[CHAPTER III.]
QUARTERED OAK.
In imitating quartered oak, or any other wood, it should always be borne in mind that it is the wood that we wish to imitate, and not somebody's idea of what it should be—for if we copy others, we become, as Byron says, "degenerate copyists of copies"—and the best thing that any beginner can do is to procure pieces of the real wood, study the various changes of grain and get the general character of the grains of each wood impressed upon his mind, then endeavor to reproduce them in his work; for the work will be judged by its general appearance, and not by the looks of any particular piece of work. After the champs or veins are wiped out with the rag, the spaces of combed work between the champs must be softened by a piece of rag folded three or four times and drawn over the combed spaces and toward the edges of the work previously wiped out with the rag. The edges of the champs may first be sharpened up by drawing the second joint of the forefinger against them. A fine comb is then waved over the spaces of open work and the whole panel blended lightly crosswise with the flat brush. Quartered oak can be imitated by combing the same as has been described, and letting the work dry before taking out the champs. When the work is dry, mix a weak solution of washing soda, and add a little dry umber to show where you touch the work, put on the champs with a fitch tool, let it stand a few minutes to soften the color, and then rub off with a soft rag, and it will be found that the graining-color is taken off to the ground-work, giving the same effect as if wiped out while the color was wet, only that the work looks cleaner. Work done in this way should be over-grained. The champs may also be put in in dark color over the dry combed work, and left so, as some veins of oak appear dark in certain lights. These dark veins may be imitated by combing the work the same as if going to use the rag to wipe out. Do not blend, but put in the veins with a small fitch tool or fresco liner dipped in some color from the bottom of your pot—not too dark—and immediately blend one way, lifting the edge of the color; after practice it will be found that a very good imitation of dark champs or veins is the result. Heart-work may be done in the same manner, but the combing should be done with a steel comb, the color for putting in the grains being but little darker than that with which the work is rubbed in. It is sometimes necessary to go over the whole with a fine steel comb. An occasional dark piece introduced among wiped work tends to relieve the sameness and looks more like the hardwoods; it also gives a better opportunity (where a job is not to be overgrained) to make distinct mitres and joints. This is very important and should never be forgotten. Be sure and have all joints cleanly cut, as nothing so much offends the eye as wavy or crooked joints. It is always better to make a distinction between the long stiles of a door and the adjoining cross rails. A common fault of the amateur grainer is his inability to make clean-cut divisions.
Plate 5.
FLAKED OAK, LIGHT.
