wrapped around the index
finger
and rubbed very
slightly in a
streaked fashion over the frame. These dark accents should be very subtle
and not overdone. By very
lightly touching just the
surface of the raised grain, the effect of the texture
is
topmost
beautifully
brought out. The flat mat effect of this finish is very agreeable, but the outside edge of the frame and the carving may be slightly waxed with paste wax. Finish No. 2. (See illustration page 88, photograph, page 93.) After the outside corners have been rounded off with the rasp, and again after any desired carving has been done, the entire frame is scratched vigorously with an ice pick or a sharpened nail, as described in finish No. 1. The frame is then further textured by brushing briskly with the grain, using a stiff wire brush. This imparts a beautiful weathered effect. Next the frame is toned by singeing the wood with the flame of an alcohol torch or a bunsen burner. A streaked, uneven tonality from light to dark brown should be produced by this toning treatment. The frame is liberally coated with white casein paint of normal consistency. Make sure that the white is painted well down into all the depressions, then, before it dries, wipe it off with a cloth. Light sanding with No. 00 sandpaper may follow when the white has dried. The frame is then ready for the final coating of the gray patina, which is composed of Rottenstone mixed with liquid wax. About ten minutes after applying it, this coating is wiped off, and shortly thereafter the wood is polished with a soft cloth.
WJtli^e
immMimnzZLLKtel
Cose/n
Caso'n
aHmBBEZ. Slfvct Leaf,.'.',>-. ...rT^/;r/^ to-idn. Finish No. i in silver leaf.
FRAMES FINISHED IN SILVER OR METAL LEAF leaf. (See illustration above and photograph, made of basswood or poplar is best suited for this frame 93.) type of finish. After the usual rounding off of the outside corners, and after any carving has been done, the entire face and the sides
Finish No. i in silver
page
A
89