The background for faux woodgraining rosewood is formed of burnt ochre, chrome-yellow, and a small quantity of scarlet-lake, to give brightness.
It should be of a decided red, and while but little of it usually shows through the dark superstructure of veins, and that little in the natural wood is always of a decided red tone, some grainers add ochre to the red, but that only serves to muddy up the red tone and should never be resorted to.
It is always grained in water based paints, and the graining color is made with Vandyke-brown and ivory-black, the latter in a very small proportion. A trifle of umber may be added, but which is not necessary really.
The panel is first covered with glaze and a little color.
The main character of the wood is laid out in long, wide stripes, which should consist chiefly of a number of fine lines or veinings.
The first laying out should be put on rather thin and allowed to dry, when the fine line work can be put on with the fan over grainer – a sufficient open space being left for the grain.
The lights are wiped out, where required, with a sponge, and the work well softened.
When the work is quite dry, the grain is introduced with a small grainer, the direction of the lines being varied so as to form the characteristic curves, taking care to prevent the grain from passing over the dark shades.
The necessity of this will be at once perceived, by an examination of any good specimen of the wood, for although the grain may curve and come up to a dark shade on one side, it does not continue in the same direction, or with the same regular curve on the other.
The fine graining is put in with a small camels-hair liner brush, and in the wider spaces with a fine grainer.
There is so great a variety of form in the color of this most elegant wood, that it is almost impossible to find two specimens alike.
This render’s it all the more necessary that our advice, to obtain various specimens of veneers, should be followed, in order that the general character of the curl may become thoroughly impressed on the mind.
The learner will by this means form his style upon the variety in nature, and will be more likely to produce varied and truthful representations than if he trusted to his own fancy to design the woods.
Another Set of Colors For Rosewood:
The background color can also be prepared with Vermilion, Lake, and White, mixed into a rosy tint, taking on more of pink than scarlet.
When, the ground is quite dry and smooth, take Vandyke Brown nearly opaque, and with a small tool spread the color in various directions over the ground, then with another dry tool beat the color, while wet, against the grain-that is, in the opposite direction to that in which it was laid on.
Before the color is dry, take a piece of soft-leather, spread over the thumb, and with great freedom take out the lighter veins; have ready the darkest tint of Vandyke Brown, and with a sable liner brush give free and strong touches under the parts taken out with the leather, and in other parts where required; blend off the whole with a badger-softener, and varnish when dry.
This method will produce a wood of a more brilliant character.
The ground is composed of Lake, Vermilion, and White, which must be allowed to become perfectly dry before the work is proceeded with.
The graining color is formed of Vandyke Brown and Rose Pink, mixed very well in glaze ; this is laid on with a common brush, but not too thickly ; then taking a common quill, draw the feather in various directions over the wet color, giving the hand a tremulous motion in parts where it is desired to give a wavy appearance to the grain; then take out the small bright lights with the soft-leather or cloth, and afterwards blend the whole with the softener.
When this is dry, which will be in a few minutes, give very dark touches under the light parts with Vandyke Brown and Rose Pink nearly opaque. The whole is, of course, to be well varnished when dry.
Another and lighter Rosewood may be represented in the following manner :
The ground is formed as in the last specimen, the graining color being Vandyke Brown and Rose Pink.
This is put on, not in a mass, but with an over-grainer like a wide-toothed comb.
The grain is to be spread on in streaks in a curled direction, as if winding round a knot.
When this is nearly dry, it is to be passed over across the grain with a rather coarse graining-comb, and some dark veins curling down the length of the wood are to be added. The work will be completed by subsequent varnishing.
Another excellent Rosewood
The background is Chrome Yellow, Vermilion, and White lead.
The graining color is composed of Ivory Black, with Burnt Sienna ground very fine, the whole being well softened after laying on.
When dry, over-grain in a curly figure with a small graining-brush and ivory black; shade up the knots with a camel’s hair brush, and finally glaze with Rose Pink.