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GRAINING AND
MARBLING
A Series of Practical Treatises
ON
MATERIAL, TOOLS AND APPLIANCES USED;
GENERAL OPERATIONS; PREPARING OIL
GRAINING COLORS; MIXING; RUBBING; APPLYING
DISTEMPER COLORS; WIPING OUT; PENCILING;
THE USE OF CRAYONS; REVIEW OF
WOODS; THE GRAINING OF OAK, ASH, CHERRY,
SATINWOOD, MAHOGANY, MAPLE, BIRD'S EYE
MAPLE, SYCAMORE, WALNUT, ETC.; MARBLING
IN ALL SHADES.
Each Treatise is followed with Test Questions
for the Student
By F. MAIRE
Author of "Modern Painter's Cyclopedia"
"Exterior Painting," "Interior Painting" and "Colors."
ILLUSTRATED
[Illustration: colophon]
CHICAGO
Frederick J. Drake & Company
PUBLISHERS
COPYRIGHT 1910
BY
FREDERICK J. DRAKE
PREFACE.
This is the 4th Volume of the Red series manuals. It covers a field
which usually is or rather was made a separate branch of the painting
business. It has become of less importance however since the white pine
finishing of interiors has been replaced by that of hardwood. It is used
to a great extent nevertheless and while there is less demand for the
skill displayed by masters of the art of graining as existed in the
past, a good general workman is incomplete that cannot do a fair to good
job of graining today and all such should be able to do that much. A
journeyman who is able to turn his hand at graining or marbling will
usually be kept on the pay roll of the shop much longer than the man who
can do nothing but ordinary brushwork. Marbling has been associated with
graining because there is some few things that are in common between
the two; the grainer is better equipped for the doing of marbling
properly than painters who are not grainers--to say the least.
Graining
LESSON I.
PRELIMINARIES.
1. It has been the custom of the author in the past to give a synopsis
as it were of the manner in which the subject matter is to be treated at
the beginning of each of the volumes of the red series and as he sees no
reason in departing from the rule and on the contrary, very many good
ones for a continuation of the custom, below will be found a few
outlines of how the subject matter will be handled.
_First._ The tools and material required for the prosecution of the work
of graining and marbling. Neither the tools nor the materials needed are
very numerous, complicated nor costly.
_Second._ The preparing of various surfaces for graining in oil or water
colors.
_Third._ The preparing of material for the graining of various woods in
oil and water colors and the painting of the ground.
_Fourth._ The graining of the various woods in oil and water colors,
which includes the over-graining, stippling or glazing required to bring
the work to completion ready for varnishing.
_Fifth._ The varnishing and other methods required for the protection of
the graining.
_Sixth._ The above outlines will also suffice for the marbling section
of the manual.
Unlike general directions which can be given as to the painting of
surfaces of wood, iron or brick, each of the various woods will have to
be treated separately. These are a few operations which are common to
all kinds of grainings--these will be given in full before proceeding to
their special applications, suited to the various woods, as then the
student will be more familiar with what is meant by this preliminary
study of the methods used in doing "wiping" for instance or "veining" in
heart growths with a brush, etc.
_Seventh._ The varnishing is an important part of graining, which can be
done in various ways to suit the kind of graining done. In this regard
general directions will be given, but the kind of varnish to be used
must be such as will best agree with the character of the material used
in doing the graining so as to get good results from it.
LESSON II.
THE MATERIAL USED IN GRAINING.
2. The material used in graining is not numerous. The principal, as may
well be supposed, is white lead to be used as a base upon which to
prepare the ground tints upon which to grain.
3. The necessary colors to produce the tints required, which are:
Venetian red; French ochre; raw and burnt umber; raw and burnt siennas
and lamp black--all ground in oil.
4. For the preparing of graining colors all the above colors ground in
oil are used with the exception of ochre, Venetian red and lamp black,
and the following additional ones which are more transparent: Ivory
black and Vandyke brown. Of course this applies to the preparation of
colors for "graining in oil." To the above should be added ground
whiting in oil, but this can be prepared from dry whiting in the shop as
it is not usually sold in that shape.
5. For graining in water colors, all the above named colors are used,
but ground in water or distemper and all grainers should have a supply
of raw and burnt umber and siennas, Vandyke brown and Ivory black ground
in that medium. Some few grainers prefer to buy the dry ground colors
and to use them from the dry state.
6. Beeswax is also used in preparing graining colors used in oil
graining. Rotten stone is useful in preparing the oil graining colors,
and while not indispensable, it will be well to use it as it helps to
make the "_megilp_"--the technical name which is given by the old
English grainers to such oil graining combinations--work better and comb
smoothly.
7. For thinners: Raw linseed oil, boiled linseed oil, turpentine, drying
japan. Stale beer or vinegar for thinning distemper colors. Glycerine to
be used with the above in order to retard the drying of the color too
quickly at times.
8. All the colors named above are also used in marbling, with a few
additional ones such as Indian reds, Prussian blue, chrome yellows. In
fact any others which may come near to imitating some particular tone in
any marble specimen one may wish to imitate.
9. In giving out the above lists, no description is given of the several
colors mentioned for the reason that the student will find all these
colors sufficiently well described in Vol. III of the red series, which
he should procure; "Colors, what they are and what to expect from them,"
as it is entitled, will give him the necessary information more fully
than would be possible in this manual.
QUESTIONS ON LESSON II.
2. What is said about the material used in graining and of the base?
3. What colors ground in oil are required for preparing of tints for
grounds?
4. What other colors ground in oil are required for preparing "graining
colors in oil?"
5. What are the colors that are needed in graining in water colors?
6. What other material is useful in grainings?
7. What are the thinners used in graining in oil or distemper?
8. What additional material is useful for marbling?
9. What is said about obtaining fuller descriptions of material?
LESSONS III. AND IV.
TOOLS USED IN GRAINING AND MARBLING.
10. _Brushes._ The brushes required for the laying on of the "ground
colors" are the same as would be used for similar work in interior
painting. A good oval 6-0 varnish makes a fine tool for the purpose.
Some prefer the flat brush for laying on color; any good 3-inch flat
brush that will lay color smoothly.
11. For "_rubbing_" in the graining colors in oil some use half
worn-out, flat brushes--others again prefer the round or oval, and again
some rubbers-in use a brush that has been well broke in but not worn
much. It is largely a question of habit. If the "megilp" is just right,
the rubber-in can take almost any kind of a brush and rub out well with
it, but the advice of using an old worn-out brush which is seen in some
of the old-time books on graining should not be followed too implicitly.
A half-worn brush will probably suit more "rubbers-in" than any other
extremes. None of the above need illustrating as these brushes are in
constant use in all paint shops. Besides a number of kinds are shown in
Vols. I and II of the red series.
[Illustration: FIG. 1]
[Illustration: FIG. 2]
12. _Walnut stipplers._ This tool is a thin, flat, long bristle brush
and Fig. 1 shows it to perfection. They run in width from 2½ inches up
to 4 inches. They are indispensable in graining such woods as black
walnut and others which show up a large number of coarse pores. It is
also known under the name of _flogger_, the latter seemingly the more
appropriate of the two.
13. The "Badger blender" is an indispensable tool used in _all_
distemper graining to a greater or lesser extent. It is also used in
marbling. Fig. 2 shows it. This is the best shape for it; it is set in
glue and has a bone head; the old form of it is also shown in A of Fig.
3.
[Illustration: FIG. 3]
14. The "_fan overgrainer_" is a brush that cannot be dispensed with.
Every kit should have several sizes of them. Fig. 4 illustrates it well.
They run in sizes from 1 inch wide by half inches upward to 3½ inches.
Some grainers prefer to make them themselves, but little is gained
thereby. They usually have to have some of their bristles cut away to
suit the different purposes they are needed for. They can be clipped off
with scissors much quicker than the making of one out and out. They are
so cheap that one's time cannot be profitably employed in making a fan
overgrainer.
[Illustration: FIG. 4]
[Illustration: FIG. 5]
15. In Fig 5 are shown a few mottlers and in Fig 4, also under letters
B, C, E, K, H and M, each varying in forms so as to meet the various
uses to which mottlers are adapted and to suit the various ideas of the
operators.
16. A few camel pencils of various sizes, flat and sharp pointed for
veining completes the list of brushes specially used for graining and
marbling, to which must be added also the varnish brushes to put on the
finishing varnish coats. These may be any of the numerous bristle
varnish brushes fully described in Vols. I and II. It is a matter of
choice and convenience, no special shape or build being necessary for
these.
QUESTIONS ON LESSONS III. AND IV.
10. What kind of brushes are required for the laying on of ground
colors?
11. What brushes are used for "rubbing in" graining colors in oil?
12. What is a stippler or flogger?
13. What are the badger hair blenders used for?
14. What are fan overgrainers?
15. What are mottlers?
16. What other brushes are useful in graining and marbling?
LESSON V.
TOOLS USED IN GRAINING AND MARBLING--CONTINUED.
17. The mechanical aids to graining are quite numerous and some are
valuable. For the graining of many kinds of woods the devices which are
shown below will finish the work completely, and in the graining of
others will partially do the work, which may afterward be improved by
hand work in the finishing. It is _not claimed_ for these tools that
they will do as good work nor as varied _as can be done_ by hand, but
that in the hands of one who is used to the proper handling of them they
will do _better work_ than the average hurried up hand work that is
usually seen, and which has probably had no small share in disgusting
people with graining.
[Illustration: FIG. 6]
18. Fig. 6 shows the three Davis rollers made of rubber. One is used in
the wiping out of heart growths; another for the wiping out of champs in
quartered oak and other woods, which when quartered present the same
peculiarities. The last has three graded sets of indentations and are
used as combs for any kind of combing where rubber combs are used.
In this lesson it is not the purpose to explain the use of the tools
enumerated; this will come under its proper heading when the _modus
operandi_ of graining, both by hand and by the use of other helping
tools will be fully detailed.
[Illustration: FIG. 7]
19. Fig. 7 shows another rubber device, patented by the Ridgely Trimmer
Co. The corrugations, as will be seen, are in halves and are made so
that by proper pressure upon the handles curves them, enabling the
operator to follow indentations, and which also produces many variations
upon plain surfaces.
[Illustration: FIG. 8]
[Illustration: FIG. 9]
20. Figs. 8 and 9 are handled corrugated quarter-round rubber grainers.
These are especially handy in graining floors, also in getting into
corners where the others cannot readily be made to fit up to the
jointing of the two corners. These are also made by the above-named
firm; as well as the following:
[Illustration: FIG. 10]
21. Fig. 10 shows a rubber graining comb with graduated sized teeth,
which is frequently desirable as the work shows a more natural lessening
of the width of the veining from the heart outward.
22. Fig. 11 shows graduated widths steel combs in three sizes of teeth,
fine, medium and coarse. These are used in plain oak combings, etc.
[Illustration: FIG. 11]
23_a_. An artificial rubber thumb made from a piece of rubber about ½ an
inch wide at the end, which is then bevelled to a sharp edge, and is
frequently used by men who have never been able to use their natural
thumb in wiping out.
23_b_. The check roller shown in Fig. 12 is a series of notched metal
disks which are joined together. The projecting parts of the disks are
brushed over with distemper color and the roller revolved over such
parts of the work where the operator desires to show weather checks,
which are so often seen in oak.
[Illustration: FIG. 12]
24. Last but not least, an abundant supply of soft cotton rags to use in
connection with wiping out and in cleaning up tools.
QUESTIONS ON LESSON V.
17. General remarks on tools used in graining.
18. What are rubber graining rollers used for in graining?
19. What is represented by Fig. 6?
20. What is represented by Fig. 7?
21. What do Figs. 8 and 9 represent?
22. What is represented by Fig. 10?
23_a_. What is said of the steel combs, Fig. 11?
23_b_. What is the check roller used for, Fig. 12?
24. What is an artificial rubber thumb?
25. What is said about the use of rags?
LESSON VI.
GENERAL OPERATIONS USED IN GRAINING.
26. Graining, as it has been hinted at already, has many operations
which are common to the many kinds of wood imitated, the variations
being the result of the difference in their application. Therefore it is
well to give a general description of these, so that there will be no
need of repeating them each time that the particular graining of
different woods is presented. All that will be necessary will be to
refer to the general directions given here.
27. The first operation for all kinds of graining is the painting of the
_grounds_. In order that the superstructure should be lasting, the
foundation must be good and appropriate to the character of the work
being done or else trouble in the shape of cracking will be pretty sure
to follow. If the woodwork is new and has not been painted before, it
will be easy enough to lay this foundation rightly.
28. The wood should be well primed with raw linseed oil and white lead
after the covering over with shellac varnish of all resinous and sappy
parts in order to stop their coming through the paint coats. The second
coat should be made from white lead colored up to something near the
color of the finishing tint desired for the ground. This should be
thinned with half raw linseed oil and half turpentine; it should be put
on middling heavy after having first gone over the nail holes, cracks,
loose joints, etc., with putty. The last coat should be put on stout,
but well rubbed out and should be mixed from white lead tinted to the
exact shade wanted for the graining ground. It should be thinned with
one-fourth raw linseed oil and three-fourths turpentine. In cold weather
or damp, non-drying weather it may be well to add just a trifle of
drying japan, in order to insure the good drying of the several coats of
paint, and it will be hardly needed to add that no coat of paint shall
be placed upon the other until the former one has completed its drying.
Three coats usually suffice to give a good, solid ground for graining.
29. As much of the graining done is over old painted work, there is
always an element of uncertainty as to the results. If the woodwork has
been painted only a few times, it will be easy enough to bring it to a
good finish by the application of two good coats of ground color, where
turpentine predominates, so that it will not be too glossy. If the
woodwork has been painted a great number of times it will be useless to
try to paint grounds over it, as then it will be apt to blister. It will
be better to burn it off or get it off by using some of the paint
removers, after which the painting of the ground may proceed as directed
for new woodwork.
30. It also happens that graining is resorted to in order to hide the
dark effect produced on cheap varnishes by age in the natural finish
used over yellow pine, etc. It will be much safer to remove it with
varnish remover, if many coats have been applied over it, which is
usually the case. If it has only had three or four coats, the woodwork
should be gone over thoroughly to remove as much of it as possible with
steel wool, and afterward two good coats of ground color given it. The
first one should be a trifle thinner than would be given over old
painted work.
31. There is a rule for the proper tinting of ground which will always
give good results if followed up carefully. It is this: No matter what
wood one tries to imitate, either in its natural finish tone or in an
imitation of one which has been stained to an unnatural color, always
have the ground tint: _as light as the lightest part of the wood which
shows through_. This will be the right tint for the graining of that
wood.
32. It is refreshing sometimes to hear the discussions that take place
among grainers as to the proper ground tints for various woods. No cut
and dried rule can be given. The one given in paragraph 31 is as good or
better than any. There is so much variation in the natural specimens
themselves that no one nor two near-by tints would fill the bill. For
this reason no ground tints will be shown in this manual. Under the
several woods will be given the general tone of the ground by name only,
as, for instance, the general ground tone for graining oak is a light
buff, varying from a cream to a decided buff, according to the finished
effect wanted.
QUESTIONS ON LESSON VI.
26. What is said of the general operations by which graining is done?
27. What preparations are necessary for the painting of grounds?
28. How is new wood to be grounded?
29. How is old painted work to be grounded?
30. How is old varnished work to be treated for grounding?
31. What is the general rule to be followed in preparing the ground work
for any given wood?
32. What else is said regarding tinting the ground colors?
LESSON VII.
PREPARING OIL GRAINING COLORS.
33. Again here is another one of the many operations necessary for
graining upon which grainers are very far from being unanimous as to the
proper way that it should be done. It will be best to note what is
expected of a graining color, and afterwards to prepare them according
to these requirements, irrespective of any cut and dried formulas, as
when these requirements are complied with it does not matter so very
much about the material that is used in doing so. It will be well to say
that these graining colors are best known to old time English grainers
under the name of "_megilp_," in order that there may be no
misunderstanding as to the kind of graining color that is meant.
34. A good "megilp," or graining color, should possess the following
qualities:
1st. It should be clear toned without muddiness.
2d. It should be very transparent.
3d. It should be heavy enough to brush out well, so that it may be
combed and its edges remain clean cut without running.
35. The first requisite of "clearness and richness" in the umbers,
siennas, ivory blacks and Vandyke browns ground in oil, which are used
to prepare the megilp, is not so very difficult to obtain when the goods
of well-known color firms are employed, but the second requisite, while
it belongs to a stronger or lesser degree to all the colors enumerated,
is far short of that which is required in a graining color.
36. To obtain the proper degree of thinness required, all the above
colors would have to be thinned with linseed oil and turpentine far
beyond that consistency which it is required to carry in order that it
may be wiped and combed with well defined edges which do not run or
blur. Therefore some perfectly transparent material must be added to it
in order to give it this consistency. The material used for this may be
rotten stone or whiting, or both, or china clay, or better, silicate
earths--any transparent earth with no coloring of its own. Some grainers
use putty thinned down with oil, but that is not so good as whiting, as
the putty may be made of anything and the oil used in preparing it may
be injurious to the durability of the graining.
37. Some of the old-time grainers used to prepare what may be called
"stock megilp," a portion of which they added to the oil colors as
needed. Wm. E. Wall says of it "that the formula is this: Take 8 ounces
of sugar of lead and 8 ounces of rotten stone, grind them together as
stiffly as possible in linseed oil; then take 16 ounces of white
beeswax, melt it gradually in an earthen pitkin, and when it is fluid
pour in 8 ounces of spirits of turpentine; mix this well with the wax,
and then pour the contents of the pitkin on the grinding stone to get
cold. When cold grind the rotten stone and sugar of lead with the wax
and turpentine and it will form an excellent megilp, which if kept in a
jar with a mouth wide enough to admit a palette knife and secured from
dust will keep almost any length of time."
This is well and good for professionals, but it will hardly appeal to
the ordinary grainer. He can grind up a little whiting and rotten stone
and melted beeswax in turpentine and add enough to his color to answer
his purpose.
With the present system of buying all colors as near ready for use as
possible, color manufacturers prepare special oil graining colors ready
for use by simply thinning. They come ready for all sorts of woods, and
where the color is not just the shade wanted, the operator can easily
add the one that is lacking to bring it to the right tone.
QUESTIONS ON LESSON VII.
33. What is said in a general way about preparing graining colors, or
megilp?
34. What are the requisites necessary to make a good graining color in
oil?
35. What is said about the transparency of the colors used in preparing
graining colors?
36. What substances may be added to colors to produce more transparency?
37. How may stock megilp be prepared for future use?
LESSON VIII.
MIXING GRAINING COLORS IN DISTEMPER, RUBBING IN, ETC.
38. When the colors have been properly ground in water or in distemper,
as they are usually called, it is but little trouble to thin them out
for use with stale beer or vinegar. Many grainers prefer to use dry
colors when they have been finely dry ground, and they work as well as
the distemper colors. They are much more economical to use, and for that
reason will always be preferred if for no other. Some, however, are hard
to mix up dry and it is preferable to buy these ground in distemper, as,
for instance, Vandyke brown and ivory black.
39. It frequently happens during warm weather that the color dries so
fast that the operator cannot possibly finish his work while the color
is in a right condition, so he must resort to some means to prevent this
hasty drying. The addition of glycerine will retard it for a good while,
as glycerine is a good absorbent of water.
40. To prevent this rapid drying of graining colors in distemper many
means are used, some too complicated and really no better than the one
named in the preceding paragraph; wetting the wood with water into which
a little sugar has been dissolved is another means to the same end.
Afterward use the regular distemper mixture over it.
RUBBING IN.
41. This is the name that is given to the operation of laying on the oil
megilped color previous to the graining. The professional grainer
usually has a helper who works ahead of him and "rubs in" the color,
while he follows him up with the wiping or combing. When the color is
mixed and thinned just right there is no difficulty in its application.
The brush should be any good, partly worn, or at least well broke in
oval, or flat paint brush. In the flat the 3-inch size will be found the
most convenient.
42. It was said in the preceding paragraph that the application of the
rubbing-in coat presented no difficulties, but the proviso inserted
relative to the color being properly mixed means what it says, for if it
is not, trouble will surely follow. If the color is too thin and oily
the operator will find it hard work to smooth it evenly. If it has been
made more transparent by the proper megilping, the color will brush out
evenly, and a full brush of color can be carried to the work. The
operator should run over the mouldings of the upper panels, and if he
has enough color on his brush, also the lower ones, then he should brush
out the panels themselves, helping himself to the surplus color on the
mouldings; then the short middle stiles, then the lock rail, upper and
lower rails, then the end stiles, finishing up with the door edges last.
43. What a "rubber in" should not do is to try to _skin_ his color on.
Many are afraid to carry more than half an inch of color from the pot to
the work, seemingly afraid they can't manage it with a full brush, but
that is a very poor way and if pains are taken to distribute the color
along the panel mouldings first, its distribution will be much more even
than if put on by _skinning_. It will take only about two dippings to do
the side of an ordinary door, and it will be in just the shape that the
grainer wants it. On the other hand again, he must not put it on too
heavy, as the edges will not wipe clean, and if too oily will even run
and show up ragged at the edges.
QUESTIONS ON LESSON VIII.
38. How should graining colors be mixed for distemper work?
39. What may be added to the thinner to prevent the color drying too
quick?
40. What else is useful in retarding the drying of the distemper
graining color?
41. What is meant by the operation of rubbing in?
42. How is the graining color applied?
43. What is it that the "rubber in" should not attempt to do?
LESSON IX.
GENERAL DESCRIPTION OF GRAINING OPERATIONS--CONTINUED.
APPLYING THE DISTEMPER COLORS.
44. A good-sized brush may be used for the laying of the distemper
colors, but they are not absolutely necessary. A sponge is even more
frequently used, especially when the character of the wood is to be
shaped by the use of the sponge as the color is being laid on. It is
hardly worth while to say that the man who does the graining must be his
own "rubber in" in distemper work. The name itself is dropped for this
class of work; the person applying it must be able to do the shaping as
he goes along, excepting for "stippled" woods, when it may be well to
have some one to help, especially if the color dries fast; he can then
follow the helper closely and then there will be no trouble from that
cause.
45. The color itself may be thickly or thinly thinned--it will all
depend upon the kind of surface one is working upon, and also upon the
kind of graining being done. Some grainers must have stale beer for a
thinner, but others will do as good work who never use any, and such use
vinegar somewhat diluted for that purpose. The proper thing is to have
the color of the right working condition for the particular job. The
kind of thinner does not matter so much so that it has tack enough to
hold the color, so the colors will not run together when brushed over in
the varnishing afterward.
46. The use of the _check roller_ usually is the first operation done in
graining woods which show weather checks. The proper way to use them is
to fill a 3-inch fan overgrainer with the distemper color which comes
nearest to the ideas of the grainer in showing up what he desires to
produce. This fan overgrainer is laid upon the face of the check roller
flat, and a few turns are given in order to spread, when it is ready to
do its duty. Checks while they look all right in some oak work, are
usually rather scarce in nature, and it is an easy thing to overdo them
in the imitation. A few in well-chosen locations will look infinitely
better than an oversupply. As overdoing nature is a fault which applies
in all the other operations used in graining, it will be well to guard
the student against this defect right at the beginning. Let him bear in
mind that all graining will look better _underdone_ than _overdone_, no
matter what wood one tries to imitate.
47. _Stippling_ is another operation which is used chiefly upon open
grained woods or woods which show fine or coarse pores all over their
surfaces, such, for instance, as black walnut in the dark woods and
chestnut in the lighter ones. Some pretty effects are also made by
partial very fine stipplings over certain parts of woods. As the
particular graining of each wood will be related these effects will be
noticed under their proper headings. The application of the distemper
color (the only proper one) has already been noted. The operator doing
the stippling must hurry his work with the flogger or stippler (see Fig.
1) before the color commences to dry, or the stippling will not be
uniform. He at no time must let the brush rest upon the work, but must
hit the surface and let it rebound back, and be ready to strike again,
being careful that the stippling proceeds evenly, and that the
porousness indicated be as near equal all over as possible. It is not a
very difficult operation, but one minute of actual work with the flogger
will teach more to the student as to how it should be done than an hour
of description will.
QUESTIONS ON LESSON IX.
44. How should the distemper colors be put on?
45. What is said of the thinners used in distemper work?
46. How should the check roller be used?
47. How is the stippling done?
LESSON X.
WIPING OUT IN GRAINING.
48. _Wiping out_ is the name given to the operation in graining whereby
some of the color is removed, as in champs or flakes in quartered oak,
for instance, or else where the veining in heart growth is also removed
and the remaining dark color not removed forms the veining. This
operation is mainly used in graining oak in oil, but is not confined to
that alone by any means, nor to oil graining alone, either. Many
grainers who know "how" wipe out water or distemper work and it looks
well, too.
49. To do the "wiping" the operator takes some soft cotton rags, folding
a couple of thicknesses together, and using the thumb inside of it he
draws it gently wherever he desires to remove any of the color; by
drawing gently on the cloth it will wipe out the color cleanly, and
always present a clean face to the fresh color. Under no consideration
should the grainer permit himself to keep on using a soiled part of the
cloth, as it is sure to show up streaky and dirty. Many persons for good
reasons sometimes cannot use their thumbs in wiping, and such resort to
the artificial one described in paragraph 23. While this has not the
sensitiveness of the natural organ, by practice one can use it to do
very good work.
50. _Combing._ The operation known as "combing" may be performed by the
use of combs of various material, such as steel combs; leather combs,
which are simply sole leather upon the ends of which have been cut out
with a knife square teeth of such size as is desired; rubber combs,
which are somewhat upon the same order and which can be bought ready
made, each fitted into a wooden handle as shown in Fig 10. This,
however, shows one with graduated teeth which is very useful for many
purposes. Any of the above are better adapted for certain kinds of work
than are any of the others. Practice will soon show the grainers which
ones to use.
51. The combing proper requires more care than skill, but the latter
always counts in this as well as any of the other operations in
graining. The operator should be provided with clean, soft cotton rags
to wipe the combs every time that they are used. Never be tempted to
draw it over the work a second time. "Get the habit" and it will stay
with you so it will become _automatic_. Many an otherwise good job of
graining has been ruined in looks by the slovenly habit of using dirty
combs. Clean cut edges count many points in good graining. When nearing
joints it is a good plan to cover an already grained or combed part with
a small sheet of tin, which will prevent the comb from trespassing over
into forbidden ground. Do not hold the tin flat over the grained or
combed work, as it might mar it, but let it touch just at the joint, the
hand holding it at an angle off the face of it.
52. Combing is not confined to oil work only, although by far most of
the combing done is in that medium, but it is frequently resorted to in
distemper work. The steel combs are seldom used for this kind of work,
the rubber ones being infinitely superior. It is more difficult,
however, and it must be done very quickly, as the color will otherwise
be dry, when it will be impossible to do anything with it, and the part
being combed will have to be washed off and another application of
distemper color given it. Quickness, therefore, is an important
consideration in combing distemper colors; cleanliness is just as
essential as was stated in the preceding paragraph for oil combing, only
a little more so if possible. The operator should make up his mind as to
what he is going to do before he touches a tool and then stick to it to
the end, giving all his thoughts to his work.
QUESTIONS ON LESSON X.
48. Describe what is meant by "wiping out"?
49. What is needed for this operation and how done?
50. What are the tools needed in "combing"?
51. How is the combing done in oil graining?
52. How is combing done in distemper work?
LESSON XI.
PENCILLING IN THE VEINING, ETC.
53. In water color work the heart growth of veins, some of the flaking,
knots, burls, etc., are done by pencilling the same with a camel's hair
brush. Some is left just as the outlines made by the brush leaves it,
but only in such outlinings as those of knots or in the imitating of
defects and in some burls.
54. The "_pencilling_" requires a steady hand with a perfect control of
the freedom of movement of the hand doing the work. To insure this it
will be found much the best way is to use a mahl stick for a rest. It
will insure against unsteadiness and will enable the operator to do his
work just as he wants it and where he wants it. It will enable him to
give the heaviest part of the stroke at the center of the heart growth,
where it ought to be, and to gradually lessen its width toward the
sides, where it is not so full nor heavy.
55. The operator should be careful while executing his veining that the
blender is used while the color of the veining put on is _still wet_, as
otherwise it will not blend and the chances are that the work will be
spoiled, or at least greatly inferior in quality. (Fig. 2 shows the
blender.) The blending itself is the drawing of the soft hair over the
wet color, which softens it and divides its stiff outlines in serrated,
uneven, pore-like, outlines. While the operation is not a difficult one,
good blending requires an intimate knowledge of what will be the effects
produced by the use of the tool, as the blending can be overdone as well
as underdone. A little practical experience will soon teach the
operator its proper use.
56. _Fan overgrainers_, as shown in Fig. 4, come in various widths. It
was said in paragraph 14 describing them, that many grainers preferred
to make them themselves. This no doubt is due to the reason that in
preparing them themselves they are able to arrange the hair so that they
can get various effects from them, such as graduated lines, and again
thick or thin lines, etc. But one can easily obtain the same results by
buying a dozen or two of the ready made ones. They usually are made with
a surplus of hair, and with a pair of sharp scissors the operator can
easily cut out all the superfluous hair from the parts desired. With a
good supply of overgrainers thus prepared before hand, he will be
prepared to do an endless variety of veinings in lines equidistant, or
graduated to suit.
57. The fan overgrainers are used for many purposes, not only in
_overgraining_, as their name would seem to indicate, but also in laying
out the veining adjacent to heart growths wherever a succession of fine
lines are required, and which in water color work corresponds to combing
in oil work. The brush is dipped into the distemper color, then it is
run through the teeth of a coarse horn comb such as is used in hair
combing. This will separate the hairs into lines, when the operator can
use it on his work by drawing it along the outer edge of his pencilled
out heart growth, and continue it to the outer edge of the panel. In
overgraining proper it is used in many other ways, and by the proper
motion of the hand many forms and variations suitable to the character
of the woods being imitated can be done. In this proper use of the
overgrainer the skill of the operator will be shown. It will be well to
say that these lines made by the overgrainer are to be blended for most
woods, and the student is referred to what was said regarding how it
should be done in paragraph 55.
QUESTIONS ON LESSON XI.
53. What is said of the "pencilling in" of veins, etc., in distemper
graining?
54. How are the veins pencilled in?
55. How is the "blending" done?
56. What is said of the fan overgrainers?
57. How are the fan overgrainers used?
LESSON XII.
THE USE OF GRAINING ROLLERS, ETC.
58. As stated in paragraphs 18 to 21, describing Figs. 6, 7, 8 and 9,
corrugated rubber tools of various forms are used in graining. Some
kinds of woods can be done complete with these tools, and again their
main character laid out with them, which is afterward improved by hand
work. They are great time savers and to the man who knows how to use
them well, which can be easily learned by following the directions
given which accompany the boxes the tools are packed in, anyone can
quickly learn their use, and will find it of great help in doing their
work _quickly_, which is an important item, especially where the
graining has to be done cheap. They will be able to turn out very much
better work than could be done by hand for the same money. That fact
alone if for no other reason (and there are other reasons also) entitles
them to a welcome in the kit of progressive grainers who are not held in
"awe" by precedents established when "grainers" were _getting something_
for good work done by hand exclusively.
59. While we are in the way of describing other methods of graining than
that of graining done by hand, it is only right and proper that the
transfer graining papers should be noticed. The graining upon many of
these is very good. It has one disadvantage in that on large jobs there
will be more repetition than is desirable; there is also an automatic
indescribable look belonging to it, that grates upon an artistic taste,
so that while the graining may be really much better than much hand
work, yet hand or even that done with corrugated rubber tools will
please the average man better than the more perfect automatic work done
with the graining paper.
60. In graining with transfer paper, the paper to be used in the panels,
stiles and rails should be cut into strips a trifle wider than desired
for the actual space to be grained. The ground coat should be an
appropriate one for the kind of wood to be imitated. The process of the
transferring is similar to that used for all transfers; the paper is
applied to its proper place, which it must cover fully, then the
operator proceeds to wet the back of the transfer paper with a sponge
which has been dipped in clean water. In a few moments after the wetting
the paper can be pulled loose from the surface over which it is
applied, laid aside flat to dry, and an exact replica of the graining
printed upon the face of the paper will be left upon it. These transfer
paper strips can be utilized several times before the design is dimmed
too much for use.
After the completion of the work it must be varnished in order to hold
it on, as any other distemper work must be.
61. There is another form of graining paper which has just been patented
in Germany, which is not a transfer paper really and which _does_
excellent work. By some patent process the paper is made upon the face
of the woods they represent; every pore and detail of the wood is
perfectly represented. The ground color is covered over with oil
graining color the same as for hand wiping. Then the graining paper, cut
into proper sized strips, are placed over the surface and the back of
the paper is rubbed over with a specially made brush all over, taking
care that the hands do not touch it any where except upon the edge,
which should extend over sufficiently for this purpose; then the paper
is lifted off and can immediately be used again. It leaves the job as if
it had been "wiped out," but much better of course than 99 out of 100
men could possibly do it by hand. It is somewhat costly and outside of
the samples which were given the author for testing he has never seen
any. So far it has not been imported in this country in a regular way,
but there is no doubt but that it will soon be.
QUESTIONS ON LESSON XII.
58. What is said of the use of corrugated rubber graining tools?
59. What is said of "transfer graining paper"?
60. How is transfer graining done?
61. What is said of a new "wiping out" paper?
LESSON XIII.
CRAYONS FOR MAKING FINE VEINS.
62. In such woods as maple, cherry, etc., the veining consists of very
fine lines which show no blending in the natural woods. They are so fine
that it would be very difficult to put them in with a camel's hair brush
or pencil. Heretofore it has been the practice of grainers to take
colors such as they wished, and by mixing with china clay and gum arabic
mucilage compound these into a mass which they rolled out and cut into
strips in order to make crayons out of them. The process is not very
difficult, but the proper blending and sizing must be carefully done or
the crayon may be so hard that it will not mark on the wood, or so soft
that the varnish will rub up the color. These crayons in wood may be
bought in many of the supply stores. One fault with most of them is that
they are not sufficiently sized to hold on the color while the varnish
is applied. This the manufacturers must supply or their goods will be
forced out of the market, in so far at least as the use that is made of
them by the graining trade is concerned.
63. The crayons are sharpened to a point, and the veinings, knotting and
burls are outlined by their means. They are used only where fine lines
are required that are sharp and unblended. They are used in the same
manner as ordinary graphite pencils are. Their use offers no difficulty
even to a beginner other than the skill shown in making the right
markings in the right place, which is a matter of study before using
them.
64. _Mottling_ is an operation which greatly enhances the value of
graining in many woods. This mottling may be done by means of the
so-called mottling brushes, of which many are shown in Fig. 5, in either
oil or distemper graining. In the preceding sentence the words "may be
done" are used, because many very good grainers never use them, but
depend upon their rubbing in brushes, etc. Again the sponge in distemper
work is used and by the proper use of the badger blender beautiful
mottlings are made without the use of any brush at all.
65. The sponge is held in the hand and by pressure and release of the
same in going over the surface the color is unevenly distributed, which,
when properly blended, will form mottlings coarse or fine, long or
short, as wanted. It will require some practice in order to obtain a
good control of the sponge.
66. The sponge is an invaluable aid to the grainer in distemper work,
and the student should spare no pains in learning to master its use.
With it not only mottlings may be made, but the main features and
character of all the burled growths of walnut, oak roots, pollard oak,
bird's eye maple, sycamore, mahogany, etc., may be laid out; most of it
to be blended, and when dry overgrained and finished with either crayon
pencils, camel hair knottings and linings done with various distemper
colors or with the fan overgrainers, or by combinations of all the
above.
67. The above comprises all the operations done in graining woods that
can be given a general description of. Each kind of wood will require
some of their use. Not all, however, must be given in the same manner,
but must be adapted to suit the particular woods one may be trying to
imitate. As occasion may require reference will be made to some of the
paragraphs giving the proper information as to "how to do it."
QUESTIONS ON LESSON XIII.
63. How are graining crayons made?
64. What is said about graining crayons?
65. How is graining done with sponges?
66. What is said of the use of sponges in burled graining?
67. What is said concerning the special use to be made of the various
operations in graining described in the previous lessons?
LESSON XIV.
GENERAL REVIEW OF WOODS.
68. Woods may be divided into two general classes:
1st. Those that are close grained and which when sawed into boards show
very fine pores, or perhaps very little if any perceptible to the naked
eye, as "holly," for instance, and in a lesser degree in "satinwood."
2d. Those that are composed of long, coarse ligaments, which when sawed
into boards show a great number of pores, especially when the growth is
comparatively regular, as in chestnut, walnut, etc.; with a great
number which lie between the two extremes.
69. There might be added a third division for those woods which have a
jerky, crosswise fashion of growing, which to the unwary look as if
there was no system in their growth, as in sycamore, rosewood, etc., but
which they have as regular as any other just the same, as a kinky haired
American of African extraction could truthfully claim for his tangled up
specimen as against the rigid growth of that of the American Indian. As
with hair, it will be found that most of the woods which grow in a
tangled way are composed of very fine fibres, which grow closely
together and therefore can be classed in class 1.
70. Before commencing the descriptions of the graining of the various
woods it was thought best to examine some few general characteristics
which belong to each class, and the student will then be able to tell at
sight almost what may be the best manner in which the graining shall
proceed, either in oil or in distemper. Woods of class one, as a rule
being close grained, need no stippling, as few pores show up separately
as such, and it was shown that this is the main object of stippling.
On the other hand, nearly all woods that are classed in class two, but
more especially those which are on the extreme side of that class should
be stippled by all means, and the others are greatly helped by a partial
stippling at least.
Included in as stippling must be added the check roller work, as this
may be done in such a way as to replace the stippling done with the
flogger for certain woods, in the graining of some peculiar specimen of
quartered oak especially.
71. Before attempting to do any graining, the student is earnestly
advised to procure a number of small pieces of veneers of the various
woods; to glue them over smooth boards, fill them with a good hardwood
filler if open grained; if not shellac them over with two coats of
shellac, which he should also give to the open wood sample after having
filled them and smoothed them properly. Then give them one or two coats
of good varnish, when he will have object lessons which will prove
invaluable to him. Let him not confine himself to one, two or three
specimens of the same wood, but let him pick out as many as he can
afford to do, in order that he may study their variations and different
modes of growth, or he may get stuck into ruts and routine in his style
of graining which he must try to avoid as much as possible.
There is nor cannot be any better teacher than these samples will be.
They need not cost much either. Frequently they can be obtained for a
song at some of the furniture factories from ends that are too short for
use in their regular work.