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interlacing

Warning
The illustrations are not contractual: the stencil thumbnails 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.

Concerning the interlacing of this Renaissance section, we can also address the interlacing Androuet Hoop, which are presented in a special section.
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Interlacing-square-with-2-great-century initials ** (2 half-frames)

On board two half frames and 2 initials (see 1/2 frames in the example below)

for a 1/2 frame width = height / 1.4

Here a framework with interlacing patterns by Bernard Salomon (1520-1561). Talented Ornemaniste from the mid-sixteenth century, he worked for the printer Jean de Tournes in Lyon. This framework was intended to decorate a book frontispiece printed in Lyon in 1558; it is quite characteristic of the style of Bernard Solomon. The latter knew skillfully how to combine Moorish interlacing and rinceaux in a variety of solutions. We clearly can distinguish his creations in ceramics, typographic ornamentation, silversmithing, woodwork (Villebon castle chapel in Eure-et-Loir, France) or on paper harpsichord decorations applied according to the technique 'arte povera.



Suggested use

- Isolated in a central pattern between two friezes,
- Medallion for monogram or other pattern above a door, a book cover, a table center.



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 the multiplication or complexity of the bridges require care.

interlacing-square-3 * (2 half-frames)

On Plate two variants of frames of the interlacing-square-2 (above)

for a 1/2 frame: width = height / 1.4

Two framing alternatives to Renaissance interlacing patterns of Bernard Salomon (1520-1561). Talented Ornemaniste from the mid-sixteenth century, Bernard Salomon worked for the printer Jean de Tournes in Lyon. This framework was intended to decorate a book frontispiece printed in Lyon in 1558; it is quite characteristic of the style by Bernard Solomon. The latter knew skillfully how to combine Moorish interlacing and rinceaux in a variety of solutions. We clearly can distinguish his creations in ceramics, typographic ornamentation, silversmithing, woodwork (Villebon castle chapel in Eure-et-Loir, France) or on paper harpsichord decorations applied according to the technique 'arte povera.

 

Suggested use

- Isolated in a central pattern between two friezes,
- Medallion for monogram or other pattern above a door, a book cover, a table center.

 

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 is simple. No particular difficulty.

interlacing-square-4 * one of the 2 with great century initials (2 half-frames)

On board two half frames and 2 initials (the illustration shows the result)

for a 1/2 frame width = height / 1.4

Two framing alternatives to Renaissance interlacing patterns of Bernard Salomon (1520-1561). Talented Ornemaniste from the mid-sixteenth century, he worked for the printer Jean de Tournes in Lyon. This framework was intended to decorate a book frontispiece printed in Lyon in 1558; it is quite characteristic of the style by Bernard Solomon. The latter knew skillfully how to combine Moorish interlacing and rinceaux in a variety of solutions. We clearly can distinguish his creations in ceramics, typographic ornamentation, silversmithing, woodwork (Villebon castle chapel in Eure-et-Loir, France) or on paper harpsichord decorations applied according to the technique 'arte povera.

 

Suggested use

- Isolated in a central pattern between two friezes,
- Medallion for monogram or other pattern above a door, a book cover, a table center.

 

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 is simple. No particular difficulty.

Losange-interlacing *

width = height

A combination of Renaissance interlacing and Moorish (the Arabist leaves) for this pattern of Francisque Pellegrin. This ornament was inspired by the engravings of his book The Science of Pourtraicture Flower printed in Paris in 1530. A native of Florence, Pellegrin came around 1525 to work under the direction of Rosso at the site of the castle of Fontainebleau. His engravings book contributed to the introduction of the "Mauresques" in France and its wide distribution.



Suggested use
- Isolated in a central pattern between two friezes, as a corner pattern,
- 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 is simple. No particular difficulty.

Interlacing circle 1 **

On Plate two stencils:
the Renaissance interlacing pattern and the mauresque pattern; superimpose the two stencils to redial the pattern of the thumbnail.

width = height

This pattern composed of Renaissance interlacing and mauresque is the transposition of an engraved plate of the book The Flower of Science of Pourtraicture of Francisque Pellegrin, printed in 1530 in Paris. This collection of more than 60 woodcuts had considerable success throughout Europe and served as decorative models until the early seventeenth century. Francisco Pellegrino Francisa his name when he came to France to work from the Rosso sides at Grande Galerie of Palace of Fontainebleau. We quickly saw its models, initially of embroidery, transposed onto picture frames in bookbinding on the Saint-Porchaire pottery or in the wood paneling (golden paneling
of Ecouen castle in France).



Suggested use
- Isolated in a central pattern between two friezes, as a corner pattern,
- 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 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.

Interlacing circle 2 **

width = height

 

This interlacing consists of two triangles and a rosette is a simplified version of an engraved plate of the book The Flower of Science of Pourtraicture of Francisque Pellegrin, printed in 1530 in Paris. This collection of more than 60 woodcuts had considerable success in Europe and served as models until the early seventeenth century. Francisco Pellegrino translated his name in French when he came to France to work  from the Rosso sides at Grande Galerie of Palace of Fontainebleau. We quickly saw its models, initially of embroidery, transposed on picture frames, in bookbinding, on pottery of Saint-Porchaire in the wood paneling (golden paneling Castle Ecouen in France).

 

Suggested use

- Isolated in a central pattern between two friezes, as a corner pattern,
- Multiplied on the support in rotation or  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 the multiplication or complexity of the bridges require care

interlacing-da-vinci **

width = height / 1.13

This is a simple transposition for stencil of an interlacing from Leonardo Da Vinci (1452-1519). Leonardo showed throughout his career interest to interlaced patterns found until his hair braids graciously knotted drawings. For the anecdotehis name, Vinci, means "links".

The Renaissance interlacing pattern that is proposed is no more than a small écoinçon bordering one of the famous engraved plates with Renaissance interlacing from Leonardo, six in number, that Dürer will engrave at his turn a few years later.



Suggested use

- Isolated in a central pattern between two friezes, as a corner pattern,
- Multiplied on the support in rotation or 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 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 .