file which includes the original illustrations4 ,see #dagdi-;h4htm or #dagdi-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#dagdi_/pg#dagdi-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#da gdi_/dagdi-;h4zip7 ,images of the original pages are available through ,internet ,archive4 ,see http3_/_/archive4org_/details_/practical grainin#jjwall ,,practical ,,graining ,with ,description of ,colors ,employed and ,tools ,used ,illustrated by ,forty-,seven ,colored ,plates ,representing the ,various ,woods ,used in ,interior ,finishing by ,,william ,e4 ,,wall ,grainer to the ,trade4 ,philadelphia3 ,house ,painting and ,decorating ,publishing ,co4 ,eighteen-,ninety-,one4 ,entered according to act of ,congress in the year #ahij by ,the ,house ,painting and ,decorating ,publishing ,co4 in the office of the ,librarian of ,congress at ,washington1 ,d4 ,c4 ,all ,rights ,reserved4 ,,contents4 ,,page4 ,,chapter ,i4 ,groundworks for graining2 graining compared with plain painted work2 removing old paint2 mixing ground colors #e ,,chapter ,,ii4 ,the graining color2 imitating simple woods2 graining color for light oak2 mixing graining color2 applying the color2 representing champs or lights of oak #i ,,chapter ,,iii4 ,quartered oak2 overgraining2 heart of oak2 use of the check roller #ac ,,chapter ,,iv4 ,graining oak in distemper2 the light veins in oak2 graining ash2 putting in heart work2 over-graining ash2 ash in distemper2 matching white ash #af ,,chapter ,v4 ,hungarian ash2 burl ash in water color and in oil #ai ,,chapter ,,vi4 ,chestnut2 colors for graining chestnut2 wiping the hearts and blending2 chestnut in water color2 bird's-eye maple2 putting in lights and shades2 putting in the eyes2 curly or rock maple2 silver maple #ba ,,chapter ,,vii4 ,satinwood2 groundwork for satinwood2 putting in the mottling #bf ,,chapter ,,viii4 ,pollard oak2 cherry2 cherry in distemper2 glue size for distemper binder #bg ,,chapter ,,ix4 ,black walnut in oil2 black walnut in distemper #ca ,,chapter ,x4 ,french walnut burl in distemper #cb ,,chapter ,,xi4 ,mahogany2 ,honduras feathered mahogany2 stippling in mahogany2 feathered mahogany #ce ,,chapter ,,xii4 ,rosewood2 the use of the bamboo brush2 imitating rosewood in water color2 cypress wood #cg ,,chapter ,,xiii4 ,hard pine2 white wood #dj ,,chapter ,,xiv4 ,varnishing over grained work2 cracking of varnish on inside work #db ,,chapter ,,xv4 ,graining considered as a fine art2 graining sometimes condemned2 the artistic merit of graining #df ,,chapter ,,xvi4 ,the tools used by grainers2 combs2 overgrainers2 badger blenders2 castellated overgrainers2 mottlers2 cutters2 stipplers2 check roller2 fresco bristle liners #dh ,,chapter ,,xvii4 ,patent graining machines2 patent roller process2 the ,mason pad2 objections to machine graining2 stencil plates2 gransorbian transfer process2 transfer paper #ed ,,chapter ,,xviii4 ,the imitation of carved work1 mouldings1 etc4 #ei ,,list ,,of ,,colored ,,illustrations4 #a4 ,grounds for ,graining ,hungarian ,ash1 ,maple1 ,light ,ash and ,light ,oak4 #b4 ,grounds for ,graining ,chestnut1 ,dark or ,pollard ,oak1 ,black or ,french ,walnut1 ,stained ,cherry1 ,mahogany and ,rosewood4 #c4 ,plain or ,wainscot ,oak1 ,light4 #d4 ,flaked ,oak1 ,light4 #e4 ,flaked ,oak1 ,light4 #f4 ,heart ,growth ,oak1 ,light4 #g4 ,heart ,growth ,oak1 ,pencilled4 #h4 ,flaked ,oak1 ,light1 ,shaded4 #i4 ,heart of ,oak1 ,checked and ,shaded4 #aj4 ,flaked ,oak1 ,light ,shaded4 #aa4 ,flaked or ,quartered ,dark ,oak1 ,shaded4 #ab4 ,heart of ,light ,ash1 ,wiped ,out4 #ac4 ,heart of ,light ,ash ,wiped ,out and ,shaded4 #ad4 ,heart of ,ash1 ,dark1 ,pencilled4 #ae4 ,hungarian ,ash1 ,wiped ,out and ,pencilled4 #af4 ,burl ,ash in ,water ,colors4 #ag4 ,dark ,ash1 ,pencilled and ,combed4 #ah4 ,hungarian ,ash1 ,wiped ,out4 #ai4 ,bird's-,eye ,maple1 ,overgrained4 #bj4 ,chestnut4 #ba4 ,bird's-,eye ,maple1 ,mottled ,ready for the ,eyes4 #bb4 ,bird's-,eye ,maple with the ,eyes4 #bc4 ,chestnut4 #bd4 ,satinwood ,mottled4 #be4 ,satinwood ,mottled and ,overgrained4 #bf4 ,curly ,maple ,mottled to ,overgrain4 #bg4 ,curly ,maple ,overgrained4 #bh4 ,pollard ,oak4 #bi4 ,pollard ,oak4 #cj4 ,cherry ,mottled in ,oil before being ,overgrained4 #ca4 ,cherry ,mottled and ,pencilled in ,oil4 #cb4 ,cherry ,mottled and ,pencilled in ,oil4 #cc4 ,cherry ,mottled and ,pencilled in ,oil as ,finished4 #cd4 ,cherry ,wiped ,out and ,pencilled in ,oil4 #ce4 ,walnut ,stipple4 #cf4 ,black ,walnut ,pencilled4 #cg4 ,walnut ,wiped ,out and ,pencilled4 #ch4 ,curly ,walnut4 #ci4 ,french ,walnut ,burl4 #dj4 ,mahogany ,straight4 #da4 ,mahogany ,mottled4 #db4 ,mahogany ,feathered4 #dc4 ,rosewood as ,outlined to ,overgrain4 #dd4 ,rosewood as ,finished4 #de4 ,cypress in ,oil4 #df4 ,hard ,pine4 #dg4 ,whitewood in ,oil4 ,illustration3 ,,maple ,,or ,,satin ,,wood4 ,,light ,,ash4 ,,light ,,oak4 ,,hungarian ,,ash4 ,,grounds ,,for ,,graining4--,,in ,,illustration ,,of ,,article ,,by ,,wm4 ,e4 ,,wall ,,practical ,,graining4 ,,chapter ,i4 ,,ground-,,works ,,for ,,graining ,the following remarks1 while not claiming to be anything new or startling1 will perhaps be of interest to those who seek to improve themselves in the modern style of imitating the grain of wood4 ,the ideas set forth in these pages are founded on the observation and every-day experience of a grainer to the trade who does not claim to be the best in the world1 but who offers his suggestions for the good of the craft4 ,graining is often overlooked in the rage for stained white wood or olive greens in interior work1 but it will always find favor with those who have experienced its wearing qualities as compared with plain painted work2 for should the varnish be of good quality and not crack1 the work1 if properly done1 will stand for years and will not fade in the manner that paint does1 and where the work is properly done on new wood it cannot be chipped off unless the wood is taken off with it4 ,it can be scoured off1 but will not come off otherwise4 ,where graining is done over old paint or over work that has been previously grained the case is different1 as1 if knocked or bruised1 it will chip off to the coat beneath1 and where the work has formerly been white the effect is very bad and is hard to remedy2 but if care is taken when grounding the work1 it may to a great extent be prevented4 ,in preparing old work for graining one of the first things requisite is to have the surface made as smooth as possible2 this may be done with sand-paper or--what is better--lump pumice stone4 ,in case the graining is done over old paint that has cracked the best thing to do is to remove the old varnish or paint by the application of a strong solution of washing soda or a weak solution of potash4 ,some painters use spirits of ammonia or burn off with a burning-lamp4 ,after thoroughly softening or removing the old paint or varnish with either soda or potash1 the work should be washed off with a weak solution of vinegar 7about a pint of vinegar to a pailful of water71 in order to remove all traces of the alkali and prevent its future action on the paint4 ,some painters think that this is too much trouble and assert that they cannot get paid for doing work in this way1 but in the end it will prove to be the best way1 as it will greatly add to the appearance and durability of any job so to prepare it4 ,in any case the work should be thoroughly sand-papered and made as smooth as possible before receiving the first coat2 this1 of course1 is for old work4 ,the ground-color should be thinned with about half spirits of turpentine and half oil1 with the addition of sufficient drier for old work1 and oil1 with an extra quantity of drier1 for first coat on new work1 using some spirits for the second and third coats4 ,the writer has found by experience that on the cheapest jobs 7of two-coat work7 where the wood is sappy and the work has been rendered rough by the painter using a large quantity of drier in his priming coat1 a much better surface is made to grain over by this method4 ,it will not spot or look cloudy when rubbed in to grain1 as two-coat work often does on new wood4 ,a little elbow-grease and sand-paper between coats make a vast difference in the looks of a job when finished1 and the ground-work should always be lightly sand-papered before it is rubbed in by the grainer4 ,illustration3 ,,chestnut4 ,,dark ,,or ,,pollard ,,oak4 ,,black ,,or ,,french ,,walnut4 ,,stained ,,cherry4 ,,mahogany4 ,,rosewood4 ,,grounds ,,for ,,graining4--,,in ,,illustration ,,of ,,article ,,by ,,wm4 ,e4 ,,wall ,in mixing the ground-color for graining never use dry colors where it can be avoided1 as the work will be more or less gritty1 and there is really no saving in their use4 ,a pound of color ground in oil will go much further than one of dry color1 is more easily applied and is much better to grain over4 ,of course much depends on the purity of the colors employed1 and the painter will find that the best colors are none too good for his use1 as they go further and work better than do the cheaper grades4 ,it is a good plan always to strain the color before thinning1 whether the colors used be dry or ground4 ,the foregoing may seem superfluous to the good workman1 as he himself has probably found out more than this2 but it may put some beginner on the right track1 and none of us are expert enough to miss learning a point if we can4 ,,mixing ,,of ,,the ,,ground ,,colors4 ,the ground-work for oak is made by adding yellow ochre to lead till the color is deep enough4 ,in matching the real wood a little raw umber will help to bring it to the desired color1 but is better without the umber for light work4 ,in matching very light oak chrome yellow may be substituted for ochre4 ,for dark oak use the same colors as for light and add ,venetian red and burnt umber2 the same color will do for pollard oak4 ,for green oak 7 la furniture7 do the same as for ordinary work1 and when grained shade it over with a thin wash of chrome green or add a little black to the ground color4 ,for ash use the same color as for light oak1 but do not get it quite so yellow2 a little raw umber will counteract this4 ,a little chrome yellow may be added for ,hungarian ash4 ,for chestnut use a similar color to that for ash1 but deeper and with a little red4 ,for maple the ground-work should be very light4 ,to an ordinary pot two-thirds full of lead well broken up add about a teaspoonful of chrome yellow and about half that amount of burnt sienna2 some grainers prefer a very little ,venetian red instead of the burnt sienna4 ,in matching the wood get the ground-work as near the lightest color on the wood as possible1 and you cannot go astray4 ,for satin-wood the ground-work is similar to maple1 but deeper in color4 ,for burl ash use the same color as for ash1 or slightly deeper4 ,the ground-work for cherry is probably mixed differently by every painter--at least1 that is my experience--and it is hard work to make any workman believe that his is not the right way4 ,in different parts of the country the popular idea of what cherry color is1 varies greatly4 ,in the majority of cases what has been called the color of the fruit is wanted1 so we must make the ground-work to suit the demand4 ,cherry in its natural color is but little darker than ash1 and the ground-work may be made in the same way or by adding raw sienna to the lead instead of yellow ochre and umber4 ,the cherry that grainers have to match is often finished by furniture-makers1 and is as dark as mahogany2 in such cases the ground-work must be made with yellow ochre for the basis of the color and darkened by ,venetian red4 ,it will want little if any lead for the darker kinds of stained cherry1 but will stand some for the lighter shades4 ,in priming new work add considerable lead for first coat1 as it gives more body4 ,three thin coats are none too many for new work1 and they should be applied without leaving brush-marks4 ,there is nothing more aggravating to the grainer than to find that a job is full of streaks of thick paint1 as it is almost impossible to do a good job on such a ground-work4 ,the foregoing remarks apply to priming coats on new wood for graining any kind of wood4 ,the ground-work for walnut is made by taking yellow ochre for the base of the color and adding a small quantity of ,venetian red and a little burnt umber2 for very light work a little lead may be added4 ,the same ground will do for ,french walnut4 ,for mahogany the ground-work is made of yellow ochre1 ,venetian red and red lead4 ,for rosewood chrome yellow1 red lead and a small quantity of ,venetian red4 ,the foregoing are about all the woods that a grainer in ,new ,england is called upon to imitate2 and if ,i mistake not1 it is so elsewhere4 ,of course all painters or grainers may not agree with me in using the colors named for preparing the ground-work1 but good work can be done on such grounds4 ,one thing ,i wish to say is1 ,never use ,indian red in a ground-color1 as it is not transparent and makes the work look muddy4 ,in grounding work for cherry or walnut1 where the old paint is not removed1 it is well to add some red lead to the color1 which should be frequently stirred1 or the red lead will deposit on the bottom of the pot4 ,,chapter ,,ii4 ,,the ,,graining ,,color4 ,in mixing the graining-color for any wood just as much difference of opinion exists among grainers as to the proper way of mixing the color as there is among painters as to the proper way of mixing the ground-color1 and although different grainers have their own method of preparing and mixing their graining-color1 and often use different materials and colors1 still1 good workmen will often obtain the same effects1 but by a different process4 ,such being the case1 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 wood4 ,in imitating the color of certain woods the colors used are quite simple1 while for other woods considerable pains must be taken and a number of colors used if the color of the wood is to be matched4 ,i think the most common fault of graining is that the color is made darker than it should be2 still1 the grainer is not always to blame for this1 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 grained4 ,many a time in the experience of grainers is this the case1 and ,i have on more than one occasion mixed a proper ground-color to match wood after being called upon by some alleged painter 7who thought the ground-color he had put on was correct7 to grain the job1 but in most cases it is said1 ,do the best you can with it and let it go1 as the folks want to move in1 or1 ,i want to get my money1 etc41 and so grainers do the job if the color is not too far off from what it should be4 ,let us suppose that we are going to grain a job of light oak in oil4 ,first lightly sand-paper the ground-work with a piece of fine or an old piece of sand-paper1 and dust off4 ,the ground-color should be quite hard1 and not tacky1 before the graining-color is applied1 and two or three days is none too long a time to stand before being grained4 ,where a good job is to be done and finished at one impression1 as we might call it1 the manner of working can be reversed--that is1 the work can be shaded or over-grained1 as it were1 on the ground-color in distemper before being rubbed in oil4 ,the check roller can be used to good advantage1 and the panels and stiles of doors streaked or mottled4 ,the distemper color must not be diluted with much water1 or it will rub off when the oil-color is being applied over it4 ,this way of working is an advantage in matching stained oak1 as all that remains to be done after it is grained is to stain it to the desired depth or color4 ,on ordinary work this shading is done on the graining-color when dry4 ,the colors necessary for graining oak will be raw sienna and burnt umber1 with a very little black to be added in case it is needed4 ,it is impossible to specify the exact amount of each color to be used1 and the judgment of the workman must be exercised in all cases4 ,the ordinary way is to mix about two-thirds raw sienna and one-third burnt umber1 adding the black if necessity should require to match wood4 ,do not get the color too yellow1 but rather on the gray shade1 as that is most frequently the color of the wood4 ,the color should be thoroughly mixed in a clean pot1 and1 if in oil1 thinned with the following mixture1 or sufficient of it to bring the color to the desired shade3 ,half a gallon of spirits of turpentine2 two and a half pints of linseed oil 7boiled is to be preferred72 half a pint japan drier4 ,it is better not to use too much drier1 and1 as the drying qualities of each maker's japans1 etc41 vary greatly1 the workman's judgment must guide him as to the exact amount to be used4 ,it is a matter of doubt as to what is the best article with which to thicken the color without altering the shade2 a little bolted whiting is very good4 ,some grainers prefer melted beeswax or soap dissolved in hot water and added to the color while hot1 or even cold water stirred into the color4 ,as a rule1 the less of these added to the color1 the better4 ,after thinning to the desired consistency1 a good brush is the next requisite for applying the color4 ,do not use stubby brushes1 as in so doing you lose more time than you gain by making them last longer4 ,by general consent the flat brush has superseded the round brush in the eastern states of ,america for grainers' use1 as it requires no binding and is a much better blender1 when used as such1 than any round brush1 and it is more quickly broken in for use4 ,it is better to use a medium size rather than one too large2 one about three and a half inches across the butt will be found the most serviceable4 ,an oval or a flat sash tool and a ,no4 #b flat fresco bristle liner1 to be used as a fitch tool in putting in hearts1 etc41 will be all the brushes required4 ,a set of steel combs1 or even two1 a coarse and a fine steel comb and one or two of good rubber1 are all the tools that are required4 ,the rubber combs should be coarse and fine--that is1 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 inch4 ,sometimes a rubber comb with the teeth cut graduated looks well introduced among the other work4 ,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 using1 taking a clean place on the rag for every time the comb is used1 but on cheap work this may be omitted4 ,when a piece of work is rubbed in1 if it is desired to represent champs1 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 finer1 or both the steel combs1 are drawn lightly over the track of the rubber comb2 the work is then blended lengthwise with the flat brush1 which has previously been rubbed out clean1 and the champs or veins are put in across the grains previously made by the rubber and steel combs4 ,the other implements necessary are a piece of soft rag and the thumb-nail4 ,many substitutes have been invented for the thumb-nail1 but it is as yet unsurpassed for this particular purpose1 as it is more sensitive than are the bone or horn substitutes sometimes used4 ,illustration3 ,plate #c4 ,,plain ,,or ,,wainscot ,,oak1 ,,light4 ,illustration3 ,plate #d4 ,,flaked ,,oak1 ,,light4 ,,chapter ,,iii4 ,,quartered ,,oak4 ,in imitating quartered oak1 or any other wood1 it should always be borne in mind that it is the wood that we wish to imitate1 and not somebody's idea of what it should be--for if we copy others1 we become1 as ,byron says1 degenerate copyists of copies--and the best thing that any beginner can do is to procure pieces of the real wood1 study the various changes of grain and get the general character of the grains of each wood impressed upon his mind1 then endeavor to reproduce them in his work2 for the work will be judged by its general appearance1 and not by the looks of any particular piece of work4 ,after the champs or veins are wiped out with the rag1 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 rag4 ,the edges of the champs may first be sharpened up by drawing the second joint of the forefinger against them4 ,a fine comb is then waved over the spaces of open work and the whole panel blended lightly crosswise with the flat brush4 ,quartered oak can be imitated by combing the same as has been described1 and letting the work dry before taking out the champs4 ,when the work is dry1 mix a weak solution of washing soda1 and add a little dry umber to show where you touch the work1 put on the champs with a fitch tool1 let it stand a few minutes to soften the color1 and then rub off with a soft rag1 and it will be found that the graining-color is taken off to the ground-work1 giving the same effect as if wiped out while the color was wet1 only that the work looks cleaner4 ,work done in this way should be over-grained4 ,the champs may also be put in in dark color over the dry combed work1 and left so1 as some veins of oak appear dark in certain lights4 ,these dark veins may be imitated by combing the work the same as if going to use the rag to wipe out4 ,do not blend1 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 way1 lifting the edge of the color2 after practice it will be found that a very good imitation of dark champs or veins is the result4 ,heart-work may be done in the same manner1 but the combing should be done with a steel comb1 the color for putting in the grains being but little darker than that with which the work is rubbed in4 ,it is sometimes necessary to go over the whole with a fine steel comb4 ,an occasional dark piece introduced among wiped work tends to relieve the sameness and looks more like the hardwoods2 it also gives a better opportunity 7where a job is not to be overgrained7 to make distinct mitres and joints4 ,this is very important and should never be forgotten4 ,be sure and have all joints cleanly cut1 as nothing so much offends the eye as wavy or crooked joints4 ,it is always better to make a distinction between the long stiles of a door and the adjoining cross rails4 ,a common fault of the amateur grainer is his inability to make clean-cut divisions4 ,illustration3 ,plate #e4 ,,flaked ,,oak1 ,,light4 ,illustration3 ,plate #f4 ,,heart ,,growth ,,oak1 ,,light4 ,the heart of oak--or1 as it is sometimes called1 slash oak--is usually done in the wet color1 and is not combed previous to being wiped out with a rag4 ,the outline of the work is first wiped out and the inner edges are softened with the rag4 ,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 rag1 being careful to follow close to the last line done by hand4 ,this is an operation which if not carefully done will spoil the appearance of any job4 ,when the panel or piece of work is grained1 a coarse steel comb may judiciously be used1 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 wood4 ,in case the work is to be overgrained1 care must be taken not to soften the edges too much1 as it will present too sunken an appearance4 ,the plain grains are made with the comb2 and if this part of the work is properly done1 the effect is better than if it were full of strong grains4 ,when the work is to be overgrained 7and good work cannot be done without71 it may be overgrained when dry1 in either oil or water color4 ,if in oil 7as we finish most outside doors1 etc41 in this vicinity instead of varnishing them71 the same color may be used as for graining1 or with the addition of a little more oil and drier1 and darkened with umber if necessary4 ,the check roller may first be used in water color1 the work having previously been dampened1 and1 when the checks are dry1 the whole gone over in oil4 ,or the checks may be put in in oil color after first overgraining in water color2 this will necessitate oiling or varnishing when dry4 ,the check roller is used to good advantage on hearts of oak1 and the work should then be lightly blended lengthwise4 ,in shading the champs the brush may be drawn through the shading-color1 leaving the work streaked2 then wipe off where the color covers the champs too deep4 ,a similar effect is obtained by using a medium fine comb covered with a rag1 the color being taken off in this way2 this is for oil color4 ,the blender drawn through water color1 or a common oak overgrainer1 gives the same effect for water color4 ,it is better to go all over the work with a thin coat of color1 as it looks raw without1 and shading it in this way gives the depth that is otherwise unobtainable4 ,shadows are put in around knarly places1 and touches added where needed1 and the job is finished4 ,,chapter ,,iv4 ,,graining ,,oak4 ,oak may be overgrained by using a very thin coating of asphaltum for the shading color2 thin with oil and spirits4 ,oak may be grained in distemper--that is1 using beer or alcohol for a vehicle with the color1 instead of oil4 ,good work can be done in this way1 but not so quickly as in oil4 ,a little sugar added to the beer makes it dry slower and work better than without it4 ,if a tablespoonful of alcohol be added to a pint of beer1 the work can be combed while wet almost as well as if in oil4 ,first dampen the ground with a sponge wrung out in clean water1 and then rub on the color the same as in oil2 comb while wet 7or use an overgrainer when dry7 and blend lightly with a badger blender2 then wipe out the veins or champs with a wet rag before the color dries1 or afterward1 as desired4 ,a similar effect for light veins is obtained by using the fitch tool to put on the veins or champs and lifting off the color with the blender1 thus leaving the champs light4 ,for dark veins the work is put on with a fitch and left as put on4 ,the heart-work may be done in the same manner1 both for light and for dark pieces1 but it cannot be done so successfully as if done in oil4 ,of all the woods we have to imitate1 ,i think oak is the most difficult1 hence ,i have tried to explain the different ways in ordinary use of imitating it2 and in closing ,i would say1 ,do not overdo your work4 ,most grainers put in more work--that is1 showy grains--than would appear in the natural wood unless it were all selected4 ,and remember that a nice piece of combed work is just as good a representation of oak as the majority of the heart-work often seen4 ,illustration3 ,plate #g4 ,,heart ,,growth ,,oak1 ,,pencilled4 ,illustration3 ,plate #h4 ,,flaked ,,oak1 ,,light1 ,,shaded4 ,illustration3 ,plate #i4 ,,heart ,,of ,,oak1 ,,checked ,,and ,,shaded4 ,illustration3 ,plate #aj4 ,,flaked ,,oak1 ,,light1 ,,shaded4 ,,ash4 ,in graining ash in oil the colors necessary will be raw umber and raw sienna and a little ,vandyke brown or black4 ,mix the color much the same as for oak1 and the same tools can be used4 ,after the color is rubbed in comb the places intended to be plain1 and with the fitch tool or sash tool add lines1 streaks1 etc41 if desired1 using some color darkened with ,vandyke brown or black1 and blend lightly lengthwise with the dry brush4 ,the heart-work or growth is represented by wiping out the color with a soft rag1 the same way as for the heart of oak1 but in ash the hearts are less complicated1 and the points of the growth will be found to run more regular1 and generally with a rounding edge instead of being serrated1 as are the majority of oak-growths4 ,the hearts of ash are also more narrow in proportion to the width of the board than are those of oak1 and their imitation is much less difficult4 ,lightly stipple all wiped-out hearts with the dry brush4 ,i think ash is one of the easiest of woods to imitate1 as oak is one of the most difficult4 ,a very good imitation of a dark piece of heart-work may be done with a small fitch tool when the color is partially set4 ,sometimes the work is outlined roughly by lightly wiping off some of the color with a folded rag and describing the general direction of the grain to be followed by the fitch4 ,the work is then put in with the fitch tool1 and the edge of the color so put in is lifted with the blender1 showing one edge light1 and if carefully done1 it looks well4 ,the fitch tool is also employed to brighten the effects of the wiped-out hearts and to blend slightly4 ,where both means are used--that is1 the fitch tool and the rag--in doing hearts of ash1 the work presents a very woody appearance1 and looks much better1 if carefully done1 than either method of doing heart-work does without the other4 ,ash is greatly improved by being overgrained1 but a great many of the dark streaks can be put in while the color is wet4 ,allowance can be made when it is intended to overgrain the work1 and the dark places can be done more successfully when the color is dry by overgraining4 ,the same color used to grain the work will do for overgraining it1 or by adding a little black and thinning with spirits of turpentine and japan for inside work1 and japan and oil for outside work where it is not to be varnished4 ,ash may be grained in distemper by using stale beer or vinegar for thinners and the colors dry or ground in distemper4 ,the effect of combing may be obtained by using an overgrainer4 ,where hearts are to be introduced1 the work should be lightly stippled with a badger blender2 and when dry1 the wet rag or sponge may be used to wipe out the color preparatory to putting in the hearts with the fitch tool2 this makes a fair job1 and is the way followed by many in representing ash4 ,the work looks fully as well1 and ,i think cleaner1 if the hearts are put in on the stippling without using a rag or sponge2 do not stipple the work too heavily4 ,in matching ,western ash a little blue sometimes helps to counteract the redness of the umber1 and will be found to match the dull-gray shade often seen better than black1 but ash is of so many varieties and colors as to allow the use of a wide range of colors4 ,in matching ash the filling of wood has to be taken into consideration4 ,the filling used by the average painter is often anything but what it should be1 and the beauty of many an ash door has been destroyed by the miserable attempts at filling often perpetrated by some ignorant painter4 ,this is applicable also to other woods2 but particularly to ash4 ,illustration3 ,plate #aa4 ,,flaked ,,or ,,quartered ,,dark ,,oak1 ,,shaded4 ,illustration3 ,plate #ab4 ,,heart ,,of ,,light ,,ash1 ,,wiped ,,out4 ,illustration3 ,plate #ac4 ,,heart ,,of ,,light ,,ash1 ,,wiped ,,out1 ,,shaded4 ,illustration3 ,plate #ad4 ,,heart ,,of ,,ash1 ,,dark1 ,,pencilled4 ,,chapter ,v4 ,,hungarian ,,ash4 ,this wood may be imitated in oil or water color1 but the imitation is commonly done in oil4 ,the colors used are raw sienna and raw and burnt umber2 a little burnt sienna may be added to the shading color4 ,in oil color the outline of the work is wiped out with a soft cotton rag and softened lightly1 or even stippled with the dry brush1 and after the color is nearly dry the lines between those wiped out with the rag are gone over with the fitch tool1 the color being darkened with umber4 ,the idea is to bring the wiped work into sharper relief4 ,when dry1 the shadows may be put in by using either oil or water color and blending softly4 ,a little ,vandyke brown will deepen the color1 or thin asphaltum may be used in shading or overgraining4 ,where circumstances require the work to be finished without overgraining1 the work may be mottled or shaded in water color on the ground-work before the oil color is applied1 and in that case the work must be put in to suit the shadows and the lights that appear through the oil color4 ,hungarian ash varies from very bold to very fine grains1 and the finer varieties may successfully be done in oil color1 using the fitch tool to put in the grains and wiping out simply the lights and the shadows with the rag4 ,the work looks better when lightly stippled in water color with the blender4 ,in doing the work wholly in water colors1 the lights and the shadows are first put in1 and after these are dry the grains are introduced with the small fitch tool1 lifting the edge of the color lightly with the blender4 ,an ash door with the panels done in ,hungarian ash make a very neat job if nicely performed4 ,,burl ,,ash4 ,burl ash1 or root of ash1 is often used in panels1 and can be imitated in either oil color or water color1 but water color will be found the best4 ,the colors used are raw sienna1 burnt umber and ,vandyke brown2 a sponge with rather small holes is requisite for use in representing the minute clusters of knots4 ,after the work is rubbed in1 the sponge 7which has previously been faced square on one side7 is dipped in some of the darker color and lightly pressed against the work4 ,it is better to use the color a little darker than that with which the work has been rubbed in1 and to put it where you wish the darker portions of the wood to appear4 ,after this is dry go over the whole panel with the sponge and some of the darkest color1 lightly pressing the sponge against the work wherever you desire the knots to appear4 ,a little growth is sometimes put in by the use of the fitch tool1 and tends to relieve the sameness of the work2 it must be done carefully and on a small scale4 ,when the work is dry1 carefully pass the hand over it and remove the superfluous color which adheres1 and the job is then ready to be varnished4 ,it is sometimes shaded after having one coat of varnish1 in which case it is necessary to revarnish it2 it will require little or no stippling4 ,in imitating this wood in oil color1 the work is first rubbed in and but little color is put on--merely enough to cover the ground-work with a very thin coat2 a sponge may then be used to apply the darker color4 ,the sponge should first be thoroughly wet in clean water and wrung out dry before the oil color is applied by it4 ,have some of the dark color in a shallow vessel and use the sponge as directed in water color1 dipping the faced side of the sponge in the color and representing the clusters of knots in this manner4 ,when dry1 it may be overgrained or not1 according to the shade desired or to the wood to be matched4 ,illustration3 ,plate #ae4 ,,hungarian ,,ash1 ,,wiped ,,out ,,and ,,pencilled4 ,illustration3 ,plate #af4 ,,burl ,,ash1 ,,in ,,water ,,color4 ,illustration3 ,plate #ag4 ,,dark ,,ash1 ,,pencilled ,,and ,,combed4 ,illustration3 ,plate #ah4 ,,hungarian ,,ash1 ,,wiped ,,out4 ,,chapter ,,vi4 ,,chestnut4 ,this wood is not frequently used as an interior finish1 but sixteen years ago it was almost the only hardwood used for interior finish in the ,new ,england ,states2 and any grainer who succeeded in matching it was considered very skilful4 ,it is a highly-porous wood1 and on that account is undesirable1 as1 if not entirely protected from the changes in temperature by being thoroughly filled1 it will warp or swell2 and ,i have seen doors concave or convex as much as three inches in a two foot eight inch door4 ,it also turns very dark with age1 and its hearts or prominent grains are very coarse4 ,i have seen specimens which measured eighteen inches from point to point at the heart4 ,the colors used are raw sienna1 burnt umber1 ,vandyke brown and a little burnt sienna4 ,there is some resemblance to ash in the finer growth of chestnut1 but its general characteristics are more angular--that is1 the hearts run more to points than those of ash--and in most of the hearts a faint outline appears between the points4 ,the combing also is much coarser than that meant for ash4 ,chestnut can be done in either oil or water color4 ,i think it can be done best in oil1 using the rag to wipe out the color and combing in the edges of the hearts with a rubber comb covered with a thin piece of rag4 ,this comb should not be over two inches in width1 and the teeth should be about five to the inch4 ,when the hearts are wiped out and lightly-blended1 the fine outline may be put in between the points in the hearts by using a sharp-pointed stick or the round corner of a steel comb4 ,the work1 when dry1 may be lightly stippled in distemper1 or a thin glaze of color without stippling may be applied to bring the work to the desired depth of color2 this shading-color may be mixed in oil or water color4 ,in imitating this wood in water color the work should first be stippled in very fine and allowed to dry2 then put in the growths with the small fitch tool1 and use the overgrainer for the same purpose as that for which the comb is used in oil color to follow the edges of the hearts1 and to produce the combed work2 a piped bristle over-grainer will be found useful for this purpose4 ,,bird',s-,,eye ,,maple4 ,to my mind1 this is the most beautiful of our native woods1 and it is a shame that it is often cut down for firewood2 however1 it seems to be growing in favor among the furniture-makers1 and is far more generally used in the interior of horse-cars and railway-cars than it was ten years ago4 ,the colors used in representing maple are raw sienna1 raw umber1 a little ,vandyke brown or ivory black and a little burnt sienna1 to be added to the color when over-graining or putting in the pencil-work and the eyes4 ,illustration3 ,plate #ai4 ,,bird',s-,,eye ,,maple1 ,,overgrained4 ,illustration3 ,plate #bj4 ,,chestnut4 ,illustration3 ,plate #ba4 ,,bird',s-,,eye ,,maple1 ,,mottled1 ,,ready ,,for ,,the ,,eyes4 ,this wood is almost invariably imitated in water color1 as oil is too slow in drying to be used with any success4 ,stale beer is the best vehicle with which to apply the color4 ,the implements needed are a good sponge1 a piece of soft cotton rag or chamois leather1 a brush to apply the color1 a large and a small mottler or cut tool1 a badger blender1 an overgrainer and fitch tool1 and a camel's-hair pencil4 ,first dampen the ground-work over with the sponge1 which has been wrung out of clean water1 or of beer and water2 then rub in the color1 doing a panel or a small piece at a time1 and while wet wipe out the high lights and put in the shadows with the sponge or the mottler or the backs of the fingers1 or draw the color up into small bunches or clusters with the blender or mottler and blend lightly crosswise4 ,when the lights and the shadows are dry1 the eyes are put in4 ,by observing the real wood it will be found that the eyes invariably appear in the darker portions of the grain1 and that the shadows seem to slope away from them4 ,very often the shadows all slant one way and the eyes in the same way2 this must be taken into consideration in imitating maple4 ,do not have all the eyes and all the shadows slanting the same way in different panels1 as is often seen in the interior of cars1 but reverse the style1 bringing the opposite panels to balance with each other4 ,the best manner of imitating the eyes is a matter of doubt among practical workmen4 ,the amateur grainer will tell you that he can put them in by striking the ends of his fingers against the color while wet2 this is the way the wood is most frequently misrepresented1 and such work looks feeble compared with that done by either of the following methods3 ,after the lights and shadows are dry take some of the dark color from the bottom of your pot and add to it a little burnt sienna2 the color should be put in a shallow vessel1 such as a saucer4 ,thin the color1 so that it works freely2 then take a medium sized camel's-hair pencil which has been docked by cutting off the hair about one-quarter of an inch from the quill with a sharp knife1 leaving the ends of the hair perfectly square4 ,then burn out the centre of the brush with a red-hot wire1 leaving the hair round the circumference with which to represent the eyes4 ,the pencil is then dipped in the darker color1 and the eyes are put in where desired4 ,another way is to cut a piece from a block of soft rubber1 make a hole through it and with a sharp knife trim the edges of the rubber till it can be used to take up the dark color4 ,make the eyes in the same manner as with the pencil brush4 ,the eyes can be put in with a small pencil by describing circles1 but care must be taken to have them of uniform size1 or nearly so4 ,another--and probably the best--way is to take a thin piece of chamois leather or a soft piece of cotton rag and wet it in the graining-color2 then take a piece of wood four or five inches long and not over half an inch thick2 whittle it round and taper it to a point at one end2 then wrap the rag or the leather around the stick1 keeping a folded edge at the sharp end of the stick2 and when the cloth or leather has made one circuit around the stick at the sharp end1 wind it farther up the stick1 so that only one circle of the folded rag or leather is at the sharp end of the stick4 ,some of the thick color may then be placed in about the middle of the rag1 and by keeping the rag or the leather well wet above the thick color and squeezing the rag as often as necessary1 so that the color descends toward the point of the stick1 the eyes may be rapidly and accurately put in by striking the end of the folded rag or leather against the work2 and a pair of panels may easily be done by once filling the rag with color4 ,this method has the advantage of making any sized eye1 from the largest to the smallest1 by simply altering the thickness of the folds2 or the eyes may be made in any shape desired1 from a circle to an oval4 ,after the eyes are put in the work is over-grained1 the color mostly being burnt sienna4 ,the heart grains are put in with a camel's-hair pencil4 ,some grainers use a crayon pencil for this purpose1 which should be soaked in beer or vinegar and used moist2 the various over-grainers are also used in putting in the heart grains4 ,the eyes should always be noticed--that is1 the over-grainer should describe some part of a circle in passing the eyes1 so as to have them in harmony with the general features of the wood4 ,all water-color work should be lightly gone over when dry with the hand1 to remove any roughness in the graining-color4 ,some grainers prefer to touch up the high lights around the eyes with some of the ground color after the graining is dry1 but it must be done very carefully or it shows badly4 ,illustration3 ,plate #bb4 ,,bird',s-,,eye ,,maple ,,with ,,the ,,eyes4 ,illustration3 ,plate #bc4 ,,chestnut4 ,,curly ,,or ,,rock ,,maple4 ,this wood somewhat resembles bird's-eye maple1 and is often used in the same piece of furniture4 ,it differs from bird's-eye in having but few1 if any1 eyes in it1 and is mostly mottled and over-grained4 ,a five-inch mottler that will cover the stiles of an ordinary door is a very necessary tool1 as one that is not wide enough necessitates going over the work twice1 and then it will not look so well as if done with a brush of sufficient width to cover the whole stile4 ,the colors used for bird's-eye maple will answer for this wood1 but the general tone is darker4 ,,silver ,,maple4 ,this wood is represented by using ivory black for the graining-color2 the groundwork should be almost white4 ,the work is mostly mottled and very lightly over-grained4 ,eyes are sometimes put in1 and the effect of the work is very showy when carefully done4 ,,chapter ,,vii4 ,,satinwood4 ,this is a very delicate wood1 of the maple family2 it probably derives its name from its resemblance to folds of satin4 ,it is seldom represented in ,america1 but is frequently imitated in ,england1 being used in connection with maple in some of the principal rooms1 such as drawing-rooms1 parlors1 etc4 ,the panels of the room are done as satinwood1 the stiles as maple1 and sometimes the mouldings as a darker wood1 such as dark oak1 walnut or rosewood4 ,illustration3 ,plate #bd4 ,,satinwood ,,mottled4 ,illustration3 ,plate #be4 ,,satinwood ,,mottled ,,and ,,overgrained4 ,illustration3 ,plate #bf4 ,,curly ,,maple ,,mottled ,,to ,,overgrain4 ,illustration3 ,plate #bg4 ,,curly ,,maple ,,overgrained4 ,illustration3 ,plate #bh4 ,,pollard ,,oak4 ,illustration3 ,plate #bi4 ,,pollard ,,oak4 ,the same groundwork and the same graining-colors may be used as in representing maple1 but a little ivory black may be added4 ,the tools are similar1 but a piece of buckskin or chamois leather is substituted for the bristle mottlers used for maple4 ,a roll of oil-putty is sometimes used to take off the color in making the high lights2 the putty should be rolled along the panel lengthwise of the grain1 and then the panel blended crosswise4 ,care should be taken to have the graining-color light1 as the effect is lost if the color be too dark4 ,the lights are quite prominent1 and it requires no little skill successfully to imitate them4 ,when the mottling or lights and shadows are dry1 they may be very lightly over-grained with a fine bristle overgrainer1 the bristles being separated by a comb and the color used very thin4 ,the over-graining should not be blended1 as it will look too prominent and spoil the effect of the lights and the shadows4 ,a piece of soft cotton rag will answer the same purpose as the buckskin or chamois leather4 ,when using either of them with the intention of making the mottled effect of the wood1 first wet them in clean water or in beer and wring them out nearly dry2 then1 after the color is rubbed on the work1 roll them over them over the surface as directed4 ,the result will be that the leather or the rag will take off the patches of the wet graining-color4 ,then blend softly1 and when dry overgrain4 ,,chapter ,,viii4 ,,pollard ,,oak4 ,this wood is a great favorite with ,british grainers1 and is often splendidly imitated by them4 ,the wood itself is from old gnarled trees or stumps and has a variety of grain almost equal to ,french walnut4 ,it may be represented in either oil or water color1 or may be done partially in both distemper and oil1 which ,i think is the better way2 the best job ,i have ever seen was executed in this manner4 ,it is first done in oil2 the colors necessary are raw and burnt sienna1 burnt umber1 ,vandyke brown1 and sometimes a little ivory black or ultramarine blue4 ,the wood varies from pieces comparatively free from knots to others almost filled with them1 like the root of walnut1 etc4 ,the grains are first done in oil1 the knots1 etc41 being somewhat subdued2 and when this is dry1 the whole is gone over in water color and left in the color it is intended to have it remain4 ,the knots and shadows are touched up1 etc4 ,after the water color is dry the fine champs may be put in by using a slice of raw potato in the same manner as that in which the thumb-nail is used on larger work4 ,a camel's-hair pencil is needed properly to finish the work4 ,a great deal of time may be spent in representing this wood1 and yet but few may succeed in faithfully imitating it4 ,since the fashion has changed in ,boston and its vicinity from walnut and cherry front-doors to oak doors1 we begin to see panels of pollard oak2 sometimes whole doors are veneered with it1 and the effect is superb4 ,,cherry4 ,this wood is naturally but little darker than ash1 yet the popular idea of what its hue should be is of a color nearly as dark as that of mahogany4 ,cherry is frequently misrepresented by staining whitewood or pine with burnt sienna1 etc41 but1 it being impossible to conceal the grain of the whitewood or the pine1 the deception is easily discoverable by any one at all familiar with the grains of different woods4 ,for this reason a much better imitation can be obtained by graining to imitate cherry 7or any other wood71 rather than by staining1 as the grainer1 if competent1 can represent both the color and the grain of the desired wood4 ,cherry may be imitated in either oil color or water color1 and an excellent job can be done either way4 ,my preference is for oil color4 ,the natural wood may be matched by employing raw and burnt sienna and raw umber1 but the stained cherry requires the use of burnt sienna1 burnt umber and ,vandyke brown for the very dark veins1 also1 in some cases1 crimson lake1 to be used as a glazing or shading-color4 ,the tools needed for oil color are the flat brush1 combs1 fitch tool or fresco-liner1 sash tool and a piped bristle overgrainer4 ,when a piece of work is rubbed in1 it may lightly be stippled with the dry brush 7or the stippling may first be done in distemper before the oil color is applied74 ,it may be mottled by wiping off the color with a rag1 or by applying a little color with the sash tool and lifting the color with the flat brush4 ,the growth may then be put in with the fitch tool1 the flat brush being used as a blender4 ,the growths are put in across the mottled work previously done4 ,the growths or hearts can also be wiped out with the rag in the same manner as in imitating ash1 and the fitch used to interline the points of the hearts2 but the growth of cherry is seldom as bold as that of ash1 and1 to my mind1 it can best be imitated by the use of the fitch tool4 ,where the hearts have been wiped out with the rag they should always be gone over with the fitch tool and blended1 as the effect is decidedly better than if they are left without pencilling4 ,illustration3 ,plate #cj4 ,,cherry ,,mottled ,,in ,,oil ,,before ,,being ,,overgrained4 ,illustration3 ,plate #ca4 ,,cherry ,,mottled ,,and ,,pencilled ,,in ,,oil4 ,illustration3 ,plate #cb4 ,,cherry ,,mottled ,,and ,,pencilled ,,in ,,oil4 ,illustration3 ,plate #cc4 ,,cherry ,,mottled ,,and ,,pencilled ,,in ,,oil ,,as ,,finished4 ,some grainers prefer to imitate cherry wholly in distemper1 in which case the tools used are much the same as those for oil1 substituting the badger blender for the flat brush in finishing the work4 ,first dampen the work with a sponge and rub in the color with a flat brush2 the mottled parts may be done light1 with the sponge1 or dark by using the mottler or the sash tool4 ,the hearts are put in with the fitch after the mottling is dry1 the overgrainer being used in same manner as that in which the combs are used in oil color4 ,the best vehicle for the distemper color is stale beer2 it may be diluted with one-half water1 and in cold weather a little alcohol may be added4 ,the work may be shaded or overgrained when dry1 whether the graining has been done in oil or in distemper4 ,if done in oil1 the shading color may be applied in either oil or distemper2 but if the work has been grained in distemper1 the shading color 7if applied immediately to the work before varnishing7 must be in oil4 ,in some cases the distemper color is varnished before being overgrained2 this1 of course1 necessitates revarnishing4 ,the grains of cherry are apparently simple1 but they will stand a large amount of study1 and good work is seldom done without taking pains to represent the various characteristics of this at present fashionable wood4 ,sometimes glue size is used in the color for a distemper binder1 but1 being of animal matter1 it is seldom used by grainers4 ,with the addition of alcohol enough to make it smell strong1 it passes for white shellac among some cheap painters1 and is used for first coats or stain work4 ,it will be found that the mottlings of cherry invariably run across the grain1 and this is the chief reason that stained whitewood makes such a poor imitation1 the reverse being the rule for whitewood4 ,one thing ,i wish to impress upon beginners3 that is to keep the color as nearly as possible like that of the natural wood1 and to cater as little as possible to the prevailing fashion of making the color of cherry as dark as that of mahogany4 ,if people want a mahogany color1 try and induce them to have also a mahogany grain4 ,i know that frequently some article of furniture made of stained cherry has to be matched in color in graining a room1 and in such cases there is no resource but to imitate it4 ,i once went to grain a chamber in imitation of cherry1 and the lady of the house requested me to observe the color of her mahogany chamber-set1 which color she desired to have on the woodwork of the room4 ,i found the mahogany to be cherry and whitewood stained very deep1 and so informed her4 ,it was a perfectly new set1 and had been sold to her for mahogany by a respectable firm4 ,i should judge it to be worth one hundred dollars1 so there is evidently cheating in all trades but ours4 ,the piped overgrainer for use in oil color will be found an excellent help1 both for continuing the lines of the pencilled work1 and for doing the straight or mottled combing so often observed in the natural wood4 ,illustration3 ,plate #cd4 ,,cherry ,,wiped ,,out ,,and ,,pencilled ,,in ,,oil4 ,illustration3 ,plate #ce4 ,,walnut ,,stipple4 ,illustration3 ,plate #cf4 ,,black ,,walnut ,,pencilled4 ,illustration3 ,plate #cg4 ,,walnut ,,wiped ,,out ,,and ,,pencilled4 ,,chapter ,,ix4 ,,black ,,walnut4 ,this wood was very fashionable as an interior finish not very long ago1 but its place is now largely occupied by cherry1 mahogany and oak1 and ,i think the change is for the better2 for unless a room is well lighted1 the effect of the deep color of walnut is rather sombre and the grains have less light and shade and less variety than those of oak or cherry4 ,it can be imitated in either oil or distemper4 ,the same tools are used as for ash4 ,the piped bristle overgrainer is an excellent help for both oil and water color4 ,the graining color is composed mostly of burnt umber1 ,vandyke brown being added for the darker portions of the work4 ,in my opinion1 the best way to imitate walnut is first to stipple it with a thin mixture of ,vandyke brown in distemper1 using nothing but beer for thinner4 ,when this is dry1 rub in the oil color and wipe out the hearts with the rag in the same way as for oak and ash4 ,care must be taken not to add much water to the stippling color1 or the stippling will be wiped off when the rag is used over it4 ,when the hearts have been wiped out1 the fitch tool may be used to sharpen up the edges of the growths and the whole lightly blended with the dry flat brush4 ,the hearts can also be put in by using the fitch tool1 or by mottling or wiping off the color slightly with the rag and then using the fitch tool as directed1 the edges of the color being slightly lifted with the dry flat brush4 ,some grainers prefer to use water color rather than oil1 and do their work wholly in distemper4 ,the same kit of tools is used as for cherry in distemper--viz41 sponge1 flat brush1 sash tool1 fitch tool1 blender and overgrainer1 either piped or plain4 ,first stipple in the work slightly darker than if it were to be gone over in oil1 and then put in the grains with a fitch tool and the overgrainer4 ,care must be taken in blending the hearts after pencilling1 or the graining-color will lift off and show the ground-color4 ,oil color is sometimes used to pencil in the hearts1 as it will not lift the stippling1 no matter how much it is blended4 ,a camel's-hair pencil is sometimes used to finish the points of the hearts4 ,care should be taken to have all the mitres and joints cleanly cut1 and slightly to vary the color of the different portions of the work1 so as to avoid sameness4 ,the work may be shaded or overgrained after it is dry1 but it is generally finished at once4 ,for a quick job1 done wholly in oil1 rub in the work rather dry and stipple with the flat brush2 then put in the hearts with the fitch tool and blend4 ,use the bristle piped overgrainer for portions of the work4 ,by using the finer steel combs covered with cotton rag and stippling the work1 when combed1 with the dry brush1 a very fair imitation is obtained4 ,,chapter ,x4 ,,french ,,walnut ,,burl4 ,this variety of walnut comes from ,france1 although fair burls come from ,spain and ,italy4 ,a large portion of the alleged ,french walnut is merely the root of the ,american walnut1 but the best specimens of burl come from ,france and have not as yet been grown in this country4 ,the finest burl is cut from the excrescences or bunches which appear on the trunk of the tree1 and is quite expensive4 ,it is most frequently used for small panels on furniture1 and is not generally used for house-work4 ,gunstocks are sometimes made from it1 and such are very beautiful4 ,illustration3 ,plate #ch4 ,,curly ,,walnut4 ,illustration3 ,plate #ci4 ,,french ,,walnut ,,burl4 ,french walnut is probably imitated in a different manner in every ,state in the ,union2 hence the manner herein described may appear wholly wrong to some grainers4 ,but if we succeed in matching the wood1 the manner of doing the work is seldom called in question4 ,there are several patent processes for imitating this wood1 exclusive of the transfer roller4 ,i was informed some years ago by an agent who possessed the secret of the best way in which to grain ,french walnut that after two lessons in his process anybody could perfectly match the wood2 he did not succeed in selling me the great 787 secret4 ,yet there are processes other than the ones here given which for certain kinds of work are excellent1 but they are seldom used by grainers to the trade4 ,in ,england the burl is seldom imitated1 ,english imitations being mostly confined to the curly or wavy portions of the grain4 ,french walnut may be represented in either oil or distemper by being partially done in oil and finished in distemper1 or vice vers4 ,the tools are the same as those used for black walnut1 as are also the colors--burnt umber and ,vandyke brown4 ,for the very light portions a little burnt sienna may be added to the color4 ,when the work is to be done in oil1 rub in the color rather dry1 and with the sash tool dipped in some dark color cover such portions of the work as you wish to appear dark2 then take a piece of soft cotton rag and remove the color where the light places are to appear1 and work up the dark places with the rag until the desired effect is obtained2 then blend lightly with the dry brush1 and with the fitch tool add lines and curves1 or knots if desired1 constantly keeping the grain of the wood in mind and striving to represent it4 ,blend lightly with the dry brush and stipple the light places with the flat brush 7or the stippling may be done in distemper on the ground-work before the oil color is applied74 ,when the oil color is dry1 the work may be shaded or overgrained in either oil or water color4 ,the other method in ordinary use among grainers is to do the work wholly in distemper1 and for work that is not too complicated this method is undoubtedly the best4 ,the mode of procedure is much the same as for oil color1 using the sponge to make the lighter parts1 and darkening the work with the sash tool1 making the settled places preparatory to overgraining4 ,if done in this manner1 the work will be gone over two or three times in an hour1 which is quite an advantage1 as1 if the work is first done in oil1 it must be allowed time to dry before being shaded2 but for intricate work the grain may be done equally well in oil color if it is overgrained when dry4 ,this wood is not of sufficient size to be used on large surfaces without being jointed2 hence it is not in good taste to imitate it on a very large scale4 ,its use is more properly confined to small panels and to interior rather than to exterior work4 ,it is a very rare occurrence to find a specimen of the real wood exposed to the weather as1 being but a thin veneer1 it would be quickly affected by the extreme changes of temperature to which it would be subjected4 ,in conclusion1 the only way to become expert in imitating ,french walnut is to strive to copy the grains of the real wood2 and no wood is more often misrepresented than is ,french walnut4 ,illustration3 ,plate #dj4 ,,mahogany ,,straight4 ,illustration3 ,plate #da4 ,,mahogany ,,mottled4 ,,chapter ,,xi4 ,,mahogany4 ,this wood was a great favorite with the grainers of the last generation1 and it is at present coming back to old-time popularity4 ,the old ,honduras feathered mahogany is rarely seen except in old furniture1 and this kind of graining is seldom called for nowadays4 ,the modern mahogany is more straight-grained1 and is generally much lighter in color1 but the furniture manufacturers do not hesitate to stain the wood to any depth of color1 and thus they set the pattern which the grainer must follow as regards the color4 ,it is represented in both oil and water color1 or by being partly done both ways1 as in the case of walnut4 ,the colors used are burnt sienna1 burnt umber and ,vandyke brown1 with crimson lake for overgraining on particularly bright work4 ,the tools used are the same as those for walnut4 ,no better way to imitate it will be found than first to stipple it with a thin wash of ,vandyke brown in beer1 much the same as for walnut1 but using the flat side of the stippler or blender more than the tip1 as the pores of the wood are generally longer than those of walnut4 ,after the stippling is dry rub in the oil color1 which is composed of about three-fourths burnt sienna to one-fourth burnt umber1 or a little ,vandyke brown may be added to the color4 ,the dark veins are put in with the sash tool dipped in a little clear ,vandyke brown1 which should be mixed in a separate vessel and thinned mostly with driers1 as ,vandyke brown is a very slow drier4 ,the work is then gone over with a soft cotton rag1 and the color is removed where the lighter grains are to appear2 the rag is also used to soften the edges of the darker streaks and to blend them into the lighter grains4 ,the lights and shadows are made1 and the whole is then lightly blended crosswise4 ,the bristle overgrainer of the fitch tool is used to put in the finer grains1 or this may be done when the oil color is dry4 ,this is the manner in which the modern straight mahogany is most frequently imitated1 but it can wholly be done in water color1 using the sponge for the same purpose as the rag is used in oil4 ,the feather mahogany is best represented in water color4 ,the centre of the feather is darkened with ,vandyke brown1 and the mottler or sponge is used to make the darker curves which radiate from the centre of the feather2 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 feather4 ,a small mottler or cut tool may be used for this purpose4 ,the markings radiate from the centre outward in a curved line and across the darker veins2 allow this to dry1 and then lightly overgrain to bring out the effect1 touching up the parts that are to appear very dark4 ,after this is dry the hand should lightly be passed over the work to remove any surplus color1 as one coat of varnish sometimes fails to lay out on water-color work where the graining-color has freely been used4 ,this applies to walnut and rosewood in distemper as well as to mahogany4 ,the wood is sometimes represented in oil without first stippling1 but it never looks so well4 ,of course the stippling may be done after the work is dry1 but it makes a better appearance if done before the rubbing with oil4 ,if it is desired to overgrain1 the work1 if done in oil1 should be shaded in distemper1 and vice vers4 ,for depth and brightness1 add crimson lake with a little ,vandyke brown4 ,illustration3 ,plate #db4 ,,mahogany ,,feathered4 ,illustration3 ,plate #dc4 ,,rosewood ,,as ,,outlined ,,to ,,overgrain4 ,,chapter ,,xii4 ,,rosewood4 ,this wood is seldom imitated in this country except on piano-legs and caskets or coffins1 and then it is done in stain on the wood without first being painted4 ,whitewood is given two coats of logwood stain1 and after that is dry the grains are put in with a bamboo brush1 which is made by beating the pulp out of the ends of short strips of bamboo1 leaving the harder portions of the wood1 which act as bristles for applying the graining-color4 ,four or five strips of bamboo an inch or more wide are fastened together with wire1 so that their edges interlock at the point of the brush2 the brush is then dipped in the graining color1 which consists of iron-filings dissolved in vinegar4 ,the surplus color is shaken out of the brush1 and the grains are put in in the same manner as that in which an overgrainer is used in water-color4 ,the darker veins are added with a sponge after the finer grains are put in1 and the work after being grained is generally filled with rose-pink4 ,this process can be used only on new surfaces1 and is of little value to the grainer to the trade4 ,the ordinary way of imitating rosewood is to do it in water color1 although it may be done in oil4 ,i prefer to do it in distemper1 as the work can more quickly be finished in this way4 ,the colors used are ,vandyke brown1 ivory black and rose pink4 ,the basis of the color is ,vandyke brown and a little black added to it4 ,the ivory black and the rose pink are mixed separately1 and applied to the work as desired while the color is wet1 carefully blending where necessary4 ,the rose-pink is first streaked through the color and blended2 then the sponge is used to remove the color and make the lighter shades4 ,the black veins are then put in1 and after the whole is dry the overgrainer and the fitch tool are used to put in the fine grains4 ,last of all1 the edges of the dark veins are sharpened with the fitch tool1 using thin black for this purpose2 this final application of black may be done in oil4 ,care must be taken not to take too much black1 or the effect will be too sombre4 ,the natural wood is almost invariably darkened by being stained as we see it on pianos1 and its beauties are obscured by so doing4 ,when the water color is finished and dry1 the hand should be lightly passed across the work to remove any surplus color that may not thoroughly adhere1 as1 if not removed1 it works up into the varnish1 or the varnish strikes in where the graining-color is thick2 and for this reason two coats of varnish are better than one coat on any dark wood that has been done wholly in water color4 ,in operating entirely with oil the tools are much the same as those used for water color2 the bristle piped overgrainer is best for oil color4 ,the work is done in much the same manner as with water color1 using the rag where the color is to be lightened1 with a little more spirits of turpentine and japan in the color than ordinarily4 ,the grains of rosewood are not easily copied4 ,the wood exhibits a variety of grain second only to oak1 and ,i think that1 after oak1 it is the most difficult wood to imitate1 as to do it justice requires the free treatment which can be given only by a trained hand and a correct eye4 ,the average veins are free and graceful without being set or constrained1 and the grains are constantly interlocking and branching off from the main hearts4 ,,cypress-,,wood has but recently appeared in this country as an interior finish4 ,it is a very soft and porous wood1 and is a good kind to keep out of a house1 owing to its liability to shrink and swell1 but occasionally we find rooms finished with it1 with the exception of the doors1 which the grainer is called upon to match4 ,i am informed that cypress trees have to be girdled in the spring and killed1 so that they contain but little sap when cut in the fall1 as1 if cut green1 they would sink in the water before they could be floated to the mill4 ,this shows how ill suited this wood is for an interior finish4 ,illustration3 ,plate #dd4 ,,rosewood ,,as ,,finished4 ,illustration3 ,plate #de4 ,,cypress ,,in ,,oil4 ,the grain of cypress somewhat resembles that of hard pine1 but is broader in the heart and finer-grained2 it also presents more contrast between the light and dark portions of the growth4 ,the ground is slightly darker and more yellow than that used for oak4 ,the graining-color is made of raw and burnt sienna and burnt umber1 and is mixed in oil4 ,when the color is rubbed in1 the hearts are wiped out in the usual manner4 ,a rubber comb can be used to make portions of the heart by occasionally using it in the finer portions of the wiped-out hearts1 taking care that the lines made by the comb closely follow those made by hand1 and that they are equally distinct1 or the places where the comb has been used can readily be distinguished from the rest of the work1 and they look very bad4 ,there is but little use for the fitch tool in matching cypress2 the combing is mostly fine and rather straight4 ,the steel combs should never be used over the lines made by the rubber comb4 ,the work may be shaded with some of the graining-color to which some black has been added1 and the whole thinned with spirits4 ,it needs but a very thin glaze1 and is ordinarily finished without shading4 ,,chapter ,,xiii4 ,,hard ,,pine4 ,this wood is seldom imitated1 and1 although its grains are simple1 they cannot be matched without taking pains4 ,the grain of hard pine is in some respects different from that of any other wood2 the growths are generally quite narrow1 and are not complicated1 without having many knots1 and are decidedly straight1 as is also the combed work4 ,the groundwork is much the same as that for oak1 being slightly more yellow4 ,the graining-color--which is mixed in oil--is composed of raw and burnt sienna1 and a little burnt umber is added4 ,the grains are put in by first using the rag to wipe out the hearts and then pencilling in the grain1 or for the lighter parts of the grain the pencilling may be omitted4 ,the combing is done with moderately fine combs4 ,never go over the same place twice1 as the grains of pine are always straight and never interlock1 like those of oak4 ,the work should lightly be blended lengthwise4 ,the color used to pencil in the growths should be darker than that with which the work is rubbed in1 and the blending should always be done toward the outside edge of the grain4 ,when the work is dry it may lightly be shaded to give it depth1 or slightly mottled4 ,some pieces of hard pine are profusely mottled1 and ,i have seen specimens that had the appearance of fine ,hungarian ash4 ,illustration3 ,plate #df4 ,,hard ,,pine4 ,,whitewood4 ,it is seldom necessary to imitate whitewood1 as the original is so cheap1 and because there is as much difficulty in matching the color of the wood as that of the grains4 ,the ground-color is about the same as that for light ash1 and the graining-color can be mixed with raw sienna and raw umber1 adding black or blue2 or yellow ochre can be used for the basis of the color1 adding raw umber and a little black for the dark streaks4 ,the work is then put in with a fitch tool and blended softly1 or a piece of pointed wood like a pencil may be used1 the point being covered with a thin cotton rag1 and the heart grains put in with this1 taking care to have the grains subdued and not appearing prominent4 ,the grains of whitewood generally appear sunken2 they are simply outlined1 and not softened with the rag4 ,illustration3 ,plate #dg4 ,,whitewood ,,in ,,oil4 ,whitewood sometimes assumes a blistered appearance peculiar to itself and somewhat like the grain of ,hungarian ash4 ,this kind of whitewood is very difficult to imitate1 as the high lights are so strong and brilliant as to require touching up with the ground-color after the work is dry4 ,this kind is seldom imitated4 ,,chapter ,,xiv4 ,,varnishing ,,over ,,grained ,,work4 ,when a job of graining is finished2 if it is deemed necessary to varnish it1 the question arises1 ,what kind of varnish shall be used8 and this is a subject on which widely different opinions prevail4 ,almost every master painter has his favorite kind of varnish and is slow to accept anything contrary to his own idea of what should be used2 and right here ,i will say that if you have something that1 like the joke of the clown in the circus1 has withstood the test of time1 do not look farther1 but hold fast to that which is good4 ,there are many kinds of varnishes and finishes made especially for application to exposed work1 outside doors1 etc41 but my experience with many of them has been anything but satisfactory4 ,there may be some particular kind of varnish that will stand exposure in this climate without cracking or turning white1 but ,i have never seen any such4 ,i would like to find some article that will withstand the changes of temperature to which it would be subjected in the ,new ,england climate--say one hundred and twenty to one hundred and thirty degrees annually--and ,i do not expect ever to find any such1 as1 when the varnish has been applied to exposed work and the gum has become thoroughly hardened1 cracking will of necessity ensue1 for the reason that heat causes the expansion of the material to which the varnish is applied1 and1 the varnish being thoroughly hardened1 so that it cannot expand1 it must crack in obedience to the law of nature that heat expands4 ,cracking may result from inability to contract after having expanded from heat4 ,this is allowing for no internal complications in the varnish1 and what is written above wholly applies to varnish that is exposed to the weather1 and is based on what seems to be practical experience4 ,i am living in a house that is grained in oil on the outside2 the clapboards and trimmings on the southwest side were chosen for testing the varnish4 ,to prevent any misunderstanding1 ,i will state the manner in which the work was done4 ,the clapboards are ,no4 #a spruce1 the trimmings are pine and cypress4 ,the carpentry work was done in ,july1 #ahhf1 and stood three days before being primed4 ,the priming color was mixed as follows3--,one hundred pounds of white lead1 to which were added about twenty-five pounds of yellow ochre1 a small quantity of japan drier1 and thinned with best raw linseed oil4 ,after being primed for two weeks1 the work was grounded1 using the priming color that was left1 with enough lead added to make a groundwork for oak4 ,the trimmings are done in cherry4 ,the work was not grained until ,october1 #ahhf1 and neither wax nor anything else was used for megilp4 ,the varnishes were nearly all applied on the tenth day after the work was grained2 the day was warm and bright1 and each varnish was put on just as it came from the factory1 without thinners of any kind4 ,each was poured into a clean vessel and a new brush was used1 so as to give each kind of varnish an even chance2 and the result is below stated4 ,seventeen kinds of varnishes1 hardwood finishes1 spar composition1 etc41 were applied as stated1 and the result was highly disastrous1 as1 with two exceptions1 they all cracked in less than twelve months4 ,the two exceptions were1 first1 a mixture of linseed oil two parts to japan drier one part2 second1 a preparation said to contain ninety per cent4 of linseed oil4 ,this is the only thing on the side of the house to-day 7,february #bi1 #ahhh7 that has any gloss2 all the others except the oil and the drier are in various stages of imitation of alligator skin1 or they have cracked so minutely as wholly to destroy the gloss4 ,some of the hardwood finishes cracked in twenty-eight days after being applied1 and their makers claimed that they could be used on outside work without danger of cracking4 ,the longest time that any varnish stood without cracking was slightly over eleven months1 and that kind cost five dollars per gallon1 and was sold for wearing body varnish4,a ,i have some of these varnishes and finishes applied to inside work1 and at present they show no signs of cracking1 but ,i am afraid that it will be only a question of time when they too will crack4 ,for interior work ,i am in favor of using shellac over grained work in preference to varnish1 and ,i have shellac applied to the doors of my rooms1 the casings1 etc41 being finished with first-quality varnish2 so that ,i will have an opportunity of observing their respective merits and durability4 ,shellac finish is less glaring than varnish1 and has the advantage of drying quickly2 so that it escapes the dust which is invariably present in new buildings4 ,it can be rubbed down1 if necessary1 in the same manner as hardwood1 and where graining is done to match wood finished in shellac it makes the work look uniform4 ,i have yet to see a job of new work that has cracked after being shellacked if properly grounded4 ,there are some of the old-fashioned varnishes that stand without cracking on inside work4 ,one case ,i remember where an office had been grained and varnished when the factory was built1 and1 so far as known1 had been revarnished but once for thirty-two years afterward4 ,there was no sign of cracks in the varnish1 and those people who profess that the cause of cracking is due to wax in the graining color would be surprised to see that the graining color in this case appeared to contain plenty of wax4 ,varnish may stand for a long time on inside work without cracking2 but the reverse is the rule in my experience2 for varnish that has been bought from the factory expressly for inside work1 and for which a good price has been paid1 has cracked in less than six months after being applied1 and this was on new wood2 so that there was apparently nothing to hasten its early decay4 ,some seven years ago ,i varnished a table-top which had been grained4 ,i chose what a master carriage painter called one of the best makes of rubbing varnish1 and applied three coats to the table1 rubbing it on the third day after each coat4 ,it looked nicely when finished1 but in less than four months it had cracked4 ,the cracks finally became so deep that they were faced up with putty2 and this was a solid walnut table-top which had been thoroughly planed off and shellacked before being painted and grained4 ,this is but one of many instances which have led me altogether to discard varnish for any work ,i wish to preserve2 and where interior work is not too much exposed to wear ,i prefer to leave it as grained in oil or to shellac it1 and for exterior work to give it an occasional coat of oil and drier rather than to varnish it4 ,i have not mentioned the names of the makers of the varnishes1 but they were some of the representative makers of the country1 and most of the labels expressly stated that the contents of the packages would not crack1 blister or turn white4 ,i hope that the experience of others has been more favorable than has mine1 but we must speak of things as we find them4 ,,footnotes3 ,footnote ,a3 ,october1 #ahij4--,the preparation containing #ij per cent4 linseed oil cracked badly in fourteen months3 the oil and dryer cracked soon after1 due1 ,i presume1 to gum in the japan4 ,,chapter ,,xv4 ,,graining ,,considered ,,as ,a ,,fine ,,art4 ,graining--that is painting in imitation of wood or of marble--is generally looked upon as a business branch of the house-painting which any competent painter is1 or should be1 able to do1 but in reality we find that only about four or five men in each large city do all the best work in this line1 and make a business of it1 doing nothing else--graining for the trade1 as it is called4 ,one grainer will do the work of twenty or more paint-shops1 and if he is a first-class workman1 he will earn more than double the wages of an ordinary painter1 and will find employment all the year round4 ,now1 any large city can boast of twenty to thirty artists--landscape1 marine1 portrait1 etc4--whose work is praised and is accepted at art-galleries1 and in some cases brings enormous prices at sales2 but why is it that their work is lauded to the skies2 when at best it is but an imitation of nature1 and when an equally good imitation in another form is 7as a rule7 condemned by architects and critics as unworthy a place in artistic residences or in the more prominent rooms of such houses8 ,any person of ordinary intelligence can at a glance discover that an oil painting is a mere copy or representation of nature1 but the grain of wood or of marble can be so closely imitated that it is impossible even for an expert to detect at a glance that it is counterfeit1 and a close examination sometimes fails to reveal whether it is genuine or not4 ,some people think that successfully to imitate the color and the grain of any wood or any marble is as much of an art as is the representation of a landscape1 for1 while there are dozens of artists who can faithfully reproduce a landscape on canvas1 there are few who can make a pine door look like the oak or cherry jamb and casing that surround it1 as first-class grainers often have to do1 and do so well that not one person in a thousand could tell the real wood from the imitation4 ,and not only is the wood imitated by such men1 but mouldings1 cornices1 panels1 etc41 are so faithfully represented as to pass for such except on close inspection4 ,it is said that in order to become an artist one must be born with certain qualifications or he will fail to be successful3 this is equally true in the case of the grainer2 and some people think that in order to become a first-class grainer more gifts are required at birth than if the person were destined to become an artist1 as the artist generally has before him models or the original of his picture1 while the grainer is supposed to imitate whatever kind of wood or marble is called for--in most cases1 without any of the original before him and doing the work from recollection of the grain of the particular wood or marble he is imitating4 ,while it is very true that the average imitation of wood or marble is poorly done1 still the whole business should not be condemned1 and any large city can furnish illustrations of the fact that graining is so well done as to deceive workers in wood2 and they ought to be competent judges4 ,the idea of representing wood by painting is as old as any branch of the business1 and1 though excellent work has been done in days gone by1 the efforts of the foremost grainers of the present time will favorably compare with those of any age1 as1 with new inventions to aid them1 they have taken rapid strides toward perfection4 ,,chapter ,,xvi4 ,,the ,,tools ,,used ,,by ,,grainers4 ,steel combs 7,fig4 #a7 are four or five inches wide1 with teeth of three regular sizes--course1 medium and fine4 ,they may be used for all woods where the grain is strongly marked1 whether the work is done in oil or in distemper2 there is also a four-inch steel comb with teeth graduated from coarse to fine 7,fig4 #b7 that is often useful2 a few one- or two-inch steel combs are handy for use on mouldings or on odd corners4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,illustration3 ,,fig4 #d4 ,illustration3 ,,fig4 #e4 ,illustration3 ,,fig4 #f4 ,illustration3 ,,fig4 #g4 ,illustration3 ,,fig4 #h4 ,leather combs 7,fig4 #c7 can be purchased from most of the large dealers in painters' materials1 but they are inferior to combs cut from the best sheet rubber4 ,in making the latter choose a piece of rubber measuring about two by four inches and not over a quarter of an inch4 ,cut the teeth on each of the four inch sides1 making those on one side coarse and those on the other side fine1 thus you have two combs in one1 and by turning over the comb different lines can be made2 do not cut the notches of the comb too deep1 and leave considerable space for the face of the teeth4 ,a rubber comb can be often used1 especially on rough work1 without covering the teeth with a rag1 as being soft it conforms to the inequalities of the surface1 and leaves a more distinct pattern than does a leather comb4 ,illustration3 ,,fig4 #i4 ,illustration3 ,,fig4 #aj4 ,illustration3 ,,fig4 #aa4 ,illustration3 ,,fig4 #ab4 ,illustration3 ,,fig4 #ac4 ,illustration3 ,,fig4 #ad4 ,illustration3 ,,fig4 #ae4 ,illustration3 ,,fig4 #af4 ,illustration3 ,,fig4 #ag4 ,illustration3 ,,fig4 #ah4 ,illustration3 ,,fig4 #ai4 ,illustration3 ,,fig4 #bj4 ,in representing the grain of oak1 the tracks of the steel comb should cross or interlock so as to make a series of disconnected lines similar to the pores of the wood2 for ash and other straight-grained woods1 the grains should never interlock but appear clean and sharp in regular order from the side of the hearts to the edges of the board4 ,illustration3 ,,fig4 #ba4 ,illustration3 ,,fig4 #bb4 ,illustration3 ,,fig4 #bc4 ,illustration3 ,,fig4 #bd4 ,the piped bristle or fitch hair overgrainer 7,fig4 #d7 may be used in oil or in distemper for representing ash1 walnut1 cherry1 mahogany1 etc42 for maple it may be used as an overgrainer4 ,for overgraining any wood in distemper there is no better tool than the plain bristle overgrainer 7,fig4 #e7 the bristles being separated into clusters with a bone comb after charging the brush with color4 ,illustration3 ,,fig4 #be4 ,illustration3 ,,fig4 #bf4 ,the badger blender 7,fig4 #f7 is used for all graining done in distemper and is sometimes used for oil work1 a similar brush made of bristles is sometimes used for marbling4 ,the flat bristle brush used for applying the graining color is the only blender necessary for oil work4 ,the castellated or knotted overgrainer 7,figs4 #g1 #h and #i7 is used for graining in distemper work1 which has previously been grained in oil4 ,the plain overgrainer 7,figs4 #aj1 #aa and #ab7 may be used for shading in distemper or for graining maple4 ,mottlers or cutters made of bristles 7,figs4 #ac1 #ad1 #ae1 #af1 #ag7 are for use for distemper color in graining maple1 mahogany1 etc4 ,the angular cutter 7,fig4 #ag7 is used for taking out the high lights in mahogany4 ,the waved mottler 7,fig4 #ah7 is used for representing maple1 mahogany or satinwood in distemper4 ,camel's-hair mottlers or cutters 7,figs4 #ai and #bj7 are used for very fine work on maple1 etc41 but the bristle brushes answer all practical purposes4 ,the serrated mottler or marbler 7,fig4 #ba7 is used for maple or satinwood in distemper or for marbling4 ,for applying distemper color a tin bound bristle graining brush 7,fig4 #bb7 is excellent1 it should be about #a_/b an inch thick4 ,the bristle stippler 7,fig4 #bc7 is used for walnut or for mahogany in distemper4 ,the fitch or sable piped overgrainer 7,fig4 #bd7 is used in distemper for maple1 satinwood or other delicate work4 ,the check roller is used for putting in the pores of oak and the dark streaks or lines in the hearts1 and is used to best advantage in distemper4 ,a well charged mottler supplies the color4 ,the mottler is laid against the edges of the wheels1 and by revolving the roller the color is transferred to the work4 ,a guard of tin may be soldered to the mottler so that it fits the handle of the roller1 being held in place by the thumb4 ,one or two flat fresco bristle liners 7,figs4 #be and #bf7 ,no4 #a and #b for putting in hearts1 veins1 etc41 and one or two tin bound sash tools complete the list of all tools necessary for use1 and any wood that grows may be represented by using the tools mentioned4 ,,chapter ,,xvii4 ,,patent ,,graining ,,machines4 ,various devices other than those usually employed--brushes1 combs1 etc4--have been invented for representing the grains of wood1 and some of these machines are excellent1 and are so constructed that by properly using them a very good imitation of wood may be obtained4 ,the majority of them1 however1 seem to have been invented for the express purpose of being sold to gullible painters4 ,the work done by such machines bears but little resemblance to the grain of any wood1 and the only merit they possess is their boasted ease of manipulation4 ,it would seem that the majority of the patent pads1 rollers1 etc41 now in use were designed by persons totally unfamiliar with the various woods which they claim their machines can represent2 they bear the same relation to good handwork as the schoolboy's drawing of a house bears to that of an architect4 ,the quality of the work seems to be immaterial if it can rapidly be executed2 and if there are plenty of knots in the pattern1 so much the better4 ,it is of no consequence what wood it is supposed to represent1 so long as it pleases the eye of the painter1 and he will often purchase at an exorbitant price that which is practically useless for ordinary housework4 ,i have before me a circular containing some photographic illustrations of the work done by a patent roller process2 and if any wood ever grew that bears a resemblance to the illustrations1 ,i am ignorant of its name4 ,aniline colors are the means employed to represent the grains1 and the process is designed to obviate the necessity of first painting the work1 as the color is directly applied by the roller1 without the wood being prepared in any way4 ,it is claimed that any shadows or grains existing in the wood will only add to the beauty of the finished work4 ,this will be news to the intelligent workman4 ,the circular says nothing about how to use the rollers on painted work1 so ,i presume it is worthless except for new work1 and nearly so for that2 for the painter who attempts to represent wood in the manner described will find that in the end it costs as much as though he had employed a skilful workman2 and when the job is finished1 he will have but a poor imitation of wood4 ,so far as ,i am aware1 the oldest machine for representing the graining of wood is the ,mason pad1 which consists of a convex pad with handles at either end4 ,the face of the pad is made of a rubber composition1 on which are engraved the grains1 the pad being about two feet in length4 ,the graining-color is applied to the work1 and while wet the pad is pressed against it1 thus removing sufficient color to show the grain4 ,this process is now seldom used2 the composition of which the face of the pad is made hardens in cold weather and in hot weather it is inclined to run together1 and great care must be taken to avoid defacing the pad4 ,the objection common to all roller processes or machines is that they do the same work over and over again1 which is contrary to what we find in nature1 as the grains are always different from one another1 so that it would require an endless variety of patterns to do such work as is done by any first-class grainer4 ,another method for the rapid imitation of wood is found in stencil-plates1 which consist of thin sheets of brass so constructed that when laid against the panel to be grained they leave no mark until a cloth is passed over the plate1 when the graining-color exposed by the stencil is rubbed off1 thus making the grains4 ,this sort of work looks much better than that done by any of the pads or rollers1 but is open to the same objection--viz41 repetition4 ,another process is operated by having rolls with leather or composition surface1 with the grains cut thereon2 after the graining-color has been applied to the work1 the rollers are passed over it1 thus removing the color wherever the roller touches4 ,as a rule1 the work done by this process is not very distinct1 nor is it particularly clean4 ,very large rollers have to be used in order to grain a panel four feet long1 as the work will seldom join without showing the joints2 and while a door was being grained in this manner 7with joints in the panels71 a skilful workman could do one by hand and in a much better manner4 ,the best work that ,i have ever seen1 not done by hand1 was by means of a composition roller with a smooth surface2 it can be used only for the imitation of porous woods1 as chestnut1 ash and walnut1 and is useless for oak1 cherry or any of the close-grained woods4 ,the work can first be stippled in distemper1 and when dry rubbed in lightly in oil2 or the roller can be applied directly to the stippled work or to the groundwork1 and afterwards stippled if necessary4 ,it is requisite to procure several pieces of the wood to be imitated1 smoothed carefully with the pores open2 then directly apply the graining-color and with the composition roller go over the wood1 taking the color from the pores and applying it directly to the work by transfer4 ,if carefully done1 you have an exact duplicate of the grain of the real wood1 and no man can do better work than this2 but1 in order to grain a room or a house in this manner1 it is necessary to have a great variety of pieces of porous wood1 and to use each piece only for imitating the wood of which it is composed4 ,the gransorbian is another transfer process1 by which the grains are produced as follows3 ,the graining-color is applied in the usual manner1 and heavy absorptive paper on which the grain of the wood to be imitated is impressed is laid against the wet color2 a roller with a smooth surface is passed over the paper1 using considerable force1 so that the color is absorbed into the paper wherever it is pressed against the work by the roller4 ,the paper can be used several times before it becomes useless through becoming saturated with color1 but1 being cheap1 it is an inexpensive manner of doing fair to good work4 ,all depends on the man who makes the patterns1 as1 if they are not true to nature1 the effect is very bad1 and some of the samples that ,i have seen are very poor imitations of the grain of any wood4 ,i should judge that the paper is produced by applying the pulp to a block of wood on which the pattern to be produced is engraved1 using considerable pressure to force the pulp into the carved work4 ,the plain work is done with combs in the usual manner4 ,another transfer process is the transfer paper4 ,the grain is printed on paper similar to the best wall-paper1 and is transferred to the groundwork by pressure after first wetting the back of the paper and allowing time for the water thoroughly to soften the printed color4 ,the surface of the groundwork must first be damped in order to receive the moist color from the paper4 ,two or three impressions may be obtained from each wetting of the paper4 ,some of the work done by this process is excellent1 and approaches very near the work done by the smooth transfer roller1 but the majority of the paper is printed from blocks or cylinders1 designed not by nature1 but by man1 and are unworthy of comparison with those printed from nature4 ,there are various processes other than handwork1 but the above are the principal methods employed4 ,the first-class grainer has nothing to fear from any of the foregoing processes1 for while some were being used the work could be done in the old way1 and equally well1 provided the workmen were at all skilful4 ,i have never seen any work that can excel fine handwork1 as there is more grace and variety in such work than there is in any done by any other methods4 ,when the services of a grainer cannot be obtained1 machine processes may answer for ordinary work or for small work1 such as ice-chests1 pails1 etc41 but the chief objection ,i have to them is that they claim too much1 and the average painter who buys the process is deceived1 because he is told that any wood can be imitated by this or that machine1 when such is not the case4 ,,chapter ,,xviii4 ,,imitations ,,of ,,carved ,,work1 ,,mouldings1 ,,etc41 ,,by ,,graining4 ,in imitating carved work1 mouldings1 etc4 in graining color1 more than ordinary ability is required in order to succeed in deceiving people2 and this kind of work should not be attempted unless there is ample time for its proper execution1 nor should its use be contemplated for too exposed positions1 as if not thoroughly done it is an eyesore to the intelligent beholder1 but if done in a recessed doorway or other suitable place1 inside or outside1 it enhances the value of the work if it agrees with the general style of the architecture or of the surroundings4 ,mouldings or raised panels are often imitated on front doors where the real article would never be placed by an intelligent carpenter1 owing to the shape of the door2 hence it would be displaying poor judgment to place the imitation where the real article ought to find no place4 ,it is wonderful how a thorough grainer can transform a plastered wall into one apparently sheathed or wainscoted1 and ,i have seen doors so perfectly imitated that persons would grasp at the knob in attempting to open a door that was grained on a plastered wall4 ,imitations of carved figures1 scrolls and game-birds are favored by some workmen1 and are very effective if well done2 as a rule such work should be seen in a subdued light to render the deception more complete4 ,illustration ,,index4 ,a4 ,alcohol1 use of1 in distemper1 #cj4 ,ammonia1 spirits of1 for removing old paint1 #f4 ,angular cutter1 #ej1 #ec4 ,aniline colors used in graining1 #ed4 ,ash1 burl1 #bj4 burl1 ground colors for1 #h4 graining1 #ag4 ground colors for1 #g4 ,hungarian1 #ai4 ,hungarian1 ground colors for1 #g4 ,western1 to match1 #ah4 ,asphaltum for shading color of oak1 #af4 ,b4 ,badger blender1 #di1 #eb4 ,bamboo brush1 use of1 in graining rosewood1 #cg4 ,best colors should be used for graining1 #g4 ,bird's-eye maple1 #bb4 maple in water color1 #bb4 ,black walnut1 #ca4 ,blending groundwork1 #ab4 quartered oak1 #ac4 ,blistered appearance of whitewood1 #da4 ,bristle graining brush1 #ea1 #ec4 liners1 fresco1 #eb1 #ec4 mottlers or cutters1 #ej1 #ec4 stippler1 #ec4 ,brush1 bamboo1 use of1 in graining rosewood1 #cg4 should not be stubby1 #aa4 ,burl ash1 #bj4 ash1 ground colors for1 #h4 ash in oil color1 #bj4 ,burning off paint1 #f4 ,c4 ,camel's-hair mottler or cutter1 #ej1 #ec4 ,castellated or knotted overgrainer1 #di1 #ej1 #eb4 ,champs1 to put in1 #ab4 ,champs1 shading1 #ae4 ,cheap jobs1 #f4 ,check roller1 #ae1 #ec4 ,cherry1 #bh4 ground work for1 #h4 in oil color1 preference for1 #bh4 natural wood1 to match1 #h4 ,chestnut1 #ba4 clean cut divisions in graining1 #ad4 clearly cut joints in graining1 #ad4 graining in water colors1 #bb4 ground colors for1 #g4 resemblance to ash1 #ba4 ,coats1 which to be avoided1 #h4 thin preferable1 #h4 ,color for graining1 #i4 for graining burl ash1 #bj4 of wood1 to imitate1 #i4 preparation of in graining oak1 #aj4 straining before thinning1 #g4 to mix1 #aa4 usually dark1 #aj4 ,combs1 leather1 #dh1 #di4 rubber1 #ab4 steel1 #dh4 ,composition roller1 graining by1 #ef4 ,copyists of copies1 #ac4 ,covering teeth of graining combs1 #ab4 ,cracking of varnish1 #db4 ,curly1 or rock maple1 #be4 ,cutter1 angular1 #ej1 #ec4 ,cutters or mottlers #ej1 #ec4 ,cypress wood1 #ch4 ,d4 ,dark oak1 #g4 ground color for1 #g4 veins in rosewood1 #cg4 veins in mahogany1 #ce4 veins in quartered oak1 #ab4 ,degenerate copyists of copies1 #ac4 ,distemper1 graining ash in1 #ah4 graining oak in1 #af4 ,divisions should be clean cut in graining1 #ad4 ,docked pencil in bird's eye maple1 #bc4 ,driers in graining color1 #aa4 ,dry colors should never be used for grounds1 #g4 ,e4 ,edges of panel1 how finished1 #ad4 ,experience in varnish cracking1 #dc4 ,eyes and shadows in bird's eye maple1 #bc4 in bird's eye maple1 how to accentuate1 #bd4 ,f4 ,feathered mahogany1 #cf4 ,fine art1 graining considered as a1 #df4 champs in pollard oak1 to put in1 #bh4 ,fitch hair overgrainer1 #di1 #ea4 or piped overgrainer1 #ea1 #ec4 tool1 use of in graining ash1 #ag4 tool1 use of in graining cypress1 #ci4 ,flat brush used in graining in preference to round1 #aa4 fresco bristle liners1 #eb1 #ec4 ,french walnut1 burl1 #cb4 walnut burl1 graining in distemper1 #cc1 #cd4 walnut burl1 pieces should be small1 #cd4 ,french walnut1 ground work for1 #h4 ,fresco bristle liners1 #eb1 #ec4 ,g4 ,glue size for distemper binder1 #cj4 ,graduated teeth in graining combs1 #ab4 ,grainers' combs1 #aa4 tools1 #dh4 ,graining ash1 #ag4 ash in distemper1 #ah4 by patent roller1 #ed4 by stencil plates1 #ee4 by transfer paper1 #eg4 can be scoured off1 #e4 cannot be chipped1 #e4 chestnut1 #ba4 color1 #i4 color1 to mix1 #i4 considered as a fine art1 #df4 cypress1 #ci4 for the trade1 #df4 light oak in oil1 #aj4 oak1 #g1 #af4 over old paint1 #e4 over old work1 preparation for1 #f4 will not fade1 #e4 ,gransorbian transfer graining process1 #ef4 ,grained work1 varnishing over1 #db4 ,ground color1 #f4 color1 ,indian red should never be used1 for #i4 for burl ash1 #h4 for chestnut1 #g4 for cypress graining1 #ci4 for satin wood1 #h4 colors of ash1 #g4 ,growth of ash1 heart1 #ag4 of cherry1 #bi4 ,growth for white wood1 #da4 ,ground work for cherry1 #h4 for ,french walnut1 #h4 for graining1 #e4 for mahogany1 #h4 for oak1 #g4 for rosewood1 #i4 for satin wood1 #bf4 for walnut1 #h4 when old paint is not removed1 #i4 ,h4 ,heart grains in bird's eye maple1 #bd4 growth of ash1 #ag4 of oak1 #ad4 work in quartered oak1 #ad4 ,hearts1 imitating in black walnut1 #cb4 ,hard pine1 #dj4 ,hard wood varnishes1 #dc4 ,high lights in whitewood1 #da4 ,honduras feathered mahogany1 #ce4 ,hungarian ash1 #ai4 ground colors for1 #g4 ,i4 ,imitation of carved work1 mouldings1 etc41 #eh4 ,m4 ,mahogany1 #ce4 ground work for1 #h4 ,maple bird's eye1 #bb4 ground colors for1 #g4 ,marbler or mottler1 the serrated1 #ej1 #ec4 ,mason pad1 #ee4 ,matching stained oak1 #ah4 ,mitres and joints in graining1 #ad4 ,mixing color1 #aa4 graining color1 #i4 ground colors1 #g4 ,modern panels and styles of doors1 #eh4 ,mottler1 the waved1 #ej1 #ec4 ,mottlers or cutters1 #ej1 #ec4 camel's hair1 #ej1 #ec4 ,o4 ,oak1 dark1 #g4 graining1 #af4 graining1 all colors for1 #g4 graining in distemper1 #af4 groundwork for1 #g4 heart of1 #ad4 light1 #g4 light in oil1 to grain1 #aj4 pollard1 #bg4 quartered1 #ac4 slashed1 #ad4 to grain1 #aj4 ,objection to roller process of graining1 #ee4 ,old paint1 graining over1 #e4 ,old varnish1 to remove1 #f4 ,overgrainer1 castellated or knotted1 #di1 #ej1 #eb4 for satinwood1 #bf4 ,overgraining oak1 #ae4 ,overgrainer1 plain1 #ea1 #ec4 plain bristle1 #di1 #ej1 #eb4 piped bristle1 #di1 #ea4 ,p4 ,paint1 to remove1 #f4 ,panel edges1 how finished1 #ad4 ,panels and styles of doors1 #eh4 ,panels in satinwood1 #bf4 ,plain bristle overgrainer1 #di1 #eb4 overgrainer1 #ej1 #ec4 ,patent roller process of graining1 #ed4 ,preparing old work for graining1 #f4 ,piped bristle overgrainer1 #di1 #ea4 bristle overgrainer1 use of1 in graining black walnut1 #ca4 ,piped overgrainer1 #ec4 overgrainer1 use of1 #cj4 ,pollard oak1 #bg4 ,priming coats1 #h4 partly in distemper and oil1 #bg4 ,proportions of colors in graining color1 #aj4 ,r4 ,removing old paint1 #f4 old varnish1 #f4 ,rock or curly maple1 #be4 ,roller1 the check1 #ec4 ,root of ash1 #bj4 ,rosewood1 #cg4 groundwork for1 #i4 in water color1 #cg4 ,round brush not used in graining1 #aa4 ,rubber combs1 #ab4 combs with graduated teeth1 #ab4 ,rubbing in graining1 #ab4 varnish1 experiments with1 #de4 ,s4 ,sable piped overgrainer1 #ec4 ,sandpapering1 #f4 ,satin wood1 #bf4 ,second coat work1 #f4 ,serrated mottler or marbler1 #ea1 #ec4 ,shadows around knarled places1 #ae4 ,shades in burl ash1 #bj4 ,shading champs1 #ae4 color of oak1 #af4 ,silver maple1 #be4 ,slashed oak1 #ad4 ,smooth surface for graining1 #f4 ,solution for touching quartered oak work1 #ac4 ,solution to remove varnish or paint1 #f4 ,spar composition1 etc41 #dc4 ,spirits of ammonia for removing old paint1 #f4 ,stained cherry1 to match1 #h4 oak1 to match1 #aj4 white oak in preference to graining1 #e4 wood1 ground colors for1 #h4 ,steel combs1 #aa4 combs1 7,illustrated7 #dh4 comb1 use of1 in quartered oak1 #ad4 ,stencil plates1 graining by1 #ee4 ,stippling for graining in mahogany1 #cf4 for ,hungarian ash1 #ai4 in distemper for black walnut1 #ca4 ,straining colors before thinning1 #g4 ,stubby brush should not be used1 #aa4 ,substitutes for thumb nail in graining1 #ab4 ,t4 ,the angular cutter1 #ej1 #ec4 check roller1 #ec4 fitch or sable piped overgrainer1 #ea1 #ec4 graining color1 #i4 mason pad1 #ee4 patent graining machines1 #ed4 serrated mottler or marbler1 #ea1 #ec4 stubborn bristle1 #ea1 #ec4 waved mottler1 #ej1 #ec4 ,thick coats should be avoided1 #h4 ,thinning graining color1 #aa4 ,tools for putting bird's eyes in maple1 #bd4 for use in graining cherry1 #bi4 used by grainers1 #dh4 ,tools1 use in graining mahogany1 #cf4 use in graining rosewood1 #ch4 ,touching quartered oak with solution1 #ac4 ,transfer graining1 #ef4 paper1 graining by1 #eg4 ,thumb nail1 substitutes for1 in graining1 #ab4 ,v4 ,varnish for exposed work1 #db4 in graining1 #e4 ,varnishing over grained work1 #db4 ,veins1 dark1 in quartered oak1 #ac4 in oak1 #af4 ,vinegar1 use in removing old paint1 #f4 ,w4 ,walnut1 black1 #ca4 ,french1 burl1 #cb4 ,french1 groundwork for1 #h4 groundwork for1 #h4 ,water colors1 use of1 in graining black walnut1 #ca4 ,waved mottler1 the1 #ej1 #ec4 ,western ash1 matching1 #ah4 ,white wood1 #dj4 wood1 blistered appearance1 #da4 ,woods1 color of1 to imitate1 #i4 ,,index ,,to ,,colored ,,plates4 ,a4 ,ash1 burl1 in water color1 #af4 dark1 penciled and combed1 #ag4 ,hungarian1 ground for1 #a4 ,hungarian1 wiped out1 #ah4 light1 ground for1 #ac4 light1 heart of1 wiped out and shaded1 #ac4 light1 wiped out1 #ab4 ,b4 ,bird's eye maple overgrained1 #ai4 ready for the eyes1 #ba4 with the eyes1 #bb4 ,black or ,french walnut1 ground for1 #b4 walnut penciled1 #cf4 ,burl ash in water color1 #af4 walnut1 ,french1 #ci4 ,c4 ,cherry mottled in oil1 #cj4 mottled and penciled in oil1 #ca4 mottled and penciled in oil as finished1 #cc4 stained1 ground for1 #b4 wiped out and penciled in oil1 #cd4 ,chestnut1 #bj4 ground for1 #b4 ,curly maple overgrained1 #bg4 mottled to overgrain1 #bf4 ,curly walnut1 #ch4 ,cypress in oil1 #de4 ,d4 ,dark ash penciled and combed1 #ag4 heart of ash penciled1 #ad4 or pollard oak1 ground for1 #b4 ,f4 ,feathered mahogany1 #db4 ,finished cherry1 mottled and penciled1 #cc4 rosewood1 #dd4 ,flaked oak1 light1 #d4 oak light1 shaded1 #h1 #aj4 oak light1 ground for1 #c4 or quartered dark oak1 shaded1 #aa4 ,french walnut burl1 #ci4 ,g4 ,grounds for graining1 #a1 #b4 ,h4 ,hard pine1 #df4 ,heart growth oak1 light1 #f4 growth oak penciled1 #g4 of ash1 dark1 penciled1 #ad4 of oak checked and shaded1 #i4 of light ash wiped out1 #ab4 wiped out and shaded1 #ac4 ,hungarian ash1 ground for1 #a4 wiped out1 #ah4 wiped out and penciled1 #ae4 ,l4 ,light ash1 ground for1 #a4 ash heart of1 wiped out1 #ab4 ash heart of1 wiped out and shaded1 #ac4 flaked oak1 #e4 grained or wainscoted oak1 #d4 heart growth oak1 #f4 oak1 ground for1 #aa4 shaded flaked oak1 #h1 #aj4 ,m4 ,mahogany1 feathered1 #db4 ground for1 #b4 mottled1 #da4 straight1 #dj4 ,maple1 bird's-eye1 mottled ready for the eyes1 #ba4 bird's-eye1 overgrained1 #ai4 bird's-eye1 with the eyes1 #bb4 ,mottled and penciled cherry in oil1 #ca1 #cb4 and penciled cherry in oil as finished1 #cc4 bird's-eye maple ready for the eyes1 #ba4 ,mottled cherry1 #cj4 curly maple to overgrain1 #bf4 mahogany1 #da4 ,mouldings1 imitation of satinwood1 #bd4 ,o4 ,oak1 dark or pollard1 ground for1 #b4 flaked or quartered1 #aa4 heart growth1 pencilled1 #g4 heart of1 checked and shaded1 #i4 light1 flaked1 #d1 #e4 light1 flaked1 shaded1 #aj4 light1 ground for1 #a4 light1 heart growth1 #f4 flaked1 light1 shaded1 #h4 ,overgrained and mottled satinwood1 #be4 bird's-eye maple1 #ai4 curly maple1 #bg4 ,p4 ,penciled and combed dark ash1 #ag4 and wiped out ,hungarian ash1 #ae4 and wiped out walnut1 #cg4 black walnut1 #cf4 dark heart of ash1 #ad4 ,penciled heart growth1 #g4 ,pine1 hard1 #df4 ,plain or wainscoted oak1 light1 #c4 ,pollard oak1 #bh1 #bi4 oak1 ground for1 #b4 ,q4 ,quartered dark oak shaded1 #aa4 ,r4 ,rosewood as finished1 #dd4 ,rosewood as outlined to overgrain1 #dc4 ground for1 #b4 ,s4 ,satinwood1 mottled1 #bd4 mottled and overgrained1 #be4 ,stained cherry1 ground for1 #b4 ,stippled walnut1 #ce4 ,straight mahogany1 #da4 ,w4 ,wainscoted or plain oak1 light1 #c4 ,walnut1 black or ,french1 ground for1 #b4 curly1 #ch4 ,french1 burl1 #ci4 stippled1 #ce4 wiped out and pencilled1 #cg4 ,water colors1 burl ash in1 #af4 ,white wood in oil1 #dg4 ,wiped out and pencilled ,hungarian ash1 #ae4 out and pencilled walnut1 #cg4 out and shaded heart of light ash1 #ac4 out cherry pencilled in oil1 #cd4 out heart of light ash1 #ab4 out ,hungarian ash1 #ah4 ,,chicago ,,varnish ,,co4 ,illustration ,offers to the ,trade at reasonable prices the undermentioned ,varnishes which have earned for themselves a high reputation for ,durability1 ,uniformity and ,beauty of ,finish4 ,,durable ,,oak for painted or grained surfaces4 ,,inside ,,oak for same use1 but cheaper4 ,,shipoleum for natural woods1 thoroughly water-proof4 ,,supremis ,,floor ,,finish1 unequalled in its line4 ,,crystalite ,,finish1 a very pale polishing varnish4 ,,hyperion ,,finish1 a pale rubbing varnish4 ,,architectural ,,coach1 an excellent article of medium price4 ,illustration ,,ivory ,,enamelite for white interiors2 can be rubbed4 ,,oil ,,finish1 hard1 light extra light ,all of these are made of hard gums1 and contain no rosin or acids4 ,,chicago1 ,,boston1 ,,san ,,francisco4 ,established #ahfe4 ,g4 ,b4 ,,sibley',s ,patent ,brush ,binder is worthy of the attention of every practical painter2 it being the only perfect binder ever made and one of the best improvements in the painters' outfit4 ,they are durable and easily adjusted4 ,circulars and ,price ,list furnished on application to ,g4 ,b4 ,,sibley1 ,manufacturer1 ,bennington1 ,vt4 99 99 99 99 99 ,,chicago ,,wood ,,finishing ,,co4 ,manufacturers of ,,wood ,,fillers #bei and #bfa ,,elston ,,ave41 ,,chicago4 ,,correspondence ,,solicited4 99 99 99 99 99 ,,graining ,largest ,assortment ,in ,patterns of nearly all woods4 ,,transfer ,,graining ,,paper ,perfectly ,natural1 ,copies #d times1 ,quick and ,cheap4 ,,rolls1 #bj #bf'1 #dj;c4 ,,sheets1 #bj #f'1 #ab;c4 ,postage1 #c;c4 per roll4 #c samples1 #aj #ah #e;c4 #bj mailed #be;c4 ,excellent for study4 ,to ,grainers #aj sheets mailed for #a4jj ,,fresco ,,stencils1 ,,medallions ,,bronzes1 ,,crayons1 ,,etc4 ,,stencil ,,co4 of ,n4 ,y41 #bae ,e4 #eith ,st4 ,,new ,,york4 ,,graining ,illustration ,william ,e4 ,wall ,,grainer1 #ad ,,morgan ,,street1 ,,somerville1 ,,mass4 ,give three days notice of work if possible4 ,orders by mail promptly attended to ,somerville1 ,september #ah1 #ahij ,messrs ,harrison ,bro's ,co4 ,i desire to place myself on record as thoroughly favoring the colors put up by you for ,grainers use4 ,after eight years experience with your colors1 ,i find them always uniform in shade1 thoroughly ground1 and of great strength4 ,while in ,philadelphia last month ,i visited the factory1 and was particularly impressed with the method employed to keep the color uniform in tone and strength1 by blending the different varieties which occur in the crude material1 and keeping up to the high standard of purity of color adopted by you4 ,yours ,respectfully1 ,william ,e4 ,wall ,painting and ,decorating ,is a ,monthly ,magazine ,devoted to the interests of ,grainers1 ,sign-1 ,fresco-1 and ,carriage-,painters1 and treating also of wall-paper and decoration4 ,the subscription price is #a4jj per annum1 payable in advance2 single copies #aj cents4 ,in each number will be found one or more ,,colored ,,plates representing such subjects as graining panels1 signs1 suggestions for interior decoration1 color combinations for exterior work1 etc4 ,practical articles of interest to painters by some of the best writers in the country are a constant feature1 and the minor departments are replete with information written for the express purpose of not only interesting the practical man and of teaching the beginner1 but proving of use and interest to all in the fraternity4 ,sample ,copies may be had ,free of ,charge on ,application4 ,,address ,,house ,,painting ,,decorating ,,publishing ,,co41 #aacj ,,south #ceth4 ,,street1 ,,philadelphia1 ,,pa4 99 99 99 99 99 ,transcriber's note3 ,illustrations were moved to paragraph breaks4 ,minor corrections were made in punctuation4 ,the following changes were made3 ,page #bj3 ,changed represently to representing4 ,orig3 for use in represently the minute clusters of knots4 ,page #bb3 ,changed overgainer to overgrainer4 ,orig3 fitch tool1 and use the overgainer ,page #cd3 ,changed stipping to stippling4 ,orig3 the stipping may be done in distemper on the ground-work ,index page iii3 ,changed ,cyress wood to ,cypress wood4 ,index pages x and xiii3 ,changed ,curley walnut to ,curly walnut4 ,index page xi3 ,changed ,mapel to ,maple4 ,corrected numbers on ,list of ,colored ,illustrations3 ,switched #c and #d1 #e and #f1 #dj and #da1 #db and #dc4 ,corrected these and other numbers in ,index and ,index to ,colored ,plates to reference the correct pages and plates1 as far as could be determined4 ,all other inconsistencies in spelling and hyphenation have been retained from the original publication4