Practical Graining, with Description of Colors Employed and Tools Used

by William E. Wall

Plate 39.
FRENCH WALNUT BURL.

French walnut is probably imitated in a different manner in every State in the Union; hence the manner herein described may appear wholly wrong to some grainers. But if we succeed in matching the wood, the manner of doing the work is seldom called in question. There are several "patent" processes for imitating this wood, exclusive of the transfer roller.

I was informed some years ago by an agent who possessed the secret of the best way in which to grain French walnut that after two lessons in his process anybody could perfectly match the wood; he did not succeed in selling me the great (?) secret. Yet there are processes other than the ones here given which for certain kinds of work are excellent, but they are seldom used by grainers to the trade. In England the burl is seldom imitated, English imitations being mostly confined to the curly or wavy portions of the grain.

French walnut may be represented in either oil or distemper by being partially done in oil and finished in distemper, or vice versâ. The tools are the same as those used for black walnut, as are also the colors—burnt umber and Vandyke brown. For the very light portions a little burnt sienna may be added to the color. When the work is to be done in oil, rub in the color rather dry, and with the sash tool dipped in some dark color cover such portions of the work as you wish to appear dark; then take a piece of soft cotton rag and remove the color where the light places are to appear, and work up the dark places with the rag until the desired effect is obtained; then blend lightly with the dry brush, and with the fitch tool add lines and curves, or knots if desired, constantly keeping the grain of the wood in mind and striving to represent it. Blend lightly with the dry brush and stipple the light places with the flat brush (or the stippling may be done in distemper on the ground-work before the oil color is applied). When the oil color is dry, the work may be shaded or overgrained in either oil or water color.

The other method in ordinary use among grainers is to do the work wholly in distemper, and for work that is not too complicated this method is undoubtedly the best. The mode of procedure is much the same as for oil color, using the sponge to make the lighter parts, and darkening the work with the sash tool, making the settled places preparatory to overgraining. If done in this manner, the work will be gone over two or three times in an hour, which is quite an advantage, as, if the work is first done in oil, it must be allowed time to dry before being shaded; but for intricate work the grain may be done equally well in oil color if it is overgrained when dry.

This wood is not of sufficient size to be used on large surfaces without being jointed; hence it is not in good taste to imitate it on a very large scale. Its use is more properly confined to small panels and to interior rather than to exterior work. It is a very rare occurrence to find a specimen of the real wood exposed to the weather as, being but a thin veneer, it would be quickly affected by the extreme changes of temperature to which it would be subjected.

In conclusion, the only way to become expert in imitating French walnut is to strive to copy the grains of the real wood; and no wood is more often misrepresented than is French walnut.