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Masks

Warning
The illustrations are not contractual: the stencil stickers have the appearance of the patterns and are an illustration. The real stencils do not have the copyright in the middle of the stencil. Furthermore independent patterns can be organized differently than there are on illustrations.

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Grenade-mask**

On the board two faced masks

for a mask
width = height / 0.78
(the dimensions of the selection list correspond to a single mask)

This pattern of grotesque with grenades extract from a decorative panel by Virgil Solis organized in a plant network of rinceaux with masks, winged putti and vases. Virgil Solis (1514-1562) was an engraver and decorator in Nuremberg; he produced an abundant work of more than 600 engraved plates including ornaments models
of grotesques and interlacing. He excels in the grounds of Moresque decorations for silverware. Although his grotesque signs are not always of a high quality there are always exudes a cheerful and bustling simplicity. Here the astonished satyr mask sees his beard ended in a beam of simplified acanthus leaves. The open grenade symbol of fertility is a recurring motif of the Renaissance ornamentation.



Suggested use

- Isolated in a central pattern between two friezes as a corner pattern, or facing one another in opposite position,
- Multiplied on the support in rotation or in various sizes,
- At the beginning or at he the end of the frieze .



Chromatic suggestions

The pattern is suitable for:

- Monochrome,
- Monochrome accented by a work on the shadows and lights by choosing a luminous orientation,
- Polychrome, each element being hidden at the application of colors; the work of shadows and light is possible once the pattern is dry .



Level of difficulty

** The stencil requires attention; no particular difficulty but the multiplication or complexity of the bridges require care.

Grotesque mask **

On Plate two faced masks

for a mask
width = height / 1.23
(the dimensions of the selection list correspond to a single mask)
historical

This grotesque pattern is extracted from a decorative panel by Virgil Solis organized in a plant network of rinceaux with masks, winged putti and vases. Virgil Solis (1514-1562) was an engraver and decorator in Nuremberg; he produced an abundant work of more than 600 engraved plates including models grotesque ornaments and interlacing. He excels in the grounds of Moresque decorations for silverware. Although his grotesque signs are not always of a high quality there are always exudes a cheerful and bustling simplicity. Here the astonished satyr mask sees his beard ended in a beam of simplified acanthus leaves.

 

Suggested use

- Isolated in a central pattern between two friezes as a corner pattern, or facing one another in opposite position,
- Multiplied on the support in rotation or in various sizes,
- At the beginning or at he the end of the frieze .

 

Chromatic suggestions

The pattern is suitable for:
- Monochrome,
- Monochrome accented by a work shadows and light by choosing a luminous orientation,
- Polychrome, each element being hidden at the application of colors; the work of shadows and light is possible once the pattern is dry .

 

Level of difficulty

** The stencil requires attention; no particular difficulty but multiplication or bridges sensitivity
require care.

Renaissance-Mask **

On Plate two faced masks

for a mask
width = height / 1.48
(the dimensions of the selection list correspond to a single mask)

Thumbnail shows the masks associated with Renaissance interlacing

This grotesque mask spewing a panache of leaves is taken from a frontispiece designed by Bernard Salomon (1520-1561) for the printer Jean de Tournes in Lyon. Bernard Salomon, active talented decorator in Lyon, realized projects intended to the ornamentation books and to damasquineurs and goldsmiths. His patterns were adapting perfectly to reverse jewelry or miniature portraits.

Renaissance mask still shows laughs or grimacing expressions of anger; open big mouth is the starting point of rinceaux of leaves or of water of fountains.



Suggested use

- Isolated in a central pattern between two friezes, as a corner pattern, or facing one another in opposite position,
- Multiplied on the support in rotation or in various sizes,
- At the beginning or at he the end of the frieze .



Chromatic suggestions

The pattern is suitable for:
- Monochrome,
- Monochrome accentuated by the work of shadows and light by choosing a
light orientation.



Level of difficulty

** The stencil requires attention; no particular difficulty but multiplication or
of the bridges sensitivity require care.

Mascaron-grotesque **

width = height / 1.1

History

The mascaron word is taken from Italian mascherone, translated from Arabic mascaro: buffoonery designating a large grotesque mask and in architecture, an ornamental pattern consisting of a grotesque or fantastic figure of man or animal. It is found in pediment, decorated frieze, like a vertical support pillar in the water architecture, etc.

 

Suggested use

- Isolated in a central pattern between two friezes, as a corner pattern, or facing one another in opposite position,
- Multiplied on the support in rotation or in various sizes,
- Pediment decoration, frieze, like a vertical support pillar.

 

Chromatic suggestions

The pattern is suitable for:
- Monochrome,
- Monochrome accentuated by the work of shadows and light by choosing a luminous orientation,
- Polychrome, each element being hidden at the application of colors; the work of shadows and light is possible once the pattern is dry .

 

Level of difficulty

** The stencil requires attention; no particular difficulty but the multiplication or complexity of the bridges require care.

the trick of the professional

If you take very complex stencils at a very small size, you may encounter difficulties in both the use and reuse of the stencil. Instead, when your stencil is large, it is more solid and easy to paint and reuse. The only notable exception is the use of stencils on textile : even complex small stencils can be used with relative safety and therefore a number of times.

If you want to use very small stencils on hard materials (wall , wood, cardboard ... ) remember that bridges, very thin, are more fragile than they could be on the same stencils used in larger size. To avoid the distortion off bridges in anticipation of a renewed use, you must adapt the adhesion of the stencil to the material on which it will be applied . For masking glass, for example, very adherent because very smooth surface, do not hesitate to tire adhesive stencil using a repeated sticky stencil surface with a lint-free textile touch before application . And the stencil will withdraw more easily and bridges will be spared .