Next the minor branches are added to cover the space evenly, and then the flowers, fruit, and buds—made up of combinations of the “leaves,” circles, &c.—are more or less evenly disposed in the spaces formed by the large, round curves at the ends of the branches (fig. [123]). [p201]
The “leaves” are placed all over, wherever there is convenient room for them (just as the leaves of a real plant are). Then the stalks of the leaves are added, and, lastly, the interspaces are filled with “tendrils,” which greatly contribute to the pleasant intricacy of the design (fig. [124]). [p202]
Colour Schemes.—The safest treatment of such a “design” is in black and gold (see p. [187]). The leaves, which are kept rather flat, may be outlined after gilding. The flowers, &c., may be made up in red and blue (tempered with white: see p. [182]). This is the colour treatment of the example, [Plate XVII.]
If the leaves are green, the stem and outline may be more delicately drawn in pale or grey-brown ink, and the green may be a delicate pale olive or grey-green. (A strong, black stem with bright green leaves is apt to look crude and hard.) In such a delicate green plant border, delicate blue and red flowers, and one or two rather flat gold “berries” (single, or in threes) may be placed.
A very effective colour decoration of a much simpler type may be made in red and green (or blue) pen-work—using the pen and the colours with which the Versal letters and line-finishings are made. A red flourished stem with red leaves or tendrils, and green berries (or leaves), or a green stem with green leaves and red berries.
A floral pattern may also be made in plain burnished gold—both stem and leaves—not outlined (p. [187] & [Plate XXII.]).
A more complex decoration resembling the “floral filigree” has a “solid” stem in light or dark colour on a dark or light ground (or on a gold ground), as suggested in the rough diagram, fig. [120].