Second variant of a frieze with dolphins drawn after a more complexe frieze of 1530. This decorative frieze
comes from the print shop of of Lucantonio Giunta in Venice. The Giunta family of Florentine origin, is a large family of printers, publishers and booksellers that flourished throughout Europe until the seventeenth century.

Lucantonio came to Venice as early as the 1480s and became famous for the quality of its engraved plates. Dolphins are here only an element taken from a more complex set with masks, griffins and acanthus rinceaux in the taste of Renaissance grotesques .



Suggested use
- Isolated in a central pattern,
- Frieze single or combined with other patterns for wall separation or a border for a piece of cloth .



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.

Full variant of the frieze with dolphins drawn after a more complexe frieze of 1530. This decorative frieze comes from the print shop of Lucantonio Giunta in Venice. The Giunta family, of Florentine origin, is a large family of printers, publishers and booksellers that flourished throughout Europe until the seventeenth century. Lucantonio came to Venice as early as the 1480s and became famous for the quality of the engraved plates. Dolphins, masks, griffins heads, acanthus rinceaux are part of the ornamental repertoire of grotesque Renaissance.

 

Suggested use
- Isolated in a central pattern,
- Frieze single or combined with other patterns for wall separation or a border for a piece of cloth .

 

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 is tricky. It requires a certain application either for breeding frieze either installing or removing the support because bridges or windings.

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 .