THE CHOICE OF DESIGN AND COLOUR
The present chapter is devoted to some remarks on colour combination and the composition of ornament, based on the personal experience of the author.
Three colours, for the groundwork, ornament and high lights respectively, will, in many cases, be found sufficient for a scheme of decoration. A multitude of colours, worked in great detail on a relatively small surface, confuse the eye and hinder it from grasping the effect of the decoration as a whole. Only special styles of decoration, such as Moorish geometrical patterns, allow of the use of a great variety of colours. The circumstance already explained, that in leather decoration dyes may be used one over the other, enables interesting effects to be produced.
A design of sea, with seaweed and fish, can be effectively rendered entirely with sulphate of iron of varying strength. A weak solution is washed evenly over the whole; the waves are then drawn in with a flat brush dipped in a stronger solution, and the dark outlines afterwards bleached with acid where they border the first tint. The fish and seaweed in relief are similarly treated with decolorant, and a light wash of yellow over the whole completes an effective decoration.
The foliage of the chestnut tree in autumn lends itself exceptionally well to decorative treatment, both as regards form and colour. The large variety of greens and yellows are most effective on a ground of brickdust red.
A groundwork of soft grey, brightened by an underwash of very pale yellow, is suitable for reserved or bleached designs. Deep carmine constitutes a rich colour for groundwork, and is produced by using bright red over potash and deepening the effect by rubbing.
In planning a decoration, the artist has generally some special effect in his mind which he wishes to reproduce. It is not unusual, however, for the result to be totally different from what is anticipated, since uncertainty constitutes one of the charms of the art of colouring leather. These failures, as they may be considered from one point of view, often produce interesting effects and sometimes lead to valuable discoveries.
Marbled leather should be decorated with flat ornament only.
Figures in high relief belong properly to the domain of the sculptor and should be avoided in leather work, much of its individuality lying in the value of the outline in producing an effect of relief.