|InfoCenter » Inkjet Tips » Creative Ways to Print & Bind Books||
Create A Book - It's easy using Red River Paper!
For some binding methods it might simply be a matter of ensuring that the margins are wide enough to accommodate the holes for a three ring binder or spiral binding. For saddle-stitching, you may need to compensate for creep. Some bindings provide more durability, others allow your book to lay flat when open. You will also want to weigh the cost of special equipment if you want to do-it-yourself rather than using a local copy shop or printer for your binding and finishing.
Below we look at several methods to consider when its time to bind.
Definition: Spiral binding is a method of securing loose printed pages using single or double loop wire or plastic that fit into round or rectangular holes in the pages. Spiral binding is often used for blank notebooks and for reports that generally have a short shelf-life. Spiral binding allows the publications to lay flat when opened.
Resources: Local office supply is a convenience place to get spiral binding done. Machines that do this sort of binding have become quite affordable over the past few years. You can buy a nice one for around $135.
Perfect Binding / Thermal Binding
Specialty Binding - Use Your Imagination
Chicago Screw Custom Binding
Take a series of printed images of any size and come up with a fun way to bind them using one or more screw-posts or "Chicago Screws". This is a particularly easy way to quickly assemble images for viewing with little worry about registration, alignment, or other book-binding issues.
However, leather bound binders are available from some professional album suppliers. The example below is a very nice 3-ring binder that works with clear hole-punched sleeves from Crown Photo Products.
Also Known As: notebook binding, three-ring binders
Stitch Binding - Tips from Frank Hamrick
Frank Hamrick is an associate professor at Louisiana Tech University. His work mixes photography, storytelling, handmade books and found objects. Frank received his BFA from The University of Georgia and his MFA from New Mexico State University. NPR has written about Frank’s handmade books and Oxford American Magazine listed Frank as one of the 100 Superstars of Southern Art. His work is housed in collections including The Art Institute of Chicago, The Amon Carter Museum of American Art and The Ogden Museum of Southern Art.
Below is Frank's discussion on his process for custom book printing and binding. It is not a definitive guide, rather his take on how he prefers to make special custom books.
I print my images via Photoshop.
I use the full size sheets of paper as they come in the box. If needed, I trim the paper to the size I want the book spreads after the images have been printed and their surfaces have been sealed with a fixative.
If I am making a twenty-page pamphlet book, then my canvas layouts in Photoshop are pages 20 & 1 on one side of the double-sided paper, and pages 2 & 19 on the opposite side of the paper.
Pages: 18 & 3, 4 & 17
Pages: 16 & 5, 6 & 15
Pages: 14 & 7, 8 & 13
Pages: 12 & 9, 10 & 11
The images are all in the same color profile and are already the proper size and sharpened when I lay them onto these pages spreads.
I inkjet print images on one side of the double-sided matte paper and then let them dry for 24 hours while they are sandwiched between sheets of regular copy paper.
Waiting 24 hours to dry helps keep those first set of images from getting smeared when the paper is run through the inkjet printer a second time and also reduces the risk of those prints offsetting ink onto the printer’s interior rollers and transferring to future prints.
Then after the paper has had 24 hours to dry, I inkjet print the page spreads on the opposite sides of the double sided paper.
I then let these prints dry for 24 hours while sandwiched between sheets of regular copy paper.
Then I pin large pieces of newsprint paper to the studio wall and pin the printed double-sided matte paper on top. I wear a mask over my mouth and nose while I spray the prints with a fixative made for sealing and protecting photographs, this is similar to what is used to seal charcoal sketches if you have ever taken a drawing class. Wait 15 minutes or so and spray another layer of fixative. This helps prevent the ink from one image offsetting onto the neighboring page when the sheets are folded, collated and bound into book form.
Once that first side is fully dry, time varies depending on the fixative used, I flip all the pages over and repeat spraying two coats of fixative on the opposite side of the double sided paper and let it fully dry in the same manner.
Once fully dry, I will use an art brush used to clean prints to clear off any excess fixative that usually presents itself in the form of a white dust.
Then I trim the paper to the size I need the spreads to be so I can use a bone folder to score and fold the gutter in each page spread, collate and bind the spreads into my photography books.
Scoring each page individually before folding helps minimize cracking. Also be aware when a page is scored, you fold the page spread down and away from the indention scored into the paper’s surface, not up towards the score. Look at a cereal box or a box of crackers and you will see what I mean.
I use an awl with a consistent diameter shaft to pierce the sewing stations in the gutter of each individual spread for the stitching. When piercing the page spread, I hold the folded page spread up like the roof of a house and push the awl up from within. This helps the point of the awl go straight up through the gutter. If you punch down with the paper on a tabletop, there is a greater risk of the awl going in at an angle and coming out the opposite side of the paper on the page rather than through the folded gutter.
I use a book binders needle with a rounded point and Irish linen thread to stitch together the book’s end sheets that surround the collated page spreads before ultimately glueing the pamphlets into their hard covers.