substances, which I have recommended as good marbling colors, the
aggregate state of the body is amorphous and admits of the greatest
divisibility. If such a coloring substance is ground in the finest way
possible, the division of the body is a very great one, but an intimate
union of the particles can never take place because first, the color is
insoluble in water and, second, because the division (diminution) of a
body has its limits. For this reason particles are isolated and lay
loosely alongside of each other.
If a mineral color is mixed with the necessary amount of water and gall
and thrown upon the size the drop expands to a round disc, which upon
close investigation, is found to consist of numberless small dots. When
such coloring stuffs are used, the union of the particles must be
brought about by some glutinous matter. This is unnecessary with lake
colors, where the coloring matter is as heavy as the body to which it is
bound, as all organic substances possess a sufficient quantity of
glutinous matter to form a union of the particles.
The clearest proof of the correctness of my allegations we find in a
mineral color, in which the metallic oxide was precipitated by a semi
organic salt, I mean French blue, which without any substance unites the
particles quite well if the washing of the precipitate after the
blueing, was a perfect one.
The glutinous matter used with mineral colors must be entirely free of
any acids as the smallest particle of acid, which in warm weather is
often formed after long standing causes an isolation of the coloring
matter in such a way, that it will become curdled when thrown upon the
size. The best glutinous matter, that can be used, is dissolved
isinglass or parchment-glue with gum tragacanth. As the first two named
materials are expensive they can be replaced by fine gum arabic free of
acid. Take 4/6 of an ounce of gum tragacanth let it swell in 1 pint of
water and dissolve fully by boiling. In this way we obtain a glutinous
mass, which is mixed by stirring with a thick solution of gum-arabic.
This mixture is used to unite the particles of the body of mineral
colors.
To grind the colors use a very smooth marble slab, a roller and a
palette knife, of wood or horn, as those of steel produce some change
upon red colors.
The colors which are sold in the market are either in the form of
grooved pieces, little cones, or powder. If the color is in pieces or
little cones, it is first ground to powder in a dry state and is then
mixed with a little water and from 10 to 15 drops of ox-gall to a thick
paste. If a mineral color, add a piece of the glutinous matter the size
of a nut, if, on the contrary, we have a lake color, the addition of
water and gall is fully sufficient.
Now commences the grinding. With a muller you continually run in a
circular motion over the color using a moderate pressure of the hands.
After about two or three hours have elapsed the color will have the
requisite fineness which is shown by its greasy, lacquer-lustrous
appearance. During the grinding, move the color from time to time into
the center of the marble with the palette knife and at the same time the
adhering color is removed from the roller.
When the color is ground fine it must be diluted with water in a glass
vessel and is then ready for use. Bottle tightly and keep it in a cool
place, best in the cellar.
For grinding the colors and diluting the same, river or rain water
should be used, of course, proportionately to the quantity of color so
that the latter will not become too thin.
The grinding of a color is done mostly by apprentices as the time of a
journeyman would be too valuable. In most cases this part of the
preparation gives the greatest trouble, since the colors are seldom
gotten to that fineness necessary to marbling. This is easily explained
as the grinding demands practice and a certain perseverance. From the
point of view that time is money, the majority of book-binders concluded
to use ready ground colors and this was profitable to them as they could
buy them better and finer ground and much cheaper. But, even here, we
sometimes find articles, which leave much to be desired, but which, in
most cases, can be used.
For fifteen years I have been carrying on the manufacture of marbling
colors and must always endeavor to keep pace with the progress of the
chemistry of the colors as new products are continually offered for sale
superior to the old in quality and beauty.
To give to the trade an idea of the manufacture of marbling colors I
will briefly describe it.
It is a well known fact that among the great number of colors produced
by a factory, there are always several, which excel by their especially
good quality. I selected, therefore, from among the colors of several
factories, those which were especially excellent and I now control an
assortment, which hardly any single factory is able to supply.
In preparing them 20 pounds are always ground at once. The color is
ground upon a large marble slab with water and gall, to mineral colors
the necessary glutinous matter is added and this is formed to a thick
paste and then ground in the color-mill. The grinding in the mill is
essential to obtain a homogeneous mass and then this paste is ground
twice on a color grinding machine with three porphyry rollers in the
finest possible way.
The color having been diluted is then prepared on a size, which is
gotten up for this purpose and then preserved in stone jugs.
It is easily explainable, that the best results must be obtained with
such a carefully and excellently prepared color, I, therefore recommend
to my fellow marblers, the marbling colors manufactured by me.[A]
[A] The publisher of this book, having accepted the sole agency
for the United States and Canada of these colors, pledges the closest
and most prompt attention to all orders, despatch in delivery and most
reasonable prices.
See price list at the end of this book.
Before using, the color must always be well shaken and there must only
be taken from the bottle enough necessary to one marbling process. The
remaining portion of the color must not be poured back into the bottle,
because if this be repeated several times the whole color would be
spoiled by the gall.
A small quantity of, say from 40 to 50 drops of color, is sufficient for
marbling the edges of even a large number of books, the colors must
always be kept tightly bottled up as they may be spoiled by being
exposed to the air for a longer period.
The Marbling of Book Edges and Paper.
THE MARBLING OF BOOK EDGES AND PAPER.
The Marbling consists, generally speaking in this, that finely ground
fluid colors are thrown in drops by the aid of brushes on a thickly
fluid size contained in a flat trough, that then by the aid of gall,
different marble-like designs are formed, that they are lifted off the
size by immersing the edge of the book and by that are transferred on
this edge.
Before speaking of the different kinds of edges, I will mention
something of the harmony of colors, as in drawn edges the real
harmonious combination of colors is of great influence on their beauty.
The application of color in the art of marbling gives us certainly
extraordinary freedom and a wide range to our fancy, but nevertheless
there are certain principles or laws necessary to make the colors appear
in an effective and beautiful way. Those tones of color which lie
between yellow and reddish yellow are called warm, those between blue
and the middle of reddish blue, cold colors. In the center lies red by
its strength and effectiveness forming the dividing line between the
warm and cold.
To explain the principles of color harmony, the colors are divided into
three groups, first, primary colors, second, secondary, and third,
tertiary.
Primary colors are those which cannot obtain their inherent purity by
any mixture, namely red, yellow, blue, white and black. Secondary are
those which are generated by a combination of two primary colors, for
instance, orange, purple, green and grey. Tertiary, or broken colors,
are those which are obtained by mixing two equally powerful secondary
colors, for instance, brownish red, olive, slate grey, etc.
In the harmony of colors luminosity and intensity play the main parts.
The darkest color must occupy three times as much space as the lightest
and the succession must be kept up in this way always taking into
consideration the luminosity of the colors.
Which colors must now be placed alongside one another to produce a
harmonious effect? The laws for this are founded on the peculiarity of
the power of man's vision. The eye, demands to be satisfied, an accord
of primary colors. Red requires to annihilate one sided irritation the
two primary colors, yellow and blue. The secondary green is obtained by
a combination of yellow and blue, for that reason green is the color
demanded by red to please the eye. But there must be a contrast of
colors, for instance light red and dark green or dark red and light
green must be brought together. The same thing is the case with other
primary colors. The primary color yellow demands the secondary purple,
blue, the secondary orange, the tertiary color olive, the secondary
orange, brownish red and green, brimstone yellow and violet.
The correct treatment of the shadow tone of a given color depends upon
the knowledge of the laws of the annihilation of color effect. As in
nature, a shadow is formed by obstructing the light, so in the technic
of coloring the shadow is obtained by the annihilation of the
light-color. By combination of a primary color with a harmonizing
secondary color of equal strength, we obtain the right shadow tone of
the first color. In this way, by experiments in mixing, the right shadow
tones, which form in a multi-colored edge, the gradual transitions of
primary colors can be easily detected.
THE COMB MARBLE.
THE COMB MARBLE.
(SEE SPECIMEN PLATES.)
The comb or nonpareil marble belongs to those edges which are not so
frequently used, although it is superior in brightness and variety of
colors to other marbles, provided the combination of colors is a correct
one and there are no entire blotches of the same color present. For the
comb-marble in general use, four colors are mostly employed, namely
black, blue, yellow and red. To these white is added, but not as a
color, as it is formed by the stylus in drawing the colors.
For precaution's sake let me here repeat the description of the
preparation of colors: before using them shake well and then pour into
the different small vessels as much of the same as is necessary for one
marbling operation only, then put them away handy for use in the
following order, black, blue, yellow and red. Black is used for shading
all other colors, therefore, it should be thrown on first as the ground
color. As I mentioned before, the colors are to be prepared upon a small
surface of size so that the whole size may not be soiled, as it is
nearly unavoidable during the preparation to prevent several drops from
sinking. Whether the colors are suitable to each other as regards their
expanding power or whether the size is too thick or too thin for
comb-marble is determined in the following manner; draw off the size in
a dish, by a strip of paper, throw on a drop of black, which if size and
color are correctly proportioned must expand to a spot of 4 inches in
diameter. If the drop does not expand in this way the size is either too
thick or more gall must be added to the color. Add from 5 to 10 drops of
gall to the black color and repeat the experiment. If then the color
does not expand to the given diameter take a stylus and draw it in wavy
lines such as used for comb-marble. If the color can be drawn into
beautiful straight lines, without following the stylus, the size
possesses the normal consistency and more gall must be added to the
color, until it reaches the aforementioned diameter, but if the color is
drawn along by the stylus or cannot be easily cut by it, then the size
is too thick and must be carefully diluted with water. If, on the other
hand, the color in drawing with the stylus should run, then the size is
too thin. This can also be easily seen by the extraordinary quivering of
the size. Such a size cannot be used for comb-marble, either you must
add some thick size or you must use it for common marble edges. The
black color is the key to the success of a beautiful edge; the other
colors must be prepared according to the strength of the black.
When the ground color has spread out to the desired dimension, throw on
the black a drop of blue, then yellow on the blue and red on the yellow
which must all expand to a diameter of 1-1/2 inches. Should this not be
the case then several drops of gall are to be added in the order
aforesaid. The three latter colors must be prepared by themselves, and
if, after throwing a drop of blue on the black, the former does not
reach the necessary expansion, gall must be added in drops until this is
achieved, then the yellow is manipulated in the same way.
When all colors are toned in regard to their power of expansion, then
and not before then, can the marbling commence.
With a little experience or practice the whole manipulation is finished
in less time than it takes to describe it.
Pour the size into the trough, take the top of it off with a thin piece
of wood which fits into the trough closely, smooth it over with the wood
so that the surface is free of bubbles, then throw on, by the aid of a
hair brush, the black in the direction of the length of the trough
towards the centre of the size in such a way that the first drop comes
in contact with the rim of the second, the second with that of the
third, the third with the fourth, etc., so that a ribbon from 4 to 5
inches wide is formed. Then throw on the blue in drops at both sides of
the black following the length of the trough, but the joining of the
drops must be avoided. Yellow is thrown on at both rims of the black
just as the blue was but in such a way that each drop of blue has a
yellow centre. Finally red is thrown on the yellow so that each drop of
yellow receives a red centre. By this means we produce a beautiful
combination of colors. Then take a thick knitting needle or a thin
stylus of wood and draw the colors in wavy lines through each other but
so that the stylus will pass the boundary of the black. By doing this
white lines will be produced between the colors, adding at the same
time, the fifth color white which causes the marble to attain a brighter
aspect. If then the comb is drawn across, beautiful scales will be
produced.
The books which have been wetted shortly before with alum water, are now
placed between boards or clamps and are dipped from right to left,
somewhat obliquely, into the trough so that the left end of the book
touches the size first, and then with a firm hand the book is inserted
towards the right until the right end has touched the size. This must be
quickly done to avoid the formation of air bubbles. As soon as the
marble edge is taken off, the superfluous size is carefully removed from
the edge by a moist, soft sponge so as to prohibit moisture from
penetrating too much into the leaves of the book. In this operation
great care must be exercised to prevent the marble edge being rubbed out
or spoiled.
The remainder of the color is to be taken off the size by the aid of
strips of paper and this is done in the following way: one strip is
inserted into the size at the left end of the trough in such a way that
it slightly enters the size, then by the aid of a second strip of paper,
the top of the color is taken off beginning at the right end of the
trough and moving the film to the left till it is brought between the
two strips of paper and can be removed from the trough into a basin
which is kept ready, to receive the waste color. If the colors are
quickly removed in this way, the size itself remains perfectly clean
even though a large number of books be treated.
On good work, the book at first is only cut in front. As soon as the
front edge is marbled and dry the book is backed, and cut at the top and
bottom; both edges are wetted with alum water and again the colors are
thrown upon the size taking care, that the scales of the upper edge run
in the same direction towards the fore-edge as those of the lower one.
In more common bindings, all three sides are cut together and after the
front edge is marbled and the book is rounded and backed, the marbling
of the upper and lower edges is executed without delay.
The rounding of the book must be done before the marbling of the upper
and lower edges, because the comb would become disarranged, if the
rounding were executed afterwards. Remember that always before throwing
on the colors, the top of the size must be taken off by the aid of the
piece of board, as, by evaporation, a film is formed over the surface
which does not permit the expanding of the colors. The quicker the
marbling is executed, so much more beautiful will be the edges.
PEACOCK MARBLE.
PEACOCK MARBLE.
(SEE SPECIMEN PLATES.)
Peacock marble is one of the newest and prettiest of marbles. It has
been much used in recent times for end papers of books, which receive
the same edges and in this connection gives a beautiful effect. The
method of preparation is generally the same as that of the comb-edge,
the difference being this, that, after the colors have been drawn by the
stylus into wavy lines, it is drawn by the aid of a movable comb, (the
preparation of which I shall describe among the tools) in such a way,
that for a distance of 1/2 inch the comb is made wider and again after a
distance of 1/2 inch is made narrower. This is continued until the
entire marble is crossed by this opening and closing comb; of which a
trial is all that is necessary to make it all clear.
THE BOUQUET MARBLE.
THE BOUQUET MARBLE.
(SEE SPECIMEN PLATES.)
There is no doubt that from among the drawn marbles the bouquet marble
is one of the most brilliant, as it can be compared to a number of
buttonieres placed alongside each other, if the combination of colors is
a good one.
In the manufacture of colored paper, the bouquet marble is mostly
produced from two or three browns and one black, and is often used for
lining end papers in fine books.
After the colors have been thrown on, drawn by the stylus and combed in
the ordinary way, a rake-like wooden instrument is moved through the
colors right and left across the whole surface of the size so that in
moving the rake the teeth of the second row trace those of the first row
precisely, and so on until the rake has been moved over the whole
surface from the right end of the trough to the left. A somewhat changed
design is produced by treatment of the colors in the same way leaving
out the marbling comb and spreading the drops of color thrown on only by
the aid of the stylus into very narrow cross-lines and then using the
aforementioned rake as already explained. The rake consists of a piece
of board of hard wood, of about 1 inch less in length, than the width of
the trough, 1-1/4 inches wide and 1/2 inch thick, into which are
inserted two rows of sharply pointed wooden teeth about 1 inch distant
from each other and leaving a space of about 1 inch between the two
rows, in such a way that the teeth of the second row are situated
precisely between the teeth of the first row.
ENTWINED COMB MARBLE.
THE ENTWINED COMB MARBLE.
(SEE SPECIMEN PLATES.)
This comb-marble, produced by drawing the comb back, is a great favorite
on account of its beautiful designs, but is more adapted for thicker
books as on those only can the pattern be seen to full advantage.
The production is entirely the same as that of comb marbles, but the
teeth of the comb must be about 1/2 inch distant from each other and the
comb must be 1/2 inch less in width than the trough so that it can be
moved right and left at will, when the marble is drawn by this comb the
latter is drawn back in such a way that the teeth cross the centre of
the scales.
THE SNAIL MARBLE.
THE SNAIL MARBLE.
(SEE SPECIMEN PLATES.)
The production of this marble is very simple. The colors are thrown on
as for comb-marble and are drawn by the stylus into wavy lines and then,
one by one, by the aid of the stylus, snail forms are produced.
THE GRAY SNAIL MARBLE.
The manner of production is the same as that of the plain gray marble,
with the exception that so much green is added till a desired tone is
obtained. After this ground-color has been thrown on, the marble is
drawn by the aid of the stylus into snails and then taken off.
THE COMMON GREENISH-GRAY SNAIL MARBLE.
To produce this the colors are thrown on in the following order, black,
light-blue (two parts water, one part Oriental blue,) Indian yellow,
pink, light red, gall water, and, finally, the body color, composed of
one part black and two to three parts sprinkling water according as the
demand is for a lighter or darker body color. Throw the colors on the
same as in producing the grey marble, (see marbled edges) and when the
ground color is thrown on draw the marble into snails and take off.
THE DARK BLUE SNAIL MARBLE.
To all the dark marbles, which should have an especially brilliant
effect, and are adapted for light-colored bindings, there is always
added one or two parts of a solution of shellac and ammonia to the body
color, in addition to sprinkling water. To produce this marble take
black, light brown, light blue, (one part Indigo, two parts white,)
lemon yellow, gall water and the body-color, which consists of two parts
Indigo, one part black, from one to two parts sprinkling water and the
same quantity of shellac-ammonia solution. After everything is thrown on
the snails are formed.
THE DARK-RED SNAIL-MARBLE.
This marble has a beautiful effect and is especially adapted for fine
half bindings with light-colored leather backs and corners and end
papers of the same pattern as the edges. To produce this the colors are
thrown on in the following order, black, light red, pink, light gray,
(four parts white, one part black,) gall water and the body color
consisting of two parts of carmine lake, one part of black and two parts
of sprinkling water and shellac-ammonia solution. After throwing on the
ground color the snails are drawn.
THE GRAYISH-GREEN SNAIL-MARBLE.
To produce it the colors are thrown on in the following order, black,
claret red (two parts carmine lake and one part of black well mixed,)
pink (ten parts of white and one part of scarlet red) gall-water which
forms the white veins, and, finally, the body color, which consists of
one part of black, three parts of sprinkling-water and an addition of
green according to what shade of green is desired.
GENERAL REMARKS UPON DRAWN MARBLES.
GENERAL REMARKS UPON DRAWN MARBLES.
All marbles that are drawn by the stylus or knitting-needle are, in
their treatment, more or less similar to the comb-marble, therefore the
way to produce them is similar to that described in the former article
upon comb-marbles.
To produce a pretty coloring, it is unavoidable, to use those four
colors which I have named in the former article on comb-marble.
If it is desired, to use more colors than the four named, greater
perfection in marbling is essential and it takes a perfect practical
marbler to achieve beautiful products with eight colors, but practice
and a zealous heart will even overcome these difficulties. The lustre of
the colors is due to their combination, according to their power of
spreading out and to their harmony.
Wall-paper will frequently show what beautiful and fine effects can be
produced by three, or at the most four colors.
If the colors are separated by white, they develop a greater lustre,
while black employed in the same way is productive of a more sombre
effect.
The separation of colors by white and black is most decidedly more
profitable and effective, than a marble in which the different
variegated colors immediately touch each other. It is therefore
advisable always to take black as the ground-color, white will be
produced without adding any coloring matter whatever by the drawing of
the colors with the stylus.
Black is the ground-color, upon which all the rest, blue, yellow, red
are thrown; it is understood, that they must expand in the proper
proportion, to produce a clear marble.
The lustre of the colors is mainly a result of white and black, which
form, as it were, a frame about the other colors by their own
durability.