KERAMIC STUDIO 
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Figure 5 Figure 6 
It is advisable, in planning this design for a stencilled 
textile, or any kind for that matter, to keep in mind for 
what the textile is to be used; that is, for a hanging (see 
figure 8) or for a covering (see figure 3) and plan the 
design accordingly. Then too, the quality of the material 
should govern the nature of the design. We would not care 
for a heavy design on light airy material nor would we 
care for a light airy arrangement or color scheme on a heavy 
material — a Russian crash for instance. Working out a 
color scheme with a stencil, as with a wood block, if it has 
not already been done on paper, is a delight. No end of 
variations can be made, from which to choose the best, and 
consequently there is no excuse for not having something 
that is satisfactory, especially if you use for a ground 
fine neutral tones, which so many textiles have, and which 
lend themselves so agreeably to the producing of fine color 
harmonies. 
Stencil paper for the making of a stencil can be had from 
practically any art supply shop or it can be made from 
heavy manila paper which has been given a coat of linseed 
oil. The most professional way to make stencils for all-over 
textile patterns is out of thin sheets of brass. It was the 
writer's privilege several years ago to work and study in 
a studio where they were made in this way on a large 
scale. The results achieved in this studio equalled those 
of European designers, and needless to say, found a ready 
market among discriminating buyers. 
For cutting an ordinary stencil, a stencil knife, a sloyd 
knife or a pocket knife may be used. It is essential that 
it be kept very sharp at all times. If you cut your stencil 
on a piece of glass you will find that you get cleaner cut 
edges. However, before you trace your design on the 
stencil paper, be sure that it will cut properly. Test it by 
cutting it on an ordinary piece of paper first to see if any 
of the "ties" are too weak or fall away entirely. When 
you cut your stencil it is better to cut on the outside of 
the lines of the design; that is, it is better to make the 
design a trifle larger than in the original, for in stencilling 
the openings of the stencil always reproduce somewhat 
smaller. A coat of shellac to the finished stencil will add 
to the life of it. 
There are different ways of applying the stencilled design 
to a textile. The most common way — the way we shall 
use—is to apply the color directly. Dyes, oil paints or wax 
crayons may be used. If one is a teacher in an elementary 
school and has not tried the last it would prove interesting 
to do so. Sometimes, instead of applying the color directly, 
a "resist" paste is used. It is stencilled on, the textile is 
dipped in a vat of color and then the paste is washed out, 
leaving the design the natural color of the textile. This 
method is something akin to Batik, a process which we will 
discuss at some future time. However, this method of using 
a resist paste is too complicated for our present purposes, 
and the manipulation of dyes calls for experience, so we 
will confine ourselves to the use of oil paints which are 
very satisfactory. A drawing board which has been padded 
with several thicknesses of cloth and some blotting paper 
is excellent to work on. Fix your stencils over that part of 
the textile you wish to decorate (with thumb tacks) and 
protect the remaining parts of the fabric with ample cover- 
ing. After making color tests of your oil paints to match 
your scheme, either mix enough paint, with turpentine to 
the consistency of cream, for the whole piece, or make a 
note of the proportions of the different colors used. Use 
a regular stencil brush or a large, round, bristle brush 
and have one for each color, or, if this is not possible, 
stencil in all of one color, wash the brush well and proceed 
to the next color. Hold the brush vertical and pound the 
color well into the textile as evenly as possible, for the 
beauty of your finished piece will depend upon this even- 
ness. Avoid getting the paint on too thick, so that it looks 
"painty" or so that it destroys the texture of the material. 
If you use wax crayons apply them as evenly as possible 
likewise. 
To fix or "set" the color all that is necessary is a good 
hot pressing with a wet cloth on the wrong side of the 
thing stencilled. To "set" wax crayons simply apply a very 
hot iron without the use of a cloth. Do not move the iron 
here as you do in pressing with a cloth on paint. Great 
care should be taken to see that all stray particles of crayon 
have been removed before you apply the iron and also to 
see that the iron is well cleaned with each repeated applica- 
tion. If you are stencilling a chiffon, a silk scarf, a table 
cover or something which in all probability will require 
little or no washing, this fixing of the color is, of course, 
not necessary. It is necessary, however, with the wax 
crayons to insure evenness and permanency of color. 
In dealing with this problem we have taken up one 
phase of stencilling — the making of an all-over design. To 
make a simple border is comparatively a much easier thing 
to do, so that, once you have worked out this problem, you 
will have no difficulty with the others. It hardly seems 
Figure 7 
