STERLING

AND FRANCINE
CLARK
ART INSTITUTE
LIBRARY
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 PREFACE.

Stencilling for decorative purposes has a fascination and a

charm pecuHarly its own and appeals strongly to the craftsman
of artistic temperament. It admits of individuality of treatment
and of endless variety of design suitable in its application to

unpretentious dwelling-houses as well as to stately mansions with

large and lofty rooms ; to spacious business premises with
boardrooms and suites of offices ; to large hotels with splendid

halls for banquets and dances ; to the magnificent buildings of

" Clubland," or the princely saloons of Ocean Liners. It serves

also most admirably for the delicate manipulation necessary to

the chaste requirements in interiors of ecclesiastical edifices.

Stencilling has gained for itself a large place in the

education of every good craftsman and its technique is part

of his stock in trade. The standard work on " Painting and

Decorating " by Walter J. Pearce* gives precise and clear

instructions in regard to the cutting of stencils, the manipulation

of tools and application of Colours, whilst in regard to the

scientific principles of colour work Hurst's " Painter's Colours,

Oils and Varnishes"* is part of every house-decorator's upmake.

The Author's intention in this present work is to supply

Ideas in Stencilling, the outcome of many years' experience

of work upon a variety of buildings in Great Britain and in

France. The success of stencilled ornament depends largely

upon the combination of colourings in the design, and it is

often in this particular that the skilled artisan is deficient.

Effects are not infrequently robbed of their beauty by the use

* Published by Charles Griffin & Co., Ltd.

iv PREFACE.

of colours which offend the eye, and it is to safeguard this

and the consequent disappointment that the author has carefully

elaborated the KEY-PLATE of colourings which form the basis

of this work.
This Key-plate contains FORTY Tints which have been
selected with the utmost care from numerous effects and the
tints are numbered. Many choice designs are included in

the book and numbers indicate the colours to be used in

agreement with the Key-plate, By the application of colours

corresponding with the tints shewn the most charming effects

will be secured. All the combinations of " Colorations " are

the results of the most exacting tests and are submitted with
confidence to craftsmen whose experience in harmonising colours
is limited. They may be quite sure of achieving success.

Other handicraftsmen besides those engaged in house

decorating will find this colour Key-plate and its application of
the greatest service. It will prove useful in the ceramic industry
for oramental pottery and tiles, to glass embossers, bookbinders,
and others who apply the decorative art to fabrics, silk, velvet,

satin, and to paper, as well as to many domestic articles.

The author is gratified that Charles Griffin & Company,

Ltd., who have gained international fame as publishers of
technical books, have added this to their catalogue.

A. DESAINT.

Paris, March, 1927.

 LIST OF PLATES.

1. Key plate, containing forty tints for " coloration."

2. Coloured plate, giving an example of " coloration " (frieze, full size).

3. Same plate, giving a second example of "coloration" (frieze, full size).

4. Same plate as the preceding, but in black and white, showing in

margin how the two coloured designs have been coloured ; all

subsequent designs will bear in margin different devices of suitable

" coloration."

5. Powderings for ceilings and horizontal surfaces.

6. Ornamental corners for halls and smoking-room ceilings.

7. Modern ornamental corners for small panels and ceilings.

8. Classical powderings for billiard-rooms, and modern powderings for

restaurants and dining-rooms.
g. Large corners for dining- and billiard-rooms.

10. Small useful borders for different uses.

1 1 Small borders for halls, passages, and staircases.

12. Friezes for a picture gallery and a staircase ceiling.

13. Classical and modern festoons.

14. Two modern friezes for bath-rooms.

15. Two dining-room borders.
16. Three staircase dado borders.
17. Different suggestions for church decoration.

18. Two mediaeval all-over continuous patterns for church decoration.

19. Suggestions, such as lunettes, columns, and pilasters for church

decoration.

20. Three nursery friezes (children, animals, and birds).

21. Four small panels in different styles.

22. Three ceiling compartments for drawing- and dining-rooms.

23. Two large panels for a hall and gallery.

24. Endings for interjoists, two in Renaissance style and two in modern style.

25. Ornamented binding joists and bridging joists, i6th century.

26. Several useful designs.

VI LIST OF PLATES.

27. Four ornamental corners with breaks.

28. Powderings for different uses.

29. All-over continuous patterns for drawing- and music-rooms.

30. Extending panels.

31. Rosettes and powderings for ceilings.

32. Mural all-over fillings.

33. Staircase dadoes with pilaster for a private mansion.

34. Dadoes for a gallery and summer-house.

35. Wall powderings for a conference-room and a loggia.

36. Modern all-over continuous pattern for staircase walls.

37. Different friezes of birds, animals, and fishes.

38. Classical and modern suggestions for stencilling tiles on walls.

39. Further suggestions for stencilling tiles and borders.

40. Heraldic stencils.
 iaea$ in Stenctllina^

Material for Stencil Plates.— In making stencil plates

for various kinds of work, paper or metal are employed.

Willisden paper is a good paper for large stencils, such as

are often required for churches and public buildings. It is

a patent paper, extra stout, and it is somewhat hard in cutting,

but durable when in use, and repaying the little extra labour

involved in cutting ;
it is made only in one width, 58 inches,
in continuous rolls, and sold at is. 6d. per yard run.
" Whatman " papers are very suitable for stencil making,
but being hand made they are rather expensive. They are
sold in sheets of definite sizes.

Imperial, 30 inches by 22 inches.

Double Elephant, 40 inches by 27 inches.

Tinfoil makes good stencils, but it is more expensive than

paper, it cuts easily with a sharp knife. Tinfoil stencils cannot

be repaired when broken, but they lie flatly on the wall.

Stencils cut out of sheet zinc are useful when the plate is

to be used a certain number of times ; its weight keeps it

steady while in use.

The stencil pattern may be drawn directly upon the paper

out of which the pattern is to be cut. Few artists draw the

design direct on the stencil paper, for rubbing out and altera-
tions weaken the paper ; it may also be drawn upon cartoon
paper and then traced or transferred to the stencil paper, or

again, it may be drawn on thin paper and transferred by the

aid of carbonised or copying paper.
8 STENCILLING.

Preparation of the Paper.—Whatever paper is selected

for the stencil, it should be saturated with linseed oil until it

becomes transparent and allowed to dry throughout ; this

operation gives the paper additional toughness, retains pliancy,

and adds a waterproof quality. When the stencil is cut, the

paper must be finally knotted with two coats of patent shellac
knotting, to prevent it from absorbing the colour.

Stencil Cutting. — Having prepared the paper, the process

of cutting out will be found to demand the greatest care ;

well ground and sharpened knives are necessary (see Figs.

I, 2, 3, 4) ; oil stone should be within reach, for it is quite

useless attempting to work with a blunt knife.
Lay the prepared stencil paper on a large piece of polished

plate glass, and commence cutting out with the point of the
knife, keeping the tip of the forefinger constantly pressed upon
the back of the blade, be careful the plate glass is always
under the paper when the knife is in operation, commence at

the top left-hand corner of the design and be careful not to

cut too far ; do not attempt to cut a stencil by fixing the
paper over the glass plate and moving your own position to

meet the constantly changing direction of the knife. The left

hand must move the stencil in various directions, in sympathy

with the movements of the knife.
Perforations of a circular form are made by the use of
a punch (Fig. 5), punches are made in various sizes (Fig. 6),

gouges are also used for particular shapes. It is not necessary

to strike the punch except for extra thick papers, a firm
pressure of the hand is generally sufficient for the purpose
required, slightly turning the wrist at the same time. For
this operation, a sheet of tin or lead must be substituted for
the plate glass. Punching can also be done on a block of lead,
 ^-^

Fig. I. Fig. 2. Fig. 3. Fig. 4. Fig- 5- Fig- 6.

Fig. 7. Fig. 8.
 STENCILLING.

one inch thick and a few inches square, and in order to

enable the sharp punch to cut out neatly through the paper,
without damaging its own edge ; a single tap with a light

hammer is sufficient.

Ties. —A sufficient number of ties are reserved, that is

bands crossing the openings at intervals and serving to hold

the plate firmly together (Fig. 7), thus preventing various parts

of the design from curling, twisting or tearing. It is afterwards

necessary to go over the work, to fill the blanks left by the
ties, using a camel hair or red sable pencil. This is a rather

difficult operation, because it is almost impossible to get the

same shade when painted by hand as with the same colour
stencilled.

The majority of stencilled work now remains untouched,

that is to say, the design is entirely cut out, and held with
ties of very fine iron or brass wires (Fig. 8) affixed on
different parts of the stencil to keep the intricate details

from being destroyed during the process of stencilling. It

must be understood that iron or brass ties are to be

placed on the side of the stencil furthest from the wall or
surface under treatment i.e., the side of the stencil which
receives the colour. Wire or brass ties are fixed to the

stencil with glue or wax ;

if glue is used it must be
covered up with paper.

The use of Stencil Plates.—The stencil being laid in

its proper place, stencil pins (Figs. 9 and 10) are used to keep

it in correct position while work is proceeding. Pins must not

be placed in conspicuous places, as the small holes made by

them cannot be easily hidden afterwards.
The paint must be mixed fairly thick, and well strained.
10 STENCILLING.

The author recommends the tube colours, for colours not well
ground are never as brilliant as they should be.
Stencils brushes (Figs, ii, 12, and 13) must not be too
small, for if they are so, the work does not go on quickly,

and the colour is apt to work under the stencil.

A good broad brush covers a stencil in half the time as
compared with a small one. However, when using two distinct

colours in the same plate, brushes must not be too large,

otherwise one colour will work into the other.

The stencil brush must be clean and dry to begin with.
In filling the brush, it should be dipped in the colour and
then knocked on the side of the palette once or twice to

distribute the colour evenly over the surface of the brush.

Hold the brush between the thumb and the middle finger of

the right hand, with the first finger resting on the top of the
butt end. It is important to keep the brush quite perpendicular
[i.e., at right angles with the stencil plate). Just dab the
brush over the whole stencil, and when the colour has been
worked out to a certain extent, gently hammer the brush over
the stencil plate ; never rub the paint on as by the ordinary
movement of plain surface painting, it would work the colour
under the stencil and ruin the work ; another cause of colour
working under the stencil is, if, when the brush is freshly

charged with colour, it be used too heavily in one place.

Remember to dab the brush over the whole stencil as

mentioned in the preceding lines.

When stencil plates are used for several colours it is an

advantage to use masks to cover the openings and to prevent
the brush touching the parts where colour is not wanted,
these masks can be easily pinned over the stencil. Sometimes,
in case of small designs, it is easier to keep them in position
with the hand.
Fig. II. Fig.^12. Fig. 13-
 STENCILLING. 1

A minute inspection for omissions is advisable before re-

moving the stencil plate, for it would be hazardous to attempt

to replace the plate over wet paint.

To remove the plate without injury to the work, with the

left hand raise the plate by an unfixed corner, remove the
pins with the right hand, and lift the plate away at the same
time as the last pin is removed, in this way it is possible to

avoid sliding the plate over the wet work.

It is necessary to wipe the back of the stencils occasionally,
and to clean the stencil entirely at times ; otherwise the finer

portions of the stencil will get filled up with colour.

Care of Stencils. — Stencils out of use must be left clean.

To attain this, they are laid flat on a clean sheet of paper and
first cleaned with the stencil brush, using turpentine, then they
are dabbed with a cloth and put away in a drawer between
two sheets of stout paper.

Stencilling in Distemper.—There is no reason why

stencil patterns should not be made in distemper.

Decorating and stencilling in distemper are at first a little

troublesome, for several reasons :

1. Because it is diflficult to estimate the value of the

colours when using. To obviate this, try the tints on paper

and dry them slowly before a fire, so that the final effect

can be estimated.
2. When the stencil plate has become saturated by
gradual absorption of water from the distemper it curls ;

this is called " sagging." This difficulty could be overcome

by using metal stencil plates ; but metal is too heavy to

be pinned to a wall, and it does not accommodate itself

12 STENCILLING.

so well as paper stencil plates to the irregularities of the

walls. Therefore, the stencil plate to be used in distemper

must be cut out of paper well soaked in oil and coated
three or four times with knotting. It would be advisable
for the decorator to have two plates of the same design,

ceasing to use one at the first sign of " sagging," and

cleaning off from the stencil the accumulated distemper,
and placing over it a piece of stout board, weighted by a
book, until it is dry, after which a coat of knotting should
be applied.
3. The tendency of the stencil colour to soften and
mix with the ground colour on which it is applied, and
so to cause it to become " shady " in drying. To obviate
this difficulty, the distemper ground must contain size of
sufficient strength added hot, while the colours y^r stencillijig

should contain a weaker size added cold. This makes the

latter work more freely and with consequently less rapid
absorption.

Never use oil or tube colours over distemper. The oil

would spread out into the size ground and leave unsightly

edges.

Stencilling on Washable Distemper. — In tlie case

of washable distempers upon which designs are to be stencilled,

three or four days must elapse after grounding before stencilling

is commenced.

Stencilling on Ne^v Plaster. — If stencilling on new

plaster is required, leaving as background the natural colour of

the plaster, only earth pigments should be used, in order to

avoid the reaction of the lime in the plaster upon the colours.
 STENCILLING.

Stencilling on Canvas, Velvet, Silk, and other

Textile Fabrics.— Prepared canvas Burlaps, Anaglypta, and
other decorative materials, such as Fabricona, etc., can be
stencilled with pigments in oil ; but for velvets, silks, cloth, or
any other choice textile materials, specially-prepared " textile

stencilling colours " must be procured. These " lay-on " easily,

do not spread under the stencil, or stain the fabric around their
edges. Soft goods, curtains and other draperies, should be
stretched over a flat surface, such as a table top or drawing
board.

Stencilling with Aerograph.—Aerographs or air brushes

are spray diffusers worked by compressed air from machine air

pumps. Spray-work produces a texture much finer than stippl-

ing. Oil paints, distemper, water colours, stains and dyes can
all be used for this process, but in a more diluted condition than
for brush work. Unique effects can be obtained. Colours
can be blended and graded in any medium and on any
surface in a most remarkable way, which can be fully appre-
ciated. One tint is put over another without waiting for the
first to dry, and no washing-up or muddy tints are produced.

Spray work is valuable for wall-paper stencilling, show cards

and for making picture and Christmas cards. It is specially

valuable for decorating all classes of textile fabrics, as it does

not interfere with the texture in any way, this latter never
being warped or the weft closed up as by brush work, and
the pile of velvet is not matted or laid flat.
14 STENCILLING.

COLOURS.
Nothing is more important to the decorator than a keen
appreciation of colours, though in many instances this consider-

ation is set aside, and good work disfigured by an injudicious

arrangement of tints.

The Author cannot undertake to deal exhaustively with the

theory of colour, but for the purpose of this book essential matters
are set out below.
Colours are classed under three heads :—
PRIMARY blue, red, yellow:
;

SECONDARY purple, green, orange :

;

TERTIARY olive, russet, citron.

:

Two of the primaries mixed produce a perfect secondary

colour which harmonizes with the remaining primary.
Thus, blue and yellow form green, which harmonizes with
red ;
yellow and red produce orange, which harmonizes with
blue ; red and blue produce purple which harmonizes with
yellow.

By mixing in pairs the secondary colours obtained from

the primaries, then is produced a third order of colours called
tertiary colours ; thus, if green is mixed with orange they will

form citrine or citron colour ; in mixing orange with purple,

they will form russet ; and if purple is mixed with green, they
will form olive colour.

Thus, citron, russet and olive constitute the third order of

colours, each of which is variously compounded of the three
original or primary colours, as the second order is of two, the
primary order being single and uncompounded ; and lastly by
duly mixing the three orders of colours, black will be produced,
terminating the series in neutrality of colour.
 STENCILLING. 15

By the varied admixture of these colours is produced the

infinity of hues, shades and tints which abound in works of
art.

By a disproportionate mixture of the three colours of either

order or of the whole together we produce the hues usually

called dirty or brown. The browns are a valuable class of
colours of warm hues, there are red and yellow browns, and
browns are of all hues except blue, which is a cold colour
affording a useful class of greys, being the contrast to brown.

Primary colours may be altered by mixing them in varied

proportions, then all hues of colours are produced, when these

hues are diluted with white they form tints^ when they are

toned with black they form different shades of colour.

If a hue contains much white, it is said to be light ; if a
shade contains much black, it is said to be dark.
The metaphorical expressions, warm and cold, are also

applied to colours ; warm colours are red, orange and yellow ;

cold colours are green, blue and violet.

 6

1 STENCILLING.

MIXING TINTS TO THE KEY PLATE«

The colours used for each mixture are indicated in the
order of their proportions ; that is to say, the first colour
mentioned is that of which the most is required and the last

is that of which the smallest quantity is wanted.

When a tint is composed of three or four colours, it follows

that the last enters into it in a less degree than the first, and
the third in a greater degree than the fourth or last.

No. I —White, Chrome-yellow Yellow ochre.

(light).

No. 2 —White, Ultramarine (deep), Veronese green.

No. 3 —White, Raw umber. Chrome-yellow (deep).

No. 4—White, Vermilion, Crimson lake. Yellow ochre.

No. 5 —White, Madder lake (deep). Burnt sienna.

No. 6 — Crimson lake, Vandyke brown, White.

No. 7 —Burnt sienna. Chrome-yellow (orange). White.

No. 8 —White, Chrome-yellow Chrome-green
(light). (light),

Raw umber.
No. 9 —White, Emerald-green, Yellow ochre. Burnt umber.
No. 10 —White, Emerald-green, Chrome-yellow (deep). Raw
umber.
No. II —^White, Chrome-yellow (light). Raw umber.
No. 12 —White, Burnt sienna. Chrome-yellow (light), Veronese
green.

No. 13 —White, Prussian blue, Yellow ochre.

No. 14— Emerald-green, Ivory black. White, Ultramarine (deep).

No. 15 —^White, Ivory black. Chrome-yellow (deep), Burnt sienna.

No. 16 — Burnt sienna. Burnt umber. Chrome-yellow (deep).

White.
 STENCILLING. 17

No. 17 — Chrome-yellow (deep), Vandyke brown, White.

No. 18 —^White, Chrome-yellow (orange). Emerald-green.

No. 19 — Chrome-green Chrome-yellow (orange). White.

(light).

No. 20 — Crimson lake. Yellow ochre, White.

No. 21 —^White, Crimson lake. Yellow ochre.

No. 22 —White, Ivory black. Chrome-yellow (deep).

No. 23 — Cadmium Ivory black. White.

(light),

No. 24 —White, Prussian blue. Crimson lake.

No. 25 —White, Burnt umber, Chrome-yellow (deep).

No. 26 — Raw sienna. White, Ivory black.

No. 27 —Burnt umber, White, Emerald-green, Yellow ochre.

No. 28 —White, Raw umber. Rose madder.

No. 29 — Chrome-green Ivory black. Raw umber. White.

(light).

No. 30 —^White, Chrome-green Chrome-yellow (deep),

(light).

Yellow ochre.
No. 31 —^White, Ivory black. Crimson lake. Yellow ochre.
No. 32 —White, Rose madder. Burnt sienna.

No. 33 —^White, Chrome-yellow Yellow ochre.

(light).

No. 34— Chrome-yellow (deep), Terre verte. White.

No. 35 —White, Red ochre. Chrome-yellow Veronese (light),

green.

No. 36 —White, Chrome-yellow (deep), Chrome-green (light).

No. 37 —White, Prussian blue, Veronese green. Crimson lake.

No. 38 —^White, Chrome-yellow, (orange). Crimson lake, Raw

sienna.

No. 39 —White, Ultramarine (deep). Emerald-green.

No. 40 —Madder lake (deep). White, Burnt umber.

In the following pages are given series of colour combi-

nations in pairs or dyads, in sets of three or triads, in sets of
 8

1 STENCILLING.

four or tetrads. The author has tested in body colours all the
combinations given.
The author does not claim each combination to be a
model of perfection, but all of them can be employed success-

fully in decorative art.

 STENCILLING. 19

DYADS or PAIRS OF COLOURS AFFORDING

AGREEABLE COMBINATIONS.
—Yellow, Violet.
I

2 —Yellow (light),Turquoise.

3 —Yellow, Purple.

4 —Yellow (deep). Ultramarine.

5 — Orange, Blue.

6 — Orange-yellow, Violet.

7 — Orange-yellow, Blue.

8 — Orange, Turquoise.

9 — Orange, Blue-grey.
10 — Scarlet, Blue.

—Vermilion, Turquoise.
1 1

12 — Red, Blue.

13 — Red (deep), Medium grey.

14— Green, Pink.

15 —Brown, Warm green.

6 — Black, Yellow.
1

17 — Red, Blue-green.

18 — Blue-green, Orange-red.

19 — Scarlet, BufF.

20— Crimson, Yellowish-green.

21 — Purple, Greenish-yellow.

22 — Dark green, Orange.

23 — Blue-green, Orange-yellow.

24—Terra cotta. Cream.

25 — Havane, Blue (medium).

20 STENCILLING.

TRIADS OR THREE COLOURS AFFORDING

AGREEABLE COMBINATIONS.
I —Orange, Green, Violet.
2 —Violet, Scarlet, Olive green.
3 —Yellow, Purple, Green.

4— Blue, Yellow, Red.

5 — Sea green, Venetian red, Chamois.

6 — Grey-blue, Lemon, Greenish-gold.

7 — Indigo, Orange-red, Yellow (deep).

8— Ultramarine, Coral, Lemon.

9 — Orange, Light blue. Stone (light).

10 — Blue, Yellow orange, Turquoise.

II — Orange-red, Dark blue-green. Greyish-yellow-green.

12 — Dark blue, Amber, Olive green.

13 — Crimson, Cream, Dark greenish-yellow.

14— Moss green, Pink, Orange (pale).

15 — Dark crimson, Havane, Blue (light).

16 — Green (dark), Violet, Orange-yellow.

17 — Orange, Lavender, Yellowish-green.

18 — Ruby, Green-gold, Blue.

19 — Grey-green, Lemon (deep). Purple.

20 —Black, Orange, Greenish-blue.

 STENCILLING. 21

TETRADS OR FOUR COLOURS AFFORDING

AGREEABLE COMBINATIONS.
1. 6.
Sea green. Umber.
Red. Olive green (warm).
Greenish-vellow T
Indigo.

Dark grey. Grey-blue.

2. 7.
Ultramarine. Violet.

Orange (pale). Gold.

Olive green (dark). Red.
Violet. Blue.

3. 8.
Crimson. Deep brown.
Cream. Lemon yellow.

Pink. Olive green.

Grey-green. Grass green.

4. 9.
Turquoise. Greyish-green.

Venetian red. Stone (light).

Blue-green. Red.
Citrine gold. Bluish-green.

5. 10.
Dark blue. Gold.

Yellow-orange (pale). Blue.

Cream. Deep yellow.

Turquoise. Blue-green.
22 STENCILLING.

11. 13.
Red amber. Orange.
Olive green. Blue-grey.

Violet-purple. Warm white.

Ultramarine. Pea green.

12. 14.
Slate blue. Leaf green.
-

Pompeian red. Orange (pale).

Yellowish-green. Pink (pale).

Pale orange-grey Terra cotta.

15.
Ruby red.

Blue (deep).
Greenish-gold.
Yellowish-green (light).
 STENCILLING. 23

TABLE OF AGREEABLE CONTRASTS.

—Apple green,
I Salmon pink.

—Deep blue,
2 Yellowish-green.

3 — Ultramarine, Dark yellow (greenish),

4 — Indigo, Orange.

5 — Black, Sage green.

6 — Deep crimson, Myrtle green.
—Pompeian red,
7 Grey-green (yellowish)
8 —Maroon, Moss green.
9 —Violet, Amber.
10 — Purple brown, Buff.

1 1—Violet, Bronze green.

12 — Silver grey, Light golden ochre.

13 — Greyish slate-blue, Grey-green (yellowish)

14— Dull orange, Blue-grey.

15 — Deep red, Renaissance grey.

16 — Deep crimson, Yellowish-green
7 — Scarlet, Turquoise.
1

18 — Olive green, Amber (dark).

1
9 —Yellow, Violet.

20 — Fumed oak, Olive green.

21 — Heliotrope, Lemon yellow.

22 — Pearl grey, Golden ochre.

23 — Chocolate, Sage green.
24— Dark green, Drab.

25 — Coral red, Turquoise.

26 — Maroon, Bluish sage-green.

27 — Red, Neutral grey.

24 STENCILLING.

28—White, Pink.

29 — Plum, Spring green.

30 — Blue-green, Grey-brown (neutral).

31 — Slate, Citrine.

32 — Cream, Greens and purples.

33 — Olive, Lavender.

i
A. DESAINT.
(§JdC©y.& &- 'iridic s ia l)tcKeulia^ & y^eoredm^
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10 14 18 22 26 30 34 38

11 15 19 23 27 31 35 39

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