Table Of ContentnORIN COUNTY FREE LIBRAR
A
Complete
Guide to
Traditional and
Contemporary
'Designs for
Home
the
JANE GAUSS
' "TH THE ARTISTS AND DESIGNERS OF
kE Stencil Artisans League, Inc.
iiWr?3 200
C*VICCENTER
3 11' 102/ 5388
1
STENCILING TECHNIQUES
^
STENCILING
TECHNIQUES
A Complete Guide to
Traditional and Contemporary
Designs for the Home
JANE GAUSS
WITH THE ARTISTS AND DESIGNERS OF
THE Stencil Artisans League, Inc.
Watson-Guptill Publications/New York
—
Dedication
—
Thisbook is dedicated with love to Adele Bishop an artist ofgenuine beauty,
grace, warmth, and style. Adele first introduced me to professional stencilingat
a three-dayseminarwhere I learned how to develop mypassion forstencilinginto
a full-time career. Shesubsequentlybecame my mentorand teacherduringa two-
year MasterTeachertrainingprogram. Wheni began to teach national seminars,
I saw firsthand how hertechniques and creativity affected so many lives.
In 1986, Adele graciously accepted my request to be SALI's guest ofhonorat
our first national convention in Arlington, Virginia. She offered the assembly
encouragingwords, expressingherpride in the direction the League had chosen
to pursue and challengingusnevertolose sightofexcellence earned through hard
work, education, and dedication. Her influence and support have helped SALl
become the intemationall)' recognized decorative arts organization thatit is today
SeniorEditor: Candace Raney
Edited byJoyAquilino
Designed byAreta Buk
Graphic production by HectorCampbell
Photoon page 1: Quilts designed and stenciled byJudith BarkerandJulia Hierl Burmesch
forAmericanTraditional.
Photoon pages2-3: Designed byJane Gaussfor Plaid Enterprises. From The Complete
BookofWallStencilingbyJaneGauss, copyright© 1984 by Plaid Enterprises. Courtesy
of Plaid Enterprises. Inc.
The images as noted on pages2-3. 11. 24-25. 46. 47. 49. 51. and70-71 copyright©by
Plaid Enterprises. Inc.. P.O. Box760, Norcross. Georgia30091-7600. Used with express
permission. All rights reserved. Plaid Enterpnses manufactures acomplete lineofstencils,
stencil paints, and instructional books underthe brand name Stencil Decor'.
On page 63: The latticewall borderbySandra Buckingham originallyappeared in
Stencilling:A Harrowsmith Guideby Sandra Buckingham (North York, Ontario, and Buffalo,
NewYork: Camden House Publishing. 1989).
Copyright© 1995 byJane Gauss
Firstpublished in 1995 byWatson-Guptill Publications,
adivision ofBPI Communications, Inc.,
1515 Broadway, NewYork, N.Y. 10036
LibraryofCongressCataloging-in-Publication Data
Gauss. Jane.
Stencilingtechniques: acomplete guidetotraditional and
contemporarydesignsforthe home/Jane Gauss,
p. cm.
Includesbibliographical referencesand index.
ISBN 0-8230-4992-2
—
1. Stencil work Amateurs' manuals. 2. Interiordecoration
Amateurs' manuals. I. Title.
TT270.G38 1995
745.7'3—Clc20 95-24583
CIP
All rights reserved. No partofthis publication may be reproduced orused in anyform orby
—
anymeans graphic, electronic, ormechanical, including photocopying, recording, taping,
—
orinformation storage and retrieval systems withoutwritten permission ofthe publisher.
Manufactured in Hong Kong
Firstprinting. 1995
1 2 3 4 5 6 7 8 9/03 02 01 00 99 98 97 96 95
PREFACE
My reasons forwritingStenciling Techniques:A Complete God's gift to each ofus, and what we do with those talents
Guide to Traditional and Contcmpoiaiy Designsforthe Home and the ways in which we touch others' lives are ourgifts to
are very simple: To share ihe joy ihal slencilinghas brought Ciod. 1 hope that you'll share what you learn from this book
me, and to proclaim ihc successes ol the many gilied by expressingyour own personal style through slenciling.
stencilers ofthe Stencil Artisans League, Inc.
What you learn from this book will be determined by Ac:knowli:dgmi:nts
your Slencilingskills and experience. Regardless ofyour Stenciling Techniques would not exist without the
Icx'cl ofexpertise, Stenciling Techniques will inspire you contributions ofthe many gifted artists and designers of
and challenge you to grow creatively For the first-time the Stencil Artisans League. I am indebted to the members
stenciler, its a complete how-to guide. For someone who ofthe League lor ihcir coniribulions and support, and
has dabbled in stenciling but isn't sure they want to pursue hope that this book will be the lirst ol many to celebrate
it wholeheartedly, this book is a testament to the benefits stencilingand those who strive to maintain the standards
oflearning more about stenciling and developing a ofexcellence that we all enjoy today.
personal style. For the prolessional designer, stenciler, and A special thank you to the members ofmy staffat
decorative painter, it serves as a relerence for prospective Stencilers Emporium, who sandwiched in the tasks that
clients, presenting a muliilude ol designs, styles, and helped create this book, and especially for shouldering
surfaces that lend themselves to stenciling. Through the the additional weight ofmy responsibilities so that could
1
work ofits contributors, this book proves without a doubt spend time away from the office. Special thanks to Claire
that there's more than one way to stencil. The technic[ucs Andorka, an English major at Hiram College, ior her very
shown herein can serve as a starting point or can be meticulous assistance at the computer; to Nancy Forester,
incorporated into your own style. who helped with the photography and managed the
Above all, Fve written Stenciling Techniques so that you ofiice so that I could have lime away to write; and toJoy
could experience the same delight in stenciling that each Aquilino for her editing, and the Imal push to make all of
SALI memberexperiences and shares. Our talents are this come together.
CONTENTS
Introduction 8
'
MATERIALS AND TOOLS h
Stenciling Supplies 16
Designing and Cutting Your Owtl Stencils 20
Adapting a Stencil from an Existing Design 23
BASIC TECHNIQUES
24
Stenciling with Liquid Paints 26
Applying Liquid Pamt with a Stencil Roller 28
Stenciling with Solid Paints 30
Stencil Print Sampler 32
Avoiding and Correcting Mistakes 34
Creating Dimension with Color and Value 35
Stacking 36
Freeform and Freehand Stenciling 37
Block Printing 39
STENCILED INTERIORS
44
Planning a Room 46
Preparing Walls for Stenciling 48
Measuring and Lapng Out Borders 49
Accent Borders 52
Border Styles 54
Stenciling a Ceiling 60
Ceiling Gallery 62
The Stenciled Environment 64
Stenciled Floors 68
OTHER STENCILING PROJECTS
70
Wood Furniture 72
Fabrics 78
Stenciled Quilts 82
Canvas Floorcloths 84
Ceramic Tile 88
Accessories 93
Paper and Canvas Prints 96
Embossed and Pierced Paper 97
Stenciling Outdoors 99
Exterior Accessories 103
ADVANCED TECHNIQUES
104
Stenciling with Airbrush 106
Theorem Stenciling 108
Creating Volume with Shadows 111
Trompe rOeil 114
Imaginary Vistas 116
Creating a Fantasy 119
Special Effects 122
STARTING YOUR OWN BUSINESS
124
Becoming a Professional Stenciler 126
WORKING WITH PATTERNS
128
Contributors 136
Retailers, Wholesalers, and Manufacturers 139
Index 144
INTRODUCTION
What Is Stenciling? Itinerant artist is Rufus Porter, an associate ofEaton's who
Stenciling is the process ofapplying paint or powdered specialized in freehand paintingsand murals. His style is
pigment into the cut-out areas ofa material that is currently enjoyinga revival, as contemporary trompe Toeil
impervious to paint. It hasbeen identified as the most artists create wall muralsbased on his designs. (See also
primitive form ofprinting, and as such hasbeen used by 'Stenciled Floors," pages 68-69.)
cultures datingback to the ancient Egyptians (around Unfortunately, much ofthe stenciling from thisperiod
2500 B.C.) Like so manyart forms, stencilingseems to have has been lost, ashomes were remodeled, torn down, or
appeared without a distinct point oforigin. It was often destroyedbytime and neglect. Thanks toJanetWaring,who
used as a means to print or decorate a variety ofsurfaces, began her research in 1924, there is an extensive record of
and then abandoned as other techniques were developed. the decorative art ofthat era. She traveled throughout New
Cloth, heavy paper, waxed papers, and even delicately England, tracingstencil patterns that adorned walls, floors,
woven human hairswere used as the first stencils. and furniture. While visitingthe Eaton family homestead,
The word "stenciling" evolved during the Middle Ages she discovered Moses Eaton's stencil box in the attic. The
in France, from the French estenceler ("to sparkle") and the seventy-eight stencils she found comprised approximately
Latin scintilla ("to spark"). It was the French who first used forty complete designs. There were no registration marks
stencils to add glisteningdecorations to their wallpapers, on these stencils, as Eaton had a keen eye for placement as
books, fabrics, and playing cards. In Europe during the late well as forcolor and design relationships.
16th and 17th centuries, stencilingappeared m the homes Janet Waring's book. EarlyAmciican Wall Stencils, was
ofthe wealthy. It was at this time that Europeans first first published in 1937. (The revised edition is currently
m
began to migrate to America. These settlers longed for the available libraries and bookstores.) The stencil designs
color and ornamentation oftheir native lands, yet their ofthe itinerant artists are also available in several copyright-
poverty and struggle for freedom prevented most ofthem free collections, foryou to enlarge, embellish, and use in
from decoratingtheirhomes beyond the barest essentials. your own home. You can also contact Poll}' Forcier, ovvTier
ofMB Historic Decor (see page 136 for more information),
Early American Stenciling Styles who carries an extensive assortment ofprecut historic
The period ofstenciling that has been revived m so many stencils forborders, full wall treatments, and floors.
oftodays countr)' decorating themes is that ofthe itinerant
artists ofNew England, who were active from 1760 to 1840, Adele Bishop and the Stenciling
when stenciUngand mural paintingwere fashionable in Renaissance of the 1970s
the wealthyhomes ofthe east. Scenic wallpapers imported For a number ofreasons, including the influence of
from Europe were expensive, and depicted distant scenes Modernism onAmerican art and design, decorative painting
such as Grecian gardens orpalatial European estates, or fell out offashion in the mid-20th centur)-. Asa result ofthe
m
famousbattles fought on the Continent. Stencilingand American bicentennial 1976 and the innovative efforts
mural paintingprovided well-to-do homeownerswith some ofAdele Bishop and her partner Cile Lord in the decade
individuality ofexpression, inspiringitinerant artists to precedingit, interest inanAmericandecorative heritagewas
paint and stencil the local countryside and its flora and renewed. Bishop unexpectedlycame across EarlyAmerican
fauna. These charmingmotifs and imageswere influenced Wall Stencils in the late 1950s, andwasso impressed with
byseveral European models, including German, Dutch, the simplicity and dignity ofthe stencil designs that she
English, and French designs. In general, eachwall was decided to tr)- to recreate them in herown home.
treated as a separate space and motifs were applied by eye AlthoughAdele had neverstenciledbefore, it occurred
rather than by careful measurement. In addition to walls to herthat a transparent stencil materialwould enable
and floors, decorative painting from this period was applied her to trace directly from patterns more accurately, and to
to a wide range ofsurfaces, including fireplace surrounds, create a logicalsystem ofregister marks foroverlays and
mantles, fireboards, boxes, and canvas floorcloths. repeats. She first used acetate book covers for this purpose,
Historians have traced surviving stencil designs to since at the time the only material used to make stencils
approximately fifteen itinerant artists. Many ofthese designs was an opaque manila board. She had also read about a
have been attributed to Moses Eaton,Jr., who worked and product used primarily by the sign-painting trade called
traveled in New England circa 1800 to 1840. Eaton's bright "japan paint," which dried instantly and could be used
patternsonwarmbackgroundssuggest an industrious home on hard surfaces. With French handmade brushes, which
life spent close to the hearth and a profound appreciation of she used to apply paint m a circular motion, she was
nature. Theirsimplicity and boldness lend an atmosphere able to duplicate the soft, translucent look ofthe early
ofgaietyand informality to an)-setting. Anotherwell-known American designs.
