-
[ Pobierz całość w formacie PDF ]
general, there were also simple tools used, which, when combined, made up more or less organic designs, and
allowed more freedom to the finisher (see figs. 96 and 97).
[Illustration: FIG. 97.]
Some use may also be made of interlaced strap-work designs, either worked with gouges, or a small fillet. A
book bound in oaken boards, with a leather back with knotted decoration, is shown at page 330. I have found
that such binding and decoration is more satisfactory in scheme for old books, than most forms of modern
binding.
If a design is simple, the cover is marked up with dividers, and the tools impressed direct upon the leather; or,
if it is elaborate, a paper pattern is made out, and the tools blinded through the paper, as described for gold
CHAPTER XV 83
tooling. The leather is then damped with water, and the impressions retooled.
[Illustration: FIG. 98.]
The panel lines on most of the bindings before 1500 show evidence of having been put in with a tool which
has been pushed along the leather, and not with a wheel. I have found that a tool guided by a straight-edge,
and "jiggered" backwards and forwards, makes by far the best lines for blind-tool work. It should be borne in
mind that the line is formed by the raised portion of leather, and so the tool should be cut somewhat as at fig.
98. This should leave three ridges on the leather. Blind tooling may be gone over and over until it is deep
enough, and may be combined with various other methods of working. For instance, in tooling such a spray as
is shown at fig. 99, the leaf would be formed by five impressions of the second tool, shown at A, the extremity
of the impressions could be joined with gouges, the stalk and veining could either be run in with a fillet or
worked with gouges. The grapes would best be worked with a tool cut for the purpose. One edge of all gouge
or fillet impressions can be smoothed down with some such tool as shown in section at B. This has to be
worked round the gouge lines with a steady hand, and may be fairly hot if it is kept moving. At C is shown a
section of a gouge impression before and after the use of this tool. The ground can be dotted in, or otherwise
gone over with some small tool to throw up the pattern.
Blind tooling can sometimes be used in combination with gold tooling.
[Illustration: FIG. 99.]
In the fifteenth century the Venetian binders used little roundels of some gesso-like substance, that were
brightly coloured or gilt, in combination with blind tooling (see p. 325). This is a method that might be
revived.
What is known as "leather work" is a further development of blind tooling. This method of decoration has
been revived lately, but not generally with success. "Leather work" may be divided into two branches; in one
the surface of the leather is cut to outline the pattern, and in the other the leather is embossed from the back,
while wet, and the pattern outlined by an indented line. Sometimes the two methods are combined. As
embossing from the back necessitates the work being done before the leather is on the book, it is not very
suitable for decorating books. Leather first decorated and then stuck on the book, never looks as if it was an
integral part of the binding. The cut leather work, which may be done after the book is bound, and leaves the
surface comparatively flat, is a better method to employ for books, provided the cuts are not too deep, and are
restricted to the boards, so as not to weaken the leather at the back and joints. Much of the leather used for
"leather work" is of very poor quality, and will not last; for modelling it must be thick on the side of the book,
and for the book to open it must be pared thin at the joint, thus making it necessary to use a thick skin very
much pared down, and consequently weakened (see p. 155). Another very common fault in modelled "leather
work" is, that the two sides and the back are often worked separately and stuck together on the book,
necessitating a join, and consequently a weak place in the hinge, where strength is most wanted. Again, in
most modern "leather work," those who do the decoration do not, as a rule, do the binding, and often do not
understand enough of the craft to do suitable work.
All those engaged in leather work are advised to learn to bind their own books, and to only use such methods
of decoration, as can be carried out on the bound book.
HERALDRY ON BOOK COVERS
It is an old and good custom to put the arms of the owner of a library on the covers of the books he has bound.
The traditional, and certainly one of the best ways to do this, is to have an arms block designed and cut. To
design an arms block, knowledge of heraldry is needed, and also some clear idea of the effect to be aimed at.
A very common mistake in designing blocks is to try and get the effect of hand tooling. Blocks should be and
CHAPTER XV 84
look something entirely different. In hand tooling much of the effect is got from the impressions of small tools
reflecting the light at slightly different angles, giving the work life and interest. Blocked gold being all in one
plane, has no such lights in it, and depends entirely on its design for its effect.
Provided the heraldry identifies the owner, it should be as simply drawn as it can be; the custom of indicating
the tinctures by lines and dots on the charges, generally makes a design confused, obscuring the coat it is
intended to make clear. In designing heraldic blocks it is well to get a good deal of solid flat surface of gold to
make the blocked design stand out from any gold-tooled work on the cover.
Another way of putting armorial bearings on covers, is to paint them in oil paint. In the early sixteenth century
the Venetians copied the Eastern custom of sinking panels in their book covers, and painted coats of arms on
these sunk portions very successfully. The groundwork of the shield itself was usually raised a little, either by
something under the leather, or by some gesso-like substance on its surface.
Arms blocks should be placed a little above the centre of the cover. Generally, if the centre of the block is in a
line with the centre band of a book with five bands, it will look right.
Blocks are struck with the aid of an arming or blocking press. The block is attached to the movable plate of
the press called the "platen." To do this some stout brown paper is first glued to the platen, and the block
glued to this, and the platen fixed in its place at the bottom of the heating-box. In blocking arms on a number
of books of different sizes, some nice adjustment of the movable bed is needed to get the blocks to fall in
exactly the right place.
For blocking, one coat of glaire will be enough for most leathers. The gold is laid on as for hand tooling. The
block should be brought down and up again fairly sharply. The heat needed is about the same as for hand
tooling.
CHAPTER XVI 85
CHAPTER XVI
Designing for Gold-Tooled Decoration
DESIGNING TOOLS
For gold tooling, such tools as gouges, dots, pieces of straight line, and fillets are to be had ready-made at
most dealers. Other tools are best designed and cut to order. At first only a few simple forms will be needed,
such as one or two flowers of different sizes, and one or two sets of leaves (see fig. 100).
[Illustration: FIG. 100 (reduced)] [ Pobierz całość w formacie PDF ] - zanotowane.pl
- doc.pisz.pl
- pdf.pisz.pl
- zambezia2013.opx.pl