Figure 5.14 shows a systematic method for locating the colors on a palette. For the more adventurous, Peter Hunt in his "Workbook" prescribes a freehand technique built up from a "basic stroke" like an exclamation point, made by a gradual pressure of the pencil brush from a light beginning to a heavy blurb at the end, or vice versa. By curving, combining and accenting these basic strokes, he achieves the exuberant yet nonchalant "little chuckles" that have so justly popularized his unsophisticated effects. In the diagrams that follow (Figures 5.155.18), typical examples of various countries are illustrated as a visual reminder that a choice of design should be made and studied. Owing to limitation of space, only the decoration of the Pennsylvania Dutch hope chest in Chapter 2 will be_ covered in detail, because the design is indigenous to our own country. Decorating Pennsylvania Dutch Dower Chest. With its eight almost identical panels, the chest described in Chapter 2 is an easy project for a decorative effect, which can be further simplified by cutting a stencil for the single panel Fig. 5.14. Suggested arrangement of palette. Courtesy of The Metropolitan Museum of Art, Rogers Fund, 1923 Fig. 5.15. Decorated eighteenthcentury chest from Pennsylvania. W-white LG-light green В-black DG-dark green Fig. 5.16. Center splat, Mexican side chair. 346 FURNITURE MAKING AND CABINET WORK design. For the purpose of instruction, however, it will be supposed that the design is to be traced in place. After the outside of the chest has been thoroughly sanded and all cracks and nail or screw holes filled flush, it may be sealed with a wash coat of shellac unless Courtesy The American Home, Designed by Joe Watson Fig. 5.17. Swedish Interpretation. 1. Black 2. Alizarin Crimson mixed with a little Prussian Blue 3. Alizarin Crimson mixed with White 4. Cadmium Yellow mixed with Burnt Sienna and White 5. Cadmium Blue mixed with more White. Color Key 6. Prussian Blue mixed with White and a little Crimson 7. White with a touch of Black 8. White mixed with more Black 9. Viridian Green mixed with more White 10. White mixed with a touch of Crimson and Burnt Umber it was made of wood having large pores requiring a filler and sealer. The top, stiles, rails, and base are then covered with at least two coats of bluegreen paint mixed from a good quality of flat white paint colored with Prussian blue and medium chrome yellow, cooled with a dash of raw umber. The panels are painted FURNITURE FINISHING 347 In a Hgnt ivory made up from flat white tinted with raw sienna, toned down with umber. Since subsequent varnishing and glazing operations will darken and yellow the final colors, sample daubs should be tested on a folded newspaper. The design shown in Figure 5.19 has been adapted from a chest panel in the Philadelphia Museum of Art, featuring the principal decorative symbol of Penn °0o°°o000oJj00000,,oo°°<'° Courtesy The American Home, Designed by Virginia Sutton Fig.