Practical Graining Part 2

HUNGARIAN ASH, WIPED OUT.]

CHAPTER VI.

CHESTNUT.

This wood is not frequently used as an interior finish, but sixteen years ago it was almost the only hardwood used for interior finish in the New England States; and any grainer who succeeded in matching it was considered very skilful. It is a highly-porous wood, and on that account is undesirable, as, if not entirely protected from the changes in temperature by being thoroughly filled, it will warp or swell; and I have seen doors concave or convex as much as three inches in a two foot eight inch door. It also turns very dark with age, and its hearts or prominent grains are very coa.r.s.e. I have seen specimens which measured eighteen inches from point to point at the heart. The colors used are raw sienna, burnt umber, Vand.y.k.e brown and a little burnt sienna. There is some resemblance to ash in the finer growth of chestnut, but its general characteristics are more angular--that is, the hearts run more to points than those of ash--and in most of the hearts a faint outline appears between the points. The combing also is much coa.r.s.er than that meant for ash. Chestnut can be done in either oil or water color. I think it can be done best in oil, using the rag to wipe out the color and combing in the edges of the hearts with a rubber comb covered with a thin piece of rag. This comb should not be over two inches in width, and the teeth should be about five to the inch. When the hearts are wiped out and lightly-blended, the fine outline may be put in between the points in the hearts by using a sharp-pointed stick or the round corner of a steel comb. The work, when dry, may be lightly stippled in distemper, or a thin glaze of color without stippling may be applied to bring the work to the desired depth of color; this shading-color may be mixed in oil or water color.

In imitating this wood in water color the work should first be stippled in very fine and allowed to dry; then put in the growths with the small fitch tool, and use the overgrainer for the same purpose as that for which the comb is used in oil color to follow the edges of the hearts, and to produce the "combed" work; a piped bristle over-grainer will be found useful for this purpose.

BIRD'S-EYE MAPLE.

To my mind, this is the most beautiful of our native woods, and it is a shame that it is often cut down for firewood; however, it seems to be growing in favor among the furniture-makers, and is far more generally used in the interior of horse-cars and railway-cars than it was ten years ago. The colors used in representing maple are raw sienna, raw umber, a little Vand.y.k.e brown or ivory black and a little burnt sienna, to be added to the color when over-graining or putting in the pencil-work and the eyes.

[Ill.u.s.tration: Plate 19.

BIRD'S-EYE MAPLE, OVERGRAINED.]

[Ill.u.s.tration: Plate 20.

CHESTNUT.]

[Ill.u.s.tration: Plate 21.

BIRD'S-EYE MAPLE, MOTTLED, READY FOR THE EYES.]

This wood is almost invariably imitated in water color, as oil is too slow in drying to be used with any success. Stale beer is the best vehicle with which to apply the color. The implements needed are a good sponge, a piece of soft cotton rag or chamois leather, a brush to apply the color, a large and a small mottler or cut tool, a badger blender, an overgrainer and fitch tool, and a camel's-hair pencil. First dampen the ground-work over with the sponge, which has been wrung out of clean water, or of beer and water; then rub in the color, doing a panel or a small piece at a time, and while wet wipe out the high lights and put in the shadows with the sponge or the mottler or the backs of the fingers, or draw the color up into small bunches or cl.u.s.ters with the blender or mottler and blend lightly crosswise. When the lights and the shadows are dry, the eyes are put in. By observing the real wood it will be found that the eyes invariably appear in the darker portions of the grain, and that the shadows seem to slope away from them. Very often the shadows all slant one way and the eyes in the same way; this must be taken into consideration in imitating maple. Do not have all the eyes and all the shadows slanting the same way in different panels, as is often seen in the interior of cars, but reverse the style, bringing the opposite panels to balance with each other.

The best manner of imitating the eyes is a matter of doubt among practical workmen. The amateur grainer will tell you that he can put them in by striking the ends of his fingers against the color while wet; this is the way the wood is most frequently misrepresented, and such work looks feeble compared with that done by either of the following methods: After the lights and shadows are dry take some of the dark color from the bottom of your pot and add to it a little burnt sienna; the color should be put in a shallow vessel, such as a saucer.

Thin the color, so that it works freely; then take a medium sized camel's-hair pencil which has been "docked" by cutting off the hair about one-quarter of an inch from the quill with a sharp knife, leaving the ends of the hair perfectly square. Then burn out the centre of the brush with a red-hot wire, leaving the hair round the circ.u.mference with which to represent the "eyes." The pencil is then dipped in the darker color, and the eyes are put in where desired.

Another way is to cut a piece from a block of soft rubber, make a hole through it and with a sharp knife trim the edges of the rubber till it can be used to take up the dark color. Make the eyes in the same manner as with the pencil brush. The eyes can be put in with a small pencil by describing circles, but care must be taken to have them of uniform size, or nearly so. Another--and probably the best--way is to take a thin piece of chamois leather or a soft piece of cotton rag and wet it in the graining-color; then take a piece of wood four or five inches long and not over half an inch thick; whittle it round and taper it to a point at one end; then wrap the rag or the leather around the stick, keeping a folded edge at the sharp end of the stick; and when the cloth or leather has made one circuit around the stick at the sharp end, wind it farther up the stick, so that only one circle of the folded rag or leather is at the sharp end of the stick. Some of the thick color may then be placed in about the middle of the rag, and by keeping the rag or the leather well wet above the thick color and squeezing the rag as often as necessary, so that the color descends toward the point of the stick, the eyes may be rapidly and accurately put in by striking the end of the folded rag or leather against the work; and a pair of panels may easily be done by once filling the rag with color. This method has the advantage of making any sized "eye," from the largest to the smallest, by simply altering the thickness of the folds; or the eyes may be made in any shape desired, from a circle to an oval. After the eyes are put in the work is over-grained, the color mostly being burnt sienna. The heart grains are put in with a camel's-hair pencil. Some grainers use a crayon pencil for this purpose, which should be soaked in beer or vinegar and used moist; the various over-grainers are also used in putting in the heart grains. The "eyes" should always be noticed--that is, the over-grainer should describe some part of a circle in pa.s.sing the "eyes," so as to have them in harmony with the general features of the wood. All water-color work should be lightly gone over when dry with the hand, to remove any roughness in the graining-color. Some grainers prefer to touch up the high lights around the "eyes" with some of the ground color after the graining is dry, but it must be done very carefully or it shows badly.

[Ill.u.s.tration: Plate 22.

BIRD'S-EYE MAPLE WITH THE EYES.]

[Ill.u.s.tration: Plate 23.

CHESTNUT.]

CURLY OR ROCK MAPLE.

This wood somewhat resembles bird's-eye maple, and is often used in the same piece of furniture. It differs from bird's-eye in having but few, if any, "eyes" in it, and is mostly mottled and over-grained. A five-inch mottler that will cover the stiles of an ordinary door is a very necessary tool, as one that is not wide enough necessitates going over the work twice, and then it will not look so well as if done with a brush of sufficient width to cover the whole stile. The colors used for bird's-eye maple will answer for this wood, but the general tone is darker.

SILVER MAPLE.

This wood is represented by using ivory black for the graining-color; the groundwork should be almost white. The work is mostly mottled and very lightly over-grained. Eyes are sometimes put in, and the effect of the work is very showy when carefully done.

CHAPTER VII.

SATINWOOD.

This is a very delicate wood, of the maple family; it probably derives its name from its resemblance to folds of satin. It is seldom represented in America, but is frequently imitated in England, being used in connection with maple in some of the princ.i.p.al rooms, such as drawing-rooms, parlors, etc. The panels of the room are done as satinwood, the stiles as maple, and sometimes the mouldings as a darker wood, such as dark oak, walnut or rosewood.

[Ill.u.s.tration: Plate 24.

SATINWOOD MOTTLED.]

[Ill.u.s.tration: Plate 25.

SATINWOOD MOTTLED AND OVERGRAINED.]

[Ill.u.s.tration: Plate 26.

CURLY MAPLE MOTTLED TO OVERGRAIN.]

[Ill.u.s.tration: Plate 27.

CURLY MAPLE OVERGRAINED.]

[Ill.u.s.tration: Plate 28.

POLLARD OAK.]

[Ill.u.s.tration: Plate 29.

POLLARD OAK.]

The same groundwork and the same graining-colors may be used as in representing maple, but a little ivory black may be added. The tools are similar, but a piece of buckskin or chamois leather is subst.i.tuted for the bristle mottlers used for maple. A roll of oil-putty is sometimes used to take off the color in making the high lights; the putty should be rolled along the panel lengthwise of the grain, and then the panel blended crosswise. Care should be taken to have the graining-color light, as the effect is lost if the color be too dark.

The lights are quite prominent, and it requires no little skill successfully to imitate them. When the mottling or lights and shadows are dry, they may be very lightly over-grained with a fine bristle overgrainer, the bristles being separated by a comb and the color used very thin. The over-graining should not be blended, as it will look too prominent and spoil the effect of the lights and the shadows. A piece of soft cotton rag will answer the same purpose as the buckskin or chamois leather. When using either of them with the intention of making the mottled effect of the wood, first wet them in clean water or in beer and wring them out nearly dry; then, after the color is rubbed on the work, roll them over them over the surface as directed. The result will be that the leather or the rag will take off the patches of the wet graining-color. Then blend softly, and when dry overgrain.

CHAPTER VIII.

POLLARD OAK.