For slightly curved lines, a very small fillet may be used.
When all the prepared part of a pattern has been tooled, it is well rubbed to remove the loose gold with a slightly greasy rag, or with a piece of bottle indiarubber which has been softened in paraffin. After a time the rubber or rag may be sold to the gold-beater, who recovers the gold. To prepare indiarubber for cleaning off gold, a piece of bottle rubber is cut into small pieces and soaked in paraffin for some hours. This should cause the pieces to reunite into a soft lump. This can be used until it is yellow with gold throughout.
When all free gold is rubbed off, the finisher can see where the tooling is imperfect. Impressions which are not "solid" must be reglaired, have fresh gold laid on, and be retooled. But if, as will sometimes happen with the best finishers, the gold has failed to stick properly anywhere, it is best to wash the whole with water or vinegar, and prepare afresh.
As an excess of grease is apt to dull the gold and soil the leather, it is better to use it very sparingly when laying on fresh gold for mending. For patching, benzine may be used instead of grease. When the gold is picked up on the cotton-wool pad, rapidly go over the leather with wool soaked in benzine, and at once lay down the gold. Benzine will not hold the gold long enough for much tooling, but it will answer for about half-an-hour, and give plenty of time for patching.
Imperfect tooling arises from a variety of causes. If an impression is clear, but the gold not solid, it is probably because the tool was not hot enough, or was not put down firmly. If only one side of an impression fails to stick, it is usually because the tool was unevenly impressed. If an impression is blurred, and the gold has a frosted look, it is because the leather has been burned, either because the tool was too hot, or kept down too long, or the preparation was too fresh.
To mend double or burnt impressions the leather should be wetted and left to soak a short time, and the gold can be picked out with a wooden point. When nearly dry the impressions should be put in again with a cool tool, reglaired and retooled.
It is very difficult to mend neatly if the leather is badly burnt.
Sometimes it may be advisable to paste a piece of new leather over a burnt impression before retooling.
If a tool is put down in the wrong place by mistake, it is difficult to get the impression out entirely. The best thing to do is to damp the leather thoroughly, leave it to soak for a little while, and pick up the impression with the point of a pin. It is best not to use an iron point for this, as iron is apt to blacken the leather.
Leather is difficult to tool if it has not a firm surface, or if it is too thin to give a little when the tool is struck.
When the tooling is finished, and the loose gold removed with the rubber, the leather should be washed with benzine, to remove any grease and any fragments of gold that may be adhering by the grease only.
The inside margins of the boards are next polished and varnished, and the end papers pasted down. Or if there is a leather joint, the panel left on the board may be filled in (see Chapter XVII).
When the end papers are dry, the sides and back may be polished and varnished.
It is important that the varnish should be of good quality, and not too thick, or it will in time turn brown and cause the gold to look dirty. Some of the light French spirit varnishes prepared for bookbinders answer well. Varnish must be used sparingly, and is best applied with a pad of cotton-wool. A little varnish is poured on to the pad, which is rubbed on a piece of paper until it is seen that the varnish comes out thinly and evenly. It is then rubbed on the book with a spiral motion. The quicker the surface is gone over, provided every part is covered, the better. Varnish will not work well if it is very cold, and in cold weather both the book and varnish bottle should be slightly warmed before use. Should an excess of varnish be put on in error, or should it be necessary to retool part of the book after it has been varnished, the varnish can be removed with spirits of wine. Varnish acts as a preservative to the leather, but has the disadvantage, if used in excess, of making it rather brittle on the surface. It must, therefore, be used very sparingly at the joints. It is to be hoped that a perfectly elastic varnish, that will not tarnish the gold, will soon be discovered.
As soon as the varnish is dry the boards may be pressed, one at a time, to give the leather a smooth surface (see fig. 83), leaving each board in the press for some hours.
[Illustration: FIG. 89.]
After each board has been pressed separately the book should be shut, and pressed again with pressing plates on each side of it, and with tins covered with paper placed inside each board. Light pressure should be given to books with tight backs, or the leather may become detached.
If, on removing from the press, the boards will not keep shut, the book should be pressed again with a folded sheet of blotting-paper in each end. The blotting-paper should have the folded edge turned up, and be placed so that this turned-up edge will be in the joint behind the back edge of the board when the book is shut.
A small nipping-press suitable for giving comparatively light pressure, is shown at fig. 89.
TOOLING ON VELLUM
Most covering vellum has a sticky surface, that marks if it is handled. This should be washed off with clean water before tooling.
The pattern is blinded in through the paper as for leather, excepting that the paper must not be pasted directly to the vellum, but may be held with a band going right round the board or book. It is best to glaire twice, and to lay on a small portion of gold at a time with benzine. As vellum burns very readily, the tools must not be too hot, and some skill is needed to prevent them from slipping on the hard surface.
Vellum must not be polished or varnished.
INLAYING ON LEATHER
Inlaying or onlaying is adding a different leather from that of the cover, as decoration. Thus on a red book, a panel or a border, or other portion, may be covered with thin green leather, or only flowers or leaves may be inlaid, while a jewel-like effect may be obtained by dots, leaves, and flowers, tooled over inlays of various colours.
Leather for inlaying should be pared very thin. To do this the leather is cut into strips, wetted, and pared on a stone with a knife shaped somewhat as at fig. 60, B. When the thin leather is dry the inlays of the leaves and flowers, &c., may be stamped out with steel punches cut to the shape of the tools; or if only a few inlays are needed, the tools may be impressed on the thin leather, and the inlays cut out with a sharp knife. The edges of the larger inlays should be pared round carefully. For inlaying a panel or other large surface, the leather is pared very thin and evenly with a French knife, and a piece of paper pasted on to the grained side and left to dry. When dry, the shape of the panel, or other space to be inlaid, is marked on it through the paper pattern, and leather and paper cut through to the shape required. The edges must then be carefully pared, and the piece attached with paste, and nipped in the press to make it stick. When the paste is dry, the paper may be damped and washed off. The object of the paper is to prevent the thin leather from stretching when it is pasted.
For white inlays it is better to use Japanese paper than leather, as white leather, when pared very thin, will show the colours of the under leather through, and look dirty. If paper is used, it should be sized with vellum size before tooling.
When many dots or leaves are to be inlaid, the pieces of leather, cut out with the punch, may be laid face downwards on a paring stone, and a piece of paper, thickly covered with paste, laid on it. This, on being taken up, will carry with it the "inlays," and they can be picked up one at a time on the point of a fine folder, and stuck on the book.
"Inlays" of tools are attached after the pattern has been "blinded"
in, and must be again worked over with the tool, in blind, when the paste is nearly dry.
On vellum an effect, similar to that of inlays on leather, can be obtained by the use of stains.
CHAPTER XV
Lettering--Blind Tooling--Heraldic Ornament
LETTERING ON THE BACK
Lettering may be done either with separate letters, each on its own handle, or with type set in a type-holder and worked across the back as a pallet. Although by the use of type great regularity is ensured, and some time saved, the use of handle letters gives so much more freedom of arrangement, that their use is advocated for extra binding.
Where a great many copies of the same work have to be lettered, the use of type has obvious advantages.
A great deal depends on the design of the letters used. Nearly all bookbinders' letters are made too narrow, and with too great difference between the thick and thin strokes. At fig. 90 is shown an alphabet, for which I am indebted to the kindness of Mr. Emery Walker.
The long tail of the Q is meant to go under the U. It might be well to have a second R cut, with a shorter tail, to avoid the great space left when an A happens to follow it. I have found that four sizes of letters are sufficient for all books.
[Illustration: FIG. 90.]
[Illustration: FIG. 91.]
[Illustration: FIG. 92.]
To make out a lettering paper for the back of a book, cut a strip of good thin paper as wide as the height of the panel to be lettered.
Fold it near the centre, and mark the fold with a pencil. This should give a line exactly at right angles to the top and bottom of the strip. Then make another fold the distance from the first of the width of the back; then bring the two folds together, and make a third fold in the exact centre. The paper should then be as shown at fig. 91.
Supposing the lettering to be THE WORKS OF ROBERT LOUIS STEVENSON, select the size of letter you desire to use, and take an E and mark on a piece of spare paper a line of E's, and laying your folded paper against it, see how many letters will go in comfortably. Supposing you find that four lines of five letters of the selected size can be put in, you must see if your title can be conveniently cut up into four lines of five letters, or less. It might be done as shown at fig. 93.
But if you prefer not to split the name STEVENSON, a smaller letter must be employed, and then the lettering may be as at fig. 94.
To find out the position of the lines of lettering on a panel, the letter E is again taken and impressed five times at the side of the panel, as shown at fig. 92, leaving a little greater distance between the lowest letter and the bottom of the panel, than between the letters. The paper is then folded on the centre fold, and, with dividers set to the average distance between the head of one letter and the head of the next, five points are made through the folded paper. The paper is opened, turned over, and the points joined with a fine folder worked against the straight-edge. It should leave on the front five raised lines, up to which the head of the letters must be put.
[Illustration: FIG. 93.]
[Illustration: FIG. 94.]
The letters in the top line are counted, and the centre letter marked.
Spaces between words are counted as a letter; thus in "THE WORKS," "W"
will be the centre letter, and should be put on the paper first, and the others added on each side of it. Some thought is needed in judging where to put the centre, as the difference in the width of such letters as "M" and "W" and "I" and "J" have to be taken into account.
As a general rule, lettering looks best if it comfortably fills the panel, but of course it cannot always be made to do this. The greatest difficulty will be found in making titles of books that consist of a single word, look well. Thus if you have "CORIOLANUS" to place on a back which is not more than 5/8-inch wide, if it is put across as one word, as at fig. 95 (1), it will be illegible from the smallness of the type, and will tell merely as a gold line at a little distance. If a reasonably large type is used, the word must be broken up somewhat, as at (2), which is perhaps better, but still not at all satisfactory.
The word may be put straight along the back, as at fig. (3), but this hardly looks well on a book with raised bands, and should be avoided unless necessary.