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Bookbinding For Amateurs

The Various Tools and Appliances Required and Instructions for Their Effective Use by W.J.E. Crane 1888

Marbling Edges or Paper Part 2


Having, then, all in readiness first skim the surface of the solution lightly all over, and immediately (for, when you begin, you must move quickly till you have all your color on) sprinkle on your colors, beginning with the red, next yellow, thirdly black, then your principal or body colors. Go well and equally all over, taking care that you throw as much color on one part if the surface as another. You then carefully bend the boards if your book level with the edges, and, holding the leaves together, dip the edges in the size. Withdraw it immediately, and shake or blow off as quickly as possible the size adhering to the edge with the color, to prevent its running into the book. The tail is next dipped in a similar manner. Before marbling the fore edge, the boards must be laid back and the edge flattened on the press, holding the leaves firmly together at each end, taking the colors with the same precautions, and replacing the boards immediately after dipping.

It is necessary, previous to throwing on the color for each dipping, to clear the size of all the color left on the surface from the previous one by taking it well off with waste paper.

Small French, or Small Shell, Marble -This pattern (Fig. 91) is produced with precisely the same color as the preceding. It is called in distinction "small brown." But you now require the iron rod alluded to; hold it firmly in your left hand, and, instead of throwing on the colors as before, knock ..

Small French or Small Shell Marble

the handle of your brush, near the stock, against the bar; this causes the color to fall in small spots.

Vein Shell Marble -This pattern has three veins and two French colors, or colors that have been mixed as French that is, with oil in them-the last of which (in this instance purple) is mixed with a little more both of oil and gall than the other, in order to make it flow out over and drive up the other colors.

Blue Stormont Marble -This pattern (Fig. 92), though apparently very simple and easy of execution, is, nevertheless, very difficult to keep in order, in consequence of the speedy evaporation and the chemical changes which are continually taking place among the ingredients with which it is made; it requires great quickness and acute observation on the part of the workman. The same preparation of gum and flea seed is used for this as for the French marble. Mix your red for vein, as usual, with gall and water; the other color must consist of good indigo alone, without which you cannot produce the proper effect. The indigo being ground, as before directed in the instructions for grinding colors, you proceed to mix it with gall, water, and spirits of turpentine, of which last ingredient it will require a considerable proportion: you will find that when sprinkled upon the trough it will immediately fly out and then close up again, and will appear to be in constant motion on the surface of the solution. The effect

Blue Stormont Marble

produced by the spirits of turpentine is to make it break full of little holes, and the acme of this pattern is to get it to look like a fine network. Sometimes it will happen that at first mixing you can do nothing with it, but, after standing a day or two, it will work well; while at other times it will work well immediately. If your holes come too large from excess of turpentine (for they will sometimes come too large from not having enough), add a little more gall and some fresh indigo, putting in a few drops of alum water; but be very careful of this, for if you put in too much you will make the color thick and clotted, in which case you must have recourse to a little of the solution of potash: but it is best, if possible, to do without either of them. This pattern, though old, is still considerably used by stationers.



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