October, 1908 



AMERICAN HOMES AND GARDENS 



413 



until the felt is saturated. It must not be too wet. Try it 

 by turning it upside down. It must retain the color without 

 dripping. If there is too much color place the pad on blot- 

 ting paper. 



If dye is preferred, the directions must be carefully fol- 

 lowed and the necessary fixant used, either dextrine or gum 

 tragacanth, instead of mucilage. Either the powdered dye 

 or the moist sold in tubes may be used, diluted with hot 

 water. Dyes are only permanent when all the directions are 

 followed. When a fabric has been printed with dyes, a damp 

 cloth must be laid over it and pressed with a hot iron. The 

 heat and the fixant are what make the dyes fast, and when 

 done the materials can be washed without the design fading 

 or running. 



Having now got all in readiness the fascinating part of 

 printing is the next process. At first the block is too new to 

 take up the color, so it must 

 be laid face downward on 

 the pad and wiped off a num- 

 ber of times with a cloth, 

 until the pores are filled. 

 Stretch the fabric on the 

 table and hold in place with 

 thumb tacks. Then take the 

 pad in the right hand and 

 place the carved side in the 

 color. Examine it when 

 lifted, and if a fine even color 

 is all over the surface, press 

 the block firmly and quicklv 

 on the fabric. If a fine cloth 

 is being ornamented an ordi- 

 nary pressure will make a 

 good impression, but if the 

 material is of coarse texture, 

 like Russian crash, or canvas, 

 the block must be hammered 

 with a mallet. Strike fairly 

 in the center of the block, to 

 insure the print being even, 

 not dark at one end and light 

 at the other. It takes a little 

 nerve at first to print, as, of 

 course, the block can not be 

 moved when it has once 

 touched the fabric. 



Printing by a block does 

 not make as dense an impression as a stencil ; it has a porous 

 appearance, allowing the texture of the material to be seen 

 through the color. This is what appeals to the artist so 

 strongly in fabrics ornamented in this way. The samples of 

 printed mummy cloth pasted on to cardboard show this effect. 



There is a long list to choose from of suitable fabrics. 

 Linens of all kinds are excellent, and especially hand-made 

 Russian crash. A visit to the kitchen linen counter in any 

 large store will reveal all kinds of inexpensive linens, in 

 gray or tan color, many of which are excellent for the pur- 

 pose of block printing. When dark materials are needed for 

 portieres, denims, art tickings, and domestic monk's cloth 

 are all suitable. A very beautiful portiere for a studio was 

 made from tobacco brown denim, ornamented with a square 

 rose in copper. The imported Arras cloth, which can be 



obtained in such a wide range of colors, comes in admirably 

 for portieres. Cheap materials like mummy cloth and cotton 

 crepe lend themselves admirably to block printing. 



One of our illustrations shows a hanging of crepe cloth. 

 The design is the color of the background, the print forming 

 the relief for throwing up the pattern. 



Another illustration shows two dark hangings of green 

 with the design standing out in relief and with a darker print 

 than the background curtains; for an artist's room they leave 

 nothing to be desired. They are suggestive of pattern only, 

 and make one realize why block printing appeals so strongly 

 to all art lovers. 



Crinkled silk is also a favorite fabric. Another illustration 

 shows a brown design on copper silk. 



The group of block printed linens arranged on a table are 

 full of suggestion. The large table-cover or bedspread is of 



Blocks of Various Designs 



fifty-inch linen canvas of natural linen color. The design 

 comes out strong and bold, and must have been well ham- 

 mered in. The tablecloth in the center has finishing touches 

 of darning. This is particularly attractive for tray cloths 

 and table-covers, and adds a touch of refinement so necessary 

 for all table linen. 



Velvets, especially the imported art velvets with a cotton 

 back, are most beautiful when ornamented with block print- 

 ing, and can be made into glorious sofa pillows. The out- 

 line may be emphasized with embroidery stitch in silk, adding 

 to the richness of the pillow. 



Another innovation is to have an outline made by the 

 pyrographic pen. This broad line of dark brown is sugges- 

 tive of lead lines, and often can be used with excellent effect 

 for dark fabrics, especially if they lack character. 



