THE CRAFTS 
WOOD CARVING AND PYROGRAPHY. LEATHER AND METAL. BASKETRY, ETC. 
Under the management of Miss Emily Peacock, summer address, 4^'/j Western Ave., Westmount, Motttreal, Can. All inquiries 
in regard to the various Crafts are to be sent to the above address, but will be answered in the magazine under this head. 
THE STENCIL 
Clifton Windsor White 
THE first thing to be considered in a stencil is the design. 
A successful stencil, at least from a decorative stand- 
point, must be pleasing in line, well balanced, and with a good 
disposition of large and small spaces. It must be remembered 
that a design will always appear weaker when applied than it 
does in the cut stencil, and this must be allowed for in the 
drawing. 
Have as few partly detached pieces in your design as pos- 
sible and always make the necessary supports follow the general 
line in your composition, trying to have them, as far as is 
practical, really a part of your design. 
No. 1. Stenciled Chair Back. 
Designs may be varied by relying on the background to 
form the pattern in one portion, and on the cut-out parts in 
another. The stenciled chair back (Fig. l) for example. In 
the central portion of the design the white, which is in reality 
the background, gives the effect of being a pattern on a ground 
of black. 
Some designs are made, with a separate stencil for each 
color (as Fig. 2), which simplifies the execution, but with a 
little extra care excellent results can be obtained with the one 
stencil, using as great a varietv of colors as desired. The 
No. 2. Showing how a separate stencil may be cut for each color. 
heavy stencil paper which is sold by the yard, is the best mater- 
ial to use for this work, although for small designs heavy manilla 
or duplex paper may be used. This paper should be securely 
tacked to a board, and the design traced or drawn upon it. 
As the stencil is easily damaged, it is well to trace and keep 
the original drawing for reference. 
After the design is traced on the paper fill a brush with 
linseed oil, and cover the surface with it, using as little oil as 
possible. When the paper has thoroughly absorbed the oil, 
you may begin the cutting, although the paper is more easil3^ 
cut after oiling, the knife is apt to slip, and great care must be 
exercised. A regular stencil knife is perhaps the best, but any 
good blade that is firmly set in a smooth handle may be em- 
ployed. Keep an oil-stone close at hand with a little oil to 
moisten it with, as the point of the knife needs almost constant 
sharpening. After the stencil is cut and the oil in it has 
dried, cover both sides of the stencil with a smooth coat of 
alcohol shellac, which will make the stencil more durable. 
I'mlr' 1 7/vVmv/.)' W 
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No. 3. Motive for a frieze. 
