t will require to be
softened. By softening, we mean the imitation of those half shades
seen upon and about the figures in the real wood. Between and around
the lights or figure in oak, there is always a lighter tint of color;
this is imitated by doubling a piece of rag into a small roll, and
with the side of this the grain is partially wiped away, but not to
the extent of taking off the whole of the grain. A recent but most
admirable system of graining oak, by means of over-combing, is worked
exactly the reverse of any of the foregoing methods; that is to
say, the figure is first wiped out, and the combing or grain is done
afterwards, when the graining color is dry, in this wise: The graining
color is mixed somewhat thinner than for ordinary graining, and is
brushed over the work sparingly, leaving it just sufficiently strong
to show a clear distinction between the ground and the color. The
light or figure is then softened by drawing the end of a flat hog-hair
fitch, or a small thin mottler, across each figure, and slightly
softening with the badger-hair softener. The figure is broken up a
little with fine lines across it in parts, such as may be seen in the
real wood; but previous to wiping out the figure, streaks of light
should be wiped out and softened on one side of the panel or across
the stiles, in imitation of the reflective lights seen in oak. The
color should also be partially wiped off the rails or stiles at their
junction; this tends to define the joint. The color is now let to
dry hard, when it will be ready for over-combing--that is, combing or
graining over the figure (hence its name), and this will have to be
done somewhat differently to the ordinary combing. As thus: The color
is rubbed in as before, and combed solely with the gutta-percha combs,
but these are specially cut for the purpose; they are best about 2 in.
wide. The first must be cut with teeth about three-sixteenths of an
inch in width, the next one-eighth, and the third about one-sixteenth.
The broad-toothed comb is first used, and must be drawn down the
panel, with a wavy motion, in short or long curls; either will
answer our purpose now. The next size of comb is then drawn straight
down--the straighter the better. This has the effect of breaking the
wavy combing into short and long straight bits, similar to the pores
or grain of the real wood. Both the first and second combing may be
varied by holding the comb in a slanting direction, and