Plate 33.
CHERRY MOTTLED AND PENCILLED IN OIL AS FINISHED.
Some grainers prefer to imitate cherry wholly in distemper, in which case the tools used are much the same as those for oil, substituting the badger blender for the flat brush in finishing the work. First dampen the work with a sponge and rub in the color with a flat brush; the mottled parts may be done light, with the sponge, or dark by using the mottler or the sash tool. The hearts are put in with the fitch after the mottling is dry, the overgrainer being used in same manner as that in which the combs are used in oil color. The best vehicle for the distemper color is stale beer; it may be diluted with one-half water, and in cold weather a little alcohol may be added. The work may be shaded or overgrained when dry, whether the graining has been done in oil or in distemper. If done in oil, the shading color may be applied in either oil or distemper; but if the work has been grained in distemper, the shading color (if applied immediately to the work before varnishing) must be in oil. In some cases the distemper color is varnished before being overgrained; this, of course, necessitates revarnishing.
The grains of cherry are apparently simple, but they will stand a large amount of study, and good work is seldom done without taking pains to represent the various characteristics of this at present fashionable wood.
Sometimes glue size is used in the color for a distemper binder, but, being of animal matter, it is seldom used by grainers. With the addition of alcohol enough to make it smell strong, it passes for white shellac among some cheap painters, and is used for first coats or stain work. It will be found that the mottlings of cherry invariably run across the grain, and this is the chief reason that stained whitewood makes such a poor imitation, the reverse being the rule for whitewood.
One thing I wish to impress upon beginners: that is to keep the color as nearly as possible like that of the natural wood, and to cater as little as possible to the prevailing fashion of making the color of cherry as dark as that of mahogany. If people want a mahogany color, try and induce them to have also a mahogany grain. I know that frequently some article of furniture made of stained cherry has to be matched in color in graining a room, and in such cases there is no resource but to imitate it. I once went to grain a chamber in imitation of cherry, and the lady of the house requested me to observe the color of her mahogany chamber-set, which color she desired to have on the woodwork of the room. I found the "mahogany" to be cherry and whitewood stained very deep, and so informed her. It was a perfectly new set, and had been sold to her for mahogany by a respectable firm. I should judge it to be worth one hundred dollars, so there is evidently "cheating in all trades but ours."