International studio (33.1907/1908(1908))

Block-Prin ting


block prints

DESIGNED AT PRATT INSTITUTE

B

LOCK-PRINTING
BY MABEL TUKE PRIESTMAN

The interesting craft of block-printing
has held in thrall all those who have
come under the influence of its charm, and ex-
hibitions of arts and crafts societies are enriched by
the beautiful hangings adorned with softly colored
designs applied by means of the block.
As long ago as 1676 the art of block-printing
was practised in London, but it was not until 1764
that it was introduced into Lancashire, the chief
center of such work. In the commercial world
block-printing is still made use of for many beauti-
fut cottons which can only be printed in this way,
and it is always used for making hand-print designs
on wall-paper.
It is only within the last year or two that craft
workers have taken up the development of this
most interesting craft. It was introduced into the
Teachers’ College of New York, and Pratt Institute,
of Brooklyn, by Arthur W. Dow, who, having
made a comprehensive study of the ancient
methods, worked out simple ways of block-printing
for the benefit of his pupils. The work of these
pupils has added no little to the interest of the ex-
hibitions annually held at these schools.
Although the effect is very much the same as
stenciling, it has certain differences, and can be used
when stenciling is not appropriate. Fabrics orna-
mented with block-printing have quite an unusual
appearance, the colors being very soft, and not in
the least dense; in fact, the best wood-block prints
have an iridescent effect, the background ap-
pearing through the color in a most pleasing manner.
Geometrical designs seem most appropriate for
the use of block-prints, and great care and nicety
are required in the placing of the block so as to
insure great accuracy of detail.
In looking at the illustration of the cottons pasted

onto cardboard it will be noticed how geometrical
most of the designs are and how much more suited
to the use of the block than they would be to a
stencil.
The rabbit design shows very clearly the texture
of the material through the color, the rabbit being
done in terra-cotta on apricot linen. The top and
bottom designs of the middle group could just as
well have been done by a stencil and have the
appearance of one, rather than a block-print, but
the other designs could only have been done by
means of a block-print. Delicate fine lines can
always be added by means of a stencil, although in
the commercial world, when the lines are too fine
to admit of being cut in wood, they are made by
means of small pieces of copper, which are very
ingeniously driven into the block, and the inter-
stices filled up with felt.
Craft workers have to make separate blocks for
each color, but in places where calico prints are
made a box is used, called a “toby,” which is
divided into several compartments filled with
various colors. These are connected through tubes
with a bottle filled with the same color; by means of
a gentle pressure the coloring fluid in each of the
compartments of the “toby” is propelled through
the felted cloth which covers each compartment.
The block being pressed against the cloth takes
the color which is to be conveyed to the white
calico by the block-printer.
To enhance the effectiveness of- block-printing
for draperies a few horizontal lines of coarse darning
give a most pleasing and unique effect. Another
way of adding interest to block-printing is to stencil
a broad band of black entirely around the design.
This is suggestive of leaded glass, and is most
effective for broad surfaces of color, when a portiere
or long curtains are to be evolved. In household
linen the addition of embroidery on the printed
design gives a touch of refinement that is most

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