This is especially suitable for book covers and end paper designs, or mats, where the pattern does not partake of the nature of a repeat, as it is better to remove the resist while wet.
It is interesting to stencil the open pattern in one or more colors, then apply the resist and give another color to the background.
Most interesting stenciling has been done with two or more stencils. To make these, a stencil should be cut for each color. Use the original design sheet for one color. Transfer other color areas to new sheets. Make all sheets, including the tracing paper, the same size. Before tracing lay sheets and tracing paper together and punch coinciding holes in the upper corners. Keep these holes coincident during the process of tracing. By means of these holes the respective stencils are easily applied so that the color scheme is accurately reproduced.
It must not be overlooked by those who are stenciling that only part of the color applied becomes incorporated into the fiber of the goods. The other part is outside the fiber, adherent to the goods. This adherent color should be removed. It corresponds to the excess color in dyeing, which we take pains to remove by rinsing. The very purpose of the steaming, or other “setting” process, is to incorporate the dye into the fiber. This is never perfectly accomplished. There is always some excess adherent color to be removed.
OLD JAPANESE STENCILS
How often we meet the following experience: A [!-- original location of illustration --] craft worker in decorating a fabric applies color until the eye is pleased, takes little or no pains to incorporate the color into the fiber, and ignores altogether the fact that some of the color is only adherent. Later this adherent color comes off (not out) in the wash. There is then disappointment and complaint against methods, colors, etc., when the real fault is one of workmanship. Adherent color is never dependable.
The Japanese have been the masters of the art of stenciling. The technique and beauty of their designs have not been equalled by any other craftsmen. For centuries these people have been making imprints on fabrics.
The old stencils are more simple and the paper of better quality. These old stencils are always darkened by time.