The Decoration of Leather / From the French of Georges de Récy

by Georges de Récy

OUTLINING THE MOSAIC

Outlining is the most delicate process in leather mosaic. When well carried out it should be impossible to distinguish the line where the inlay joins the groundwork. The extreme edge of the inlaid leather is pressed into the groundwork by means of a tool invented by Mons. Aumaître, producing a fine line the breadth of the edge of the tool selected. This tool, called an outliner (Fig. 27), has two blunt ends, one rounded and the other square, and is flat on one side and rounded on the other. The rounded side of the tool affords extra pressure, and should therefore be placed on the inner side of the line so that it serves to increase the depression of the edge of the inlay. It is best to work the outline with the cold tool first, and then to go over it again with the tool heated. The inlay

is lightly damped round the edges, and the round end of the tool is placed half on the inlay and half on the groundwork. The tool is held first inclined backwards (as in Fig. 26) and then brought with pressure to a perpendicular position (Fig. 27). This will make a groove into which the edge of the inlay will disappear. The square end of the tool is used for straight lines. Great care must be taken in placing the tool correctly; no portion of the inlay may protrude beyond the flat side of the tool, as any particle of the edge, however minute, which is not sunk in the groove would have to be cut off. If the edge of the inlay does not extend up to the tool, the error is still more troublesome to correct, more particularly when the leather is of a delicate colour, on account of the difficulty of matching the exact shade for joining it.

FIG. 26.—FIRST POSITION OF OUTLINING TOOL

FIG. 27.—SECOND POSITION OF OUTLINING TOOL

After this operation the edge of the outlining tool (Fig. 28) is inserted in the groove thus formed, and worked with a short up and down movement. A ruler will serve as a guide in working straight lines. The round side of the tool is

held slightly inclined towards the edge of the inlay. The wheel illustrated in Fig. 29 may also be used, but requires great sureness of hand for its successful manipulation. Gouge-shaped outlining tools with curves of different degrees (Fig. 30) are useful for little curved lines which are otherwise difficult to work; also the tool represented in Fig. 31, for the lettering on bookbindings, etc., where the

lines require to be sharply finished. It must, however, rest with the artist to select the tools he considers most suitable for his work.

FIG. 28.—GOUGE OUTLINER.
FIG. 29.—OUTLINING WHEEL.
FIG. 30.—GOUGE OUTLINER.
FIG. 31.—STRAIGHT OUTLINER.

When the outline has been worked with the cold tool, a hot one is used to go over it again to ensure perfect adhesion, and to give an attractive brown tint to the lines. The end of the outliner is heated over a spirit-lamp to a degree at which it can still be comfortably held in the hand, and used as before. If the tool does not run smoothly, owing to the elasticity of the edge of the inlaid leather, the latter may be lightly damped with a brush. It will at first be found difficult to keep the tool at the right heat. As a groundwork, calf with a smooth surface is more sensitive to damage from an over-heated tool than split sheepskin. It is useful to paste some of the inlay leather upon a spare piece of the leather of the groundwork, with which to test the heat of the tool. If the tool be too hot, it will burn and penetrate the leather without pressure. It can be cooled to the desired temperature on a wet sponge.

The next process in leather mosaic is that of colouring, which is dealt with in Chapter IV. It then only remains to give the finishing touch to the work by passing a polishing iron (Fig. 32) over the surface, to polish it and make it perfectly even. The tool is heated by holding the part which does not come in contact with the leather over the flame of a spirit-lamp. The polished side should frequently be well rubbed on flannel, and should any portion of its surface become dull, the polish can be restored with fine emery paper. The polishing iron, when heated, is held in the right hand and worked with little stroking movements, bringing first the end and then, by lowering the handle, the back of its polished surface in contact with the leather. The various positions of the tool during this operation closely resemble those of a vessel when it is pitching.

10. Cover of work-box of wood covered with embossed leather, cuir bouilli. German, 16th Century.

11. Powder-flask of wood covered with leather, cuir bouilli, cut and embossed. Italian, 16th Century.