The art of graining consists in working transparent color over an oil ground, the ground being of a color that will match the lightest tone in the markings on the wood. The transparent colors used for the general markings match the colors in the real wood, and are applied with large brushes, the effect is further assisted by still darker touches of color, put on here and there in places with smaller brushes. To produce a good piece of graining, the most important matters to be considered are, the ground on which the graining is to be worked, the figuring, the over-graining, the glazing, the tools, the state of the color and the manner of applying it, and, because there are several modes of procedure, the particular process to be adopted. There are three different kinds of graining - namely, water color (distemper), spirit color, and oil color, outdoor work is done in oil, water color is used for facility and for fine gradation, and spirit color for quickness. The several methods are frequently combined, as, for instance, water color over oil, in order that the second coat of the figure may not disturb the first.

If water color is used over water color, the under coat must be fixed with a mixture of equal parts of varnish and turpentine.

It is assumed that the reader already is acquainted with the practical elementary stages of brush work, as the plain painting is termed, and that he is capable of producing a good ground upon which the graining can be worked. The ground of the graining is very important, for although a skilful workman could work on a white or even a poorly constituted ground, yet he could do far superior work on a ground of good tone and in good condition. The ground is a technical term involving two distinct ideas, surface and color. A properly prepared surface should be free from grittiness, from coarse brush marks, from dents, etc., and should be hard and smooth. The amount of gloss depends on the proportions of linseed oil and turpentine in the grounding paint, and is a matter for individual preference, some grainers prefer a groundwork of a brilliant bright tone, trusting to the brown glazing color to break it down, others prefer to have the ground of a dull color, and work a brighter tone of graining color over it. Some prefer the color mixed up with three parts oil to one of turps, others prefer the color to be made up of half turps and half oil. The former gives a hard gloss suitable for oil-graining with steel combs.

For water or distemper graining, more turpentine, giving a dull gloss, is better, for this class of work two coats of varnish are ultimately required, while, if the ground is hard and oily, only one coat of varnish is necessary, as the varnish binds the pigment when the water has evaporated. A good ground cannot be obtained by the use of dead or flatting paint, there must always be sufficient oil in the color to allow it to be thoroughly spread and laid off, and so ensure the absence of coarse brush marks. The color of the ground is determined by the wood about to be imitated. Correct judgment as to the combined effect of ground and graining colors is the result of much careful observation and experience.

The preparation of the woodwork has been already mentioned. Rough and imperfectly got-up woodwork is often grained in imitation of oak, the graining being supposed to hide the defects, but to obtain a serviceable grained surface, a smooth ground is essential. Ordinary woodwork as it comes in its rough state from the carpenter can be filled up or levelled in the following manner: First, well rub it down with glass-paper, and then remove the dust with a painter's dusting brush. Coat any knots with the transparent varnish known as patent knotting, when this is dry, prime the wood with a paint made by mixing together three parts of white-lead, one part of red-lead, and one-tenth part of liquid driers, then dilute with three parts of linseed oil and one part or less of turpentine. When this priming is dry', putty up any nail-holes and allow the work to stand untouched for a day or two. The next coat should contain much less turpentine and no red-lead, and should be stained a few shades darker than the desired ground, this being obtained by the application of a third coat.

Strain the paints before using, and lightly glass-paper down between each coat.

Oil paint is apt, after a time, to present a greasy surface, so that it will ciss, even if oil color is laid over it, that is to say, the color will not lie, but will curl up into small beads. This tendency, as well as the want of affinity .between water and oil, makes it necessary to prepare the ground for the reception of the graining color. This ma}' be done in several ways. A small quantity of dry whiting may be rubbed over the work with a piece of flannel, and the superfluous whiting brushed away, or the work may be brushed over with weak ale to which a small quantity of whiting has been added, or with water mixed with fuller's earth, or stale beer alone, or even size, may be used, the liquid being allowed to dry before the graining is begun, but care should always be taken not to use too great a quantity or too strong a solution. Anything of a solid nature, such as whiting, should be cleared away when it has accomplished its purpose. The ground should be slightly glossy, and should not be glass-papered, especially for light woods, as the marks of the papering are liable to show.

Properly prepared graining color works freely and cleanly not only from the brush but during the subsequent manipulation, it also combines the correct and particular color with the transparency of the pigment which, when laid upon the ground, is to imitate the color of the genuine polished wo This matter of combined color effect must be thoroughly grasped, as it is the chief working principle upon which the imitation of wood is based. An opaque body graining paint which shall give the appearance of oak, without necessitating the two distinct grounding and graining processes, is impossible. As soon as white-lead is mixed with the pigments from which the graining color is made, the transparency and richness of the latter are decreased, whilst the graining color alone, being only a stain, lacks the preservative qualities of a white-lead or body preparation.