5.18. The Russian Influence. Color Key hite 6. Light Blue (add more White to the above) Cadmium'Yellow 7. Blue Green (Mix Cobalt, Viridian and Pink (Mix Cadmium Red and White) White) Cadmium Red (Medium) 8. All filledin areas are painted Black. Medium Blue (add a little White to Cobalt) 348 FURNITURE MAKING AND CABINET WORK sylvania Dutch art, the tulip, in the favorite colors of red, green, yellow, brown, and black. Since the pattern is identical for the five panels, it should be "blown up" by squares to the exact size of the panel on a piece of tough paper which can be used as a tracing medium five times. Fastened in place over the ivory panel with Scotch or decorator's tape over a piece of ordinary carbon paper, the design can be traced with a hard 3H pencil. If carbon paper is not readily available the Fig. 5.19. 1. Black 4. Yellow 2. Green 5. Blue 3. Red ¦ 6. Brown reverse side of the pattern can be blackened with a soft pencil. White transfer paper is used to trace the design on a bluegreen top of the chest, or the reverse side of the pattern can be covered with white chalk, which will adhere when the design is traced. A suggested color key is shown with each pattern. As the amateur painter becomes more confident, he will select his own color combinations. Although many peasant artists used nature's colors as a guide, just as many allowed the whimsies of fantasy to color their leaves blue, birds green, animals lavender and flowers in a variety of hues. » The same thing is true of the outlines. As the hobbyist becomes more adept. FURNITURE FINISHING 349 his brush strokes will take on more confident sweeps, with the result that many will flow well past the tracing or stencil marks, changing the exactitude of the formalized symmetry that was his original goal. So much the better, for this is the approach to freehand decoration which, however bisymmetrical its conception, often distorted or even deleted some detail by the very boldness of its application. Pennsylvania Dutch decoration depended for unity, in great part, on tying in the various elements of the design by means of heavy black outlines. These and the various contrasting colors cannot be added until adjacent colors are dry. The design for the top of the chest is a good example of how a primary motif can be elongated, distorted and augmented to fit a differently shaped surface, as indicated in Figure 5.20. Because of the dark background bright tints must be used. Fig. 5.20. Design expanded for top of dower chest. A good protective finish is provided by a coat of clear spar varnish upon which the antique glaze can be applied, as previously described. A final coat of flat, satin finish will eliminate a possibility of rubbing through into the design. Additional protection and softening will be afforded by a wax coating. Available Furniture. Nowadays almost every department store carries a line of lowpriced, unpainted furniture whose "bright" surfaces literally beg for decoration.