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Hardwood Record — Veneer & Panel Section 



April 10, 1917 



PERKINS 



GLUE 

 COMPANY 



SOLE MANUFACTURERS 

 AND SELLING AGENTS 



PERKINS 

 Vegetable Veneer Glue 



(PATENTED JULY 2, 1912) 



805 J. M. S. BUILDING 

 SOUTH BEND, INDIANA 



Fine Face in Doors 



We have reached the point where there is a fair volume of 

 consumption of comparatively fine face wood in door making. 

 Perhaps there are exceptional cases w^here face w^ood in extra fine 

 doors is comparable with the finest figured wood used in cabinet 

 work, but, generally speaking, there is not a great quantity of 

 what might be termed the finest face veneer used in doors. There 

 is, how^ever, a goodly use of the more expensive figured w^ood, 

 including mahogany, walnut, oak and gum, as w^ell as a seeking 

 for figure effects in birch, fir and ash. 



This fine face in doors is largely confined to special order work, 

 it has not yet entered extensively into the making up of stock 

 doors. 



The veneered door, as a stock door proposition, has become 

 the most conspicuous item in the sash and door trade; and with 

 a tendency toward the big one and two panels, there is a growing 

 predominance of the veneered panel in the making up of stock 

 doors. 



What seems to be needed is a little more venturesome spirit 

 among the stock door manufacturers to the end that they w^ill 

 make up more stock doors in the finer face. This should not only 

 result in increasing the consumption of fine face veneer in stock 

 doors, but it should make it practical to turn out these doors at a 

 somewhat lower price than on special orders, which, in turn, 

 should contribute its mite toward enlarging the trade. 



There is no call to do rash things, but there is room for some 

 good work along the idea of developing the practice of putting 

 finer face into stock doors, instead of reserving this entirely for 

 special orders. 



Painting Veneered Woodwork 



From time to time one of the questions raised in connection 

 with the use of veneer and built-up panels for work that hereto- 

 fore has been done in the solid is that of paint, whether it is to 

 be treated the same as solid lumber in the process of painting, 

 or whether some special process is necessary to secure the right 

 kind of a paint finish on veneer. Occasionally one hears com- 

 plaint that when painted in the regulation way veneered w^ork w^ill 

 show^ raised grain, which spoils the finished apearance. 



Veneered work will take paint the same as solid work and 

 should receive the same treatment and yield similar results. Cer- 

 tain things are to be considered, how^ever. For one thing, it 

 should be remembered that rotary and sliced veneer has a wrong 

 side and a right side, or an inside and an outside. Every man 

 who knows the veneer business should know that the outside 

 should be turned out because the wood is smoother and more 

 compact. If a sheet of rotary cut veneer is turned inside out in 

 making up a panel there is a chance that when that panel is 

 finished with paint it may show some loose grain, especially if it is 

 thick veneer and happens to be loosely cut. There are concerns 

 which cut veneer from I - 1 6 to J.^ so firmly that it is difficult to 

 tell the outside from the inside, and perhaps a satisfactory job 

 would result in painting either side of this kind of veneer. But 

 others cut veneer loose, and when this is done, if it should be used 

 wrong side out, the final result would be loose grain or checks 

 in the face, no matter whether finished with paint or varnish. 



Ordinarily, the raising of the grain by any paint or finish, 

 whether of solid wood or veneer, is because the wood is not 

 thoroughly dry when it is finished. Take a job in solid wood, for 

 example, and let the stock be put through the planer before it is 

 thoroughly dry. After it is finished with either paint or varnish, 

 it is likely to do what is termed "graining out." That is, some 

 of the grain will shrink away and leave the other with the same 

 effect as if it had raised. Apply this same theory to built-up work 

 and one can understand how built-up panels might show a raised 

 grain. 



Much depends upon the sanding. If the face has been sanded 

 heavily with comparatively dull paper and excessive pressure, there 

 is a beating down or stringing out of the fibers of the wood. 



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