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 so much
offends the eye as wavy or crooked joints. It is always better to make
a distinction between the long stiles of a door and the adjoining cross
rails. A common fault of the amateur grainer is his inability to make
clean-cut divisions.
[Illustration: Plate 5.
FLAKED OAK, LIGHT.]
[Illustration: Plate 6.
HEART GROWTH OAK, LIGHT.]
The heart of oak--or, as it is sometimes called, "slash oak"--is
usually done in the wet color, and is not combed previous to being
wiped out with a rag. The outline of the work is first wiped out and
the inner edges are softened with the rag. The edges of the work toward
the side of the panel should be filled out either by hand or with a
small rubber or leather comb covered with a thin piece of rag, being
careful to follow close to the last line done by hand. This is an
operation which if not carefully done will spoil the appearance of any
job. When the panel or piece of work is grained, a coarse steel comb
may judiciously be used, drawing it lightly over the heart-work and
softening the whole lengthwise with the dry brush and toward all knotty
places or turns in the wood. In case the work is to be overgrained,
care must be taken not to soften the edges too much, as it will present
too sunken an appearance. The plain grains are made with the comb; and
if this part of the work is properly done, the effect is better than if
it were full of strong grains.
When the work is to be overgrained (and good work cannot be done
without), it may be overgrained when dry, in either oil or water color.
If in oil (as we finish most outside doors, etc., in this vicinity
instead of varnishing them), the same color may be used as for
graining, or with the addition of a little more oil and drier, and
darkened with umber if necessary. The check roller may first be used in
water color, the work having previously been dampened, and, when the
checks are dry, the whole gone over in oil. Or the checks may be put in
in oil color after first overgraining in water color; this will
necessitate oiling or varnishing when dry. The check roller is used to
good advantage on hearts of oak, and the work should then be lightly
blended lengthwise. In shading the champs the brush may be drawn
through the shading-color, leaving the work streaked; then wipe off
where the color covers the champs too deep. A similar effect is
obtained by using a medium fine comb covered with a rag, the color
being taken off in this way; this is for oil color. The blender drawn
through water color, or a common oak overgrainer, gives the same effect
for water color. It is better to go all over the work with a thin coat
of color, as it looks raw without, and shading it in this way gives the
depth that is otherwise unobtainable. Shadows are put in around knarly
places, and touches added where needed, and the job is finished.