[Ill.u.s.tration: FIG. 95.]
The use of type of different sizes in lettering a book should be avoided when possible, and on no account whatever should letters of different design be introduced. Occasionally, when the reason for it is obvious, it may be allowable to make a word shorter by putting in a small letter, supposing that only thus could reasonably large type be used. It is especially allowable in cases where, in a set of volumes, there is one much thinner than the others. It is generally better to make some compromise with the lettering of the thin volume, than to spoil the lettering of the whole set by using too small a letter throughout (see fig. 115).
On very thin books it is sometimes hardly possible to get any lettering at all on the back. In such cases the lettering is best put on the side.
In the case of some special books that are to have elaborately decorated bindings, and are on that account sufficiently distinct from their neighbours, a certain amount of freedom is permissible with the lettering, and a little mystery is not perhaps out of place. But in most cases books have to be recognised by their t.i.tles, and it is of the utmost importance that the lettering should be as clear as possible, and should fully identify the volume.
For lettering half-bindings and other books on which much time cannot be spared, it would take too long to make out a paper, as described for extra bindings, nor is there on such work much occasion for it.
For such books the lettering should be written out carefully, the whole panel prepared and glaired in, and the gold laid on. Then with a piece of fine silk or thread lines may be marked across the gold as a guide to the finisher, and the letters worked from the centre outward, as described for making out the paper pattern. Of course this method does not allow of such nice calculation and adjustment as when a paper pattern is made out; but if a general principle of clear lettering is recognised and accepted, very good results may be obtained.
BLIND TOOLING
[Ill.u.s.tration: FIG. 96.]
At the end of the book characteristic examples of blind-tooled books are given (pages 321-25). It will be seen that most of the tools form complete designs in themselves. Although the use of detached die-sunk tools was 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).
[Ill.u.s.tration: 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 tooling. The leather is then damped with water, and the impressions retooled.
[Ill.u.s.tration: 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.
[Ill.u.s.tration: 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 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
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).
[Ill.u.s.tration: FIG. 100 (reduced)]
In designing tools, it must be borne in mind that they may appear on the book many times repeated, and so must be simple in outline and much conventionalised. A more or less naturalistic drawing of a flower, showing the natural irregularities, may look charming, but if a tool is cut from it, any marked irregularity becomes extremely annoying when repeated several times on a cover. So with leaves, unless they are perfectly symmetrical, there should be three of each shape cut, two curving in different directions, and the third quite straight (see fig. 101). To have only one leaf, and to have that curved, produces very restless patterns. The essence of gold-tool design, is that patterns are made up of repeats of impressions of tools, and that being so, the tools must be so designed that they will repeat pleasantly, and in practice it will be found that any but simple forms will become aggressive in repet.i.tion.
[Ill.u.s.tration: FIG. 101.]
Designs for tools should be made out with Indian ink on white paper, and they may be larger than the size of the required tool. The tool-cutter will reduce any drawing to any desired size, and will, from one drawing, cut any number of tools of different sizes. Thus, if a set of five leaves of the same shape is wanted, it will only be necessary to draw one, and to indicate the sizes the others are to be in some such way as shown at fig. 102.
It is not suggested that special tools should be cut for each pattern, but the need of new tools will naturally arise from time to time, and so the stock be gradually increased. It is better to begin with a very few, and add a tool or two as occasion arises, than to try to design a complete set when starting.
[Ill.u.s.tration: FIG. 102.]
Tools may be solid or in outline. If in outline they may be used as "inlay" tools, and in ordering them the tool-cutter should be asked to provide steel punches for cutting the inlays.
COMBINING TOOLS TO FORM PATTERNS
It is well for the student to begin with patterns arranged on some very simple plan, making slight changes in each succeeding pattern.
In this way an individual style may be established. The usual plan of studying the perfected styles of the old binders, and trying to begin where they left off, in practice only leads to the production of exact imitations, or poor lifeless parodies, of the old designs. Whereas a pattern developed by the student by slow degrees, through a series of designs, each slightly different from the one before it, will, if eccentricities are avoided, probably have life and individual interest.
Perhaps the easiest way to decorate a binding is to cover it with some small repeating pattern. A simple form of diaper as a beginning is shown at fig. 104. To make such a pattern cut a piece of good, thin paper to the size of the board of a book, and with a pencil rule a line about an eighth of an inch inside the margin all round. Then with the point of a fine folder that will indent, but not cut the paper, mark up as shown in fig. 103. The position of the lines A A and B B are found by simply folding the paper, first side to side, and then head to tail. The other lines can be put in without any measurement by simply joining all points where lines cross. By continual re-crossing, the s.p.a.ces into which the paper is divided can be reduced to any desired size. If the construction lines are accurately put in, the s.p.a.ces will all be of the same size and shape. It is then evident that a repeating design to fill any one of the s.p.a.ces can be made to cover the whole surface.
[Ill.u.s.tration: FIG. 103.]
In fig. 104, it is the diagonal lines only that are utilised for the pattern. To avoid confusion, the cross lines that helped to determine the position of the diagonals are not shown.
[Ill.u.s.tration: FIG. 104 (reduced)]
The advantage of using the point of a folder to mark up the constructional lines of a pattern instead of a pencil, is that the lines so made are much finer, do not rub out, and do not cause confusion by interfering with the pattern. Any lines that will appear on the book, such as the marginal lines, may be put in with a pencil to distinguish them.
Having marked up the paper, select a flower tool and impress it at the points where the diagonal lines cross, holding it in the smoke of a candle between every two or three impressions. When the flower has been impressed all over, select a small piece of straight line, and put a stalk in below each flower; then a leaf put in on each side of the straight line will complete the pattern.