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Before her on the living room table she spread the assortment of fabric paints she had purchased in a neighborhood art shop that afternoon. Deftly and deliberately she applied paint to garment. Since Mrs. Gorman always had possessed a fancy for painting flowers, it was a blossom she produced on the blouse.

The Brooklyn housewife was more than pleased with the results viewed the next day after the paints had dried. She wore the blouse out and friends commented favorably on the dainty design. Encouraged, Mrs. Gorman again dipped into the fabric paints and applied color and picture to such assorted items of wearing apparel as scarfs, handkerchiefs and her husband's ties.

Interest in Mrs. Gorman's ingenuity increased. Friends asked, "How about my blouse? Can you paint something for me? I'll be only too happy to pay you for your trouble."

At first she was slightly embarrassed and she demurred. Charge her friends? She couldn't think of it! Then reason prevailed. Should she follow her friends' bidding, she would actually be doing them a favor for where else could they find such delicate, hand-painted work? She'd do it!

ONE YEAR ago, Irene Gorman quietly put up her wares for general sale. Purchasing a very limited number of handkerchiefs and blouses, she decorated them with floral effects and with creations of her own, such as playing cards spread neatly across the surface or a Chinese pagoda design. "The blouses and hankies sold like peanuts at a ball game so I was in business," she recalls. Her home her showroom, Mrs. Gorman had to step lively to answer a constantly jingling doorbell.

Up to that point, this Brooklyn housewife had no more knowledge of the business world than any young, attractive mother of two growing boys. Some people in a similar situation would have enrolled possibly in some school course of commercial instruction. Not so Mrs. Gorman, as she had neither the time nor the urge.

Common sense showed Mrs. Gorman the way, as it will any hobbyist of intelligence. That she had to bring her wares to the attention of more potential buyers, Mrs. Gorman readily recognized. Operating on slightly more than a shoestring, Irene Gorman became her own salesman. She called at a few neighborhood stores and prevailed upon the merchants to try her delicate products on consignment.

In time, Mrs. Gorman eliminated those shops which couldn't move her items. After all, hand-painted clothing is not inexpensive and, naturally, will sell only in those places patronized by a moneyed clientele. At length she settled on a series of retail outlets including one of New York City's most exclusive on Park Avenue.

For hand-painted blouses, Mrs. Gorman asks for and gets at retail rates such sums as $7, $10, $12, $15 and $19.75. A high-class Fifth Avenue women's wear shop is currently retailing a number of her blouses at $22.95 each. Price of course depends mostly on the amount of hand-painting involved, the detail, and the texture of the material. In some cases, neckties and blouses done by celebrated artists have sold for $250, with $25 not an unusual figure for a hand-painted necktie in some exclusive retail outlet.

Aprons and scarfs have been looked upon by Mrs. Gorman as her basic commodity. They are reasonable, good sellers and are not limited sharply by sizes of customers. Prices on aprons begin at $3.50 and rise to much higher figures. Scarfs sell in the same range as aprons. As in all her merchandise, Mrs. Gorman again determines markup by amount of detail and cost of original article.

TODAY, ALMOST all of Mrs. Gorman's garment buying is done from wholesale houses. Rarely does she order less than a dozen of any article and frequently she purchases larger amounts. The saving on wholesale lots ranges up to 40 per cent per item. In determining the final figure at retail, the fabric painter must allow for the cost of garment, the price of the paint and the value per hour he places on his artistic ability. Naturally, he will charge more for a design which involved a greater amount of man hours.

Incidental expenses must also be figured in. The price of boxes for the finished product, plus printing—if any—should be taken into account. Then there are the costs of wrapping paper, labels and the parcel post fee, if mailed.

Yet, fabric painting is an enterprise with limitless financial possibilities, although remaining in that category of businesses which may actually be started on a hope and a prayer. Several dollars invested in paints and textiles will launch anybody in the fascinating field. Mrs. Gorman, in fact, will send a complete beginner's set with full instructions on request. Such sets may be obtained for as little as $2.65.

"By all means," stresses Mrs. Gorman, "be sure to collect in advance for any monogrammed work as such effort represents total loss of labor as well of material if the article is not purchased. In fact, it's a good idea always to insist on pre-payment for work done to certain specifications."

PROMOTION and a profitable hobby should go hand in hand, for who is to know of one's handiwork unless the home manufacturer publicizes his products? A telephone call to Mrs. Gorman's local newspaper brought a reporter scurrying and quicker than you can say "extra!" Irene Gorman's money-making materials were displayed via a picture story in the Ridgewood Times.

"I knew the local television program, 'Market Melodies,' on WJZ would be interested in presenting some of my patterns for women viewers of its daytime show, so I called the station," Mrs. Gorman relates. "They told me, sure, come on down and bring along some samples of my work."

Mrs. Gorman did as bid. The producers of "Market Melodies" liked what they saw and they asked Irene, the painter, to appear as guest star on their TV presentation. Although she was thrilled aplenty, Mrs. Gorman still retained that keen commercial sense she is parlaying into productive paydays and she managed to get in a good, healthy plug for her blouses, scarfs, jackets et al. And what's more important, Irene Gorman supplied the viewing audience with information on how to purchase her products via the mails.

The mail orders started pouring in. But Mrs. Gorman remains undisturbed, for she realizes by burning the midnight oil today she is fast setting up a remunerative sideline which promises tomorrow "to blossom into a full-time, solid business. "Because of one television show," she says, laughing, "I no longer have time to watch television."

Naturally, the effect of one television promotion won't last forever. Hence, Mrs. Gorman has devised additional selling methods. She has since displayed her products a couple of additional times for TV and she has been successful in placing pictures of her finery in leading national women's magazines. Editors of such periodicals are constantly on the lookout for photos of new and striking fashions and will often cooperate to the extent of publishing not only a picture of the article but also the item's selling price and where it may be obtained via the mails. One such display in Coronet magazine, for example, kept Mrs. Gorman busy for months. Women's page editors of daily papers in her city also cooperated by either mentioning the work of Mrs. Gorman or—better still—publishing a print of her handicraft. This again brought a flood of business.

However, Mrs. Gorman does not rely entirely upon free publicity. She has in recent months gone in for direct mail, sending photo-offset prints of her work to customers past and prospective. The cost here depends on the excellence of the print job and on the amount of postage and envelopes required. But the process usually produces results. However, in the case of Mrs. Gorman much of her work comes by recommendation. In other words, those who like her blouses, skirts, et al, usually produce new business by wearing the garment to a gathering where other women will show keen interest in acquiring something similar. All of which means, if your work sparkles, you'll get the orders.

IN TRUTH, fabric painting is nothing new. The Romans wrote of finely painted wall hangings and draperies, while fifteenth century hangings at the Hotel Dieu at Rheims are of such excellent craftsmanship spectators think they are woven, although actually they are large sheets of painted linen. Today, occupational therapists find fabric painting an ideal medium for functional, psychological and diversional activities. Patients are encouraged to make useful articles while convalescing.

Any sort of material may be used in producing your finished finery, including rayon, cotton, linen, silk, nylon, velvet, laces—fine weave or coarse. A good practice for the beginner is to give new life and beauty to a discarded piece of cloth, cutting it and transforming it into a head scarf or handkerchief by intelligent application of fabric paint; therefore, if an inexpensive bit of material is ruined by a novice's blunder, nothing really will be lost.

Household or clothing articles enhanced by fabric paint may be washed or dry cleaned frequently without fear of running. The fabric paint itself may be applied simply with an ordinary brush or by more complex methods such as an air brush, block printing or silk screen.

IN THE case of Irene Gorman, she usually traces a pattern in pencil on the garment to be treated, although she will on occasion paint without guide. "It's much easier to stay within the bounds of a pencilled line than it is to correct a glaring brush error," she confides. Some fabric painters use simplified, single-piece stencils, useful regardless of the number of colors planned for the design. Here's how it's done:

After mapping your entire design on a sheet of stencil paper, cut out along the lines with a razor blade or stencil knife. Save the pieces you have clipped out! Make certain all edges of the stencil are smooth; otherwise the margins of painted design will appear fuzzy and indistinct.

Now get yourself some sort of workboard and cover this with a large section of blotter to absorb any excess color that might penetrate your cloth. Stretch your fabric securely—by means of thumb tacks—over your blotter and under your stencil. Always guard against slipping of textile or stencil.

Mrs. Gorman emphasizes you needn't be a talented artist to paint fabric. If you can wash an article of clothing and if you can map out your color scheme on a separate piece of paper or on the textile, you are equipped to paint fabrics with the help of your stencil

Now you are ready to paint. Replace all pieces of stencil you clipped out previously. Now remove only those pieces you wish to show up in the same color. For example, if you are painting a house and you wish to make two shutters blue, you remove the corresponding parts from the stencil and apply blue paint to the stencil. Replace the stencil pieces when finished without fear of smudging wet paint. All you will do is protect those areas while other colors are being applied by repeating the same process.

AS POINTED out previously, many of Mrs. Gorman's designs are sketched by request. To date, she has never been stumped. When not sure of her ground, she will go to any end in an effort to procure a model, usually a picture, from which to copy. Take a note of caution, though; from Mrs. Gorman:

"Copying from actual floral arrangements can be treacherous. Should your work be interrupted for some reason, you will find on your return that your flowers have drooped or wilted and that's the end of your model. If you must paint from real-life flowers, work fast or you'll be starting over again from scratch minus a valuable blouse or scarf and, brother, that's 100 per cent loss!"

Start simply; don't attempt to crowd a multitude of design and color onto a tiny handkerchief or a small-sized blouse. Irene Gorman will tell you that some of her higher priced items are those most easily accomplished. At any rate, in your own case crawl before you walk and save the finely detailed stuff for later or when you're more experienced with the brush. Uncomplicated violets painted on a pale pink chiffon handkerchief have always been a number-one number with Mrs. Gorman. By using raised paint to give a bead effect, she has without difficulty turned an inexpensive handbag into a smart appearing one.

REGARDING technique, Mrs. Gorman suggests using very little color on your brush. Fabric paints come in all shades and for even more variety it is possible to work out your own blends. Suppose, for example, you are painting a yellow design with touches here and there of yellow-green. You apply the yellow first, adding green at those points you wish to make darker. Red over yellow equals orange. Red over green produces brown. To make a color lighter, add white; to make a color dull or grayish; add a small amount of its complement. In simple language, this means adding the opposite hue on the color wheel.

You must have a palette for your paints but you can save money at the outset by making your own from a pane of window glass with adhesive tape around the edges. Always stir your fabric paints well and if the mixture appears too heavy, dilute with extender-thinner. Prepare on your palette all colors needed for your complete painting, bearing in mind that a little fabric paint goes a long way.

Always remove excess paint from your brush with a blotter. Most painters of textiles hold the brush in an upright position using a stippling method to work the color into the cloth. Others apply the color by working brush inward from the edge of the stencil to the center of the design. Do not smear heavily—better to transfer your fabric paints lightly. It's perfectly all right to go over your work, taking care, however, not to give your cloth the appearance of being unduly wet.

Put aside your finished garment for about twenty-four hours and then fetch the product, reasonably dried and ready for the final touch. To set your colors, cover the garment with a damp cloth and press with a warm iron until material presents no trace of dampness.

YOU HAVE a choice of several different types of fabric paints. Should you use oil, remember it is mixed with a special textile medium for better consistency. Your choice should not at first be powdered paints, Mrs. Gorman suggests. Here you must mix the powder with a heavier, oily liquid and apply at once as the composition dries rather quickly, a situation not encouraging to the first heavy handed efforts of the newcomer.

Irene Gorman has yet another preference. Part of the reason for the success of Mrs. Gorman's wares is her neat knack of using raised paints on wearables. The method is no deep, dark secret—no mystery. She uses plastic paints available anywhere. Any enterprising artist can do likewise. Raised paint—known to the trade as relief—is always a popular item since it gives off a sort of iridescent glow upon completion.

According to Mrs. Gorman, the hustling hobbyist need not limit himself to the painting of fabrics alone. In her case, she has produced such assorted numbers as jewelry, cigarette and candy dishes, as well as ash trays. This handiwork is much more difficult than one might think. To compose a picture on the under part of an ash tray, for example, the artist must paint backwards. The user then sees a correct impression when he looks down into the glass tray.

For additional decoration, Mrs. Gorman always completes the job by covering the entire bottom surface with black, thus making the assorted colors stand out more vividly against this dark background. Of late her household articles have been increasing in favor and Mrs. Gorman suspects soon she'll be giving them almost as much time as her textiles.

THAT THE work of Mrs. Gorman has become pretty generally recognized by both purchaser and the trade alike is proved by a recent order received from far-off Hawaii and by an award earned a few months back for her handiwork. A special prize in the hand-arts division was presented the pert painter for her display of fabric paintings at the Twenty-seventh Annual Women's International Exposition in New York City. Several schools have urged Mrs. Gorman to teach her tricks of trade and she is planning to accept one of the offers within the next few months.

In case you may be wondering about the Irene Gorman Co. shipping department, it's handled personally by Irene and she forwards articles well-packed via insured parcel post. On any mail order, she insists on pre-payment in full or she will not handle the assignment.

To the tyro, Irene Gorman recommends patience. Even if you don't sell your fabrics to a hungry market right away, you'll still get a huge kick out of your new hobby and what's more you'll save money on your own clothing. Add to this the pleasure of producing luncheon sets, draperies and towels to blend with the color scheme of your own home. And when you wear your own hand-painted blouse or jacket to any gathering of friends, you are certain to have an original creation, the envy of all.

Painting for Mrs. Gorman has ever been a form of relaxation, even when wielding brush for dollars and cents. "Painting is another world," she says. "It's a world free from wars, from economic strain, from everyday business headaches in general."

TO SET up shop as a painter of fabrics is not prohibitively expensive. The beginner must of course purchase the necessary basic equipment but he can skip the luxuries, as pointed out previously, of a costly easel or workboard. Mrs. Gorman's work bench is her living room table. As for brushes, she advises ones on the expensive side here, as these will pay for themselves in the long run by additional service. Then too, bristles on a cheap brush have a way of breaking off and marring one's masterpiece. Small, round brushes are best for this type of production.

For mixing paints, you'll need a palette knife or a reasonable facsimile and an old towel comes in handy for wiping brushes. Don't forget a good pencil with which to map out your pattern before touching brush to fabric. Then there is the stencil paper.

Other methods for transferring pattern to fabric may be used. On occasion, Mrs. Gorman will perforate her pattern with a pin, turn over so the punctures will face up away from the garment, and cover the area with powdered chalk.

Another practice used rather commonly by fabric painters is setting the pattern, transferring the design from specially prepared wax paper to garment by means of a hot iron.