i8o 
RERAMIC STUDIO 
strength to the stencil. Cover both sides of the paper with a 
coating of shellac. The common white or brown shellac 
dissolved in alcohol and ready for use can be purchased at any 
paint shop for about ten cents. This dries readily in about 
half an hour or less, and the stencil is ready for use. Fig. 3 
shows the effect of this stencil. For brushes use a round 
stubby stencil, or a Brights flat bristle oil brush of about one 
inch in width. 
From some flower, plan a unit for one of the following 
problems: A surface pattern, a border, a two or four sided 
symmetrj'. Cut out the shapes. Prepare the stencil. Lay it 
on a piece of white paper, holding it flat, and brush over the 
openings with black water color. Care should be taken to keep 
r.g.v 
WM 
the brush rather dr}^ for if it is too strongly charged the color 
will flow or blot. With a little experience a clear sharp im- 
pression can be made which will show the design in two values. 
Prob. II — Use the same stencil in the two values "Dark" 
on "Middle," according to the value scale (see value scale page 
128, October number) . Lay a wash of grey, corresponding to 
the "Middle" value, over the entire surface of the design. 
When dry place the stencil on the paper and brush in the 
design in the "Dark" value of grey. 
Prob. Ill — Use the same stencil and work as before, but 
change the values to "Low Light" on a "High Light" ground. 
This offers three treatments of the same design and widens 
the experience as to the merits of the results. You will find 
Fig. IV 
that one of the solutions will be better than the other two owing 
to a finer balance of greys. Balance here means unity of all 
parts. If anj^ one shape in the design asserts itself, the design 
is out of balance. Every part must be so adjusted in contour, 
and value to its neighboring parts that a complete impression 
is given at a glance. 
Fig. 4 is a Japanese stencil and shows the excellent work 
done by these people. To secure the delicate lines and forms 
with hardly a visible support, they make their stencils some- 
what different from ours. They employ a firm paper, and cut 
the design through two thicknesses. The two sheets are then 
pasted together after a very fine silken open mesh has been 
placed between them. These silken threads are so fine that 
thej^ do not interfere with the application of the color. The 
Chinese and Japanese use these stencils in hand printed fabrics. 
Fig. 5 shows a border, stencil effect, of the Milk Weed pod. 
Fig. VI 
