Читать книгу Practical Graining and Marbling - Paul N. Hasluck - Страница 3

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Graining is eminently an English art, for in this country it was first practised, and here it has attained the greatest perfection. A painter takes pride and pleasure in executing a good specimen of graining; and the imitation of the graining of expensive and high-class woods is still a favourite method of embellishing woodwork that is subjected to hard wear. Such work always cleans well, and when re-varnished looks, even after many years’ service, as pleasing as new work. No kind of plain painting wears so well or lasts so long. This durability, and the effective appearance of the work, account for the general popularity of graining.

Graining as a distinct branch of house decoration has been successfully practised for more than a hundred years, although it did not arrive at the zenith of its popularity until about fifty years ago. At that time, the efficient imitator was regarded as somewhat of an artist, and as such gained royal patronage. There still exist marble imitations which, under the personal direction of the late Prince Consort, were executed upon the walls of certain portions of Buckingham Palace nearly fifty years ago. More recently—perhaps in consequence of the disapproval of the art by the late John Ruskin, who wrote that “There is no meaner occupation for the human mind than the imitation of the stains and striæ of wood and marble”—the adoption of graining or marbling in the embellishment of a building came to be considered as an exhibition of artistic ignorance. At the present day, however, this disfavour has largely abated. It is the opinion of decorative artists of the front rank that such imitations are permissible and commendable, provided they are introduced consistently with utility and common sense—that is to say, where the genuine article could properly be used. No unbiassed person of intelligence will deny that this is a rational view of the matter, since, if graining and marbling be objected to solely on account of their being “shams,” what must be thought of cheap wood stained to imitate a costly one, of plaster imitations of carved stonework, or of a picture frame treated to represent gold? All three are undeniable “shams,” but yet have universal approbation. Therefore, provided graining is done from nature, is governed by taste, and represents an effort to reproduce the beautiful in nature, there seems to be no reasonable objection to the work. Depth, grace, vigour of execution, variety, fidelity to nature—indeed, every artistic virtue can be applied to good graining.

From a practical standpoint, graining can be recommended; in some situations where paint is subject to unusual wear and tear, graining will be found not to show marks, to stand handling, being protected by varnish, and to clean down well; it can be touched up and re-varnished every two or three years, and will look well to the last.

Certain general and easily recognised characteristics are common to all good graining. Besides variety and contrast in the figuring, and in the transparency and brightness of the colour, there is a “woodiness”—which may range from tender and delicate to strong and bold—that instantly claims the observer’s attention. The power of representing the general characteristics of a wood is obtained only by constant practice with natural examples as guides. The transparency of colour and the woody effect, which are part of the charm of all woods are due, in grained work, to the method of working. To be successful as a grainer, therefore, it is necessary not only to be master of the processes, but to observe closely specimens by masters of the craft, and to assiduously practise from pieces of natural wood.

A close study of the genuine woods is essential to the production of good work. The student cannot do better than obtain selected veneers of a variety of woods such as mahogany, satinwood, maple, and walnut. These may be mounted on panels of pine so as to preserve them, and it is advisable to polish them and at the same time to study the characteristics of each wood. As regards oak, it is better to obtain a solid piece of good figured English oak; for after mastering the growth and nature of the lights or cross markings, a thin shaving can be removed from the surface and another aspect of the growth presented. It is one of the peculiar charms of a panel of figured oak, that with every planing some variations in the markings is made apparent.

Fig. 1.—Dusting Brush.

Fig. 2.—Steel Graining Comb.

For the practice of graining, some of the house painter’s usual tools are necessary, as well as a few special ones. The ordinary dusting brush (Fig. 1) must be obtained.

Steel combs (Fig. 2) are indispensable in oak graining; the combs can be purchased either separately, or in sets that contain combs of different sizes and degrees of coarseness. They are sold singly in widths varying from 1 in. to 4 in., and are usually made with six, nine, twelve, or fifteen teeth to the inch. The sets, as usually retailed, consist of three combs each of 1 in., 2 in., 3 in., and 4 in., each of these sizes being made up of coarse, medium, and fine combs. If the cost prohibits the buying of a complete set, three varieties of 4-in. combs and two small ones will have to suffice.

Fig. 3.—Leather Graining Comb.

Fig. 4.—Hairdresser’s Comb.

Combs also are of bone, leather, indiarubber, and cork, and the three last mentioned may be made by the grainer himself. A sound piece of stuff should be selected, about 1/8 in. thick and from 1 in. to 4 in. long, and the spaces to form the teeth, which should be of a suitable size, are cut out with a sharp chisel or penknife, the teeth being shaped like the letter V and not less than ¼ in. deep. In some of these combs the teeth are not cut very deeply into the material; they are mere notches, which can be deepened as the points wear away. Flexible combs give a soft effect, and make a cleaner combing than steel combs; although steel ones give sharpness and a broken effect to the lines, yet they are inclined to leave a jagged edge. After the broad leather comb has done its work, the finer steel comb is used to cut and break up the colour. The lines in graining are always irregular. Fig. 3 illustrates a leather comb; this costs about the same as a steel one. Two or three of these, varying in size, should be obtained.

The more familiar hairdresser’s comb (Fig. 4), though not indispensable, is a useful tool for dividing the long hair of a thin overgrainer when it is charged with water-colour. It costs only a few pence, and it is as well to obtain it. Some workmen divide the hair of overgrainers with their fingers.

Fig. 5.—Badger Hair Softener.

Fig. 6.—Overgrainer for Oak.

One of the most expensive of the grainer’s tools is the badger hair softener (Fig. 5) or “badger,” as it is usually termed. A 3½-in. or 4-in. badger of the finest quality will cost many shillings, but will last for several years. Brushes of inferior manufacture sold at half the price have comparatively little hair, and that which they have has scarcely any spring, is of varying length, and is almost useless for the particular purpose required. The object of using the badger is to make light strokes with the tips of the hair.

Figs. 7 and 8.—Overgrainers for Oak.

Fig. 9.—Sable Overgrainer.

Overgrainers are made in several varieties—such as the castellated, the knotted, and the flat hog-hair—some workmen preferring one kind, and some another. For the fine wavy hair-line seen in bird’s-eye maple, is used a sable tube overgrainer, which is like a number of long sable pencils that have been fastened together in a row with a space between each. This overgrainer gives a number of fine lines at one stroke, and by holding the brush at different angles the distances between the lines may be varied.

Two each of the kinds of overgrainers here illustrated will be suitable. Overgrainers for use in imitating oak are shown by Figs. 6, 7, 8; a sable overgrainer by Fig. 9, and a hog-hair overgrainer by Fig. 10.

Fig. 10.—Hog-hair Overgrainer.

Mottlers differ from overgrainers in the fact that the latter are comparatively thin, whilst the former are thick. For some purposes a worn-down stumpy mottler is the best. Some mottlers are made of camel-hair for maple graining, and have a bevelled edge, but they are generally made of hog-hair. There are many kinds in use. Thin mottlers are illustrated by Figs. 11 and 12; medium and thick ones by Figs. 13, 14, and 15; and camel-hair mottlers by Figs. 16 and 17.

Figs. 11 and 12.—Thin Mottlers.

Fig. 13.—Medium Mottler.

Fig. 14.—Front View of Mottler.

Fig. 15.—Thick Mottler.

Fig. 16.—Camel-hair Mottler.

Other brushes that will be required are a maple-hair shader, Fig. 18; a dotter, Fig. 19; a veining fitch, Fig. 20; and a goose sable pencil, Fig. 21. Flat hog-hair fitches (Nos. 2, 6, and 9) will be required for figuring; old fitches are also useful. It is hardly necessary to add that in order to get a variety of effects a variety of tools is indispensable. The markings in oak often are done by means of a piece of rag stretched tightly over the thumb-nail; or a protection to the thumb-nail can be made by softening in hot water a piece of gutta-percha, which is then easily fitted to the thumb, and, when dry, can be trimmed to the proper shape with a sharp knife. Or, instead, a piece of thin bone, called the thumb-piece (Fig. 22), is used as a substitute for the thumb-nail. The thumb-piece is covered with a soft linen rag, and is far more pleasant than the thumb-nail to work with in wiping out the lights. The objection to using these aids is that they are liable to leave accumulations of colour on the edges of the markings. A square piece of gutta-percha can be used to take out the lights, and a piece of rag, folded two or three times and then rolled, is useful to blur the markings so as to prevent a hard and cut-out effect.

Fig. 17.—Camel-hair Mottler.

Fig. 18.—Maple-hair Shader.

Fig. 19.—Dotter.

Fig. 20.—Veining Fitch.

Fig. 21.—Goose Sable-hair Pencil.

Fig. 22.—Bone Thumb-piece.

A brush with which to spread the oil-graining colour will be required. A medium paint tool will answer best for the practice board, but for larger surfaces a nicely worn-in paint brush is necessary. A chamois washleather and soft rags are required for wiping out lights.

Fig. 23.—Oak Combing Roller.

Fig. 24.—Box of Oak Combing Rollers.

Mechanical aids in the hands of a skilful man are useful, but their tendency, so far as masters of the art are concerned, is to fetter and hinder artistic production. A very useful mechanical help is the over-combing roller, by which are imitated the irregular markings characteristic of many woods. Oak combing rollers (Figs. 23 and 24) are the most serviceable of the mechanical aids. They have iron handles, in which are fitted the small axles on which the metal discs revolve. The discs usually are of sheet zinc, being stamped out in circular form, and afterwards notched around the circumference. Each of the discs is placed upon the axle, and they revolve loosely and independently of one another. Fig. 25, illustrates the feeding brush used with these rollers; a good substitute for this is a worn paint tool of a size between Nos. 9 and 12 (Fig. 26). When working with this roller, the oil graining colour is spread in the usual way, as will be described later on, and the lights and half-tones are wiped out. When dry, the grain is put on by using a thicker and darker graining colour. The feeding brush is charged with colour, and then held against the handle of the roller by the left hand, whilst the roller is held with the right hand. The two hands then cause the roller to travel along the surface of the work, the edges of the metal discs transmitting fine irregular lines. Of course, in those places in which the lines have been wiped out, the pore lines made by the roller must be cleaned away with rag, whilst they must also be softened off lengthways with a badger or large dry tool. Care must be taken to obtain clean sharp rolling, which must also run at the natural angle of the grain. These rollers can be used with both distemper and oil colour. Different sized rollers are used to give variety in the figure. It must be remembered that these rollers can be used as helps only; the work must be finished by hand.

Fig. 25.—Brush for Feeding Roller.

Fig. 26.—Worn Paint Tool.

Patent-graining rollers have been in the market for many years. As shown by Fig. 27, a frame having a wooden handle is fixed to a revolving cylinder, the surface of which is covered with prepared leather. The pattern of the figure is conveyed to the face of the leather, which then is cut away, leaving the pattern in relief. The piece of leather on which the pattern is inscribed is fastened along one end only by the roller, and is long enough to go round the roller two or three times. When in use, the loose outer end is pressed against the top of the panel and the leather then unrolled against the work. The right hand works the tool, whilst the left manages the loose end of the leather. An oak graining roller is shown in use by Fig. 28. For imitating Spanish mahogany and similar woods, the roller is made smaller in circumference and much longer than that for oak (see Fig. 29).

Fig. 27.—Oak Graining Roller.

Fig. 28.—Oak Graining Roller in Use.

Fig. 29.—Mahogany Graining Roller in Use.

Another mechanical aid is transfer graining paper, and some people certainly could do better graining by using this paper than by executing the work by hand. The method of using the paper, briefly, is first to prepare the ground, then damp the paper, lay it on the ground, and pass over it a roller or hard brush. It is better to turn the paper reverseways sometimes so as to avoid repetition of figure. Full instructions as to how to use the paper are given when purchasing it.

Engel’s transfer graining paper is made after the fashion of the coloured transfers which are sold ready for transferring to any material, and are so prepared that the grains of oak, walnut, maple, ash, mahogany, rosewood, etc., as well as many kinds of marble figure, can be transferred to surfaces painted in the ordinary way, the back of the paper simply being wetted. The ground having been prepared, cut the transfer paper a little larger than the size required, place face downwards on a dry, clean table, and wet the back well and evenly with a moist sponge, taking care not to get an excess of water to stand on the back of the paper. Let the paper soak for three or four minutes until the grain print begins to get glossy. Wet the surface to be grained with a sponge, distribute the water well over it by rubbing with a stiff hair brush, so that the surface becomes evenly damped, but not too wet, place the transfer paper without creases face downwards on the moistened surface, rub the back well with the same brush, peel off the paper, and while wet go over the grained surface with a badger softener at once. The paper will make four or five impressions while wet. Instead of moistening the work before applying the paper, the surface of the paper itself may be damped, not wetted. The operator is advised to use stale beer instead of water for wetting the paper, or a mixture of equal parts of stale beer and size water. After the grain is perfectly dry, it should be smoothed over with worn glass paper, and boiled linseed oil applied by means of a rag. When dry, the graining and the surface to which it has been applied should be varnished in the usual way. Graining by this means is as rapid as it is simple, for, after a little practice, inexperienced hands—that is to say, hands who cannot grain or marble in the usual way—can use the sheets, and with them do the work twenty times more quickly than any workman can grain by hand. The manufacturer says the designs are impressed on the paper from natural woods and marbles, and that the finished work is scarcely distinguishable from the wood or marble it represents. The process is very cheap.

Engel’s transfer paper is sold in rolls of about 9 yds. long in two widths—20½ in. and 26 in. The rolls 20½ in. wide are made in one continuous grain of 20½ in., and also in two counterparts, each of 10 in. wide, as shown in the accompanying diagram:—

and also in two counterparts, each 13 in. wide, or in three counterparts of 8½ in. wide, as shown in the diagram given herewith:—

cut to the required sizes for any kind of work, with little or no waste. The varieties of wood grains usually supplied are—

Oak

, light, medium, and antique;

Walnut

, American and black;

Ash

, in two varieties;

Maple

, bird’s-eye, silver, grey and yellow;

Cherrywood

,

Rosewood

, and

Mahogany

. Marble grains are made in all varieties in rolls of the same length and width as those of wood imitations.

It is mentioned above that nearly all kinds of wood can be obtained in transfer, but walnut, mahogany, or rosewood require over-glazing. This over-glazing should be done after the first coat of varnish has been rubbed down, and before the second varnishing. The glaze should be applied in the usual way, and be treated with a mottler. Mouldings and stiles must be combed, as a door does not look well with both stiles and panels figured over with the same pattern; nor is it convenient to apply the paper on any but a flat surface. The least expensive papers are those which represent woods that do not require overgraining. For oak the combing has to be done in the usual way before the paper is applied, care being taken not to move the combing except at the figure.

With regard to which makes the cheaper and better job—that done with graining colour or that done with transfer graining paper—this depends on the skill of the worker. A good grainer soon covers large surfaces with beautiful figures, but for a small job, such as a door, the transfer makes a fine effect. In making the transfer paper, the wood itself is photographed in the first place, so that by the use of the transfer paper an accurate and “woody” effect is obtained in the finished work. Care is required in the application of the paper.

Engel’s new stencil graining plate is produced as a companion to the transfer graining paper, and it affords a means whereby the grains of various woods can be imitated in oil colours as well as in distemper. The stencil plate is adjusted to the surface to be grained—which has received a preparatory dressing of linseed oil—and the graining colour is applied very sparingly with a stencil brush. The graining is then gone over with a badger softener, and when dry the work is ready for varnishing. The plates are made without the usual keys common to ordinary stencil plates, the material of which they are formed being connected and strengthened by a fine network, which, however, offers no impediment to the stencil brush doing its work completely. If reversed, the plates will produce their exact counterpart; moreover, as they match when placed end to end or side to side, the grain can easily be continued without showing the join should the work be longer or wider than the plate employed. Heavy-grained woods, as rosewood, walnut, and mahogany, should always be done in oil colour, but for the lighter woods water colour may be used. The plates are made each 3 ft. 7½ in. long, in three widths, namely, 6¾ in., 9 in., and 12 in. respectively, and are adapted for imitating the grains in oak, walnut, mahogany, ash, and maple.

Fig. 30.—Figured Oak executed with Gransorbian.

Fig. 31.—Sap Oak executed with Gransorbian.

Another kind of graining paper is of the Gransorbian or photo-graining type, which comprises a number of designs of popular woods, each pattern being 6 ft. 6 ins. long and 2 ft. wide without a repeat. Similar paper, under other names, is now obtainable. Such paper has an absorbent surface in relief, so that when pressed upon the work it takes up the colour in much the same way as do the graining rollers. The user of these materials commands a good selection of figure, each pattern being 78 in. long by 24 in. wide. For oil graining it can be used from twelve to sixteen times; for graining in water colour, from sixteen to twenty times. Photo-graining paper for graining in imitation of nearly all the principal woods may be obtained. When graining oak, the ordinary combing process is employed on the stiles of a door, but the panels and the lock rail, if of sufficient width, are best treated by evenly laying on the paper, which is cut to size, and brought into contact with each panel, and a small roller pressed over the back. The paper, being so very absorbent, should not touch the work until it is in the exact position for rolling. Fig. 30 shows a sample of figured oak, and Fig. 31 a sample of sap oak, executed with the help of Gransorbian paper.

It must be understood that such aids as rollers, transfer and absorbent pairs, stencil plates, etc., are mentioned on their merits alone, and their use is not in any way recommended as being superior to good hand work. At the best they produce slavish copies, mere duplications of the originals, and these are hardly specimens of the painter and grainer’s art. The instructions in the following pages will be concerned only with the production of graining and marbling by approved hand methods.