Graining

This is a variety of painting by which the grain, color or texture of different woods is imitated. Considerable experience is necessary to produce satisfactory results, the mixing of the colors to the right shade, and the manipulation of the simple tools in a manner to faithfully imitate the grain and markings of the wood, requiring a high degree of skill. Of course these remarks do not apply to that variety of graining in which only a variegated surface is aimed at, and no pretensions made to a close imitation of any wood; that simple process requires neither skill nor judgment.

The peculiar effect of graining is produced by the use of several shades of paint, the lightest being first applied; the design being drawn by wiping off a certain portion of the second and third or darker coats, while still in a moist condition, the intermediate and light shades below are partially uncovered, the contrast of the different shades resembling the effect of the more prominent markings of the grain of wood. This resemblance is heightened by processes called "stippling" and "blending " which, as indicated by their titles, blend the shades and soften the lines.

The tools required are a stippling-brush, which is a brush with hairs about six or eight inches long; a kalsominer's brush will answer the purpose; a blending-brush. which is made from camel's or badger's hair and is very soft; two or three steel combs of different sizes; a rubber like a pencil-rubber, about the size of the thumb and rounded off at the ends, to convenient size.

The Process Of Graining

If there are any knots or sappy places in the article, they should be covered with one or two coats of glue-size or parchment-size to prevent them showing through. The work is then ready for the paint, three different shades being necessary. These are called the ground-color; the stippling color; and the graining or oil-color, and they are laid in the order named. An infinite number of combinations of colors are possible, obtained by the use of various coloring pigments in the different coats, and no two grainers agree as to the precise proportion of the ingredients to be used in imitating different woods; we give a number of receipts for graining grounds, and also for mixing various colors; the learner can vary the proportions to suit his taste as experience dictatesg, and to suit the work in hand. The ground color is used to represent the lightest part of the grain of the wood, the stippling color the intermediate shades, and the graining color the darkest parts; a close study of natural woods will therefore be necessary to determine the color and depth of each.

The proper ground being selected (see Graining Grounds) apply one or more coats-as many as are necessary to thoroughly cover the surface. As soon as the ground color is hard the stippling coat may be applied. This is prepared by mixing the dry pigments without oil, with either very thin gum-water, stale beer, or vinegar containing a small portion of dissolved fish-glue. The pigments to be used, as stated above, are usually about the same as those used for the ground color, but of different proportions to produce a deeper shade. Apply the stippling color, and before it dries beat it softly with the side of the stippler, the long elastic hairs of which, disturbing the surface of the laid coat, cause the lighter coat beneath to become indistinctly visible, and produce the effect of the pores of wood. Next apply the graining color; as soon as it is laid, take the rubber and with it wipe out the larger veins to be shown, after each stroke wiping the paint from the rubber with a cloth held in the other hand for that purpose. Some grainers use a small sponge for veining, and others a small piece of cloth over the thumb, but the rubber is probably the most convenient.

When the veins have been put in, to imitate as closely as possible the markings of natural wood, the various steel combs are brought into use, and the edges of the veins, and sometimes other portions of the work, combed with them, to soften the abrupt transition from the dark to the lighter shades. The blender is also now brought into use, and wherever the work may require it, the colors are still more softened and blended by its soft hairs. When too much color has been removed in veining, or when a certain figure, such as a knot, is required, the work is touched up with a fine brush, and again softened with the blender. When dry a coat of transparent varnish should be applied, having considerable oil to render it durable, as grained work is frequently washed.

Ready made graining colors are recommended as best and cheapest.