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

by Georges de Récy

[13] Pompon.

When the leather is dry a lighter tint, transparent enough to allow the stencilled design to be visible through it, may be washed over the whole. Excellent effects of considerable richness can thus be produced. The depth of colour is further increased by the process of rubbing, which is necessary to the proper patine of leather. If done with wax, encaustic or varnish, it is an effective protection for the surface of the leather against deterioration from outside

causes. With certain soft leathers, if the colour has not sunk in deeply, rubbing with the finger alone will give it great brilliancy; with other leathers the rubbing will produce an effect in proportion to the degree of porosity of the skin. It should always be done before the colour is dry, but not until it has penetrated sufficiently into the leather not to return to the surface with the pressure. The middle finger is used. A certain amount of polish can be given to the leather by rubbing it only with the finger (moistened with a little oil to allow it to slide easily), or, for a large surface, with the side of the hand instead of the finger. When a medium is used, it is applied with a circular movement by means of flannel or rag; a flannel brush consisting of a series of little flannel rolls, which can be bought at a surgical instrument-maker’s, is very useful for a large surface requiring much rubbing. Pure wax, which must be softened in the hand to make it spread evenly, encaustic and spirit varnish are all efficacious in preserving the colour and increasing its transparency.

Another method giving excellent results consists in applying opaque colour, gouache or bronzes in the hollows of a design and removing the surplus of the colour by rubbing. In this way an incised design can be boldly outlined in light on a dark ground, and may afterwards be bleached within the outlines if desired. After cutting the design on the leather, the whole surface is washed over with potash or any other dark stain, a coat of paste is then applied and immediately wiped off, so that some of it only remains in the hollows. When the paste is dry, some rather liquid gouache is washed over and run into the lines, any remaining on the surface being removed by vigorous rubbing with a damp rag. The same process may be applied to the hollows of punched leather. In using bronzes or gold in powder, some spirit varnish or specially prepared varnish is necessary to make them adhere. After applying the varnish, the surface is wiped over to remove all

except that which is deposited in the interstices, and when this is sufficiently dry to hold the powder, the latter is put on with a very soft, short-haired brush and adheres to the varnish. The surface is then rubbed in the manner already described. All powder colours do not mix equally well with varnish; green and blue bronzes often change colour when brought in contact with it. Gold and silver powder give good results, used either dry or mixed with gum on shells. Chinese vermilion may also be employed with varnish, but other colours are more suitable for this purpose when prepared in the form of gouache.

GILDING

Special manipulation is required for gold leaf applied to the decoration of leather. For gilding over a whole surface, as for instance an aureole round the head of a saint, the following is the best method. Several layers of starch paste are painted with a brush over the part of the leather to be gilded, and followed when dry by a little gelatine paste. A coating of some special preparation is then applied and allowed to dry to the right condition to retain the gold leaf, which varies according to the nature of the preparation; the degree of moisture can be tested with the finger. Gold leaf is sold in small books and is exceedingly thin. A flexible knife, like a palette knife, is used to manipulate it, and a single leaf is laid on a cushion of deerskin stuffed with wadding, and cut to the required size. It is then placed over the preparation on the leather and lightly pressed down with a very soft, round, short-haired brush.

16. Black Morocco binding with applied panels of tooled, cut, painted and gilt calf. Le Roman de Tristan et Iseut. Designed by Robert Engels. Modern French.