Scientific American, Volume XXIV., No. 12, March 18, 1871 | Page 4

combs used; we now proceed to describe how the work is done. The graining color is brushed over the work, in the ordinary manner, with a pound-brush, care being taken not to put too much color on, or else it is very liable to be dirty. A dry duster is now used to stipple with, which, if properly done, will distribute the color evenly; it is now ready for combing. In the real oak it will be found, as a rule, that the grain is invariably coarser on one side of the panel than on the other; this arises from the very nature of the growth of the tree; it is, therefore, well to imitate this pattern, and in order to do so we take first a medium or coarse cut gutta-percha comb, and draw it down one side of the panel; then use a finer one to complete it. This comb will leave the marks of the grain in clear unbroken lines from top to bottom of the panel. We now take a fine steel comb and go over the whole of the previous combing, moving it in a slanting or diagonal direction across the previous grain, or with a quick and short wavy motion or curl; both the former and the latter motion will break up the long lines, left by the gutta-percha comb, into short bits, which of course represent the pores or grains of the real wood. There are several other motions of the comb having the same end in view; and by using the gutta-percha or cork combs, in conjunction with the fine steel, an infinite variety of grain may be produced. Steel combs, with one or more folds of thin rag placed over the ends of the teeth are a style of comb which has nothing to recommend it. A natural variation in the grain may be produced by one comb alone, according to the manner in which it is held. For instance, if we take a coarse or broad-toothed gutta-percha comb, and commence at the top of a panel, with the comb, placed at its full width: if drawn down in this position it will leave a grain of the same width as the width of the teeth: but if we start with the full width, and gradually turn the comb or slightly incline it to one side--that is to say, on its edge, we thereby graduate the grain from coarse to fine at pleasure, and by holding the comb at a certain inclination we may actually make very fine the coarse comb. A very important point is the formation of the joints in the wood, as much of the effect of otherwise good work is lost in consequence of neglect in this respect. In looking at a real oak door, the joints of the stiles and rails are clearly and sharply defined, not by any defect of workmanship, but by the difference in the run of the grain, the stiles being perpendicular, and the rails horizontal. The rails being cut sharp off by the stiles, show a perfectly straight line. The light also acts differently upon the two, simply because the grain or fibre of the wood is exposed to its influence under different aspects. This also tends to produce a difference in the depth of the color of rails and stiles, and panels also. It will be evident that no imitations can be considered really good except they include these seemingly unimportant points.
It is a common practice for grainers to imitate a broad piece of heart or sap of oak, upon the back rail of almost every door they do, and many of them are not even content with that, but daub the stiles over from top to bottom with it also. There is nothing so vulgar or in such bad taste. It should only be done upon those parts of the work on which it would appear on a real oak door, namely, on the edges of the doors and on mouldings. There is a vulgar pretentiousness about what we may call the sappy style of work which is very undesirable. The figures cross the grain more or less abruptly and of course are of different shapes, sizes, and forms, a knowledge of which can only be acquired by study of the real wood. The figure may be wiped out with a piece of soft rag, held tight over the thumb nail. This should have two or three folds over the nail, the superfluous rag being held by the other hand to prevent it hanging down and smearing the grain; and every time a figure is wiped, the rag should be moved slightly, so that the same part of the rag will not be used twice, thus insuring clean work.