Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/193

Rh with the yellowness, be sobered by the umber. For the graining color, burnt umber or burnt sienna and black may be used, overgraining with washes of black and Vandyke brown, used either separately or together.

Very dark or antique oak has a neutral ground, in which the red and yellow are subservient to the umber or black tones. The graining color may be Vandyke brown or ivory black and burnt umber in oil; blue-black or ivory black is used for the overgraining. An overgraining of Vandyke alone is rich, but transparent black tones are more characteristic of real antique color. A little Vandyke toning here and there is an improvement.

The use of the graining brushes shown in Fig. 28 are given in the accompanying list:


 * A—Badger Blender, set in wood.
 * B—Camel-Hair Cutter, square.
 * C—English Bristle Oval Grainer.
 * D—Thin Bristle Mottler.
 * E—Bristle Oak Grainer.
 * H—Bristle Marbler.
 * J—Angular Bristle Cutter.
 * K—Bristle Snake Grainer.
 * L—Bristle Blender, set in wood, style A.
 * M—Knotted Bristle Grainer.
 * S—Bristle Pipe Over Grainer.

In oak there are markings of little black lines, varying in length from ⅛ to ⅝ inches, and in width from 1-32 inch to a point. These require to be imitated, and nearly every grainer has his own dodges and ways of working, which are to him the best. These dark markings do not appear all over the natural woods, but only in places. They may be produced during the overgraining by drawing a coarse comb down the whole length of the lines, finishing it afterwards with a fine steel one, leaving long, unbroken lines. The fine steel comb carried down with a sharp, wavy