DOI issue:
Nr. 159 (May 1910)
DOI article:Bone, Herbert A.: Pictorial stencilling: some experiments and results$nElektronische Ressource
DOI Page / Citation link:https://doi.org/10.11588/diglit.19866#0267
Pictorial Stencillmg
FIG. 2, ILLUSTRATING COMBINED STENCILLING. IN a, THREE SILHOUETTES OF FIGURES (SHOWN IN BLANK FOR
SAKE OF EXPOSITION) HAVE BEEN SUPERIMPOSED IN REVERSE ORDER, AND THE FIRST PLATE OF LANDSCAPE
WORKED ; IN b, ONE SILHOUETTE HAS BEEN REMOVED AND THE FIGURE STENCILLED OVER THE OTHER TWO
(For continuation of process see next page)
Theoretically, the silhouettes should overlie the
stencils of more distant forms, but in practice the
method just described is more expeditious. In this
frieze they are connected with the margin, by
which their position is registered; but for isolated
forms they may be cut quite out, adjusted by their
matrix-sheet in register and pinned through for
stencilling their surroundings, and when these forms
are stencilled the friction of the brush will efface
the pin-holes from the canvas; and the matrix
forms a stencil for their tint. The system is
expansible and applicable, not only to living forms,
but to flowers, clouds, shipping—anything mobile ;
it multiplies indefinitely the power of repetition
without reiteration, suggesting fresh, even playful
combinations and ideas.
However, there is something to do before this
facility is realized; I describe it prematurely, to
lighten the tale of drudgery and show the end in
view. The first consideration, when several stencils
are to be used together, is Register; the next,
Distribution of details over the several plates.
The first demands utmost precision, the other
calculation and system. To make a number of
stencils in register I form as many sheets of paper,
with one over for the silhouette, into a stack, and
on the uppermost set out the dimensions, marking
a series of points along the margin; these are
pricked vertically through the stack into the table,
and noted identically on every sheet as register-
holes. By ruling a fine cross at each point, the
holes, when enlarged by wear, can be repaired and
accurately re-pricked. The holes in the table
should also be marked or the table covered first
with white paper, in which they can be recognized;
for in pricking fresh holes the grain will often
slightly divert the pins and strain the holes in the
stencil; and, during the cutting, they are in
constant use. A tracing of the design is next laid
down over the marked sheet and similarly pricked,,
the holes being immediately reinforced with
adhesive paper. From this the details are trans-
ferred piecemeal to the several sheets for cutting.
Analysis of design for distribution over the
plates depends upon the subject. For a medley of
costume, variable in colour and generally varied in
repetition, a system which imperceptibly controls
the variation is invaluable; and this I found, again
in a modification of tapestry technique, by reduc-
ing the range of colours into gamines or gamuts,
again combining these according to affinity, and
yet further reducing their number. In this way
almost the whole of the cuttings for these figures
were made in three plates, afterwards painted, for
!93
FIG. 2, ILLUSTRATING COMBINED STENCILLING. IN a, THREE SILHOUETTES OF FIGURES (SHOWN IN BLANK FOR
SAKE OF EXPOSITION) HAVE BEEN SUPERIMPOSED IN REVERSE ORDER, AND THE FIRST PLATE OF LANDSCAPE
WORKED ; IN b, ONE SILHOUETTE HAS BEEN REMOVED AND THE FIGURE STENCILLED OVER THE OTHER TWO
(For continuation of process see next page)
Theoretically, the silhouettes should overlie the
stencils of more distant forms, but in practice the
method just described is more expeditious. In this
frieze they are connected with the margin, by
which their position is registered; but for isolated
forms they may be cut quite out, adjusted by their
matrix-sheet in register and pinned through for
stencilling their surroundings, and when these forms
are stencilled the friction of the brush will efface
the pin-holes from the canvas; and the matrix
forms a stencil for their tint. The system is
expansible and applicable, not only to living forms,
but to flowers, clouds, shipping—anything mobile ;
it multiplies indefinitely the power of repetition
without reiteration, suggesting fresh, even playful
combinations and ideas.
However, there is something to do before this
facility is realized; I describe it prematurely, to
lighten the tale of drudgery and show the end in
view. The first consideration, when several stencils
are to be used together, is Register; the next,
Distribution of details over the several plates.
The first demands utmost precision, the other
calculation and system. To make a number of
stencils in register I form as many sheets of paper,
with one over for the silhouette, into a stack, and
on the uppermost set out the dimensions, marking
a series of points along the margin; these are
pricked vertically through the stack into the table,
and noted identically on every sheet as register-
holes. By ruling a fine cross at each point, the
holes, when enlarged by wear, can be repaired and
accurately re-pricked. The holes in the table
should also be marked or the table covered first
with white paper, in which they can be recognized;
for in pricking fresh holes the grain will often
slightly divert the pins and strain the holes in the
stencil; and, during the cutting, they are in
constant use. A tracing of the design is next laid
down over the marked sheet and similarly pricked,,
the holes being immediately reinforced with
adhesive paper. From this the details are trans-
ferred piecemeal to the several sheets for cutting.
Analysis of design for distribution over the
plates depends upon the subject. For a medley of
costume, variable in colour and generally varied in
repetition, a system which imperceptibly controls
the variation is invaluable; and this I found, again
in a modification of tapestry technique, by reduc-
ing the range of colours into gamines or gamuts,
again combining these according to affinity, and
yet further reducing their number. In this way
almost the whole of the cuttings for these figures
were made in three plates, afterwards painted, for
!93