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 pretentions 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 oft" 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 dictates, 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 sometime 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

Graining Grounds

Subjoined are a few recipes for mixing ground colors.

Light Wainscot Oak

White lead and yellow ochre, mixed to the required tint. Some grainers prefer a perfectly white ground for very light oak for inside work, but it is always difficult for any but a perfect master of the art to proceed satisfactorily on a white ground, and the work, when completed, is apt to have a chalky effect, even though a dark varnish be applied.

A Darker Wainscot Oak

Mix white lead, middle chrome, and yellow ochre.

Dark Oak

White lead, Venetian red, and yellow ochre.

Very Dark Oak

White lead, raw sienna, burnt umber, and Venetian red; or burnt and raw sienna, white lead, and burnt umber.

These colors, mixed in different proportions, will produce a multiplicity of tints suitable to receive the graining color, their strength being of course determined by the greater or lesser preponderance of white lead.

Mahogany Grounds

There are various notions extant amongst grainers as to the best grounds for mahogany graining, some preferring a ground of a deep yellow cast, while others choose one approaching a bright red. The reds and yellows used are Venetian red, red lead, vermillion, raw sienna, burnt sienna, orange chrome, middle chrome, etc. These colors can be mixed to the tint required, an addition of white lead being made in each case, as the positive reds and yellows are too powerful unless diluted in turn by white. Venetian red, orange chrome, and white lead are the colors most generally used, and these three will, according to their predominance or subordination, make such a variety of tints that the most fastidious grainer need have no misgiving that the result will not come up to his expectation, if he exercise due discretion in mixing the colors.

Rosewood Ground

Venetian red, vermillion, and white lead.

A little scarlet lake is added for superior work, but this of course is too expensive for general use. Some painters mix with the reds a small quantity of raw sienna or chrome yellow.

Bird's Eye Maple

White lead alone is preferred by some grainers, hut the majority of painters use a little yellow ochre to kill the rawness of the white, and this is much the better plan to adopt

Beginners are apt to make the ground too yellow, a mistake that should be avoided at the outset, as the varnish which has subsequently to be coated over the work will give transparency, and add a pale creamy tone, whereas, if the ground be too yellow, the result will be heaviness.

Graining Grounds

The best and cheapest and most convenient simple material, for making grounds for light oak, maple, ash, and chestnut, is pure raw Italian sienna, tinted with pure white lead, not the so-called sienna which is sold by most paint dealers under that name, but the genuine article, which can be, and should be obtained even at some cost and trouble, the said article being one of the most useful and indispensable articles in the paint shop. For maple ground, of course the smallest quantity is required, it being necessary only to change the white to the faintest suggestion of straw color. For ash, the ground should be a little darker. For light oak, more of the sienna will be required, while for chestnut a decidedly yellowish tone is wanted. Care must be taken not to make the grounds too dark. Rather in the other extreme, for the reason, that there is a remedy for a too light ground, in the application of a greater quantity of graining color, as also in the glazing coat; while a ground too dark, cannot be made lighter. For dark oak, burnt Italian sienna with white will produce a far better ground than any other single color. The same caution must be observed, however, in obtaining this color as recommended in the case of the raw Italian sienna. The domestic so-called siennas will not prove substitutes for the genuine Italian pigments. The ground for black walnut may be the same as for light oak with the addition of a little burnt sienna and black.