The rabbit hole runs deep and there's a long tradition of craftsmanship that I really hope is being passed along and not lost.
Really, this could best be written as a single-page app. We'll have to rewrite it every six months, of course, in order to comply with current best practices and trends.
It's kinda embarrassing to see someone using static HTML for static text. Think how much better this would be with spinners, animation and ads!
This site is perfect. It allows my browser to convert it into "reading mode", so I can simple read the content with my preferred size, colors, font, etc.
I want to move to more content focused simple sites like this with my own content.
You have to be the change you want to see in the world.
And the font bigger:
margin: 2em auto;
What i am trying to say - paper weight does not matter. 80gsm is used because it is the thinnest paper that will reliably not get stuck in the laser printer.
Try more creamy less bleached (ultrawhite) paper. Since they are not used too much in offices they look immediately less cheap. It can be challenge to find some adjusted to laser printer formats because professional always need big sheets not small ones.
Laser printer will often look not so professional because the color is baked layer on top of the paper and it does not bleed into the paper at all. Offset printing bleeds into the paper tiny bit and it becomes part of the paper. It also has much higher resolution so it is more detailed. The difference is even bigger when you print pictures/photos. You will not get good looking pictures out of laser printer.
Typical laserprint paper is pulp, more especially so for recycled paper. Archival stock is rag and acid-free. Back in the day, this was required for thesis and dissertation submissions, for archival purposes -- rag paper will disintegrate in time.
The other factor, though, are the size of the sheets and how they're assembled. For blunt edge-glued paperback or perfect covers, this isn't a big deal, but a printed book is produced on signatures, which are sets of sheets sewn together, and generally in quarto (four impressions per side) format (eight impressions total including the verso). Octavio is another standard, though generally for books of smaller dimensions.
You're not going to get a sewn-book feel from A4 or US Letter sized paper. And I don't think even running up to larger A3 will quite work, you're looking at about A2 for a proper quarto. Though this is out of my depth.
I've used 28 lb. and 32 lb. paper, although next time I see it I'm going to buy something thicker (36 lb. or 40 lb., assuming the pattern for commercially available thicknesses holds inductively).
Thinner paper seems to be a bit too transparent, but that might be a function of the type of paper or my printer's generosity with regards to ink.
Having sewn and bound a couple of books following similar tutorials, my advice is to actually get a professional print shop to make your books if you want something of professional quality.
Doing it by hand is a viable hobby, but even with my continuous ink system, it's probably not economical because of the time required to bind everything together.
Printing with laser is probably more expensive.
0. If you just want to get some notes together in a reasonably permanent form, here's my three step approach to creating usable, but necessarily "beautiful" books.
First, print off your book, arrange the pages, and add a blank page before the first page and after the last page.
Second, align the pages carefully, ensuring that the spine is flat. Clamp the pages together, using something flat (another book, or a piece of wood works) to distribute the pressure.
Finally, apply some Gorilla Glue (or similar) to the spine of the book, ensuring that the entire spine is covered but wiping away excess insofar as that is possible. Leave overnight, or until the glue cures.
The result: a surprisingly durable book from a process that takes less than 10 minutes, assuming you've got the materials handy.
You can make it more presentable by adding a cover (I cut folders or cardstock into a book cover, and then glue them onto those blank pages).
For example, we use uncalendered cotton stock for our letterpress printing and which has a thicker caliper for a given weight than typical, allowing better impression when printed.
Paper can be a beautiful thing when you get into it... :)
I did not bind these books though, instead using a press I made from some 2*4's, threaded stock, washers and nuts and a piece of heavy plywood. I put the whole stack into the press, clamped them tightly together at the back end (just above the 'binding', doused the edge in PVA wood glue and overlaid the back with a strip cut from some old jeans. This way I ended up with a whole shelf of blue-jeans-bound books. It might not have been as classy as a 'bound' book but it certainly had style...
Much easier, to start out with, if you want to create a multi signature binding (i.e. multiple groups of paper sewn together) is what's called a case binding. There you make the book block and the cover separately. Which makes it much easier to get a good final effect (at the cost of some longevity - it will outlast you, but perhaps not your grandchildren). Here is a very simple example that doesn't assume many tools.
She does the simplest thing possible to sew the signatures together. It won't look as good or be as secure as it should be, but will work. Here's a video showing how it 'should' be done
I've been bookbinding for about 10 years, as a hobby. I started with a weekend residential course. It's good to start with practical input, I think. I had an old Dover manual of bookbinding for a few years before that, and didn't get very far.
(Also, craft bookbinding on HN! Things I never expected I'd see...)
1. With a saw, cut vertical slits along the "spine", 1 or 2 cm apart, and just 2 or 3 mm deep (that's roughly 1/2" and 1/10" respectively, for the metric challenged).
2. Take some dental floss. Make a knot on one end, jam it in one of the end slits.
3. Run the dental floss alternatively up and down through the slits, in a S-like pattern. When you get to the end of the spine, run the thread again towards the other end, covering each slit again but in the opposite direction. After this, each slit has two bits of thread, and each cover and back segment between the slits is covered once. Secure the thread with another knot.
4. Apply carpenter's glue on the spine. Spread it so it covers the spine and thread fully.
This proves to be incredibly sturdy, and usable even in thick books, although for these it becomes difficult to keep open in the middle, as the spine is a bit stiff.
2mm is much, much smaller than a half inch. a half-inch is closest to 12mm.
Millimeters (mm) Inches (") (decimal) Inches (") (fraction)
2 mm 0.0787 ″ 5/64 ″
3 mm 0.1181 ″ 1/8 ″
I think it was on the Madame Trash Heap, A.K.A. YouTube.
Anyone have any searching clues? I'd like to see it again.
I learnt because I wanted to rebind "The Road to Reality" by Roger Penrose because the original paperback that I has was just too thick. I ended up with a three volume set.
The Penrose book came with signatures glued into the "paper" cover, so I didn't have to make them. But many paperbacks come "perfect bound" where each page is a single sheet and glued individually to the cover, which makes rebinding more challenging.
Be sure to check out the forum, lots of information.