DOI issue:
No. 171 (June, 1907)
DOI article:The coloured stencil drawings of Ludwig Jungnickel
DOI Page / Citation link: https://doi.org/10.11588/diglit.20775#0048
L. Jungnickel's Coloured Stencil Drawings
ground tone. This Jungnickel does by squirting
all over it the colour selected (in a thin state),
using for the purpose a syringe working from
behind a wire screen. Ejected in this way, the
colour falls on the paper in minute particles; the
paper assumes a rough granulated appearance, and
as the particles are never uniform but take various
forms, a considerable variation of pleasing effects
can be produced. When the ground tone has
thoroughly dried the next step is taken. The
cardboard stencil is laid upon the paper and the
syringe again does its work, but always from behind
the wire screen. The particles vary according to
the consistency of the colour used and according
to the distance at which the screen is held. Further
effects are obtained by varying the size of the
syringe, the particles falling on the paper being
larger or smaller according to whether a short
thick one or a long fine one is used. When it is
desired that one tone should blend into another the
second " coating " is put on before the first one
is quite dry. This causes the particles to run
together, and in this manner some beautiful soft
tones may be obtained. For the delicate soft
tones the colour must have more consistency than
for the harder ones.
The difficulties encountered in this process are, of
course, many. It is not every picture that turns out
well; manipulative skill alone is not enough, and
unless Jungnickel feels that his work is really true and
artistic in every sense of the word he does not
show it. Notwithstanding this, the variety of his
stencil plates is considerable. In some—as, for
instance, his studies of flamingoes — there is
a great amount of very intricate work, while in
other cases—as those of his drawings of panthers,
leopards, kittens, etc.—the treatment is com-
paratively broad (the accompanying illustrations
of these animals have been reproduced from large
drawings). He has, however, essayed more complex
pictorial compositions—as witness the landscapes
of which coloured reproductions accompany these
notes, and an effective harvest picture, called The
Mowers, in which five stencil plates were used.
He never, however, attempts to overstep the legiti-
mate boundaries of his peculiar technique—he is
well aware that it has boundaries, and that is an
important thing to know. A. S. L.
COLOURED
26
STENCIL DRAWING
BY LUDWIG JUNGNICKEL
ground tone. This Jungnickel does by squirting
all over it the colour selected (in a thin state),
using for the purpose a syringe working from
behind a wire screen. Ejected in this way, the
colour falls on the paper in minute particles; the
paper assumes a rough granulated appearance, and
as the particles are never uniform but take various
forms, a considerable variation of pleasing effects
can be produced. When the ground tone has
thoroughly dried the next step is taken. The
cardboard stencil is laid upon the paper and the
syringe again does its work, but always from behind
the wire screen. The particles vary according to
the consistency of the colour used and according
to the distance at which the screen is held. Further
effects are obtained by varying the size of the
syringe, the particles falling on the paper being
larger or smaller according to whether a short
thick one or a long fine one is used. When it is
desired that one tone should blend into another the
second " coating " is put on before the first one
is quite dry. This causes the particles to run
together, and in this manner some beautiful soft
tones may be obtained. For the delicate soft
tones the colour must have more consistency than
for the harder ones.
The difficulties encountered in this process are, of
course, many. It is not every picture that turns out
well; manipulative skill alone is not enough, and
unless Jungnickel feels that his work is really true and
artistic in every sense of the word he does not
show it. Notwithstanding this, the variety of his
stencil plates is considerable. In some—as, for
instance, his studies of flamingoes — there is
a great amount of very intricate work, while in
other cases—as those of his drawings of panthers,
leopards, kittens, etc.—the treatment is com-
paratively broad (the accompanying illustrations
of these animals have been reproduced from large
drawings). He has, however, essayed more complex
pictorial compositions—as witness the landscapes
of which coloured reproductions accompany these
notes, and an effective harvest picture, called The
Mowers, in which five stencil plates were used.
He never, however, attempts to overstep the legiti-
mate boundaries of his peculiar technique—he is
well aware that it has boundaries, and that is an
important thing to know. A. S. L.
COLOURED
26
STENCIL DRAWING
BY LUDWIG JUNGNICKEL