then combed with gutta-percha or cork combs. The grain which crosses the lights is wiped out, and the work is then overgrained and varnished. This method is too tedious for ordinary purposes, but the student will benefit by studying this process, with which far more natural effects can be obtained than with the usual methods.
In glazing over water color, allow the under work to dry, then apply a coat of turpentine and gold size mixed. Glazing is frequently executed in oil, in which case it is easy to wipe out the lights with a rag. When the glazing is done in water color, the lights are wiped out with a damp wash-leather, a sponge being sometimes used to get certain de-
Fig. 31. Double Line Check Graining Roller.
sired effects. Vandyke brown, because of its richness of tone and transparency, is the color generally used for glazing. It is toned with burnt sienna for a warm tone, and with blue-black for a cold tone.
For oak graining a wainscot in oil, make up the color for the ground from white-lead tinted with small quantities of yellow ochre and burnt sienna to match the lightest portion of the grain. If the oak is gray in tone, a touch of blue will secure the desired tint. To every 2 pounds of white-lead add 1 ounce of driers. When the work is dry, and before applying the graining color, rub it over with stale beer to which a morsel of whiting has been added. For
