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 Graining of Oak, Ash, Cherry, Satinwood, Mahogany, Maple, Bird's Eye Maple, Sycamore, Walnut, Etc.; Marbling in All Shades.

by F. Maire

148. It will be best after having formed all the character of the veining and having touched up the bright parts to let the work dry before attempting to put in the white veining and what may be called the “high lights,” or the lightest parts of the colored veins or chunks in the conglomerates. If this was attempted upon the wet color and one should; undertake to finish the whole work at the one time, he will find that he cannot produce good white veins and that they mix up so much with the others as to become anything but white. Where it is desired to produce the impression of white veins disappearing into the rest of the work, however, it will be well to put in some and to blend them in to produce that effect, while the first color is still wet and when it has dried to go over them at what is intended for their surface points with some fresh color, which will greatly enhance their transparent effect. Now the light veins are put in without fear of their tones being destroyed by mingling with the wet ground colors, and all the finishing touches should be put in. Defects, if any, can be corrected and when the work is dry it may or may not be varnished.

149. The directions given above will suffice to give the student the manner of producing any kind of marble or onyx desired. The spots usually seen in granites are produced by striking a brush upon a stick at some distance from the surface which it is intended should be covered, the size of the dots being governed by this distance, and also by the kind of brush used. A fine spraying with turpentine afterward will cause them to spread sufficiently to run together at the edges and to look more natural than if left without this operation.

QUESTIONS ON LESSON XXVIII.

145. How should the grounds be put on in marbling?

146. How is the veining and blending done in marbling?

147. How is the veining made to appear as if coming up to the surface from the interior?

148. How are the finishing touches put on?

149. What is further said of marbles and how are granites imitated?

LESSON XXIX.
THE VARIOUS MARBLES.

AGATE.