DOI Heft:
Nr. 159 (May 1910)
DOI Artikel:Bone, Herbert A.: Pictorial stencilling: some experiments and results$nElektronische Ressource
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19866#0273
Pictorial Stencilling
utilise the natural antago-
nism of oil and water, and
protect them from the
action of oil-colour by
something soluble in
water. Through a stencil
(cut in tinted paper with
white beneath to show
them up), the lights were
brushed with photo-
graphic mounting paste,
thinned with water and
sparingly applied. Re-
moving the stencil, sur-
rounding tints were then
worked freely over all,
and a wet sponge easily
dissolving the paste with-
out affecting the oil colour
fig. io-lights washed out after tinting Jeft them qujte and
when dry ready to receive
All that remains is to oil and varnish the stencils, their tints through the same plate. The process
like the silhouettes. Thin paper is strengthened answers perfectly on paper (hand made " Not"),
by painting, which also serves to define the colour strained as for water-colour; on unprimed linen
scheme. the discoloured paste is not so easily washed out.
To counteract the hard precision of stencil, I Cold water must be used, as warm brings the size
rely partly on handling, partly on material, out of the paper and with it the colour. The
Shadows should not be brought to a hard edge prints of the Italian lake-boat and the crocodile
all round, but softened towards the light by gentle (Figs. 9, 10, and 11), could not have been other-
beating, and still more, by brushing the tint over wise produced with full capacity for variation of
them before they are dry. For full definition the effect. This method is equally available for con-
action is rather that of lightly scrubbing up to the trasting isolated tints, however antagonistic to
edge, the brush in either case held upright, and their environment, and for varying composition or
fairly dry. Larger tints are lightly and freely laid chiaroscuro, any tint-space being practically con-
with a soft brush, sometimes
twirled as it travels over the —V --Z^-^:-—1
surface; beating with the trun- •Fr:::'J^"""~--il^
cated end requires a sturdier tL^r^~^)^-'—"~~ n^^2S^?^L,
tool. All brushes need occa- \'<(\ J /" *n l\ r/^v
sional trimming with scissors, \\l \ / ? V__\ N K/
to equalize the bristles. For I • | /1 I 1—1 p, L^^VV/i^v^
material, not too fine a web ; a
stout unbleached household
linen gives better results than
a better stuff; for the slight
irregularities and nap raised by
the brush suggest texture and
atmosphere.
In subsequent attempts to ^fc-~^;--ZIir# k----,_________---____........—-4"
stencil other than decorative -jrpf-X^^^-^
subjects I was baffled by the <£-/-''J/'
difficulty of freely representing 'Ks'
isolated lights without opaque FIG i0(z_plan 0f tint shutters with attachments, as employed for
colour, until it struck me to the crocodile stencil
199
utilise the natural antago-
nism of oil and water, and
protect them from the
action of oil-colour by
something soluble in
water. Through a stencil
(cut in tinted paper with
white beneath to show
them up), the lights were
brushed with photo-
graphic mounting paste,
thinned with water and
sparingly applied. Re-
moving the stencil, sur-
rounding tints were then
worked freely over all,
and a wet sponge easily
dissolving the paste with-
out affecting the oil colour
fig. io-lights washed out after tinting Jeft them qujte and
when dry ready to receive
All that remains is to oil and varnish the stencils, their tints through the same plate. The process
like the silhouettes. Thin paper is strengthened answers perfectly on paper (hand made " Not"),
by painting, which also serves to define the colour strained as for water-colour; on unprimed linen
scheme. the discoloured paste is not so easily washed out.
To counteract the hard precision of stencil, I Cold water must be used, as warm brings the size
rely partly on handling, partly on material, out of the paper and with it the colour. The
Shadows should not be brought to a hard edge prints of the Italian lake-boat and the crocodile
all round, but softened towards the light by gentle (Figs. 9, 10, and 11), could not have been other-
beating, and still more, by brushing the tint over wise produced with full capacity for variation of
them before they are dry. For full definition the effect. This method is equally available for con-
action is rather that of lightly scrubbing up to the trasting isolated tints, however antagonistic to
edge, the brush in either case held upright, and their environment, and for varying composition or
fairly dry. Larger tints are lightly and freely laid chiaroscuro, any tint-space being practically con-
with a soft brush, sometimes
twirled as it travels over the —V --Z^-^:-—1
surface; beating with the trun- •Fr:::'J^"""~--il^
cated end requires a sturdier tL^r^~^)^-'—"~~ n^^2S^?^L,
tool. All brushes need occa- \'<(\ J /" *n l\ r/^v
sional trimming with scissors, \\l \ / ? V__\ N K/
to equalize the bristles. For I • | /1 I 1—1 p, L^^VV/i^v^
material, not too fine a web ; a
stout unbleached household
linen gives better results than
a better stuff; for the slight
irregularities and nap raised by
the brush suggest texture and
atmosphere.
In subsequent attempts to ^fc-~^;--ZIir# k----,_________---____........—-4"
stencil other than decorative -jrpf-X^^^-^
subjects I was baffled by the <£-/-''J/'
difficulty of freely representing 'Ks'
isolated lights without opaque FIG i0(z_plan 0f tint shutters with attachments, as employed for
colour, until it struck me to the crocodile stencil
199