Material Required.—It is essential to select for the runner a piece of crash of fine texture and even weave. This is sold under the name of Russian crash and is from 15 to 16 inches wide but varies considerably in quality. It is very difficult to print well upon the coarser grades.
Alternating animal and geometrical design
Blocks used in printing this design
Trying the Colours.—After deciding upon a colour which will harmonize with the general colour scheme of the room in which the table runner is to be used, it is in order to mix the paint and try the block upon a small piece of crash. To prepare the paint, squeeze a small quantity of the true colours chosen upon a sheet of glass and blend thoroughly with the palette knife, thinning with turpentine to the consistency of cream. It is seldom that a colour right from the tube will prove a pleasing one to use. Other colours mixed with it will change its hue and intensity; black or white will alter the value. Tie a little cotton batting up in a small square of cheese cloth or old handkerchief linen, being careful to remove from the raw edges all ravellings that might drop into the paint. Spread out quite thin upon the glass a small portion of the prepared paint and press the pad into it a number of times until it has absorbed all it will. Now charge the block by lightly pounding its surface with the pad. Press the block upon the cloth evenly. Only by repeated experiment will it be possible to determine just the right quantity of paint to mix, its brilliancy of tone, its consistency, how heavily to charge the block, etc. A good print shows the texture of the cloth through it, is even in tone, and has clear-cut edges. If the print looks like a painted spot, or if, when quite dry, you find it has stiffened the cloth, the paint used was too thick or else the block was too heavily charged. Different materials require different treatment. For a thin silk the block should be very lightly charged and lightly though evenly pressed upon the material. In printing upon crash it is necessary to press the block very firmly upon the material; and frequently, to insure getting a sufficiently strong impression, it is advisable to tap the block lightly with a hammer or wooden mallet. If one has a steady hand, the block can easily be lifted at one side to determine just where the extra pressure is needed. The block should be thoroughly rubbed with old cloth after each impression is made and occasionally sand-papered to remove any paint that may adhere to it. The first print made after sand-papering the block is liable to be a little less distinct than the others and should therefore be made upon an extra piece of the material.
Centring the Work.—A good way to plan the placing of the panel design is to run a basting thread across the crash between two of the woven threads. Mark the centre of the runner upon this thread, and, using these guides, print the design, beginning with one of the central units.
Additional Features.—Considerable charm can be added to the pattern by filling some of the spaces with a simple darning or running stitch in some bright colour. The embroidery thread used should be rather fine. It is well to finish the ends of the runner by button-holing with ravellings of the crash. Tiny dots of some colour used in the panel may be embroidered at intervals just above the button-holed edge.
Colours.—The following list of oil colours will be found practical: ivory black, flake white, burnt sienna, light red, crimson lake, chrome yellow, chrome green, permanent blue.