for every other aspect of printing, too.

    Casebound digital books are high-value print products and, even if they cost a bit more to produce, they also can command a higher selling price. More and more markets – and more and more opportunities – are opening up for digital hardcovers.

    Moving into the digital age

    Casebinding has been the general process for producing hardcover books for decades, if not centuries. It has been very much like a craft, often like printing itself, but over the years has required increasing levels of automation to boost productivity. Although “boutique” book printers and binders still do a lot of these things by hand, it’s impractical to make hand-tooled leather book covers for a 10-million copy printing of a bestselling author’s latest hit. At what the publisher would have to charge, it probably wouldn’t end up being much of a bestseller.

    Oddly enough, the same dynamics apply to today’s digital book printing. As we will discuss below, digital book printing has enabled shorter runs and on demand printing, and you would think that this environment would be ideal to bring back the hands-on craft aspect of bookbinding. And yet, the reason that short-run and on demand book printing is economical is precisely because the printing and binding operations are highly automated, productive and efficient.

    The markets for digital hardcover books

    The advent of digital printing in general, and digital book printing in particular, has opened up entirely new opportunities and markets for publishers, printers and end users. While mainstream publishers still are dependent upon the traditional model of mass printing, warehousing, distribution, shipping and returns, some have begun exploring the potential of digital printing. At the same time, it has opened up book publishing to small and even self-publishers who had been blocked from traditional publishing markets. E-commerce, meanwhile, solved one of the last remaining barriers to entry: distribution.

    Not all of digital book printing necessarily requires casebinding, just as all book publishing in general doesn’t require casebinding. But, just as digital printing is enabling high-volume print applications, digital casebinding can add even more value to that process.

    Areas of growth

    Again, not all book genres and niches benefit from a digital approach, and certain niches are better candidates for digital printing – and digital casebinding – than others. Let’s run through a few of them.

    Textbooks
    Textbooks always have been economically problematic, from both the publisher’s, as well as the buyer’s, perspective. The cost of production, a flourishing used textbook market and the need for regular revisions traditionally have made it necessary for publishers to charge very high prices for textbooks. This made things even more problematic for the student, and I can recall even in the mid-1980s that one could easily drop $200 or $300 a semester on college textbooks. Switching to digital printing won’t necessarily help with the overall economics of the textbook market; that said, however, shorter run lengths and a customization approach can make them more easily and economically updated. Digital printing has helped create new types of textbooks, such as textbooks that are specific to individual classes, instructors or even students. For instance, textbooks can be customized with personalized URLs and passcodes that give each student access to his or her own course website. The digital approach also allows instructors to compile their own “anthologies” and customized content.

    Yearbooks
    School yearbooks lend themselves quite well to digital book printing, as they tend to be short-run (unless you’re talking about a very large graduating class) specialty printed products. Adding a hardcover makes it even more of a keepsake.

    Photo Books
    If there has been one digital printing application that has been a runaway bestseller in the past decade, it has been digital photo books. Users upload their own photos of an event – a wedding, a birthday party, a holiday, you name it – and print limited editions as gifts for friends and family. Using casebinding rather than perfect binding only makes these books even more valuable and special.

    Children’s Books
    A growing market is digital children’s books, and many are even personalized. Take, for example, Put Me in the Story (www.putmeinthestory.com), where you can create children’s books and have your own children’s names and other details inserted into the book.

    Digital Coffee Table Books
    Fans of the TV series Seinfeld remember when Kramer published a coffee table book about coffee tables. As the term indicates, these are oversized, decorative, color gift books often designed more as decoration than reading matter. Indeed, they are left out on the coffee table with the aim of impressing guests. Not usually produced in large runs, digital is starting to catch on for these kinds of titles, especially as printing and binding equipment increasingly can support the oversized nature of these kinds of titles.

    Recipe Books
    Twenty years ago or so, a friend of mine’s sister-in-law compiled several dozen of her grandmother’s own homemade recipes, had them photocopied and spiral bound them into books that were then given as gifts to family members. It was a way to preserve the past for posterity (as well as some really good Italian recipes). Today, these types of recipe books can be produced in the same way as photo books. And, in this age of people Instagramming everything they eat, it even is easy to incorporate images for an even more high-value print application.

    Digital casebound bookbinding equipment

    On-demand books were one of the earliest applications for digital printing, and options for perfect-bound paperback books have been long available and affordable. Although casebound digital books have yet to achieve the volume of paper-bound books – if they ever will, which is unlikely – there are many affordable equipment options for companies looking to expand into hardcover books.

    Hardcover books always have been viewed by consumers as more of a “premium” item, a high-value print application that also serves as a keepsake, which is what new digital printing applications – like photo books, yearbooks and so forth – are producing. For years, casebinding was thought to be out of reach economically and even technologically. But, today’s digital casebinding systems bring high-quality bookbinding within the reach of virtually any shop, opening up new opportunities to produce those high-value print applications.

    Richard Romano is a well-respected industry analyst and originally produced this paper for PrintPlanet and On Demand Machinery (ODM). ODM, Elizabeth, New Jersey, recognized the huge growth in the on demand book market and the emerging photo book segment of the industry. ODM machines have significantly become more technologically advanced, without straying from the company’s original premise of keeping ODM machines simple and backing them with the best customer service and tech support in the industry. Experts at On Demand Machinery often find themselves doing more consultation with customers than selling and can help choose the right casebinding system, identify casebinding best practices and troubleshoot any problems. For more information, visit www.odmachinery.com.

    FAQs

    Isn’t all casebinding basically the same?
    Well, is all perfect binding the same? We’ve all had books – hard- and soft-cover – that after one read started shedding pages like a long-haired cat and other well-thumbed books that even after 20 years still are tightly bound together. Best practices for casebinding exist because you’re trying to produce a book that will stay together. If it is meant to be a keepsake or even handed down from generation to generation like a photo album, good binding techniques will ensure that it lasts.

    Are certain substrates better for casebinding than others?
    Yes. Traditional papers and substrates tend to work best and will be more compatible with the adhesives used in casebinding equipment. Coated papers can present difficulties in getting glues to adhere properly. A more important substrate issue, perhaps, is attention to grain direction. Pages in the book block should be printed so that the grain direction is parallel to the spine. Why? As any printer, binder or finisher intimately knows, paper readily absorbs moisture. Paper fibers in printed and bound books inevitably will pick up moisture (moisture also comes from the bookbinding adhesive), which means that the pages will expand. If the pages are bound with the grain perpendicular to the spine, this natural expansion is restricted and books will warp and become damaged. The grain direction in the binder’s board also should be the same as that in the book block, so that the board and the pages expand in sync with each other.

    Do adhesives matter?
    Of course! Not all adhesives are the same, behave the same way or have the same effectiveness on all substrates. At the moment, polyurethane reactive (PUR) glues, introduced in the 1990s, are touted as the latest and greatest in adhesives, but they’re not perfect for every application. Other types of adhesives used in bookbinding are ethylene vinyl acetate (EVA) hot-melt and polyvinyl acetate (PVA) cold-emulsion adhesives. PURs work via a chemical reaction with moisture in the substrate and, as such, can form a much stronger bond. However, PUR glues are more expensive and require longer curing times than other adhesives. Inadequate curing can lead to books falling apart or pages falling out after repeated use.

    Can casebinding be automated?
    There is no logical reason that it can’t be, other than the fact that it traditionally hasn’t been. Unlike perfect binding, casebinding usually has required a lot of user intervention to move book parts and pieces around the plant and physically assemble them. However, increasing demand for automated systems means that those systems are working their way to market. Automation is the next great frontier for casebinding.

    Is casebinding equipment JDF-compatible?
    Again, as with automation in general, there is no reason that it can’t be other than that it just generally wasn’t. Even all these years after JDF’s supposed world domination, it still has been haphazardly implemented, especially in finishing systems. Although JDF can offer end-to-end workflow automation, simple barcoding, like On Demand Machinery’s Book-Trac, can offer most of the benefits of JDF automation and is specific to bookbinding challenges, such as marrying the right cover with the right book block.

    Digital book printing has almost exclusively produced perfect-bound paperback books, but new markets are opening up for high-value, hardcover digital books – books that function as gifts, keepsakes and mementos. Casebinding often has been thought to be out of reach of most digital book printers, but today’s digital casebinding systems can offer high-quality and high-value print books at an affordable cost.

    Digital Print Challenges the Binding and Finishing Process

    by Jen Clark, PostPress
    A project from McGraphics, Inc. that required foil stamping over digital printing.

    Keep the customer happy.

    That’s the mantra for printers, finishers and equipment manufacturers alike. With the rise in use of digital printing and its growing popularity, keeping the customer happy comes with a whole new set of worries for postpress experts.

    Finishing experts ready for digital production issues

    Customers expect their projects to be completed faster than ever, said Tom Alvis, owner of Seattle Bindery and Finishing. “Fast turnaround time, more and more digital printing and short-run jobs – these have been the trends for the last decade. We actually downsized our perfect binding capacity so we could be competitive on short-run jobs, and we decided to get out of the large-run market.”

    The Seattle, Washington-based postpress house specializes in custom tabs and presentation folders; folding and stitching; foil stamping, embossing and diecutting; plastic spiral; Wire-O®; perfect binding and film laminating. Embracing the digital print trend didn’t come without headaches, though. “The biggest challenge we find with digital print is the inconsistency in how finishing techniques work with products off of the different manufacturers’ presses,” Alvis said. “The chemistry is different. We do foil stamping, UV coating and laminating, and all three processes require adhesion to digital print. That is where we find the biggest challenge.”

    Digital print certainly has sped up the printing industry and increased turn times, said Neal McEwen, president of McGraphics, Inc. The only real disadvantage digital has to traditional printing is the registration issues. “Back in the old letterpress days, there would be gripper and guide marks,” he explained. “With digital print, we are getting things that have little to no registration. However, digital printing registration really has improved over the last few years.”

    McGraphics, Inc. is a family-owned graphic finishing house located in Nashville, Tennessee. Tommy McEwen is the company’s owner and his son, Neal, is the president. “My father started the company in 1986,” Neal McEwen said. “We have fewer than 25 employees, but have grown over the years to fill a 20,000 square foot facility.” He said his grandmother also worked for many years in the graphic finishing industry. “We’ve had three generations in this industry and have seen many changes and trends over the years,” he said.

    The company now is seeing more variable data work, McEwen said. “We do a lot of scratch-off foil stamping, probably four to five jobs a month of coupons for department stores and (car) dealerships. It has greatly increased our workload in many ways,” he said. “It’s also hurt us in other areas. With that said, my only real complaint is the lack of registration.”

    Alvis said figuring out how the various finishing techniques will work on digital print can be time-consuming. “Until a customer sends in a specific job off of their machine, we don’t really know if UV coatings, foil or laminating films will adhere or not,” he said. “Some digital printers also use fuser oil that leaves a residue on the sheet. Sometimes, we physically have to wipe the sheets down with rubbing alcohol to get anything to stick to them. We notice that the most with UV coating – the UV coating will scratch right off. However, if we rub the sheet down with alcohol, it will stick beautifully.”

    He said his company also has had to change the UV coatings that it uses to find one that will adhere to digital print. In addition, foils sometimes won’t stick to certain color areas. “I would say the most critical issue would be with laminating films. With foil and UV coating, we know right away if it is sticking or not,” he said. “With film laminate, we laminate the sheets and think they look good. However, if we let the sheets sit for 24 hours, like we prefer, before scoring, diecutting or cutting the laminated sheet, sometimes the laminate peels away from the edges. We’ve also seen the laminate stick to the image ink or toner, but then the ink or toner delaminates off of the paper. Out of all the heartaches with digital, that is the biggest one.”

    Another issue with digital print that Alvis noted is dry, brittle paper. “Some jobs will score and mold great, but the paper will be so brittle that no matter how we score it, it is going to crack,” he said.

    There are minor financial impacts because more testing is involved, he said. “We are happy to do testing because, while there is cost involved in doing a test, it is better than paying for a reprint. Nothing makes the customer unhappy more than that,” Alvis explained.

    McGraphics also provides testing as a courtesy for its customers – mostly with scratch-off foils. “We do need to make sure that our foils will stick to their inks or their digital prints,” McEwen said. “Sometimes, customers will bring in a couple of sheets for testing and we will throw those sheets in on a random die to make sure everything will work correctly.”

    Customers expect these postpress experts to be, well, experts, Alvis said. “They want us be able to work out any potential issues. And, if we can’t, we should be able to tell them ahead of time, not when the product already is in their hands.” For that, testing is key, but potential customers don’t always have time for that. “Those unknowns can end up costing some sales,” Alvis said.

    Even with existing customers, he said, testing comes in to play. “Once we’ve worked with a customer for a while, we are aware of what the digital jobs will require, and we know if there will be challenges,” he explained. “The first thing I do when I get a new customer – or someone has changed something on their press or gotten a new digital press – is ask them to send over sheets with heavy coverage so we can throw them through the UV coater, add foil and put them through the laminator. That way, we know what will or won’t work.”

    McEwen acknowledged that digital print shops, as well as digital press manufacturers, utilize different formulations regarding inks and papers, which is where testing plays a part. “All digital printers are different, but the digital inks and papers we work with are just fine,” he said. “It works basically like any other print job that comes in and we complete whatever finishing process the customer desires.”

    Manufacturers play a key role

    From the manufacturer’s standpoint, modularity and flexibility are the keys to successful digital print finishing operations. “Simply sheeting off the press can leave opportunity on the table,” said Lance Martin, director of sales for MBO America, Marlton, New Jersey. Martin talked about the numerous changes affecting all stages of production, and especially, finishing.

    “The most competitive printers today are offering an increasing range of products, from long-run offset to complex, variable jobs – with the fewest touches – and all while ensuring tight, verifiable control and reporting. They want the efficiency of going from a roll to finished product without handling it. Years ago, they wanted a box that made sheets,” Martin said. “Now, it has to fold, perforate, glue, affix cards, plow, diecut and track – and then be ready to switch to something else. We no longer have one line that works one way, to produce one product.”

    On top of increased types of production, postpress manufacturers have had to incorporate support for more media, as digital press OEMs are figuring out how to print on more stocks to bring costs down on digital print processes.

    Last, but not least – for now – is a changed labor pool. Martin said this is “another interesting phenomenon to consider.” He noted that manufacturers cannot make machinery that requires a deeply skilled journeyman operator making constant adjustments. “The operator has to be able to set the equipment up with minimal input, if any at all.”

    MBO prepared for these changes years ago, when it began migration to a business model based on system modularity, and in doing so now can support customers with cost-effective, flexible, automated solutions for all types of products “Customers can easily integrate and reconfigure lines to build systems that create complex results, but are simple to operate,” he said. “There is pressure on the industry for higher margins. We have to continue to take inefficiencies out of the equation. We have to figure out how to use less labor and increase automation to make our customers more competitive.”

    Moving forward, Martin sees a couple of trends on the horizon, including the introduction of more operator-friendly machines. He also sees a push for better use of variable data. “That isn’t anything new, but as people talk about the variable data ability of a press, we are learning more and more about how it can affect finishing too,” he said. “Any time a bar code goes down, we have to gather it so the finishing machines do something special for the customer.” Martin doesn’t think the full potential of variable data has been realized, either. “We are getting better every year, but we haven’t tapped into its full potential,” he said.

    Overall, Martin sees tremendous growth in the industry. “We’ve seen a lot of big pushes in the last six months. The entire printing market – all the major markets really – has seen increased activity. It’s good for the industry and we are prepared for it.”

    Related Story

    Planning for Plastic Spiral Binding

    by Anna C. Massey, Gateway Bookbinding Systems Ltd.
    Plastic coil comes in a variety of colors and often can be matched to a theme or to a company’s corporate identity.

    If you aren’t already doing plastic spiral binding, you really should be. Plastic spiral has become one of the most popular mechanical binding choices in today’s market. The durability of plastic spiral, the vast array of available colors from which to choose and advancements in the automation of the coil binding process have caught the attention of most binding consumers.

    Base compound makes a difference

    Most plastic spiral manufacturers produce coil using a PVC (polyvinyl chloride) compound. The required colorant is added during the extrusion process, at which time the PVC and colorant pellets are melted and mixed. The extruded filament is wound as a single strand profile onto spools.

    Different profiles are produced for particular coordinating coil diameters. The spooled filament then is put through the forming process and manufactured into the specific diameter, pitch and length of coil that is required.

    Although most plastic spiral binding utilizes this PVC base compound, what goes into that compound can differ between manufacturers. Every compound will have different levels of additives that can and do affect the finished product. Additives such as impact modifiers help insure the coil is durable and will maintain its shape. Lower grade materials are not, however, as strong and may contain fillers that bulk up the product with no actual benefits. Lead-free and phthalate-free spiral binding also are very important features, especially when producing children’s books.

    All coil is not created equal

    Pitch is – without a doubt – the most misunderstood term within the industry.

    Different coil manufacturers can and do use different profiles or gauges of filament to produce the various coil diameters. A 10mm coil may be produced with a filament of 2.0mm (.080″). Others may use a thinner filament, like 1.8mm (.072″) or even 1.5mm (.060″).

    If you are price shopping for a potential coil supplier and are strictly looking at the cost on the printed price list, you may not be comparing “apples to apples.” If a manufacturer is using a very thin filament to produce its product, the price list will look more appealing because less material is being used to produce the coil. It is important to know what profiles of plastic a coil supplier uses to make its various coil diameters.

    Plastic spiral binding that is very thin can cause problems during the insertion process. Plastic spiral that is too thick also can cause difficulty when inserting, which will reduce production numbers.

    Recommendations can and should be made based on the book thickness, with the proper punch-hole size and shape being discussed. The type of coil inserting equipment being used also makes a difference.

    A sharp lead edge on the coil is another important factor when the coil is running through the punch holes. It also has been proven that a “reverse cut” on the larger diameter/thicker profile coils will aid with coil insertion even further. Talk to the supplier to understand the options that are available.

    Pitch – the most misunderstood term

    You’ve heard the term and have probably been asked, “What pitch do you use?” It’s a simple five-letter word, but it is – without a doubt – the most misunderstood term within the industry.

    The dictionary definition of pitch, as it pertains to machinery, is the distance between corresponding points. In the world of plastic spiral binding, pitch is easiest to illustrate through punch patterns. There are a number of different pitch options available, and they are not all the same.

    Unlike double-loop wire binding with the simple 3:1 and 2:1 pitch choices or comb binding with the standardized rectangular-shaped 19 holes on the 11″ edge, coil binding is a little different.

    The various pitch choices for coil binding have come about because of a combination of originating European manufacturers (that work with the metric system) and North American manufacturers that utilize traditional Imperial measurements.

    For simplicity’s sake, remember 1″ equals 25.4mm.

    .2475″ Pitch – This is fast becoming the pitch of choice. This hole pattern fits the best on the common 11″ and 8.5″ (as well as the European A4 and A5) binding edges without the need to pull pins or trim to center. At first glance, the .2475″ pitch looks a lot like four holes within the inch, but it is indeed different than the traditional True 4:1. The .2475″ pitch also is most commonly available with a 5x4mm oval punch hole.

    True 4:1 Pitch (also known as .250″ or ¼” pitch) – True 4:1 is probably the most common of pitches. Many North American equipment manufacturers work with this pitch. It literally means that there are exactly four punch holes within every 1″. Although a common pitch, it does mean that punch pins need to be pulled in order to center this pattern on the 8.5″ or 11″ edge.

    6mm Pitch – Common amongst European equipment manufacturers, the 6mm pitch does not mean six holes per inch. It means that there are 6mm from the center of one hole to the center of the next hole. It equates to four and a partial hole within every 1″.

    5:1 Pitch – Although very common 20 years ago, the 5:1 pitch (five holes per inch) rarely is utilized these days because it really only worked well for thin projects. Any book thicker than 3/8″ became a challenge to bind with such tight spacing and a typically smaller punch hole. There even is a metric 5mm pitch that is close to a 5:1 spacing. Few equipment manufacturers offer these options any more.

    Wider 3:1 or 2.5:1 Pitch – These wider pitch options are literally worded. The 3:1 pitch means that there are three holes within every 1″ measurement. The 2.5:1 means just that – 2 1/2 holes per 1″. These pitch choices commonly are used when binding thicker books. The wider spacing makes coil insertion much easier. It also is recommended that the punch hole itself be a larger 6.5×5.5mm oval shape. This larger punch hole provides the coil more room to wind its way through. That size of punch hole can and does improve productivity by a good 40 percent.

    There even are more pitches available – like a .312″ pitch or an 8mm pitch. These were common with metal spiral binding and sometimes still are used with plastic spiral.

    The right pitch for a binding job primarily depends upon two factors – the book’s thickness and length of the binding edge. For example, even though the .2475″ pitch fits best on an 11″ binding edge, if a job with a 10 7/8″ binding edge is being produced on automated equipment and trimming is not an option, then a 6mm pitch would be better suited for the job.

    Talk to the plastic spiral binding supplier. It is the supplier’s job to make sure customers are set up with the most productive equipment available – within budget – that will enable efficient and successful handling of coil binding needs.

    Anna C. Massey is director of marketing for Gateway Bookbinding Systems Ltd., Winnipeg, MB, Canada. For more information, call 800.665.7884 or visit www.plastikoil.com.

    Book Binders Find Life in the Digital Age

    by Dianna Brodine, The Binding Edge
    Hardcover book sales continue to outpace sales of ebooks, with consumers citing a desire for the smell and feel of a quality paper product.

    Despite the shuttering of brick-and-mortar bookstores and the rapid rise in popularity of electronic reading devices, printed books remain a staple in the hands of US readers. In 2013, the annual BookStats study reported that 457 million ebooks were sold the previous year, an increase of 43 percent over 2011. However, hardcover books were chosen 100 million times more – with 557 million copies sold in 2012. The trend continued in 2013, with hardcover book sales up 11.5 percent in the first eight months of the year when compared to the same period in 2012, according to the Association of American Publishers, and adult ebook sales were up only 4.8 percent.

    Digital books may remain the fastest-growing part of the market, but digital books still only account for 20 percent of book sales reported by publishers.

    Paperback books continue a slow decline, but hardcovers are on the rise due to what some publishers believe is an ebook backlash. Consumers initially enthralled by the convenience of digital books now long to return to the time when they could feel the physical weight of the story. Jim Milliot, editorial director at Publishers Weekly, was quoted in a May 29, 2013, article for The Post and Currier as saying, “Publishers saved money on cheaper paper and jacket design, but are now rethinking that (strategy) for people who want to own physical books.”

    Delving into the study statistics

    An in-depth study, commissioned by Ricoh Americas Corporation and performed by IT Strategies in conjunction with the University of Colorado, was released in December 2013. The study surveyed 800 consumers via email; in addition, double-blind telephone interviews were held with four publishers, five book manufacturers and 10 consumers. Survey respondents were 55 percent female and 45 percent male, with an average age of 39. Sixty-four percent have an undergraduate degree or higher level of education. The results of the study were released in a white paper entitled “The Evolution of the Book Industry: Implications for US Book Manufacturers and Printers.”

    The following bullet points were provided in a press release issued by Ricoh:

    • Nearly 70 percent of consumers feel it is unlikely that they will give up on printed books by 2016. Consumers have an emotional and visceral/sensory attachment to printed books, potentially elevating them to a luxury item.
    • Despite their perceived popularity, 60 percent of ebooks downloaded are never read in the US. Since 2012, the growth of ebooks has slowed significantly as dedicated ereader sales are declining, and tablet PC devices are increasingly becoming utilized for other forms of entertainment.
    • College students prefer printed textbooks to ebooks as they help students to concentrate on the subject matter at hand; electronic display devices such as tablet PCs tempt students to distraction.
    • Current trends reveal that while fewer copies of books are being sold, more titles are being published.
    • Digital printing of “ultra short runs” has empowered book printers to supply books more tightly tied to actual demand.
    • The top three reasons consumers choose a printed book are: Lack of eye strain when reading from paper copy vs. an ebook; the look and feel of paper; and the ability to add it to a library or bookshelf.

    With the study commissioned by Ricoh, questions were asked about the use of digital printing verses traditional offset. According to the study, publishers are using digital printing in two ways. First, a small production run can be produced as a test to place one to two books per retailer, “circumventing cumbersome distributor guidelines and storage fees before ordering larger offset or digitally printed quantities.” Second, for titles with strong sales, “digitally printed books are used for reorders as needed to supplement first-run offset printed books.”

    “More than 500 years after the invention of the printing press, book manufacturers and publishers are playing a pivotal role in the next renaissance in books that is happening now,” said George Promis, vice president of continuous forms production solutions and technology alliances, Ricoh. “To borrow a phrase from Mark Twain, reports of the printed book’s death are greatly exaggerated. Print is alive, well and sought after in today’s book market.”

    A book binder’s viewpoint

    So, what does all of this mean for the segment of the binding industry that devotes itself to bookbinding?

    Michael Roswell, president of Roswell Bookbinding in Phoenix, AZ, explained that it’s become important for his company to offer all types of services in order to address the changing industry. “We do all types of sewing of both hard and softcover books, as well as perfect binding and a myriad of both hardcover books, presentation boxes and portfolios,” he said. “We also do a wide variety of digitally printed books that are predominantly high-end wedding albums; and we still offer library binding, conservation and restoration which was my parents’ original business starting in 1960.”

    At Roswell, the primary customer base consists of commercial printers, publishers and designers, although the bindery does work directly with authors, photographers, artists, galleries and museums. The bindery’s website touts its ability to produce run lengths of one to one million, whether miniature or oversized books. In a 2011 article in The Binding Edge, Roswell said, “We have evolved from a hand operation to a fully automated facility with state-of-the-art high-speed equipment. We still use all of the old hand binding techniques and materials in the same building as our 9,000-signature-per-hour sewing machines to create high-end bindings of all types.”

    Roswell estimated that less than 15 percent of the bindery’s work is printed digitally, with most projects printed via sheet-fed equipment and another 20 percent web-fed. The company has expanded its on-demand capabilities by adding staff and equipment to handle the one-offs that often are requested.

    While high-volume production on automated bookbinding equipment is one side of the bindery’s business model, it celebrates its deep roots in the more complex, handwork projects that come through the door. A recent project gaining media attention is a seven-volume handwritten, illuminated manuscript. The project contains all 73 books of the Catholic Bible and was begun more than 15 years ago at the Benedictine St. John’s University in Minnesota. The skilled craftsmen at Roswell Bookbinding are hand-binding 299 volumes of this Heritage Edition.

    With nearly 100 employees in its 50,000 square foot facility, Roswell Bookbinding has found its niche in an industry that holds its own against the threat of ebooks. “Since we have survived three significant recessions over the years and still are flourishing,” Roswell said, “I believe that the demand for high-end finishing will never disappear.”

    To download the IT Strategies white paper, “The Evolution of the Book Industry: Implications for U.S. Book Manufacturers and Printers,” visit http://rpp.ricoh-usa.com/discover/publishing.