SILVER MAPLE.
This wood is represented by using ivory black for the graining-color; the groundwork should be almost white. The work is mostly mottled and very lightly over-grained. Eyes are sometimes put in, and the effect of the work is very showy when carefully done.
[CHAPTER VII.]
SATINWOOD.
This is a very delicate wood, of the maple family; it probably derives its name from its resemblance to folds of satin. It is seldom represented in America, but is frequently imitated in England, being used in connection with maple in some of the principal rooms, such as drawing-rooms, parlors, etc. The panels of the room are done as satinwood, the stiles as maple, and sometimes the mouldings as a darker wood, such as dark oak, walnut or rosewood.
Plate 24.
SATINWOOD MOTTLED.
Plate 25.
SATINWOOD MOTTLED AND OVERGRAINED.
Plate 26.
CURLY MAPLE MOTTLED TO OVERGRAIN.
Plate 27.
CURLY MAPLE OVERGRAINED.
Plate 28.
POLLARD OAK.
Plate 29.
POLLARD OAK.
The same groundwork and the same graining-colors may be used as in representing maple, but a little ivory black may be added. The tools are similar, but a piece of buckskin or chamois leather is substituted for the bristle mottlers used for maple. A roll of oil-putty is sometimes used to take off the color in making the high lights; the putty should be rolled along the panel lengthwise of the grain, and then the panel blended crosswise. Care should be taken to have the graining-color light, as the effect is lost if the color be too dark. The lights are quite prominent, and it requires no little skill successfully to imitate them. When the mottling or lights and shadows are dry, they may be very lightly over-grained with a fine bristle overgrainer, the bristles being separated by a comb and the color used very thin. The over-graining should not be blended, as it will look too prominent and spoil the effect of the lights and the shadows. A piece of soft cotton rag will answer the same purpose as the buckskin or chamois leather. When using either of them with the intention of making the mottled effect of the wood, first wet them in clean water or in beer and wring them out nearly dry; then, after the color is rubbed on the work, roll them over them over the surface as directed. The result will be that the leather or the rag will take off the patches of the wet graining-color. Then blend softly, and when dry overgrain.
[CHAPTER VIII.]
POLLARD OAK.
THIS wood is a great favorite with British grainers, and is often splendidly imitated by them. The wood itself is from old gnarled trees or stumps and has a variety of grain almost equal to French walnut. It may be represented in either oil or water color, or may be done partially in both distemper and oil, which I think is the better way; the best job I have ever seen was executed in this manner. It is first done in oil; the colors necessary are raw and burnt sienna, burnt umber, Vandyke brown, and sometimes a little ivory black or ultramarine blue. The wood varies from pieces comparatively free from knots to others almost filled with them, like the root of walnut, etc. The grains are first done in oil, the knots, etc., being somewhat subdued; and when this is dry, the whole is gone over in water color and left in the color it is intended to have it remain. The knots and shadows are touched up, etc. After the water color is dry the fine champs may be put in by using a slice of raw potato in the same manner as that in which the thumb-nail is used on larger work. A camel's-hair pencil is needed properly to finish the work. A great deal of time may be spent in representing this wood, and yet but few may succeed in faithfully imitating it. Since the fashion has changed in Boston and its vicinity from walnut and cherry front-doors to oak doors, we begin to see panels of pollard oak; sometimes whole doors are veneered with it, and the effect is superb.