ITALIAN “RUST” PRINTING

Hawera Star, Volume LIV, 2 March 1935, Page 10

ITALIAN “RUST” PRINTING

A NEW DECORATIVE ART

Perhaps you have' generally thought of rust as being a nuisance, something tiiat creeps over things that ought to be smooth and bright, or fixes itself indelibly on linens. Yet there are people living near the shores of the Adriatic, on the north-eastern coast of Italy, who to-day ,as they have done for centuries past, use rust as a decorative art.

Tablecloths, bedspreads, curtains and even coverings for the oxen that work in the fields or about the farms, are decorated in this way.

The method of “rust” printing is quite simple. First) soak some old bits of iron, or iron filings if you have them, in water until a solution of the right consistency is produced, and the water is a lovely rust-red tone. Now get a piece of coarse, unbleached cotton or linen of creamy tint which harmonises well with the reddish-brown of the rust, and when you have chosen or made, the design you are going to use, everything is ready for the printing. There are two methods by which the printing may be done. The first is by cutting the pattern .on a woodblock and taking your print from this. This is a convenient method when the pattern is a small one and has to be repeated over the whole surface of th 9 cloth. The portion of the design which is to remain white must be cut away, while the pattern which is to take the rust and transfer it to the material is left. When the cutting out" process is finished, dip the surface of the wood into the rusty vater and stamp it on to the material.

The other method is to cut the pattern in stout paper—such as house decorators use for cutting stencils—and stencil it on to the material. And now it is the design which must be ( Uj away so that, when the stencil is laid on the material, the colour will fill up the empty spaces, while the paper v ill protect the surface of those parts which are to remain white. Pin the stencil and material carefully on to a board or smooth table with drawing pins before applying the colour, so that it cannot possibly slip and thus blur the outlines. • Then take a stiff, round stencil brush and dab the colour into the spaces with smart, downward taps. You may find it best to experiment at first with small pieces of material and simple designs until you can judge for yourself the right strength and consistency of the “rust,” and for this purpose two pieces of linen, about 10 inches square, which will make up into a handbag, will be found

suitable. After tlie design has been printed on each square, stitch them neatly together. Then take a folded strip for the handle and print a length ol : the design upon it. Sew it firmly to the two side seams and a charming and original bag for books, or other uses, will be the result. A luncheon or tea cloth, with table napkins to match, the edges of which are either fringed lor hemstitched, makes a lovely gift and will stand endless washing. If fringed, bind the edge with a half feather stitch in gold or russet thread to prevent ravelling. When you have become quite at home with this method of decoration, you will think of all kinds of things that can be made beautiful by applying this old method of Italian “rust” printing.

AN EXPERIMENT WITH EGGS A ray of light travels in a straight line unless it is benf by reflection or by passing from one medium into another, as from air into water. The bending can be seen when a pole is put into the river; it appears to be turned at an angle. To prove that the light travels in straight lines an interesting experiment can be performed. Take four or five upright cards, each having a pin-hole pricked in it. At one end place a lighted candle, and then, going to the other end of the row of cards, adjust them so that you can see the flame of the candle shining through the four or five holes. You will find that the flame can only be seen when these holes are in exactly a straight line.

Teacher: “Your homework seems to be in your father’s handwriting.” Boy: “Yes, sir. I used his fountain pen.”