LITMIR.BIZ

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grainers as to the proper way of mixing the color as there is among painters as to the proper way of mixing the ground-color, and although different grainers have their own method of preparing and mixing their graining-color, and often use different materials and colors, still, good workmen will often obtain the same effects, but by a different process. Such being the case, it is impossible to lay down any cast-iron rule for the materials to be used in the representation of any wood or for the proper way to imitate any wood.

      In imitating the color of certain woods the colors used are quite simple, while for other woods considerable pains must be taken and a number of colors used if the color of the wood is to be matched. I think the most common fault of graining is that the color is made darker than it should be; still, the grainer is not always to blame for this, as such a fault cannot be laid to his charge if the painters insist on keeping the ground-color itself as dark as or darker than the work should be when grained. Many a time in the experience of grainers is this the case, and I have on more than one occasion mixed a proper ground-color to match wood after being called upon by some alleged painter (who thought the ground-color he had put on was correct) to grain the job, but in most cases it is said, "Do the best you can with it and let it go, as the folks want to move in," or, "I want to get my money," etc., and so grainers do the job if the color is not too far off from what it should be.

      Let us suppose that we are going to grain a job of light oak in oil. First lightly sand-paper the ground-work with a piece of fine or an old piece of sand-paper, and dust off. The ground-color should be quite hard, and not tacky, before the graining-color is applied, and two or three days is none too long a time to stand before being grained. Where a good job is to be done and finished at one impression, as we might call it, the manner of working can be reversed—that is, the work can be shaded or over-grained, as it were, on the ground-color in distemper before being rubbed in oil. The check roller can be used to good advantage, and the panels and stiles of doors streaked or mottled. The distemper color must not be diluted with much water, or it will rub off when the oil-color is being applied over it. This way of working is an advantage in matching stained oak, as all that remains to be done after it is grained is to stain it to the desired depth or color. On ordinary work this shading is done on the graining-color when dry.

      The colors necessary for graining oak will be raw sienna and burnt umber, with a very little black to be added in case it is needed. It is impossible to specify the exact amount of each color to be used, and the judgment of the workman must be exercised in all cases. The ordinary way is to mix about two-thirds raw sienna and one-third burnt umber, adding the black if necessity should require to match wood. Do not get the color too yellow, but rather on the gray shade, as that is most frequently the color of the wood.

      The color should be thoroughly mixed in a clean pot, and, if in oil, thinned with the following mixture, or sufficient of it to bring the color to the desired shade: Half a gallon of spirits of turpentine; two and a half pints of linseed oil (boiled is to be preferred); half a pint japan drier. It is better not to use too much drier, and, as the drying qualities of each maker's japans, etc., vary greatly, the workman's judgment must guide him as to the exact amount to be used. It is a matter of doubt as to what is the best article with which to thicken the color without altering the shade; a little bolted whiting is very good. Some grainers prefer melted beeswax or soap dissolved in hot water and added to the color while hot, or even cold water stirred into the color. As a rule, the less of these added to the color, the better.

      After thinning to the desired consistency, a good brush is the next requisite for applying the color. Do not use stubby brushes, as in so doing you lose more time than you gain by making them last longer. By general consent the flat brush has superseded the round brush in the eastern states of America for grainers' use, as it requires no binding and is a much better blender, when used as such, than any round brush, and it is more quickly broken in for use. It is better to use a medium size rather than one too large; one about three and a half inches across the butt will be found the most serviceable. An oval or a flat sash tool and a No. 2 flat fresco bristle liner, to be used as a fitch tool in putting in hearts, etc., will be all the brushes required. A set of steel combs, or even two, a coarse and a fine steel comb and one or two of good rubber, are all the tools that are required. The rubber combs should be coarse and fine—that is, the spaces between the teeth of the fine rubber comb should measure from one-sixteenth to one-eighth of an inch and the coarse one from one-eighth to one-quarter of an inch. Sometimes a rubber comb with the teeth cut graduated looks well introduced among the other work. Where the work is to be shaded or over-grained it is better to cover the teeth of the rubber combs with a thin cotton rag before using, taking a clean place on the rag for every time the comb is used, but on cheap work this may be omitted.

      When a piece of work is rubbed in, if it is desired to represent "champs," or "lights of oak"—better known as quartered oak—the rubber combs are first used and carefully drawn through the color—not necessarily in a straight line—and the coarse or finer, or both the steel combs, are drawn lightly over the track of the rubber comb; the work is then blended lengthwise with the flat brush, which has previously been rubbed out clean, and the champs or veins are put in across the grains previously made by the rubber and steel combs. The other implements necessary are a piece of soft rag and the thumb-nail. Many substitutes have been invented for the thumb-nail, but it is as yet unsurpassed for this particular purpose, as it is more sensitive than are the bone or horn substitutes sometimes used.

      Plate 3.

      PLAIN OR WAINSCOT OAK, LIGHT.

      Plate 4.

      FLAKED OAK, LIGHT.

      CHAPTER III.

      QUARTERED OAK

      In imitating quartered oak, or any other wood, it should always be borne in mind that it is the wood that we wish to imitate, and not somebody's idea of what it should be—for if we copy others, we become, as Byron says, "degenerate copyists of copies"—and the best thing that any beginner can do is to procure pieces of the real wood, study the various changes of grain and get the general character of the grains of each wood impressed upon his mind, then endeavor to reproduce them in his work; for the work will be judged by its general appearance, and not by the looks of any particular piece of work. After the champs or veins are wiped out with the rag, the spaces of combed work between the champs must be softened by a piece of rag folded three or four times and drawn over the combed spaces and toward the edges of the work previously wiped out with the rag. The edges of the champs may first be sharpened up by drawing the second joint of the forefinger against them. A fine comb is then waved over the spaces of open work and the whole panel blended lightly crosswise with the flat brush. Quartered oak can be imitated by combing the same as has been described, and letting the work dry before taking out the champs. When the work is dry, mix a weak solution of washing soda, and add a little dry umber to show where you touch the work, put on the champs with a fitch tool, let it stand a few minutes to soften the color, and then rub off with a soft rag, and it will be found that the graining-color is taken off to the ground-work, giving the same effect as if wiped out while the color was wet, only that the work looks cleaner. Work done in this way should be over-grained. The champs may also be put in in dark color over the dry combed work, and left so, as some veins of oak appear dark in certain lights. These dark veins may be imitated by combing the work the same as if going to use the rag to wipe out. Do not blend, but put in the veins with a small fitch tool or fresco liner dipped in some color from the bottom of your pot—not too dark—and immediately blend one way, lifting the edge of the color; after practice it will be found that a very good imitation of dark champs or veins is the result. Heart-work may be done in the same manner, but the combing should be done with a steel comb, the color for putting in the grains being but little darker than that with which the work is rubbed in. It is sometimes necessary to go over the whole with a fine steel comb. An occasional dark piece introduced among wiped work tends to relieve the sameness and looks more like the hardwoods; it also gives a better opportunity (where a job is not to be overgrained) to make distinct mitres and joints. This is very important and should never be forgotten. Be sure and have all joints cleanly cut, as nothing

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