The woods embraced in the class known as close-grain or soft woods, are as follows: Bass, Cedar, California Redwood, Gum, Oregon Pine, Poplar, Spruce, Tamarack, White Pine, Washington Fir, Whitewood and Yellow Pine.

The following woods occupy an intermediate position between the soft and hard woods, not because really soft woods, but because they are sometimes filled with paste filling, though it is not absolutely necessary, and they might very properly be ranged with the fore- going woods: Birch, Cherry, Circassian Walnut, and Maple.

A so-called liquid filler is little more than a varnish, the difference being when it contains some pigment, like silex or other filling substance. Its use is indicated for those woods whose porous structure will not allow of the entrance of a paste filling, and the effect of the liquid filling is to saturate the cellular tissue of the wood with the liquid portion of the filler, while the more solid part remains on the surface, a portion also finding its way into the immediate upper part of the wood surface. Sometimes a liquid filler will be placed over a paste filler, in order to satisfy the absorption of the filled wood and prevent the absorption of the coats of varnish. In this way the costlier varnish may be saved and a better finish result.

A number of liquids are used for this kind of filling. The first and best probably for better classes of work is shellac varnish. This dries rapidly and sandpapers easily, allowing the workman to get a very even and firm foundation for his varnish coats. Ordinary liquid filler, on the other hand, is slow in drying as compared with shellac, and it leaves a surface that is somewhat difficult to sandpaper down smooth and level. For this reason it is not often used as a substitute for shellac, but for merely filling the wood so that a coat or two of varnish will make a finish, without rubbing down the filler. This is done on cheap work, applying a coat of rather stout liquid filler, not sandpapering it any, and brushing on a coat, sometimes two, of rather common varnish. Often too the open pore woods, such as chestnut, oak, etc., are filled and finished in this manner. Of course this gives a very common job, yet I have seen it done on houses selling for as high as $8,000.

Liquid filling is rather modern, dating back to about the middle of the seventies. Prior to that .time I have done filling of walnut with varnish, coat after coat, and rubbing each coat, when dry, into the wood. Finally the wood became filled with the varnish, and then one or two flowed coats completed the work. Such a method involved hard work, time, and expense of varnish.

Liquid filler should be applied like varnish, in full free coats, flowing it on so as to produce a smooth job.

While a very good liquid filler may be made by thinning up silica paste filler, and is sometimes done that way, yet where colors are to be incorporated it is best not to use the silica filler, because the silica is so heavy that it will sink into the pores of the wood, leaving the coloring matter to float on the surface, giving the work a painty effect. But for filling without coloring this form of liquid filler has much to commend it.

Such substances as cornstarch, terra alba, talc, barytes and whiting have the fault of fading out or whitening in the wood, a very serious defect where coloring is used.

A liquid filler made with carbonate of magnesia has the merit of holding up well, not preciptating as silica does, but the same may be said of other substances that are used more or less. But nothing can excel, certainly nothing does excel, or even equal, finely pulverized silica or crushed quartz rock for paste filler, which may, as already indicated, be thinned to form liquid filler.

Starch gives a fairly good filler, but it is impossible to make a dry starch and varnish filler that will keep very long before using. In order to get this transparent filler, the starch must be cooked. Raw starch will show white in the pores of the wood, even worse than whiting, which is bad enough. Even silica is not entirely free from this fault, though less faulty than whiting or starch.

Starch is soft and easily applied, and hence work may be rushed through by its use, and that is about the best we can say for it. Starch will not hold up the varnish coat. Silex or silica can be pushed into the pores of the wood solidly, and being non-absorptive, it does not take from the varnish, hence two coats on it will make a good finish. But it has its faults, too, in that it settles badly in the pot, and it dries out most too quick. The former fault is not serious where small quantities are used, as it may be mixed and used at once, but in the furniture factory finishing room, Avhere the stuff is bought by the barrel, it is serious. The too quick drying out may be remedied by adding a very little raw linseed oil to it, being careful to not get too much, though in some cases the thinning is done entirely with oil. The quick setting of this filler is an evidence of its durability. As a general thing there is no objection made to this quick setting, it usually being required to set in from 15 to 20 minutes, after which it is rubbed off.

Where fillers are bought and used by the barrel the barrel should be kept tightly covered, to prevent evaporation of the fluid part, and the entrance of dust or dirt. You would never leave a barrel of varnish stand with its head out, exposed to the air. Why then a barrel of filler, liquid or paste, considering that its fluid portion is largely of a volatile nature.

Cornstarch filler, when applied, seems to fill the wood perfectly, and to a certain extent this is true, but as it dries and hardens it shrinks and leaves the wood only partially filled. This condition may the more readily be seen with a microscope of low power, or even by good eyes. Even after a varnish coat has been applied you may discern these partially filled pores. Also it is worthy of note that this kind of filler requires a long time for hardening, more than it is apt to get, the result of which is that the varnish coats crack over it.

LIQUID FILLER FORMULAS. As I have already pointed out, shellac varnish makes a very satisfactory liquid filler, but owing to its cost it is not generally used for this purpose. Moreover, some finishers say that it does not do well under varnish coats. When used for surfacing close-grained woods it should be used very thin, and two coats are to be preferred to one coat. It should be sandpapered down well.

IMITATION SHELLAC. A finisher tells me that he makes an imitation shellac varnish that is not only cheaper than real shellac, but that it is better in other ways. He takes equal parts of raw linseed oil, turpentine, brown japan, and rubbing varnish, adding cornstarch to give body. He makes it rather heavier of body than ordinary paint, but of a consistency that will allow of easy application. After it has been on the wood long enough to set he rubs it off with coarse cloth, rubbing the filler into the wood at the same time, as with paste filler. He applies two coats of this filler.

ANOTHER IMITATION SHELLAC. Take four pounds of either finely pulverized and floated silica or China clay, preferably the former, of course, and stir it into one quart of japan drier, beating the mass until perfect admixture ensues. Now add, still stirring the mass, six quarts of the best light hard-oil finish or other equally good varnish, after which let the mixture stand an hour or so, then pass through a fine sieve. When desired for use, thin it to the proper consistency with turpentine. It may also be used as a paste filler by omitting too much thinners.

OIL THINNED FILLER. As I said in another part of this article, oil is sometimes used for thinning liquid filler, in place of varnish and turpentine. Many of the best yachts are said to have all exposed woodwork filled in this way, elastic varnish being then applied in several coats, using spar or other suitable varnish. Each coat of varnish is allowed ample time for drying, and each coat is sandpapered. This process demands considerable time, labor and expense, but the wear resulting would seem to justify it; some steamships also have their woodwork thus treated.

KAOLIN FILLER. Mix together i gallon of pale, hard-drying carriage body varnish, I pint of turpentine, and i pint of pale japan. Take 2 1/2 lbs. kaolin and enough of the mixed liquids to form a paste, which then run through a close set hand paint mill, grinding the mass once, then stir in the rest of the liquid, with brisk stirring, until perfect admixture ensues. This filler does for either paste or liquid, thinning it as required for the latter purpose.

SILICA LIQUID FILLER. To 4 lbs. of silica paste filler add I gallon of coach varnish, after which thin down with turpentine to the required consistency.

TIME FOR DRYING. All liquid fillers should have from 24 to 48 hours, the latter time being the best.

SILVER WHITE FILLER. Mix together equal parts of raw linseed oil, gold size japan and turpentine; add silver white enough to form a paste, which must be worked perfectly smooth, then it may be thinned with turpentine.

WHITE LIQUID FILLER. There are various formulas for this filler, the following being one of the best: In I gallon of raw linseed oil put 2 Ibs. of pale rosin, powdered, and place the mass on a fire, stirring it until the rosin has melted. Then take from the fire and add i pint of white japan and 2 quarts of turpentine; stir all together, and when the mass is cold add 8 oz. of cornstarch. After incorporating the starch with the liquid, make it quite thin with turpentine, then pass it through a fine strainer or run it through a hand mill.

TRANSPARENT LIQUID FILLER. Some woods require a transparent filler, but it should always be colored slightly, or enough to match whatever wood it is intended to fill.

Mix together 8 oz. of cornstarch, 8 oz. of fine pumicestone powder, the finest you can buy, and gill of white shellac varnish; also | pint of boiled linseed oil. Mix all thoroughly together and thin for use.

The following are known as "open-grained" or hard woods, and require paste filling: Ash, Beech, Butternut, Baywood, Black Walnut, Chestnut, Elm, Mahogany, Oak and Rosewood.

The term hard wood is scarcely the correct one, but "open pore" or porous wood is correct as designating a wood requiring paste filling.

The purpose of paste filling is to make a solid surface for building up the varnish coats; the paste enters and seals the open structure of the wood, and so prevents the varnish from being absorbed, and this effects a saving of the costlier varnish and also time and labor, as a coat of paste filler will be fully equal to several coats of ordinary varnish. In some woods while the pores are filled with the paste the fibrous structure may remain open and absorptive, hence in this case it is usual to apply a coating called a "surfacer," which may be shellac varnish or liquid filler thinned down.

The filler should be colored to match the wood, making it rather darker than the wood, whether the wood is colored with stain or in its natural color. This is important; color the filler as near the color of the wood as possible, only a shade darker. Sometimes the paste filler is colored while the wood is not, in this way giving some very fine color effects.

The following is as good a formula as can be used: Mix together two parts of good coach japan and three parts of pure raw linseed oil, each by weight. To this mixture add enough silica to form a stiff paste, then run it through a hand mill, fine grinding not being necessary, as the silica is already fine, but the mill mixes the ingredients more perfectly than can be done by hand. Then paste coloring may be added according to the wood that is to be filled.

Finely pulverized and floated silica is undoubtedly the very best base that can be used for making paste filler. Yet many still use cornstarch, after the following formulas:

CORNSTARCH FILLER. This may be made from equal parts of japan drier, raw linseed oil and turpentine, adding starch to form the paste. A very good way is to pour the liquid over the starch and let it stand overnight, well covered to prevent evaporation and drying. In that time the liquids will have permeated the mass perfectly, and then it is an easy matter to mix it together to a paste. When properly made it should be in consistency about like thick paint. If it dries too rapidly add a few drops of raw oil. If too thick, then add a little turpentine or benzine, the latter doing very well, as this idea is to thin the mass so that it may be brushed on easier, and when the benzine leaves it you have the more solid filler in the pores.

CORNSTARCH PASTE FILLER, No. 2. The following formula is from an expert wood finisher: To I Ib. of cornstarch add | pint boiled linseed oil, J pint shellac varnish, and ? Ib. flour pumicestone. Mix well together, and color according to color of wood, as previously directed.

Boiled oil and japan in about equal parts thickened with cornstarch makes a paste filler liked by some; reduce with turpentine.

COOKED STARCH FILLER. Mix together I quart each of raw and boiled oil, gold size japan, and turpentine, thicken to a paste with boiled starch to which has been added, while boiling, 2 oz. magnesia. The boiling should be well done, say about 15 minutes. Any coloring may be added. And silica may be used in place of cornstarch.

SILICA, SILVER WHITE, AND CHINA CLAY FILLERS. Silver white and China clay or other similar base, may be used in any formula, and sometimes China clay is added to one of these bases. Such bases may be made into paste by the addition of a mixture of raw linseed oil, gold size japan and turpentine. Also, any such filler may be reduced with turpentine or benzine to form a liquid filler or surfacer.


MARBLE DUST OR PLASTER FILLER. Take marble dust or some plaster of Paris and make into a paste with equal parts of turpentine and japan drier, with a little raw oil to make the mass work easier. It may be that the above proportion of japan is too much, and hence it is best to add very little at first, trying the filler first to see how it dries and works. Too much japan will not do. A little dry litharge is thought by some to improve the filler. Stain this filler to match the wood. When hard-dry it may be rubbed down.

WAX HARD WOOD FILLER. Take equal parts of raw oil, turpentine, and gold size japan, and mix with wax at the rate of 4 oz. wax to the quart of turpentine, dissolving the wax in the turpentine. Then stir into the mixture enough silica to form a stiff paste, which should then be run through a hand mill or fine sieve. Thin up with turpentine.

PASTE FILLER FOR POROUS WOODS. This is for very porous wood, with large pores to fill, such as chestnut. Mix cornstarch or wheat flour with shellac varnish on a slab, and work it into the wood. After it has become quite dry sandpaper it smooth. The finish over such a filling may be one as fine as French polish, and over the shellac polishing any good varnish may be applied.