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.
CHERRY.
This wood is naturally but little darker than ash, yet the popular idea of what its hue should be is of a color nearly as dark as that of mahogany. Cherry is frequently misrepresented by staining whitewood or pine with burnt sienna, etc., but, it being impossible to conceal the grain of the whitewood or the pine, the deception is easily discoverable by any one at all familiar with the grains of different woods. For this reason a much better imitation can be obtained by graining to imitate cherry (or any other wood), rather than by staining, as the grainer, if competent, can represent both the color and the grain of the desired wood.
Cherry may be imitated in either oil color or water color, and an excellent job can be done either way. My preference is for oil color. The natural wood may be matched by employing raw and burnt sienna and raw umber, but the stained cherry requires the use of burnt sienna, burnt umber and Vandyke brown for the very dark veins, also, in some cases, crimson lake, to be used as a glazing or shading-color. The tools needed for oil color are the flat brush, combs, fitch tool or fresco-liner, sash tool and a piped bristle overgrainer. When a piece of work is rubbed in, it may lightly be stippled with the dry brush (or the stippling may first be done in distemper before the oil color is applied). It may be mottled by wiping off the color with a rag, or by applying a little color with the sash tool and lifting the color with the flat brush. The growth may then be put in with the fitch tool, the flat brush being used as a blender. The growths are put in across the mottled work previously done. The growths or hearts can also be wiped out with the rag in the same manner as in imitating ash, and the fitch used to interline the points of the hearts; but the growth of cherry is seldom as bold as that of ash, and, to my mind, it can best be imitated by the use of the fitch tool. Where the hearts have been wiped out with the rag they should always be gone over with the fitch tool and blended, as the effect is decidedly better than if they are left without pencilling.