HARD PINE.
This wood is seldom imitated, and, although its grains are simple, they
cannot be matched without taking pains. The grain of hard pine is in
some respects different from that of any other wood; the growths are
generally quite narrow, and are not complicated, without having many
knots, and are decidedly straight, as is also the combed work. The
groundwork is much the same as that for oak, being slightly more
yellow. The graining-color--which is mixed in oil--is composed of raw
and burnt sienna, and a little burnt umber is added. The grains are put
in by first using the rag to wipe out the hearts and then pencilling in
the grain, or for the lighter parts of the grain the pencilling may be
omitted. The combing is done with moderately fine combs. Never go over
the same place twice, as the grains of pine are always straight and
never interlock, like those of oak. The work should lightly be blended
lengthwise. The color used to pencil in the growths should be darker
than that with which the work is rubbed in, and the blending should
always be done toward the outside edge of the grain. When the work is
dry it may lightly be shaded to give it depth, or slightly mottled.
Some pieces of hard pine are profusely mottled, and I have seen
specimens that had the appearance of fine Hungarian ash.
[Illustration: Plate 46.
HARD PINE.]
WHITEWOOD.
It is seldom necessary to imitate whitewood, as the original is so
cheap, and because there is as much difficulty in matching the color
of the wood as that of the grains. The ground-color is about the same
as that for light ash, and the graining-color can be mixed with raw
sienna and raw umber, adding black or blue; or yellow ochre can be used
for the basis of the color, adding raw umber and a little black for the
dark streaks. The work is then put in with a fitch tool and blended
softly, or a piece of pointed wood like a pencil may be used, the point
being covered with a thin cotton rag, and the heart grains put in with
this, taking care to have the grains subdued and not appearing
prominent. The grains of whitewood generally appear sunken; they are
simply outlined, and not softened with the rag.
[Illustration: Plate 47.
WHITEWOOD IN OIL.]
Whitewood sometimes assumes a blistered appearance peculiar to itself
and somewhat like the grain of Hungarian ash. This kind of whitewood is
very difficult to imitate, as the high lights are so strong and
brilliant as to require touching up with the ground-color after the
work is dry. This kind is seldom imitated.