146. Panels, Walls, Etc

Panels, Walls, Etc. In Fig. 42 is shown a stencil design, executed with two patterns, one to draw the leaf-work, and the other to form the stems. and tendrils in the darker shade. This ornament is appropriate for the end of a panel, the border lines of which are shown in the cut.

Fig. 43 shows a scheme for the stencil decoration of a pilaster, the ground of the pilaster being painted a dark color, and the stencil work overlaid in a lighter contrasting shade. Three sets of stencils are necessary for this design, one to draw the details of the dado panel, as shown at a; another to form each of the running borders, as seen at b and d, which may be made in one stencil, if the pilaster be not too wide, or repeated in sections if more convenient. The other two stencils are required at c and e, and may each be made in one piece, or divided through the center and applied to each side of the center line.

When stencil work is applied to ceiling decoration, the stencil plates sometimes require to be unusually large or divided into a number of sections. Fig. 44 shows the corner of a ceiling design which may be stenciled in one color on a dark ground, or in two contrasting colors, as shown.

Fig. 45 illustrates the treatment of the side walls and frieze, and the door panels of a simple room, where the stencil and brush are the only tools used, except the straightedge, where ruled lines are required. The frieze design may be executed in a monotint or stenciled, in two or more colors, appropriate to the conventional forms depicted.

For the dining room or library, a unique effect may be produced by the introduction of imitation inlaid work, on the ordinary graining of the door and dado. The method is simple and capable of infinite variations. Figs. 31 and 32 show the corner of a panel so treated, and will, if worked out on the principles laid down, be found a satisfactory addition to the usual decorative work. The door may be grained, preferably in imitation of satinwood for the panels, and with oak stiles, or the whole may be rendered in plain oak, after which the first necessary step is to prepare a stencil.

Fig. 39.

Fig. 40.

147. Cutting Stencils

Cutting Stencils. The parts of the design possessing a scroll formation should be carefully cut with a sharp knife, as shown in Fig. 46, upon a piece of sheet iron or plate glass.

Fig. 41.

Any of the knives shown in Fig. 46 may be used for the work, but the form of blade shown at (a) is the one most frequently employed, particularly for straight-line work. The blade shown at {b) is somewhat stronger at the point, and may be used for either straight or curved work, though when the curves are very small, the blade shown at (c) should be used. This last is also desirable where very acute angles are to be cut out, as it admits of being worked very closely to the desired lines. The stencil plates are cut out of a sheet of cartridge paper prepared by the application of one coat of patent knotting on each side, after the design of the stencil has been drawn.

Fig. 42.