Leaves of the Ginko Tree. Fig. 4.
A collection of these variations, if at all complete, would be held even by botanists to be very valuable indeed. Then, what a number of forest trees there are! The common and wych elms, the oak and maple, the two chestnuts, the Spanish and horse—a full-grown leaf of the latter you will find a large order—the beech and hornbeam (note the difference in the margin), the wild cherry, crab, and sloe, the dogwood, the two buckthorns, the service tree, the wayfaring tree, the back of the leaf of which you will find good to begin with. A good instance of the variety in form in the leaves of one plant is the now common wall plant, Veitch’s Virginian creeper, which I have used to decorate a plaque in Fig. 5. The seedling leaves, too, are well worthy of collection—they vary very much from the more adult leaves. I have no need to write more upon this, as, if you make the collection of leaves a hobby, these details will come.
But the use of leaves does not stop here. More than any other part of the plant, leaves are used by the designer for sculptural details, and for decoration in all its branches. But most boys are not designers or skilful draughtsmen, neither have they the time to make drawings or paintings which would give the results so easily obtained by this process. Even excellent artists shrink from giving the amount of details which are secured in these transfers from the objects themselves. Some applications of foliage which can be done from the leaves themselves are given as hints of what is possible. These vary in difficulty, until the results are to be described only as works of art.
Figs. 3 and 4 are applications of leaves to the decoration of occasional tables, which more frequently than not are ebonised.
Fig. 4 is an arrangement of the leaves of the “Ginko,” or Adiantum tree. When the table is ready for the varnish, apply the leaves in the positions marked out beforehand. In the illustration a band of colour is supposed to be previously painted to the shape indicated, and should be some rich olive or russet tone, upon which the leaves are printed in a lighter, say a sage green. A very good scale of colours, adapted for use on black, is used by the Japanese on the trays to be found in almost any house. You may not be able to get “Ginko” leaves, but several of the adiantums have fronds the pinnæ of which could be similarly used. An arrangement of maple leaves in Fig. 3 could be copied for the centre of the table, and similarly treated. By-the-by, should you in placing the leaf make any false marks, these can be easily removed while the colour is wet by wiping off with a cloth, using turpentine or spirit of wine if obstinate.
Photo Mount Decorated With Bramble Leaves. Fig.6.
Fig. 6 is an arrangement of bramble leaves. A very considerable variety of form is usually found on the same plant; this variety has been utilised. Use pale tones of colour, and make out the stalks with a brush afterwards. It will be found useful to roughly indicate the position of the leaves by pencil or chalk after having placed them, and before applying their painted surfaces. It is intended as a decoration to a photographic mount. If the mount is of a dark tea-green colour a very considerable richness of effect can be obtained. The chief difficulty will be the careful adjustment and selection of the leaves.
Fig. 5 is the application of Veitch’s Ampelopsis to a terra-cotta plaque. You will find this more difficult, as the surfaces to which the leaves are applied are not flat, and the material is absorbent to a high degree. First give the plaque a coating of size; this will keep the colour on the surface. Roughly sketch the position of the leaves in pencil; apply colour more copiously to the leaves, and transfer. When dry give a coating of quick-drying varnish. Copal, dissolved in methylated spirits, will prove the most satisfactory. The end of the spray is done all at once. The stems, stalks, and tendrils are put in afterwards by brush work.
Fig. 2 is the most difficult of all. It is an arrangement of hawthorn leaves in different tones of colour, and intended for a title-page or elaborate mount. The leaves can be easily obtained in considerable variety. Roughly mark out the places the leaves should occupy. Some are in front of others; do these first in a paler green. Cut out paper shapes to cover them, and stick them down temporarily after they are dry. Then, in darker and richer tones of colour, transfer the back leaves; when dry remove the covers, and touch up with a brush any deficiencies. Add the stalks, stems, and thorns, and paint in the haws.