International studio (46.1912)

8

THE INTERNATIONAL STUDIO

March, 1912

Schools

Any additional information concerning art study and tuition, as well
as circulars and advice, will be cheerfully furnished, free of charge,
by this department. Address School Department, The Inter-
national Studio, 110-114 West Thirty-second Street, New York

The Art Students’ League
OF NEW YORK


ANNOUNCES THE OPENING OF THE TENTH YEAR
OF ITS
Summer School of Landscape Painting

FROM June 1 to November 1, Mr. JOHN CARLSON
will conduct out-of-door classes in Landscape Painting
at Woodstock, Ulster County, New York.
The City Summer School will consist of classes in
Drawing, Painting, Illustration and Composition, under
Mr. EDWARD DUFNER, in the American Fine Arts
Building, 215 West Fifty-seventh Street, from June 3 to
September 21.
Circulars on jApplication
215 West Fifty-seventh Street, New York

HENRI CLASS IN SPAIN
For ARTISTS and STUDENTS
Summer of 1912
INSTRUCTORS: Robert Henri Randall Davey
Membership is necessarily limited. Write now
for full information to
RANDALL DAVEY, 5 West 10th St., New York.

C. F. HAMANN
Instructor in JEWELRY, ENAMELING and
SILVERbMITHING at
PRATT INSTITUTE, BROOKLYN, NEW YORK
Will have a SUMMER SCHOOL, during the months
of JULY and AUGUST, at
LAKE RONKONKOMA, LONG ISLAND
For terms address Mr. Hamann at Pratt Institute

MARTHA’S VINEYARD SCHOOL OF ART
VINEYARD HAVEN, MASSACHUSETTS
ARTHUR R. FREEDLANDER, Instructor EIGHTH SEASON
Classes in Landscape, Marine, Figure Painting and Portraiture
For further information address MR. FREEDLANDER, at 80 West 40th Street, New York

As practically all papers produced in
this country are produced by the machine
and roller process, the practical designer
must work largely within its confinements.
The design which is most successful is the
one which has been laid out with such in-
genuity as to conceal the “repeat” and
make it difficult to perceive, at sight, where
the unit of pattern repeats itself.
In the application of color, each print-
ing requires either a separate roller or
separate block, depending upon whether
the method be machine or hand, and the
economical design, consequently, is the one
which produces the most pleasing effect
with the least number of colors. As stated
before, the method of hand printing, from
wood blocks, allows the colors to dry be-
tween printings, whereas the rollers are all
mounted in the same machine and the
paper passes swiftly beneath these rollers,
receiving a rapid succession of overprint-
ings on colors still wet.
With all the details of the application of
the color to the blocks or rollers the de-

DETAIL OF A WALL-PAPER ROLLER IN
RAISED METAL DRIVEN INTO A


WOOD CORE
signer is not concerned—it lies with him to
lay out a pattern which shall present a
finished appearance combining qualities of
refinement, decorative values, harmony of
line, mass and color and which shall, at the
same time, be carefully studied with an eye
to the requirements of its reproduction
and printing.
The artisan craftsmen who make the
blocks and rollers must, as is evident even
from the accompanying illustrations, be
highly skilled both in the art of carving and
metal working, and also in the accuracy
and exactitude which are essential to their
work, and an exposition, even as brief and
incomplete as this, should serve to show
that qualities of practical craftsmanship
as well as of theoretical design enter into
the making of even the most commercial
wall paper.
The Pen and Brush Club, with rooms at
132 East Nineteenth Street, New York,
commenced a series of “one-woman” ex-
hibits, beginning with the work of Miss
Harriet S. Phillips, which was open from
the 10th of December until Christmas.
Miss Phillips showed several very interest-
ing landscapes in tempera, much of her
work being the result of a painting sojourn
in Belgium and Munich. Her work shows
much of the strength of German training
and German ideals in painting.