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Read Ebook: Graining and Marbling A Series of Practical Treatises on Material Tools and Appliances Used; General Operations; Preparing Oil Graining Colors; Mixing; Rubbing; Applying Distemper Colors; Wiping Out; Penciling; The Use of Crayons; Review of Woods; The Gra by Maire F Frederick
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Ebook has 267 lines and 32561 words, and 6 pages
CHERRY.
SATINWOOD.
GRAINING OF LIGHT AND DARK MAHOGANY.
In some specimens of plain mahogany many fine pores appear, and it may be well to flog a few of the lines made by the sponge lightly before blending. This must be quickly done, as otherwise it would become too dry for blending. There will be enough porousness show after the blending to make a more natural appearance than if the stippling had not been resorted to.
GRAINING WALNUT.
The easiest way of graining plain growth walnut of either the European or American varieties is in distemper, and while it may not be as good in the estimation of some, it is much more quickly performed, and when well done will look fairly good and natural. For the graining of it in distemper the same colors should be used in that medium as noted for oil work, and the veining pencilled on the stippled surface and well blended out while still wet.
GRAINING WALNUT--CONTINUED; BURLED WALNUT.
GRAINING ROSEWOOD, ETC.
There is usually no overgraining necessary if the work has been properly done. Nor should the fine line work done with the fan overgrainer be blended, as the veining stands out sharp. As sometimes the beginner will be apt to have it show too much of the red ground, it may be well to give a glazing coat of ivory black in oil over the whole surface and to wipe up a few of the parts where the red ground is desired to show through. This will act as a protection to the work, too, and when dry a coat of varnish can be given it which will usually suffice then.
MARBLING.
GENERAL DIRECTIONS FOR MARBLING.
All the above applies to oil color marbling only as work done in distemper is never varnished. The colors needed in water color marbling are the same as for oil work, only they must of course be in the dry state.
THE OPERATIONS OF MARBLING.
If the imitation is a conglomerate marble the chunks should be put on with dabs of color suitable and of the right size, depending upon the blender to soften them into a gradual disappearance into the ground.
In the conglomerate imitation the chunks can be touched with fresh color left unblended at what is desired should show as their surface point, so that the chunks will show as if they were gradually sinking away from sight to the interior of the stone.
THE VARIOUS MARBLES.
AGATE.
BROCATELLO.
BLACK AND GOLD MARBLE.
DOVE MARBLE.
EGYPTIAN GREEN MARBLE.
DESCRIPTION OF THE VARIOUS MARBLES--CONTINUED.
ITALIAN PINK MARBLE AND SCARLET MARBLE.
SIENNA MARBLE.
The ground should be put in with white and the larger clumps put in with raw sienna and blended. Then some of the intervals may be connected with lighter toned and smaller clumps, also made with the raw sienna upon the still wet ground. Proceed afterward to put in darker broad veins with the artist's bristle brushes and blending them. After the blending, put in the white veining, which, of course, will mix with the still wet ground, but that will give it the transparent effect if when the work has dried they are touched up here and there with flake white to give them their character. The darker veinings should also be touched up in order to emphasize them and make them look transparent. Variations galore will suggest themselves to the student who has made a study of these marbles from natural specimens.
FLORENCE MARBLE.
TENNESSEE MARBLE.
DESCRIPTION OF VARIOUS MARBLES, GRANITES AND PORPHYRIES--CONTINUED.
SERPENTINE MARBLE.
VERD ANTIQUE.
WHITE VEINED MARBLE.
BLACK VEINED WHITE MARBLE.
The ground for these marbles should be white lead; for the white veined proceed to dab on patches of black with a small tool and blend the black with the white all over, but have the ground darker in parts than in others, varying from a gray to nearly true black, but of the latter sparingly. A few white blotches and main white coarse veins are left, and the white veins are put in with flake white, which will blend into the ground and serve to give the proper transparency. When dry the pure white veins must be touched in order to bring them out.
For the black-veined variety the white lead ground is gone over here and there, but not too much of it, with a touch of black which must be vigorously worked into the white to produce a few blotches of light, faint gray not prominent at all. The veining is gray of a trifle darker tone, which is called black by courtesy and as a contrast to the white of the ground.
ONYXES.
GRANITES, PORPHYRIES AND JASPERS.
The ground color should consist of the leading or predominating color, and the rest of the spots are put in by sprinkling or striking the brush against a stick. When the colors have commenced to set, but before they have dried and while still partly wet, turpentine should be sparingly sprinkled upon the work, which will cause the spots to spread and run into each other, but it must not be overdone or a mess will be the result. A little fine flaked mica may be sprinkled upon the work after it is finished, also before drying has been completed; this will give more naturalness to the granite imitations; the porphyry and jasper do not need it.
FINIS.
INDEX
Agate marbling--how done 145
Applying the rubbing in colors in graining 50
Ash graining--general remarks on 93
Ash graining--how grounds are made for 93
Ash graining--how grained in distemper 95
Ash graining--how grained in oil 94
Ash graining--how overgrained 95
Ash graining--Hungarian--how grained 96
Badger haired blenders--their uses 28
Bird's-eye maple--how grained 101
Black and gold marble--how imitated 145
Black veined white marble--how imitated 150
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