Satinwood

This ground is prepared with white lead, stone ochre, and small quantities of chrome yellow and burnt sienna. The graining color is one-third of raw sienna and whiting, ground in pale ale, very thin; then spread the color over the surface to be grained. While wet, soften, and have ready a wet roller or mottling brush, in order to take out the lights; blend the whole with the badger-hair brush. When the work is dry, take the flat brush, and with the same color, put on the top again. When dry, varnish.

How To Imitate Yew Tree

The ground is a reddish buff. For the graining color grind in beer equal portions of Vandyke brown and burnt sienna, with a small quantity of raw sienna. When the ground is dry. spread the surface even with the color, and soften; then with a piece of cork with a sharp edge, rub the work cross and cross in order to form the fine grain. When dry, dip the tip of your fingers in the graining color to form the eyes or knots, and put in the small touches with a camel-hair pencil. When dry, put on the top grain, and when this is dry, varnish.

How To Imitate Black And Gold Marble

This description of marble is now in great demand The ground is a deep jet black, or a dead color, in gold-size, drop black and turps; second coat, black japan. Commence veining; mix white and yellow ochre with a small quantity of vermilion to give a gold tinge; dip the pencil in this color, and dab on the ground with great freedom some large patches, from which small threads must be drawn in various directions. In the deepest parts of the black a white vein is sometimes seen running with a great number of small veins attached to it; but care must be taken that these threads are connected with, and run in some degree in the same direction with the thicker veins. If durability is not an object, and the work is required in a short time, it may be executed very quick in distemper colors, and when varnished it will look well.

Red Marble

For the ground, put on a white tinged with lake or vermilion; then apply deep rich reds in patches, filling up the intermediate spaces with brown and white mixed in oil; then blend them together; if in quick drying colors, use about half turps and gold size. When dry, varnish; and while the varnish is wet, put in a multitude of the fine white threads, crossing the whole work in all directions, as the wet varnish brings the pencil to a fine point.

Jasper Marble

Put on a white ground lightly tinged with blue; then put on patches of rich reds or rose pink, leaving spaces of the white grounds; then partly cover those spaces with various browns to form fossils, in places running veins; then put in a few spots of white in the centre of some of the red patches, and leaving in places masses nearly all white. When dry, use the clearest varnish.

Blue And Gold Marble

For the ground put on a light blue; then lake blue, with a small piece of white lead and some dark common blue, and dab on the ground on patches, leaving portions of the ground to shine between; then blend the edges together with duster or softener; afterwards draw on some white veins in every direction, leaving large open spaces to be filled up with a pale yellow or gold-paint; finish with some fine white running threads, and a coat of varnish at last.