145. The laying on of the proper colors for the ground is the first operation in the order in which they occur in marbling, and it is a very important one, too. It will be well to state here that the descriptions which are given is for marbling in oil, as that is by far the best way of imitating marble, therefore the proper allowance must be made for water color work of quicker drying, and therefore it will require considerable speed in conducting the marbling operations, giving the operator but little time to do his work in he cannot possibly produce as good work as he can in oil. Only rather plain figured marbles should be attempted by the students in distemper work. The ground is usually put on all over alike in oil, and usually it is put on with white lead. While that is fresh, if a parti-colored ground is desired, a little of the proper color is worked over it and blended more or less to suit.

146. If the imitation is striated, veined or serpentine marble, while the ground is still wet the main body of color and veining should be put in and blended. The blending in marbling constitutes a most important part, as by means of it veins and lines are made to disappear as it were into the ground gradually, which gives it transparency, and it will look as if it came from the interior and gradually becoming stronger toned as it reached the surface. These effects are all produced by proper blending.

If the imitation is a conglomerate marble the chunks should be put on with dabs of color suitable and of the right size, depending upon the blender to soften them into a gradual disappearance into the ground.

147. While the ground is still wet in veined or striated marble the deeper toned veins, or rather that portion of the veins which it is desired should appear as having reached the surface by a gradual ascent from below, should be touched with a little of the fresh color and left unblended. This is done with camel’s hair pointed pencils or with the tip end of feathers for some of the finer lined ones.

In the conglomerate imitation the chunks can be touched with fresh color left unblended at what is desired should show as their surface point, so that the chunks will show as if they were gradually sinking away from sight to the interior of the stone.

enlarge-image
double panelled grained door

148. It will be best after having formed all the character of the veining and having touched up the bright parts to let the work dry before attempting to put in the white veining and what may be called the “high lights,” or the lightest parts of the colored veins or chunks in the conglomerates. If this was attempted upon the wet color and one should; undertake to finish the whole work at the one time, he will find that he cannot produce good white veins and that they mix up so much with the others as to become anything but white. Where it is desired to produce the impression of white veins disappearing into the rest of the work, however, it will be well to put in some and to blend them in to produce that effect, while the first color is still wet and when it has dried to go over them at what is intended for their surface points with some fresh color, which will greatly enhance their transparent effect. Now the light veins are put in without fear of their tones being destroyed by mingling with the wet ground colors, and all the finishing touches should be put in. Defects, if any, can be corrected and when the work is dry it may or may not be varnished.

149. The directions given above will suffice to give the student the manner of producing any kind of marble or onyx desired. The spots usually seen in granites are produced by striking a brush upon a stick at some distance from the surface which it is intended should be covered, the size of the dots being governed by this distance, and also by the kind of brush used. A fine spraying with turpentine afterward will cause them to spread sufficiently to run together at the edges and to look more natural than if left without this operation.

QUESTIONS ON LESSON XXVIII.

145. How should the grounds be put on in marbling?

146. How is the veining and blending done in marbling?

147. How is the veining made to appear as if coming up to the surface from the interior?

148. How are the finishing touches put on?

149. What is further said of marbles and how are granites imitated?