The Progress of the Marbling Art Part 15

If you now by the aid of a dull awl or a pin trace the design of the tissue paper on the edge, it will appear and will be the gilder's guide.

When this has been done with all necessary care, remove the paper and burnish the parts of the edge between the tracings by means of a small, pointed burnisher.

This alone relieves the ornament from the dull gilt ground.

The full effect of such edges will be imparted when the outlines of the ornaments are pressed in. To do this, fine steel stencils or stamps are best used, the same as are used for fine leather work. These stamps and the above mentioned agate burnishers can be obtained from Wm. Leo, Stuttgart.

Take the point stamp in one hand and a light hammer in the other and with an easy, equal, hammering make dot after dot of the marked pattern.

If the dull ground is then profusely marked with the small pearl stamp as shown in the ill.u.s.tration, the effect of such edges leaves nothing to be desired.

The effect is still more surprising when the ornaments are produced in gold of a different hue or of silver or color. In the former case the ornaments are carefully penciled in with alb.u.men solution, gold of a lighter hue, silver or aluminium is put on, and, when completely dried, is burnished.

Colored ornaments are likewise sc.r.a.ped out and then produced by painting.

It is a question though, whether the total effect of this last named is a refined one.

BRONZED EDGES.

THE BRONZED EDGE.

Produced by printing over colored edges. It is certainly proper to endeavor to brighten colored edges by spreading on bronzed color.

That this process has fallen more or less into disuse is probably due to the tiresome labor necessary for the making of such edges. It gives us the possibility of producing manifold changes in edges because silver or gold ornaments can be put on any color as well as on the white edge.

We have here the possibility of adapting the design of the edge to that of the cover, which under other conditions can only be done with chased edges.

It is an erroneous idea to disfigure genuine gilt-edge by putting on bronze ornaments. The base and perishable bronze can never be the correct material to brighten the effect of genuine gold.

The bronzing of edges can only be applied to colored or white edges but not to genuine gilt-edges.

For the production of bronzed edges, the following articles are necessary.

First, Engraved plate or Cliche representing the ornament with which the edge is to be decorated.

Second, Thin leaves of roller composition for the transfer of the ornament from the plate on to the edge.

Third, Roller for rolling in the gravure.

Fourth, Thick, fluid, strong amber-lacquer, as binding medium between the bronze and the color of the edge.

The following rules should be observed.

The treatment of the book block is similar to that of the hollow edge, therefore the book, after the fore edge has been cut and rounded must be sc.r.a.ped hollow.

As colors for the edge, the above mentioned colors, carmine, cinnabar, cobalt-blue and others are recommendable.

As binding medium a strong alb.u.men or gum-arabic should be used. Aniline colors can be used for this purpose, but they must be dissolved in alcohol.

Such edges have a bewitching appearance if they are made in the same shade of color as the cover, but they render a certain practice in the mixture of colors necessary.

The coloring and burnishing of the edges is executed in the same manner as described in the article upon the production of colored edges. After the burnishing of the edge is executed, the time has arrived to imprint the ornament upon it.

Cut off of the thin leaf of roller composition, a strip slightly larger than the surface of the edge. Put a little of the thick, fluid amber-lacquer upon the roller, and move the roller forward and back on a smooth stone (marble slab) until the lacquer is equally spread out over the surface of the roller. When this is done, the gravure can be rolled over by aid of this roller.

The thin strip of roller composition is then carefully placed on the gravure, pressed on lightly and evenly with cotton wadding or a soft rag. By this means the ornament of the gravure is transferred to the roller composition.

To transfer this ornament on to the surface of the edge, it is necessary to lay the strip of roller composition carefully on the edge and carefully and evenly press it on.

The bronze is not to be put on to the edge on which the design is printed before the lacquer is quite dry, only then can the blurring of the ornament be avoided and the bronze be made to retain its specific metallic l.u.s.tre.

After the lapse of several hours, the bronze will be dry, and then the cleaning of the edge is done with soft cotton wadding.

The strips of roller composition so used must be cleaned immediately after use with clean turpentine and, after they are dried, they can be again used.

In order to produce the necessary transfer strips use only the best English roller composition. Cut this ma.s.s into small pieces, place them in an earthen vessel, subject them to a moderate heat until they become entirely fluid and pour the fluid ma.s.s on a piece of gla.s.s or a smooth sheet of tin. After this has cooled it should be carefully removed. To render this easier, the plate of gla.s.s or the piece of tin should be lubricated with some fine oil.

Producing Marble on Gilt Edges.

PRODUCING MARBLE ON GILT EDGES.

If gilt, silver or aluminium edges are to be marbled, they must be thoroughly dried, burnished slightly and rubbed off with a small piece of linen, silk or leather, and any blemishes or spots from which the gold or other metal has blistered must be repaired.

The dull gilt-edge is now to be moistened by means of a soft brush with a solution of powdered alum in hot water after this has formed a thin paste.

The marbling of the gilt-edge is executed in the usual way, before the layer of alum is entirely dried. After the completion of the marbling the edge must be washed with water until it is entirely clean.

After the edge has become dry, it is rubbed with a waxed rag and burnished over.

For marbling, the common marbling colors can be used.

It remains only to add that too dry edges do not take marbling colors readily.