Practical Graining, with Description of Colors Employed and Tools Used

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William Edmund Wall. Practical Graining, with Description of Colors Employed and Tools Used

CHAPTER I. GROUND-WORKS FOR GRAINING

CHAPTER II. THE GRAINING COLOR

CHAPTER III. QUARTERED OAK

CHAPTER IV. GRAINING OAK

CHAPTER V. HUNGARIAN ASH

CHAPTER VI. CHESTNUT

CHAPTER VII. SATINWOOD

CHAPTER VIII. POLLARD OAK

CHAPTER IX. BLACK WALNUT

CHAPTER X. FRENCH WALNUT BURL

CHAPTER XI. MAHOGANY

CHAPTER XII. ROSEWOOD

CHAPTER XIII. HARD PINE

CHAPTER XIV. VARNISHING OVER GRAINED WORK

CHAPTER XV. GRAINING CONSIDERED AS A FINE ART

CHAPTER XVI. THE TOOLS USED BY GRAINERS

CHAPTER XVII. PATENT GRAINING MACHINES

CHAPTER XVIII. IMITATIONS OF CARVED WORK, MOULDINGS, ETC., BY GRAINING

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THE following remarks, while not claiming to be anything new or startling, will perhaps be of interest to those who seek to improve themselves in the modern style of imitating the grain of wood. The ideas set forth in these pages are founded on the observation and every-day experience of a grainer to the trade who does not claim to be the best in the world, but who offers his suggestions for the good of the craft.

Graining is often overlooked in the rage for stained white wood or olive greens in interior work, but it will always find favor with those who have experienced its wearing qualities as compared with plain painted work; for should the varnish be of good quality and not crack, the work, if properly done, will stand for years and will not fade in the manner that paint does, and where the work is properly done on new wood it cannot be chipped off unless the wood is taken off with it. It can be scoured off, but will not come off otherwise. Where graining is done over old paint or over work that has been previously grained the case is different, as, if knocked or bruised, it will chip off to the coat beneath, and where the work has formerly been white the effect is very bad and is hard to remedy; but if care is taken when grounding the work, it may to a great extent be prevented.

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MAHOGANY. ROSEWOOD.

In mixing the ground-color for graining never use dry colors where it can be avoided, as the work will be more or less gritty, and there is really no saving in their use. A pound of color ground in oil will go much further than one of dry color, is more easily applied and is much better to grain over. Of course much depends on the purity of the colors employed, and the painter will find that the best colors are none too good for his use, as they go further and work better than do the cheaper grades. It is a good plan always to strain the color before thinning, whether the colors used be dry or ground.

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