Practical Graining, with Description of Colors Employed and Tools Used
The Project Gutenberg eBook, Practical Graining, by William E. (William Edmund) Wall
WITH DESCRIPTION OF COLORS EMPLOYED AND TOOLS USED ILLUSTRATED BY FORTY-SEVEN COLORED PLATES REPRESENTING THE VARIOUS WOODS USED IN INTERIOR FINISHING BY WILLIAM E. WALL GRAINER TO THE TRADE.
PHILADELPHIA: HOUSE PAINTING AND DECORATING PUBLISHING CO. EIGHTEEN-NINETY-ONE.
Entered according to act of Congress in the year 1890 by The House Painting and Decorating Publishing Co. in the office of the Librarian of Congress at Washington, D. C. All Rights Reserved.
MAPLE OR SATIN WOOD. LIGHT ASH. LIGHT OAK. HUNGARIAN ASH. GROUNDS FOR GRAINING.—IN ILLUSTRATION OF ARTICLE BY WM. E. WALL
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.