DEMONSTRATON OF GOLD TOOLING

Tracey Rowledge on 14 September 2002, to the Society of Bookbinders

Tracey Rowledge trained in art at Goldsmith's College and Guildford. She was guided by Ivor Robinson into the freer interpretation of the conventional gold tooling process and the use of different metals.

Historically, gold tooling on books has a certain formality and placement on the cover and spine of books. The use of certain tools and designs helps to put a date on books and their bindings. It is a precise art, depending on the temperature of the tools used to impress the gold into the leather and the skill of the bookbinder in placing it accurately.

Tracey's work is different. She has freed the design to give a relaxed look, often resembling handwriting, in which the gold flows across the cover. The tools she uses are illustrated in Fig.1.

A template is first made of the intended design. The impression is `blinded' into the leather using short lengths of heated brass pallet. The gold leaf is cut into small pieces with a gold knife dusted with Fuller's Earth to reduce friction. The cut leaf is laid on a gold `cushion' also dusted with fuller's earth. Glaire derived from egg white is painted into the impression as an adhesive. When this has dried to a certain consistency, the gold leaf (up to three layers at a time) is picked up on the head of the tool, held by a little vaseline on the sides of its shaft. The tool is place into the impression and this process is repeated at least two more times, using a gentle rocking motion to deposit the gold into the design A variation of swell time, heat and placement produces an impression which reflects light off the gold. Tracey is accustomed to using other metals and different golds so that there is a variation in reflection. She has entirely mastered the art of tooling to a degree where her ability allows her to produce complex designs in a seemingly effortless way.

Tracey has moved a binding skill into an art form through exhibiting her gold-tooled leather panels. (Fig.2).

Consequently, the public, who set out to view an art exhibition, have been drawn into bookbinding from an unexpected direction.

Her work divides into bindings that are the backbone of her business and some commissioned work, which allows her freer rein with her design skills. One of her bindings was commissioned by the Guild in London and presented to the Queen.

Others have had a controversial appraisal by clients only to become accepted and loved by those to whom they have been given.

The Society of Bookbinders enjoyed their day at the BRSLI and extend their thanks to Tracey Rowledge for sharing her knowledge of a fascinating subject.

Donald Lovell