The Coloring. Spread upon the palette, before beginning to paint, all the different colors, in sufficient quantity, that are to be used. A good rule in coloring the design, is not to apply the colors in too dry a state, so that the separate brush strokes may not be visible. The coloring is just that part of the work which cannot be explicitly enough described and taught in written instructions, and can only be thoroughly comprehended through the practical knowledge gained by experience, and thereby perfected.
Upon the most delicate tinting of entire surfaces the middle tones follow, lastly the dark ground colors, black, and the metals. Allow each color to dry thoroughly before beginning with the next, or going over it. The colors must stand out boldly from each other and should not be too lightly applied; this must be particularly observed in the dark body tints, as the colors lose a little of their depth in the process of polishing.
When the work is completed, the entire drawing is gone over again with a fine brush or pen; all the outlines lost in painting are reproduced with India ink.
Clear white upon light wood is to be avoided as much as possible; on the other hand, a mixture of white serves to make the light colors stand out more effectively upon gray or black wood.
Retouching. If there are any weak points in the painting, the spots are to be carefully removed with a damp sponge, and the dampened parts scraped clean with a penknife. If visible holes are left by the thumb tacks used in the tracing of the design, a small drop of clear water is applied to them, when they will gradually draw together. Paint in good light, have a steady table, and keep the design constantly before the eyes during the work.
In painting boxes and other high objects, it is necessary to place on the right and left of the same some other objects, such as books, to reach the plane of the surface being painted, in order that the hand and arm may rest with ease.
The Wood Articles. Wooden articles ready for painting are procured from the cabinet makers, or at the art stores.
There are over 900 different articles in wood for decorating, in all shapes and sizes, beautifully and tastily finished, for the artist and amateur to paint upon. A few of them may be mentioned here—tables, panels, workboxes, paper weights, fancy boxes, fans, hat brushes, glove boxes, albums, dust pans and brushes, photo frames, easels, trays and newspaper holders. What canvas is to oil painting, and paper is to color painting, the above articles are to the art of painting upon wood.
Not every ordinary smooth-planed piece of wood is adapted to painting. The wood must be prepared for the purpose it is intended for, or it would cause the color to flow or spread. Lime, maple, chestnut, ash and holly are the woods generally manufactured into articles intended for painting upon. Olive wood is also excellent for this purpose. In the south of France and Italy, painted olive wood, forms quite an article of commerce, being closely allied with the inlaid work.
Polishing. Procure a bottle of the wood varnish (prepared for this purpose); in a warm room, with a soft flat brush, go over the article as rapidly as possible, with a thin coat. Leave this first coating until the next day to dry, in a place entirely free from dust. The varnish is applied twice more in the same manner; then have at hand a small bottle of white shellac polish and one of linseed oil. Make a small ball of flannel; put upon this a few drops of the oil; then cover it with a piece of linen, which is moistened with the polish, and the article is rubbed in a circular manner, without resting upon the article when the rubbing is discontinued. If the linen should adhere during the polishing, put a drop of the oil upon it. It sometimes requires from one to two hours of constant rubbing until the surface is completely smooth and polished.