Ornamental Lettering is often desirable, but it should not overshadow the main design of a book cover or poster. On the other hand, it is advisable to ornament the lettering in order to enrich the pictorial aspect of the design.

Posters may have much ornamental detail, and, as in the case of a book cover, the more gracefully the letters are drawn, the better becomes the general effect of the entire combination.

Simple Human Figures, harmoniously inclined, surrounded by a graceful and ornamental design may be added, usually make a pleasing cover. It is necessary, however, to guard against an extravagant use of ornament, which is a common fault.

Designs for Book Covers should at all times avoid complexity, and the style and quality of the embellishment should not detract from the legibility of the lettering or the prominence of the main figure or scene introduced into the design, for if this occurs the result will be a bewildering confusion.

Heavy Lines – In drawing a poster or book cover, especially in the case of the former, let the lines be heavier than in an ordinary drawing. The drawing, completed, should be held off for inspection at a distance greater than would be usual with an ordinary drawing. Little defects that would appear upon a close view will seem to disappear, whereas much that in an ordinary drawing would not appear complex would, in the latter case, seem blurred and inexpressive.

Simplicity is stronger at a distance; multiplicity of line and detail proportionately weaker.

The comic figures in Figs. 27 and 28 are given importance as a border design simply by being repeated.

The principal requirement in a design for wall-paper or oil cloth is that the edges shall match each other; that is, when the ends and sides are connected the entire design must appear connected and continuous. Therefore, the design must be made so that if it is repeated side by side. and end for end, a continuous, harmonious pattern will be observed.

In the designs shown in Fig. 22 each unit is supposed to be the full width of a strip of wall-paper or oilcloth. They are drawn in conformity with the requirement noted. The height may be greater or less than the width, but the sides and ends must conform to the rule.

A Wall-Paper Design

The casual observer would not be apt to guess that the design in Fig. 24 was based on the dotted line units in A, Fig. 23. placed in their regular order, aided by the oblique, horizontal and vertical lines of the diagram. Yet that is the manner in which the design is made. It will be interesting to see how readily the design B may be copied by resorting to the method of duplicating a drawing as shown in the chapter on Triangulation.

Corners and Borders – In drawing corners and borders, guide lines must be made, especially parallel lines for the borders, so that the design will show evenly and straight, or in proper curves, according to the design used.

Weaving Units – A good method for practice is to make tracings of various simple units of ornamental design, weaving them by repetition into various compositions, and varying the component parts according to the judgment of the student, These tracings should be preserved for future use in other designs.

Interspersing Units – The various geometrical and ornamental figures shown may be broken, or separated, by interspersing flowers or units, such as leaves, or almost any of the conventional forms shown in this and other lessons.

Permit Use of Guide Lines – Among the first exercises in drawing, practically the same principles may be applied that are applicable to the teaching of penmanship. Guide lines should be permitted; that is, simple lines constructed along the horizontal and oblique sides. The exercises indicated at the beginning of each row of figures should be made the subject of a single lesson.

The lines indicated at the right of each row should be added as the pupil advances; for instance, let the pupil draw, say, a hundred straight, oblique lines, until he becomes proficient in their use. Follow with the reverse and duplicated lines in the top row, After that let him draw the simple curves at the left of the second row a great many times before he progresses to the added and duplicated, triplicated and quadrupled curves at the right.

Next let him draw repeatedly the compound curves at the left in the third and fourth rows. before proceeding to the more complex additions at the right.

After the pupil has become proficient with the exercises in Fig 6, let him draw the curves and ornamental devices in Fig 7.

Each of the designs in Fig 8 is enclosed in a rectangle of the same dimensions. There are three sets of horizontal lines, in turn bisected by vertical lines. Three sets of five totally different designs are based on these lines. Let them serve as an exercise by which they are copied as herewith given.

When the pupils have made further progress let them make variations from these, using the same kind of guide lines, but with the endeavor to make new and original designs.

Snow crystals – Fig 9 shows four snow crystals greatly enlarged. They are formed by hexagons, or two equilateral triangles with apexes in opposition. To draw them by means of the latter proceed as in Fig 10. Draw the horizontal line a. Bisect it as at b. Each oblique line in c equals the horizontal line a. Describe another triangle inverted as at d. Then proceed to construct the crystals on the lines of the triangles as shown in Fig 11.

Cut out of cardboard or oil stencil board curved shapes similar to that herewith shown. They are useful in making designs where there is frequent repetition of simple curved lines. The complicated looking design on page 298 is an example of what can be done with a curve such as the one on this page.

Equilibrium and stability, commonplace in their aspect though they may seem, play important parts in the science of ornamental design. Solidity is a principle of art; strength does not exclude elegance.

Duplication of Design – When making a design in which the details are frequently duplicated. Draw each minor detail and then make a tracing with a sharp-pointed soft pencil; redraw the lines on the other side of the tracing paper, and with a stylus or whatever hard substance is used to make the offset rub briskly on the side opposite the last traced design.

To duplicate the design wherever it is to be placed repeat each part of the design as often as necessary to produce the entire plan of ornament.

In making a frame-like design make corner-pieces first and join to whatever border may be selected.

Retracing Necessary – When each “repeat” is to be made frequently, it will be necessary to retrace (over the same lines) several times, because a portion of the graphite, of which the pencil lead is composed, is transferred to the paper beneath at each offset. After three or four offsets, the transfers thus made will become too dim to act as guides. The plan for transferring as described in the chapter on Tracing and Transferring can be used in these exercises.

Aids for Imagination – Draw curves similar to the above and add floral and decorative forms as suggested below, The intention of this exercise is to arouse the inventive faculties of the pupil. These devices may be drawn on the blackboard and the pupils requested to make totally different curves in addition. The curves should be all drawn separately and the decorations added afterward.

Decoration relates to the production of beauty in art, in which the first principle to be considered is symmetry – the equal balance of two halves. The second principle is repetition.

Repetition may be considered as Simple, when the same unit is used repeatedly.

As Alternate, when two units are used alternately.

As Combined, when several units (each one different) are
used.

Simple repetition, Alternate repetition and Combined repetition are seen in Fig. 2. Further complication appears in Fig. 3.

Conventional Design

To conventionalize means to represent by symbol of some exact preconceived outline, rather than by an attempt to duplicate resemblance to a natural object. To conventionalize, for instance, is to produce an ornamental design of such a character that it may be made up of several different integral parts, each of which is copied from some natural object, such as a leaf or flower, but which has been formalized into the typical rather than the correct representation of the original.

Or, to give another instance, it may be a leaf made to conform to some geometrical figure, such as the maple leaf drawn within the confines of a hexagon.

Even in pictorial art, liberties are taken with nature to overcome the limitations of human efforts to make certain visible impressions by pictorial means.

Ornament – In the ornamental designs of the Greeks and the Romans, Repetition and Alternation were the chief resources.

Modern ornamenters added Intersection, which means relieving Repetition and Alternation at intervals with additional forms or group of forms, and then continuing as before.

Complication also has been added. In decorative design, Complication is a term which differs somewhat from the – ordinary meaning. It is here used to distinguish the results produced from the contact, interlacing of the various forms comprising the whole.

Confusion is the term of another element that has a valued place in modern decoration. Confusion, usually the synonym of disorder, when applied to decorative art is used in giving contrast and even harmony to the general composition. The ornamentist in employing Confusion gains the aid of every possible object, whose curves or symmetrical lines appeal to his eye. He will tints group in one design the most incongruous figures, all of which give zest and life to an otherwise purely mechanical design.

Confusion in designing ornament is the artist’s license. The sculptor requires Confusion’s aid, when he fills his pedestals, niches, etc., with ornaments imitated, at random it would almost seem, from the vegetable and animal world.

The stencil patterns 1 to 14 in Fig. 11 should be made double the size shown here. The dotted lines in 1 and 3 indicate that the cutouts are to be made along those lines, and the serrations or notches of the leaves are to be cut afterwards. The dotted circles in 5 and 9 mean that the small spaces are to be erased after the main, spaces have been filled with color.

Nearly all the forms, or parts of them, can be cut out by means of a pair of dividers, The board need not be cut entirely through. The board being brittle, the pieces can be pushed out when the board is partly cut through. The black dots indicate where the point of the dividers is to be placed.

All the designs in Fig. 12 can be formed mainly by the use of the stencils. Then Nos. 1, 2, 3, 4, 5 and 14 in Fig. II correspond with the figures in Fig. 12. The dotted line at the side of No.5 is a guide line, such as should be made whenever a border or other straight line of units of design is intended.

Stenciled medallions are easily made by the following method: Cut the unit stencil A in Fig. 7. B is a pinhole. Divide with guide lines a piece of paper as at C. Fasten the stencil with the pin in the center of C. Repeat the stencil eight times as at D. Make the additions shown in black in D. A pretty effect will be had by using two colors, alternating them. E, F, G, Hand show other unit designs that may be used.

Cut a stencil of half of the Christmas tree and the pot. Stencil one side and then reverse. Use dark green applied evenly. Cut a few stencils for the candles, toys, etc. Use them with the eraser, taking out the indicated spaces. Leave the candles white, but color in various tints the toys, etc., on the tree. The pot should be colored a bright red.

Directions for Cutting Out and Using the Stencil Sectional Alphabet

Outline and then cut out the shaded parts, Leave more space between the characters than in the copies given on next page. Both sides of the stencils may be used, as they are intended for dry stenciling, oiled stencil board is recommended for this purpose since dry colors do not adhere to its surface.

When stenciling a line of lettering, make one guide line in pencil on the paper on which the stencil is to be made. The guide line may be at the top or bottom of the letters.

The letters are formed in the following manner:

A-Stencil No, I use twice, with No, 4 for the cross-bar, Very little space is needed between A and any letter placed next to it.

B-:Stencil No, I with No, 2 used twice. Leave ample space between B and all “crowded” letters.

The “crowded” letters are B, C, D, E, G, H, I, K, M, N, 0, Q, R. S, V, X and Z. Leave less space between B and all other letters when an “open” letter is the next one.

The “open” letters are A, F, J, L, P, V, Wand Y.
C-Stencil NO.3, and No.6; the latter used twice-once as seen in the copy and once reversed.
D-Stencil No. I, and Stencil NO.3 reversed.
E-Stencil No, I, and Stencil NO.4 for top and bottom. Vse No,S for center cross-bar,
F-Same as E, leaving out lower cross-bar.
G-Same as C, with the cross-bar No,S added, using it reversed.
H -Stencil No. I use twice; cross-bar No, 4,
I-Stencil No. I.
J-Stencil NO.4 used vertically, and No.2 turned half around, K-Stencil No, I, and No, 4 used twice, obliquely.
L-Stencils Nos, I and 4.
M-Stencil No, I used twice, and No, 4 used twice, obliquely, N-Stencil No, I used twice, once obliquely,
a-Stencil No, 2 used twice, turned half around,
P-Stencil Nos. I and 2.
Q-Same as C, with stencil NO.7 added,
R-Same as P, adding cross-bar No, 4, used obliquely,
S-Stencil N9. 8 used as seen in copy for the upper part; using other side for the lower part.
T -Stencil No, I for main stem. then use No, 4 or 5, as is seen in
copy, for right half of cross-bar, turning it around for the left half.
V-Stencil No, 2 turned half around for lower part; No, 4 for upperpart.
X-Stencil No, I used twice.
Y -Stencil NO.4 used twice obliquely; NO.5 for lower part.
Z-Vse NO.4 twice and No. I used obliquely.

Fig. 10 contains simple designs which are adaptable for a variety of purposes, such as pastel-stenciling, as, for instance, B, D, E, F, G and 1.

The above-mentioned designs are also suitable for paper cutting.

A, C, F, J, K and L may be adapted for decorative purposes by repetition for borders, etc.

Use of Eraser

Should there, nevertheless, be such conflict, portions that are the cause can be removed with the eraser. In making such erasures one of the advantages of this system of stenciling will be observed. It is almost as easy to take something out as it was to put it in.

If, however, the background design has been put in dark tones, and, for instance, a line of lettering is to be placed over this, the letters, by means of suitable stencils and the eraser, can be made to appear white, or at least light, and outlines added to cause them to stand out well defined and bright against the background.

Lines Should be Added

Stenciling alone is usually unsatisfactory and is only a step in the final design. After the patterns have been stenciled lines should be added. These may be in the form of outlines around each unit, or accented lines on one side of each. Besides these, connecting lines uniting the disconnected parts are often required. In other instances details may be added, harmonizing and contrasting. The veins of the leaves, in some instances, may be shown, stems added, and here and there tendrils may be drawn.

In addition to this, the spaces left blank, because of lack of openings in the stencil, should be filled in. and in doing this the effect of the stenciling should be closely matched.

A disadvantage in the use of the wax crayons is that the markings made by the wax crayon cannot be erased or defects readily remedied.

Cut stencils of half butterflies similar to those indicated in Fig. 5. Use any bright tints and add detail in accordance with Fig. 9 in the chapter on Tracing and Transferring.

Cut a stencil as in Fig. 6. Repeat it as shown in Fig. 10 in the chapter on Tracing and Transferring. The white dart-shaped part, marked A, should be cut as a separate stencil and erased after the larger stencil-transfer has been made.

After making a stencil impression from one side of the stencil it may be reversed and an opposite impression made. This is the manner in which the vase in Fig. 4 was made. The color can be applied in several ways.

(1) By means of powdered crayon taken up on a rag or
“pouncet.”

(2) By means of crayon applied to the rag or “pouncet.”

(3) By means of the crayon applied directly to the paper through interstices or openings in the stencil, and then distributed over the required surface with the rag.

Varying Degrees of Color

The last method is an important one, as it permits of variation and blending of tints and gradations or softening of detail when such are indicated.

Thus, if a leaf is being stenciled, one side may be made lighter than the other, placing blue on one side of the interstice and yellow on the other. Then by gently rubbing with the rag or pouncet (the former is better for this purpose) the result may show a light green running into dark.

Autumn tints are easily produced by this means. In the case of a vase or butterfly beautiful ranges of color can be secured with scarcely any effort.

High Lights Taken Out

High lights can easily be taken out without removing the stencil. Little dabs of very brilliant color can also be added after the blending before removing the stencil.

A hardwood board should be placed under the oilboard when cutting the stencil. For obvious reasons, do not use a desk or table, or even the drawing board for this purpose.

Separating the Parts

Usually it is not necessary to cut quite through the stencil, for the material is rather brittle, and when the design has been cut nearly through a gentle pressure will usually separate the parts. When they cling together a little added cutting will be necessary.

Margins

Enough margin should be left around the designs to prevent the colors from being rubbed beyond the margin. About an inch will suffice.

Where Only Half Stencil Is Needed

If the design to be stenciled is one that can be formed of two or more parts quite alike, though reversed, like a vase or a quarterfoil, only one section need be cut out (see Fig. 4). In the case of a vase, make a stenciled impression from one side of the stencil and then from the other. In the case of the quartrefoil stencil one-quarter; reverse and stencil an adjoining quarter, and so on. This method insures greater accuracy or balance than if the entire design were cut out.

Conformity a Requirement

Stenciling should not be done at random. Each unit should be placed with a definite pur¬pose.

To do this layout on the paper some design to which the units will conform – just as if in laying out a garden you were to mark the spots where trees, shrubs or plants were to be set out.

If, for instance, the design is to consist of a poster with a border, layout the border lines as guides and stencil even with these lines, first, however, placing the corner designs.

Next in order is the background design which should be, usually, low in tone, in order that when human or other figures or lettering is added, the latter will stand out distinctly. The background should never conflict or be confused with the main objects in the design.

Pastel-stencil work is a new and exceedingly fascinating
line of art work invented by the author of this work.

As its name indicates, it is a dry stencil process, easy and cleanly in operation.

For school room work it is better than any other method of stenciling. It is reversible, and by its use the most complex geometric, ornamental and other forms become simple.

One great advantage is that both sides of the stencil can be utilized. Because:
(1) The stencils are self-cleaning.
(2) Pigment never adheres sufficiently to cause smudging.

Blending Colors

In making designs by means of pastel stenciling one is enabled to blend colors and give variation to the lines and tints transferred, making modulations that cannot be obtained by any other stencil process.

Parts May Be Taken Out

By means of this method, with the use of the rubber or similar eraser parts of the design may be taken out, in the case of decorative design, gaining the effect of one ornament placed upon another.

The materials used are these:

A sheet of drawing paper
(or the blackboard).
A sheet of oil stencil board.
A pencil for making the design on the stencil.
A pen knife, of which only the extreme end of the blade
need be sharp.

An assortment of colored chalks or crayon. These must be soft to produce the best results.

The wax crayon can be used to a modified degree.

Rather strange to say, working with wax crayons is accompanied by less “mussing up” of the person using them, whereas the work itself is not so productive of neatness in effect as the use of the soft crayons.

Adapted for the Lower Grades

Work with pastel-stencils is admirably adapted for children in the lowest grades, because by this means the study of form becomes peculiarly interesting instead of tiresome. Teachers are thus enabled to supply their young pupils with the necessary models in colored form at hardly any outlay, either in time or money.

As an example, let the teacher cut stencils in shapes shown in Fig. 1, making copies for the pupils. By making them in various colors, color as well as form can be taught with a minimum of effort and a maximum of interest.

The sauce crayon mentioned in Chapter XXVI is excellent for pastel stenciling where soft gray and white effects are desired.