KERAMIC STUDIO 
2^9 
stenciled fabrics may be washed if care is taken and not 
much soap or hot water used, they are particularly well 
suited to use in the country home where of course they 
need it less frequently than in the city. 
Some time ago directions for Fabric Stenciling were 
given in this magazine but for the benefit of those who 
have not learned the methods a few directions may not be 
amiss. After selecting material the design is the next 
point to consider. Here let it be said that the more simple 
TIT 
taCaB 
the design the more effective and easier to apply. Per- 
sons possessing a slight knowledge of drawing can get 
suggestions from flowers, leaves, good wall papers, cre- 
tonnes and so on which with some adaptations may be 
used for a stencil. By a study of the designs accompany- 
ing this article one will see that a flower form has to be 
much conventionalized and that there must be certain 
parts of the design used to hold the other parts together 
so that when the stencil is cut, it will not fall apart. After 
the design is drawn trace it with carbon paper on to stencil 
board. This may be purchased under the name of oil 
board or stencil paper or made at home by coating both 
sides of a heavy manilla paper with boiled linseed oil and 
allowing it to dry thoroughly before using. When the 
design is traced on, place the stencil board on a pane of 
glass and, with the point of a sharp penknife, carefully cut 
through the outline of the design. To give the necessary 
clean cut edge sharpen the knife frequently on an oil stone. 
Allow about an inch margin all around the design. The 
next step is to mix the colors. Tube oil paints thinned 
with turpentine are the most satisfactory, the separate 
colors being mixed in deep saucers or old cups and a small 
flat bristle brush provided for each color. A most conven- 
ient thing to work on is an old drawing board or kitchen 
table to which the work may be securely fastened. Place 
a sheet of blotting paper under the material and pin it 
firmly down with pins or thumb tacks. After the colors 
are mixed try them on a sample of the cloth and it is wise 
to practice on some samples before beginning actual work. 
When ready place the stencil in position and pin it firmly, 
dip the brush in the color and drain off as much paint as 
possible on the side of the dish, then wipe it once or twice 
over a blotter, as the brush must be nearly dry or the colors 
will run under the edge of the stencil and spoil the design. 
Apply the paint through the openings of the stencil by 
holding the brush in a nearly upright position and brush- 
ing it with short quick strikes across that part of the ma- 
terial showing through. At first while the brush is well 
filled with paint one must be very careful to go lightly 
and especially on the smaller openings, but after a few 
strokes it is perfectly safe to work the color well into the 
material and be sure and fill it in completely to the cut 
edge. Carry one color over all the parts of the design for 
which it is intended and repeat for each color till all the 
spaces have been filled, then remove the stencil and place 
it in position for the next repeat. The work must be done 
with care and deliberation as it can not be hurried without 
danger of having the colors run. After some of the work 
has been done it will be easier to know just how much 
color can be applied at one time without spreading. In 
regard to the colors used do not have them too bright, 
the soft subdued tones being always more satisfactory and 
restful to the eye. For general work try to have the foun- 
dation material as light a tone as possible but where dark 
materials are necessary one or too darker shades of the 
same color and a strong contrasting color will give a rich 
effect, but of course a light color will not show on a dark 
background as the turpentine makes the paint transparent. 
If white were used, that would make the colors look painty 
and would simply pile up on the material and not sink in. 
Stenciling should be done with such delicacy that the de- 
sign appears almost as if woven into the material and 
leaves the texture the same as before the paint was applied. 
In illustration No. i the sofa-pillow top was stenciled 
on pongee silk in the natural shade, the decoration was 
carried out in a soft brick red, pale green and dull pur- 
plish blue. 
The dainty little opera bag shown in illustration No. 
2 is made of cream colored Nagasak silk and the decoration 
is in pale blue and green. Naturally the stenciling has to 
be done before the bag is made up. It is completed with 
a cream silk lining and cord to draw it up. 
The stencil in illustration No. 3 was used on a curtain 
of cream colored cheesecloth to form the border just in- 
side a deep hemstitched hem. The design was in two 
tones of grey blue. Illustration No. 4 is suitable for the 
end of a table runner or scarf and could be worked out in 
several color schemes. It is well adapted for a heavy 
crash or linen. 
We are indebted to Messrs Liberty & Co., London, 
England for the delightful scarf in illustration No. 5. The 
original was a soft silk, light coffee in color, and stenciled 
in dull green and black. The background was used in 
the small oval motive in the centre of the stencil, which 
gave the border a better variety of tone. 
