AMERICAN 
104 
ener ee ae 
An Original Treatment of Tulip, Toning from Old Rose 
to Red Brown, for Halls 
FRG HE work of applying color on a given surface 
‘i by means of a stencil is comparatively easy, 
as this part of the work is merely mechanical, 
requiring practice to acquire deftness in 
handling the stencils. Considerable care is 
necessary to keep the work clean, for the 
constant moving of the stencil is apt to leave spots unless 
great vigilance is exercised. 
There are many ways of doing this kind of work, but it is 
absolutely necessary to adapt the designs to inevitable condi- 
tions common to all practical designs. In planning a stencil 
it must be borne in mind that the design should be broken up 
into small parts; the smaller they are the better; the ‘“‘ties”’ 
Cutting the Stencil with a Sharp 
Penknife 
HOMES (AND GAIR DEINS 
How 
to Make 
Priestman 
Stenciling with Dyes. 
February, 1906 
A Stencil in Greens, Browns and Reds, for a 
Dining-Room or Living-Room 
should never mar the design, for they are an essential part 
of it, and can be brought into the pattern in such a way that 
they do not obtrude themselves at all. The intentional ef- 
facing of the ties should never be done. The frank acceptance 
of the limitations of a stencil print is craftsmanlike and 
makes the stencil more interesting. 
In making designs for stencil treatment it will be found 
that the most successful are those that are simple and con- 
ventional. In the drawing of leaves, for instance, the vein- 
ing will become part of the ornament and the natural form 
of a flower will become more or less conventionalized if treat- 
ed judiciously with reticence and self-restraint, thereby insur- 
ing artistic strength. 
58 a, sf, ,A af, a 
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Vy, \" " ” v 
The Colors can be Poured Back into the Bottles and are 
always Ready for Use 
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