e arranged in panels, as
at page 332, or in a border round the edge of the board, and in many
other ways. It may either consist of the title of the book, or some
line or verse from it or connected with it, or may refer to its
history, or to the owner. Anything that gives a personal interest to a
book, such as the arms of the owner, the initials or name of the giver
or receiver of a present, with perhaps the date of the gift, is of
value.

The use of the small fillet makes it possible to employ long,
slightly-curved lines. Gold-tooled lines have in themselves such
great beauty, that designers are often tempted to make them meander
about the cover in a weak and aimless way. As the limitations enforced
by the use of gouges tend to keep the curves strong and small, and as
the use of the small fillet tends to the production of long, weak
curves, students are advised at first to restrict the curved lines in
their patterns to such as can be readily worked with gouges.

[Illustration: FIG. 111.]

It must be remembered that a gouge or fillet line is very thin, and
will look weak if it goes far without support. For this reason
interlaced lines are advocated.

Gouge lines are easier to work, and look better, if a small space is
left where the gouges end. This is especially the case where lines
bearing leaves or flowers branch from the main stem (see fig. 111).

Gouges and fillets need not always be of the same thickness of line,
and two or three sets of different gauges may be kept. A finisher can
always alter the thickness of a gouge with emery paper.

One method of arranging gold-tooled lines is to treat them in design
as if they were wires in tension, and knot and twist them together.
Provided the idea is consistently adhered to throughout, such a
pattern is often very successful.

[Illustration: FIG. 112.]

A simple arrangement of straight lines will be sufficient
ornamentation for most books. Three schemes for such ornamentation are
shown. In fig. 112 the "tie-downs" may be in "blind" and the lines in
gold. The arrangement shown at fig. 113 leaves a panel at the top
which may be utilised for lettering.

[Illustration: FIG. 113.]

[Illustration: FIG. 114.]

[Illustration: FIG. 115.]

[Illustration: FIG. 115.]

DESIGNING FOR BACKS

The decoration of the back of a book is difficult owing to the very
small space usually available in the panels. The first consi