62 
KERAMIC STUDIO 
THE LINEN PAGE. 
JETTA EHLERS ------ Page Editor 
i 8 East Kinney Street, Newark, N. J. 
AMONG the wealth of beautiful linens seen recently at 
the various exhibitions were many pieces decorated with 
wood-block printing. Very little of this has been used in the 
past few years and when one considers the simplicity of it and 
the small amount of labor involved it is to wonder why we 
have not turned to it long ago as it answers our purpose so well 
in the working out of simple table things. Only the simplest 
tools are required in the cutting and as linoleum or a prepared 
block has largely superseded the use of wood, the cutting of 
the pattern is not half so difficult as heretofore. 
The most beautiful effects are obtained by the combina- 
tion of embroidery with the printing. For instance the center 
of the floret may be embroidered, the leaves veined with a bit 
of bright color, or baskets and other motifs touched up in like 
manner. The whole effect is very rich and handsome and 
opens up a wide field for those of us who are trying to create 
beauty and keep to the simple life at the same time. Many 
questions have been asked as to the durability of the block 
printing. Any doubts on that score may be set aside for it 
stands repeated laundering and the colors hold for a long time. 
Some people "set" the colors before the first washing by soak- 
ing the piece in fairly strong salt solution for an hour or more. 
The cloth shown in the illustration is part of a set for a luncheon 
service. It is a yard and a quarter square and is made of a 
heavy soft oyster white linen. It is finished with a very narrow 
hem hand sewn. Bands of peach colored linen are appliqued 
to form a border. These are cut five and a half inches wide. 
The inset squares at each corner are the same dimension. This 
provides for the usual turn in of a quarter inch. 
After carefully basting into place they are stitched on the 
machine using peach colors for the top and white for the bottom 
thread. The napkins of the set were cut fifteen inches and the 
applique consists of a square of the peach color in the center. 
The napkin is then folded to bring this square on the top. The 
little basket design with its very simple flowers is printed in 
soft pastel colors. 
The basket is grey with considerable violet. The larger 
flower is grey blue, the one above it a low toned yellow and 
the other a deeper pink than the linen. The leaves are a very 
soft grey green. The colors used are the ordinary tube oil 
paints and the medium is one part Japan dryer to three of 
turpentine. The dryer gives a little more tack to the paint 
and makes a more even print for that reason. The color is 
applied to the block by means of a brush, and to expedite 
matters one for each color where several colors are used. 
Carefully measure just where you wish the print to be 
made and then place the prepared block and give it a firm stroke 
with a mallet or something of the sort. In the instance of the 
cloth illustrated such a humble thing as an old fashioned wooden 
potatoe masher turned the trick. If the paint has been properly 
applied and the right pressure given you should find upon lift- 
ing the block a clean cut impression. The color must be freshly 
applied for each printing. 
The lineoleum blocks may be purchased ready for use but 
if one is unable to get them a piece of heavy lineoleum may be 
glued to a block of wood. Place it bottom side up on the block 
There is another sort of block which I believe is made of a 
composition containing considerable cork. This cuts easily 
but does not make the clean edge that the lineoleum does. 
One can really do a successful block by using a sloyd knife alone 
but the addition of one small slant wood carving tool to cut 
out backgrounds is a great help. 
Make an accurate drawing of your motifs on tracing paper 
and paste it face up upon the block. Then with the sloyd 
knife which is very sharp cut around all the outline and then 
proceed to cut out the background. This will leave your design 
in relief. It is not necessary to cut the background down very 
deeply. In printing lay a piece of soft material over the table 
or drawing board under the piece to be printed. It is a help 
to fasten the work by means of thumb tacks so that it will not 
slip. In applying the color do not use it so wet that it settles 
around the edges of the pattern. A good plan is to have an 
extra piece of linen at hand and to make just the lightest pres- 
sure on it with the block first. This will remove any "puddles" 
and then the print may be made on the other piece with nice 
clean edges using a good firm stroke with the mallet. Several 
tryouts have to be made sometimes before a satisfactory print 
is made. It is better to go about it with extra care than to 
have a sloppy print. 
A very successful table cloth and napkins shown with the 
Newark exhibition consisted of peach colored linen. Upon 
this were applied bands of deep ivory toned linen. The design 
was a small running pattern in soft grey printed upon the peach 
pollen linen just above the hem. The flower form was accen- 
tuated by embroidered dots of the peach color. At the corners 
were round silvered brilliant molds put on by means of snap 
fasteners and supporting tassels made of long narrow button 
molds and coral beads. 
They really were a beautiful added touch of color to the 
cloth even though one "low brow" man talked with considerable 
sarcasm about their being so useful. It can easily be seen that 
very attractive results may be obtained in this way. 
BOX IN SATSUMA (Color Study) 
M. Janie Launt 
TREATMENT developed in enamels. For light spots 
on front wings, eyes and antennae use Orange; on back 
wings Orange Yellow. The dark spots on the front wings of 
the butterfly are Blue Green and Blue, with Blue head. The 
body markings are Blue Green. The body and back wings 
are Grey with a touch of Orange, the border around the edge 
of the box is of the same color. 
