the others of repetitions of simple forms.

[Illustration: FIG. 109 (reduced)]

When the student has become proficient in the arrangement of tools in
combination with lines, a design consisting entirely, or almost
entirely, of lines may be tried. This is more difficult, because the
limitations are not so obvious; but here again the principle of
repetition, and even distribution, should be followed. At fig. 110 is
shown a design almost entirely composed of lines, built up on the same
principle as the centre at fig. 108.

[Illustration: FIG. 110 (reduced)]

The ends of the bands form a very pleasant starting-place for
patterns. At pp. 330, 332-6 are shown ways of utilising this method.
To look right, a pattern must be consistent throughout. The tools and
their arrangement must have about the same amount of convention. Gold
tooling, dealing, as it does, with flat forms in silhouette only,
necessitates very considerable formality in the design of the tools
and of their arrangement on the cover. Modern finishers have become so
skilful, that they are able to produce in gold tooling almost any
design that can be drawn in lines with a pencil, and some truly
marvellous results are obtained by the use of inlays, and specially
cut gouges. As a rule, such patterns simply serve to show the skill of
the finisher, and to make one wonder who could have been foolish
enough to select so limited and laborious a method as gold tooling for
carrying them out.

Generally speaking, successful gold-tooled patterns show evidence of
having been designed with the tools; of being, in fact, mere
arrangements of the tools, and not of having been first designed with
a pencil, and then worked with tools cut to fit the drawing. This does
not of course apply to patterns composed entirely of lines, or to
patterns composed of lines of dots.

If artists wish to design for gold tooling without first mastering the
details, probably the safest way will be for them to design in lines
of gold dots. Some successful patterns carried out in this way were
shown at the Arts and Crafts Exhibition some years ago.

Designs for gold-tooled binding should always be constructed on some
geometrical plan, and whatever pattern there is, symmetrically
distributed over the cover.

If lettering can be introduced, it will be found to be most useful
when arranging a pattern. It gives dignity and purpose to a design,
and is also highly decorative. Lettering may b