MAHOGANY.
This wood was a great favorite with the grainers of the last
generation, and it is at present coming back to old-time popularity.
The old Honduras "feathered" mahogany is rarely seen except in old
furniture, and this kind of graining is seldom called for nowadays. The
modern mahogany is more straight-grained, and is generally much lighter
in color, but the furniture manufacturers do not hesitate to stain the
wood to any depth of color, and thus they set the pattern which the
grainer must follow as regards the color. It is represented in both oil
and water color, or by being partly done both ways, as in the case of
walnut. The colors used are burnt sienna, burnt umber and Vandyke
brown, with crimson lake for overgraining on particularly bright work.
The tools used are the same as those for walnut. No better way to
imitate it will be found than first to stipple it with a thin wash of
Vandyke brown in beer, much the same as for walnut, but using the flat
side of the stippler or blender more than the tip, as the pores of the
wood are generally longer than those of walnut. After the stippling is
dry rub in the oil color, which is composed of about three-fourths
burnt sienna to one-fourth burnt umber, or a little Vandyke brown may
be added to the color. The dark veins are put in with the sash tool
dipped in a little clear Vandyke brown, which should be mixed in a
separate vessel and thinned mostly with driers, as Vandyke brown is a
very slow drier. The work is then gone over with a soft cotton rag, and
the color is removed where the lighter grains are to appear; the rag
is also used to soften the edges of the darker streaks and to blend
them into the lighter grains. The lights and shadows are made, and the
whole is then lightly blended crosswise. The bristle overgrainer of the
fitch tool is used to put in the finer grains, or this may be done when
the oil color is dry. This is the manner in which the modern straight
mahogany is most frequently imitated, but it can wholly be done in
water color, using the sponge for the same purpose as the rag is used
in oil.
The "feather" mahogany is best represented in water color. The centre
of the feather is darkened with Vandyke brown, and the mottler or
sponge is used to make the darker curves which radiate from the centre
of the "feather;" then with a thin piece of stick or a piece of
cardboard make the bright blaze marks that are usually seen through the
centre of the feather. A small mottler or cut tool may be used for this
purpose. The markings radiate from the centre outward in a curved line
and across the darker veins; allow this to dry, and then lightly
overgrain to bring out the effect, touching up the parts that are to
appear very dark. After this is dry the hand should lightly be passed
over the work to remove any surplus color, as one coat of varnish
sometimes fails to lay out on water-color work where the graining-color
has freely been used. This applies to walnut and rosewood in distemper
as well as to mahogany. The wood is sometimes represented in oil
without first stippling, but it never looks so well. Of course the
stippling may be done after the work is dry, but it makes a better
appearance if done before the rubbing with oil. If it is desired to
overgrain, the work, if done in oil, should be shaded in distemper, and
_vice versâ_. For depth and brightness, add crimson lake with a little
Vandyke brown.
[Illustration: Plate 42.
MAHOGANY FEATHERED.]
[Illustration: Plate 43.
ROSEWOOD AS OUTLINED TO OVERGRAIN.]