Stamping
For gilding the sides and even backs of publishers’ work, or in fact any other where a quantity of gilding is desired at little expense, the stamping-press is brought into requisition, and by means of tools cut for the purpose, called blocks or stamps, the design is impressed on the side. These stamps may be made of very small pieces, and, by having a number of them, the patterns produced may be almost indefinite. The stamps are affixed to an iron or brass plate, called a back or foundation-plate, upon which a piece of stout paper has been glued. Then let the workman mark upon the plate the exact size of the side to be stamped, marking it evenly with the compasses, so as to justify the stamps; then strike the centre, and draw lines upon the paper from the centre, so as to divide it into squares or to any given part, so as to afford freedom for selection in the starting-point of the design. For it must be manifest that if a workman starts all his patterns from the same point, notwithstanding he may have a variety of tools at his disposal, his patterns will exhibit a great deal of uniformity. Let the paper be glued equally over the surface, and proceed to form the pattern by arranging the stamps upon the plate so as to exhibit the design. A great deal of taste can be displayed in the formation of patterns for stamping; but, in consequence of the public generally desiring a mass of gilt gingerbread-work, this branch has been but little cultivated; the prevalent opinion among stampers being that it is no matter what is put upon the side so that it is well covered with gold. Publishers find those books that are the most tawdrily gilt are soonest disposed of; hence, every thing is sacrificed to a gaudy exterior. It is to be hoped that the art will be relieved from this degraded ornamentation. Stampers themselves can do something to purify and correct the public taste by avoiding the unmeaning collections confusedly huddled together, so often seen upon sides. Every remark in regard to style, design, and combination of tools in the hand-finisher’s department applies with equal force to stamp-work; and, although the stamps used in the latter are not so plastic as those in hand-work, still great results will be achieved; for, notwithstanding the superiority of hand-work for artistic expression and permanence, press-work will always maintain a prominent position in the art, producing, as it does, striking results at a trifling expense. After the pattern is formed, take a little paste and touch the under side of each stamp, and place them in exact position. After this is done and the paste has become hard, lay the stamp or pattern thus formed upon the side of the volume, taking care to have the same margin on the front, back, and ends. Then place the board or side upon which the stamp is placed upon the platen or bed of the stamping-press, leaving the volume hanging down in front of the platen, which is then moved to the centre of the upper platen, so that the clamps will touch the plate on both edges at the same moment; then pull the lever so as to put a slight pressure upon the plate in order to keep both it and the side in their proper place; then adjust the guides to the fore-edge and head or left-hand side, and screw them fast; throw back the lever, take out the book; examine and correct any irregularity in the margin of the pattern by moving the guides. When perfectly square, place a soft pasteboard under the stamp, pull down the press, and apply heat. This will set the stamps or harden the paste and glue in a short time, so that they will not fall off in stamping—a great annoyance. Work for stamping does not require so much body or preparation as if it were to be gilt by hand. Morocco can be worked by merely being washed with urine; but it is safer to use a coat of size, or glaire and water mixed in proportions of one of the former to three of the latter. Grained sheep, or, as it is called, imitation-morocco, requires more body to gild well. After the books are ready for laying on, the gold-leaf is cut upon the cushion to the required size, or, if the volume be large and the stamp will cover its superficial extent, the leaf may be lifted from the gold-book by means of a block covered with wadding or cotton lap and laid immediately upon the side. After an oiled rag has been lightly passed over the surface of the leather to cause the gold to adhere until it is put under the press, examine the press to see if sufficiently heated for the purpose. A little experience will soon determine the requisite amount of heat as a general rule. Leather-work does not require as hot a tool for stamping as for hand-work, while cloth or muslin-work requires a short, quick stroke, and the press to be hotter than for leather. In most binderies the stamping-press is heated by introducing steam or gas through tubes perforated for the purpose; though a few still use the heaters, which, after being heated in a furnace, are placed in the holes of the upper platen. After the press is properly heated, throw back the lever; take out the pasteboard from under the stamp; regulate the degree of pressure required for the stamp; then place the side to be stamped upon the bed-plate, holding it firmly against the guides with the left hand, while with the right the lever is quickly drawn to the front. This straightens the toggles and causes a sharp impression of the stamp upon the leather; immediately throw back the lever; take out the side, and rub off with a rag the superfluous gold. Repeat the operation upon the other side, unless the stamp be of an upright design; it will then be necessary to turn the stamp in the press before operating upon the other side. Case-work or covers that are stamped before being put upon the books are done in the same manner, the backs being also stamped before being glued on. The preceding cut of a stamping-press for gilding light work, lettering, &c., is of the most approved construction, while for large, heavy work, either gilt or stamped blind, (embossed, as it is erroneously called,) and for cloth-work generally, the wheel-press is best adapted. It can be worked either by hand or by power. The fly-wheel can be kept revolving while the workman is engaged in feeding the press. The lever is used for light work. It will be perceived that the upper platen of this press, to which the stamp is attached, is stationary, thereby giving great advantages in arranging pipes for heating by gas, and also for carrying off the smoke and unconsumed gas that would otherwise escape into the room. These presses are manufactured by I. Adams & Co., Boston.
A description of the various processes to produce by stamping the rich effects of inlaid work will be found under the head of Illuminated Binding and that of Inlaid Ornaments. For publishers’ work it is a point of economy to have a steel-cutter that will cut out the pattern at one blow. For this kind of work, coloured German paper is used instead of leather for inlaying.
Thin boards are cut out with the aid of steel-cutters and the stamping-press, and affixed to the volumes; and, after they are covered, they are stamped in gold and blind with patterns corresponding with the figure of the cutter. This can only be applied where there are a large number of volumes, although single volumes may be cut out by hand at an increase of expense.
The modernized Gothic design (Plate IX.) is intended for a side-plate, to be worked either in gold or blank. The light floriated design (Plate X.) is calculated to be worked in gold, and is a good illustration of the prevailing treatment of the style for which it has been expressly designed. The pattern upon Plate XI. is intended for press-work, to be blank-stamped. The contrast of light and heavy work producing a fine effect, it is well adapted for a side-stamp, especially for cloth-work.
Plate XII. is a graceful design from a “Hint” of Mr. Leighton’s. It is suited for a side-stamp, to be worked in gold; and with it closes our illustrations of design.
To obviate a difficulty that the young finisher will experience in his first attempts at designing, let him select a good quality of sized paper, cut it to the required size, then fold it carefully into four parts, and draw his pattern boldly upon one of the four corners with a lead-pencil. After that is done, slightly damp the opposite corner, fold the drawn portion so that it comes in contact with the damp surface, and rub it upon the back, so as to transfer the outlines of the drawing. When it appears with sufficient distinctness, trace it carefully over with the pencil, and repeat the process upon the other corners until the pattern is complete. This method insures accuracy and expedition. In working a pattern with gouges or with intersected lines, the same principle is applied, so as to reproduce the pattern precisely alike at the four corners, and to save time. In this case the paper is folded, and one impression of the tool answers for both sides of the pattern.
Let the young finisher but feel a love for his art, make himself familiar with the best specimens, and determine to excel; and eventually his productions will be esteemed, his ability command the best situations, and he will be recognised as an artist.
CUTTING-MACHINES.
For cutting paper, pamphlets, and books “out of boards,” a number of machines have been invented, and are used in many binderies, especially in those where large quantities of “cloth-work” are bound. They have been found to answer for this class of work very well. Some of them operate with sufficient nicety to cut books for case-work that are intended for gilt edges, when they are not to be scraped. For first-class work, cut “in boards,” nothing has been discovered to supersede the old-fashioned mode of cutting with the plough and press.
The above cut of one of these machines, from the manufactory of I. Adams & Co., Boston, will serve to convey a general idea of its appearance; and the names of the makers are a sufficient guarantee of the mechanical perfection of its details.