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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b2f8d56 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #67109 (https://www.gutenberg.org/ebooks/67109) diff --git a/old/67109-0.txt b/old/67109-0.txt deleted file mode 100644 index e264a77..0000000 --- a/old/67109-0.txt +++ /dev/null @@ -1,5107 +0,0 @@ -The Project Gutenberg eBook of Practical House, Wagon and Automobile -Painter, by W. F. White - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Practical House, Wagon and Automobile Painter - including sign painting, and valuable hints and recipes - -Author: W. F. White - -Release Date: January 5, 2022 [eBook #67109] - -Language: English - -Produced by: Charlene Taylor, John Campbell and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK PRACTICAL HOUSE, WAGON AND -AUTOMOBILE PAINTER *** - - - - - - TRANSCRIBER’S NOTE - - Italic text is denoted by _underscores_. - - This book has no footnotes; it has one ‘NOTE.’ which has been - placed at the start of the relevant text. - - The tables in this book are best viewed using a monospace font. - - Some minor changes to the text are noted at the end of the book. - - - - - Practical House, Wagon - and Automobile - Painter - - INCLUDING SIGN PAINTING, AND VALUABLE - HINTS AND RECIPES - - BY - W. F. WHITE - - [Illustration: (Publisher colophon.)] - - SHREWESBURY PUBLISHING CO. - CHICAGO - - - - - COPYRIGHT, 1919 - BY - SHREWESBURY PUBLISHING CO. - - - - - INDEX. - - PAGE. - - Analysis of Yellow Ochre, 3 - - - Brown Hard Spirit Varnishes, 89 - - Blistered Doors, to Repaint, 85 - - Brass, to Clean, 88 - - Black Varnish for Iron, 87 - - Blinds, to Handle when Painting, 33 - - Brass and Copper, to Clean, 35 - - Bronze for Metal, 85 - - Benzine, to De-odorize, 82 - - Bronze, 144 - - Blackboard Slating, 83 - - Blackboard Slating, Cheap, but Good, 83 - - Blackboard, to Make on Common Plaster, 83 - - Brush Cleaning Trough, 25 - - Brick, to Clean, 38 - - Brick Painting, 28 - - - Crawling Paint, 5 - - Cracks in Walls, to Fill, 131 - - Cleaning a Room, 29 - - Cherry Stain, 44 - - Cracks in Paint and Varnish, 20 - - Cleaning Phaeton Cushions, 142 - - Carriage Painting, 134 - - - Damp Walls, to Treat, 73 - - Dipping Paint, 88 - - Door Plates, to Clean, 84 - - Damar Varnish, 26, 91 - - Dry Ochre for Priming, 2 - - - Estimating Work, 14 - - Enameled Letters, to Apply to Glass, 95 - - - Furniture Varnish, 91 - - Fire-proof Paint for Roofs, 86 - - Fluoric Acid, to Make, 132 - - - Gold Varnish, 90 - - Guessing on Work, 8 - - Glass, to Crystallize, 93 - - Gilding on Glass, 8 - - Gilding on Wood, 38 - - Grease Spots, to Kill, 34 - - - Hard Wood Floors, to Finish, 33 - - Hard Putty, 121 - - - Japan, Testing, 19 - - - Kalsomine, 34 - - Kalsomine, to Make and Apply, 121 - - - Liquid Wood Fillers, 133 - - Lacquers for Brass and Tin, 91 - - Leather Varnish (black), 91 - - Lead Poisoning and Symptoms, 53 - - Liquid Glue, 93 - - Lamp Black, to Mix, 87 - - Liquid Glue for Kalsomine and Wall Sizing, 123 - - - Measuring a Job, 17 - - Mahogany Stain, 44, 45 - - Midsummer Painting, 67 - - Marking Ink, 146 - - - Natural Wood Finishing, 47 - - - Old Carriage Work, 140 - - Oil Size for Old Whitewash, 37 - - Old Wall, to Prepare for Paint, 124 - - Oak Stain, dark, 45 - - Oak Wood Stain, 94 - - Oil Rubber Paint for Cloth, 83 - - - Painting Cars at Home, 153 - - Plastered Wall, to Paint, 127 - - Paste to Hold Labels on Tin, 31 - - Paint to Prevent Rotting under Ground, 82 - - Paint, to Remove, 35 - - Paper Hanger’s Outfit, 91 - - Price List and Measurement, 62 - - Paint, to Clean, 84 - - Porcelain Finish, 52 - - Paper Hanger’s Paste, 92 - - Putty, to Soften, 18 - - Putty, to Color, 50 - - Paste for Painted or Varnished Walls, 93 - - - Rust Spots on Marble, 145 - - Red Saunders Stain, 45 - - Red Wood to Finish, 145 - - Rough Stuff, 142 - - Rough and Sandy Walls, 129 - - - Sizing Walls, 94 - - Sign Painting, 99, 117 - - Scaled Work, to Repaint, 77 - - Sixteenth Century Oak, 55 - - Spots on Paint, 50 - - Sandpapering, 76 - - Stencil Border, 77 - - Spirit Varnishes, 88, 90 - - Size Muslin for Lettering, 78 - - Slowing the Drying of Paint, 85 - - Stir Your Paint, 41 - - Stencil Ink (black), 144 - - Signs on Colored Glass, 131 - - Strainers, 34 - - Silver, to Clean, 35 - - Stencil Staining, 26 - - Success in Painting, 7 - - Symptoms of Lead Poison, 55 - - - Tin Roofs, to Paint, 2 - - Tents, etc., to Make Weather-proof, 32 - - Tacky Paint, to Cure, 18 - - Tortoise Shell, to Imitate, 61 - - - Varnish to Fix Pencil Drawings, 145 - - Varnish to Imitate Ground Glass, 60 - - Varnish for Rustic Work, 61 - - Varnish Stains, 44 - - Varnished Paint, to Clean, 85 - - Very Dirty Brass, to Clean, 61 - - - Wax Polish, 26 - - Whitewash, to Soften, 145 - - Water Glass for Floors, 145 - - Walnut Stain, 44 - - White Hard Spirit Varnishes, 89 - - Walnut, to Stain Like Mahogany, 46 - - Water Colors, to Mix, 78 - - White Shellac, to Make, 49 - - White Enamel, 60 - - Wall Sizing for Kalsomining, 97 - - Why Do Wall Papers Crack, 36 - - Whitewash for Outside, 33 - - Wax Floor Finish, 88 - - - Zinc, to Clean, 38 - - Zinc, to Paint on, 32 - - - - -PRACTICAL HOUSE PAINTER. - - -The following is an infallible and simple commercial test of the -purity of white lead: - -“Take a piece of firm, close-grained charcoal, and near one end of -it scoop out a cavity about half an inch in diameter and a quarter -of an inch in depth. Place in the cavity a sample of the lead to be -tested, about the size of a small pea, and apply to it continuously -the _blue_ or _hottest_ part of the flame of the blow-pipe; if the -sample be strictly pure it will, in a very short time, say in two -minutes, be reduced to metallic lead, leaving no residue; but if -it be adulterated, even to the extent of ten per cent. only, with -oxide of zinc, sulphate of baryta, whiting or any other carbonate -of lime (which substances are the principal adulterations used) or -if it be composed entirely of these materials, as is sometimes the -case with cheap lead (so-called), it cannot be reduced, but will -remain on the charcoal in an infusible mass. - -“A blow-pipe can be obtained from any jeweler at small cost. An -alcohol lamp, star candle, or a lard oil lamp furnishes the best -flame for use of the blow-pipe. This test is very simple and any -one can very soon learn to make it with ease and skill.” - - -JAPAN. - -Always cut your japan in a little turps before you add it to the -paint. An ounce of japan, cut with turps, will do better work than -two ounces in _oil paint_, if put in clear. _Don’t add dryer to -any more paint than you can use up in a few hours_, because it -will soon commence to fatten your paint in the pot and lessen its -covering and wearing properties. Many a job has been spoiled by -using old color, doped with japan. Such paint is liable to mildew. - - -OBJECTIONS TO THE USE OF CHEAP DRY OCHRE AS A PRIMER. - -1st. It is too dark for light colored work, because sooner or later -it will show through in spots, or darken the entire work. - -2d. It leaves a rough, coarse surface which the succeeding coats -fail to completely level up. - -3d. Succeeding coats are liable to scale from cheap coarse ochre -priming. - - -PAINTING TIN ROOFS. - -When paint scales from a tin roof it is not always the fault of the -paint. It stands the painter in hand to carefully examine a new tin -roof before painting it. When the tinner uses rosin as a flux to -make his solder flow, the rosin is melted and cools again on the -tin. When such is the case, carefully scrape it off with a knife, -otherwise it will be liable to scale off, and take the paint with -it. - -When acid is used in the place of rosin it is apt to corrode the -tin, hence it is best, if you want a permanent job, to clean off -the acid. To do this, first rub the seams with kerosene oil, then -wash with soap suds and rinse with clean water. If the roof is -quite new, and the tin feels greasy, go over it with a wash made of -one pound of sal-soda to six quarts of water, let it stand one-half -day; then wash the tin with clear water. - -Instead of this method, I have given new tin a good rubbing with -No. 1 sandpaper to make it hold the paint. - - -ANALYSIS OF OCHRE. - -Below is an analysis of a sample of French ochre, which is about -the average of that pigment: - - _Parts._ - Hydrated oxide of iron 42 - Alumina 20 - Silica 38 - -The oxide gives the color; the parts as given above are in the -right proportion to give the most stable color and durable body to -be found in ochre. - -Here is an ochre, which was ground in a linseed oil substitute, -and sold to the trade at four cents per pound in twenty-five pound -cans, and retailed to the painter at _seven cents per pound_ in -cans, to-wit: - - _Parts._ - Barytes 58 - Whiting 15 - Oxide of iron, silicate and alumina 24½ - Chrome yellow 2½ - -This so-called ochre could be ground in one-half the oil it would -take to grind yellow ochre. - - -ANOTHER. - - _Parts._ - Poor chrome yellow 8 - Ochre 25 - Whiting 67 - -Ground in snide oil, and sold to jobbers at five cents per pound, -to painters _eight and ten cents_. - - -ANOTHER. - - _Parts._ - Barytes 62.90 - Ochre 40.00 - -Barytes is not ochre, and this was _sold as pure ochre_. - - -ANOTHER. - -Sold as French ochre, and recommended for priming: - - _Parts._ - Oxide of iron, alumina 19.79 - Silica 40.93 - Whiting 11.57 - Barytes 26.64 - - -ANOTHER IN OIL. - - _Parts._ - Chrome yellow 12 - Whiting 25 - Barytes 63 - Oil 13 - -The markets are flooded with such imitations of ochre, both dry -and in oil. The quantity of oil required to grind pure French -ochre makes it high-priced, hence there is a motive for putting up -barytes, which takes but little oil in grinding. - - -YELLOW IRON ORE. - -Much of the so-called dry ochre on the market is a _yellow, iron -ore and not yellow ochre_. When mixed in oil and put on a tin roof -it will turn brown inside of ninety days. I presume you have had -experience with such stuff. This makes a bad primer; it is very -liable to scale. - - -CRAWLING PAINT. - -When paint crawls it is because there is not sufficient adhesion -between the undercoat and the new coat, caused usually by too much -gloss on the undercoat. To prevent crawling subdue the gloss on the -undercoat by sandpapering, rubbing, or by the application of some -material which will have the desired effect; or, if on the outside, -wait until the gloss has been subdued by the elements. There is -nothing more trying to one’s patience than to have the paint let go -and crawl up in bunches after it has been carefully brushed out. -Hence, it is well to provide against such trouble in advance. The -observing painter has no doubt noticed that paint is more liable -to crawl under cornices, and upon other sheltered positions, than -elsewhere; hence, it is best in all _such sheltered places, where -the elements do not have full play, to use sufficient turpentine -to prevent a high gloss on the undercoats_. - - -TO PAINT BLINDS AND NOT DAUB YOUR HANDS. - -First, have a stick to open and shut the slats with after you -commence to paint. Second, leave a place on each stile, or side -rail, half way between the hinges, six or eight inches long, -unpainted, except to cut in the edge next the end of the slats to -take hold of when you turn the blind over or set it aside; also -leave the bottom hinge unpainted. After you have set up the blind -hold it up by the unpainted hinge until you finish the stiles; then -lean it up against its support and touch up the hinge. In this way -you need get no more paint on your hands than you would in painting -a door. No time will be lost, because you can touch up the stiles -in less time than it would take to wipe your hands and brush handle. - - -LEGLESS STEP-LADDERS. - -Step-ladders without legs for outside work are good things to have -on the job. Say, three of them, 6, 8 and 10 feet long. A man of -good height can paint 14 feet high from the 10-foot ladder. They -are much easier on the feet than a “round” ladder. You can stand -straighter and reach farther when standing on a step than you can -while trying to balance on a round stick; besides, a step is a -handy place to set your pail on. - - -SUCCESS IN PAINTING. - -Painting don’t pay, eh? No wonder it don’t pay, because here you -are spending half your time growling. The facts in the case are, -“You are not up-to-date.” If there is no possibility of making -money at the trade, how is it that your competitor gets along so -well? Why is it that he accumulates and you lose? He goes into the -same market for labor, material and jobs that you do. He comes out -every fall with his pockets full, and you round up poor as a church -mouse. There must be a screw loose somewhere in your management. -Will I point one out? Certainly, we have always been friends, -and I can never do too much for a friend. In the first place you -are too impetuous. You forget for the time that bills for labor -and material will fall due, that you must live--and you take the -job at losing figures. You ought to realize that the success of -a contracting painter depends upon his business qualifications. -To-wit: Correct and careful estimates, coolness in bidding, care in -selecting materials and men, systematizing his work so as to keep -each man in the right place. I don’t know how much you are getting -for this job, but it looks to me that you are losing money every -day by using poor material and improper handling of your men. The -good business man prefers the strictly pure Dutch process white -lead to the adulterated brands. He uses pure linseed oil instead -of adulterated mixtures and imitations of it, and he never loses -sight of the fact that a good reputation is a mine of gold to him. -If he finds a man is a good hand on a ladder or swing stage he -keeps him there, and if he finds a man an expert at inside work -he keeps him there, and if he finds a man is a poor stick in any -place he lets him go, rush or no rush. If he has high work he -provides a safe and easy way to get there. If he has inside work -his step-ladders are equal to the work. He knows when a man has -to reach too far or stand on top of a ladder he can’t half work. -Learn to manage your men, to keep the right man in the right place. -Stop making ruinous bids. Open your eyes to the fact that a man who -makes a losing bid on a job, to beat his competitor, acts like an -idiot, and is meaner than flies in paint. - - -GUESSING ON WORK. - -The practice of estimating work by guess has brought many a painter -up with a round turn in the fall in debt. The curious part of it is -that the lesson is rarely, if ever, learned. Don’t be too smart. -Guessing on work is very uncertain business. - - -GLASS GILDING. - -A practical expert in an English journal, the “Plumber and -Decorator,” gives the following as his process acquired and tested -by many years’ experience. - -The tools and materials required for glass gilding are the same as -used for gilding in oil, excepting the gold size. Oil gold size -would never do for glass work. In glass gilding the object is to -get a size or mordant which will have the least possible tendency -to destroy or mar the burnish of the gold leaf. This is absolutely -necessary, when we consider that in this kind of work the size is -before the gold, not as in oil gilding--behind it. For a mordant -nothing can be better than the best isinglass. To prepare this -for use the utmost care and cleanliness should be exercised. The -water must be quite pure--free from grease or impurities of any -kind. In preparing the size the following may be relied upon as a -first-class recipe: Boil about one pint of water in a perfectly -clean pan. Should any scum rise during the operation remove it -with a large spoon. Then add about as much isinglass as will lie -on a dime to the boiling water. This is best done a little at a -time to prevent it gathering in a mass before it has a chance -of dissolving. When the isinglass is dissolved strain the size -through a fine silk handkerchief, folded double or fourfold, or, -better still, through some white blotting paper. This straining or -filtering will remove any bits or impurities that may have lodged -unperceived in the isinglass. When cool the mordant is ready for -applying to the glass. Some gilders like to add spirit in some -form--generally spirits of wine--to their size. Their reasons for -doing this are not always very explicit. Some do it because they -have seen others do it. Others add it, they say, to give the gold -a better burnish, or to make it better adhere to the glass. This -is a delusion. The most sensible reason for its use was imparted -to me by a veteran in the trade. He used spirits of wine to take -out or kill any slight greasiness that may have been in the water -or isinglass. I must confess that until I learned this, spirits -always formed part of my mordant, because others used it. However, -on further consideration, its use has been discarded, and, if -anything, a better burnish on the gold is the result. In making -the size it must be borne in mind that the less isinglass used the -brighter will be the gilding when completed. Of course, if too -little be used, the gold will not adhere to the glass as it should, -and this would cause much damage and annoyance when the isinglass -size was floated on again to proceed with the second gilding. When -the size is too strong, or contains too much isinglass, no amount -of burnishing will remove it altogether from before the gold. These -are important points and should be carefully studied. But a little -practice soon teaches the gilder how to arrive at the happy medium. - -There are a variety of purposes to which ornamental glass gilding -may be applied besides sign work, shop fronts or glass doors. It is -now much used for show cases, window tablets, druggists’ bottles, -fixtures and pilasters for shop fronts. Very often the design is -embossed or bit into the glass, and worked up with gold and silver -leaf, besides being picked out in colors. This is both a costly and -effective method of decorating, which shall have full consideration -in a future chapter. For the present it will, no doubt, be -advisable to consider the simpler form of glass gilding. When this -is thoroughly understood very little further instruction is needed -for high-class work. - -For the sake of example we will suppose a glass slab about three -feet six by twelve inches is the subject to be treated. This is to -have black letters without thickness or shadow on a gold ground. -There are two methods of doing this. One is to first paint on -the glass the letters with japan black and afterwards gild the -plate. The other consists in first gilding the plate solid and -then painting in the background with japan black. By this method -the lettering is left untouched. The gold on these is then washed -off, the edges trimmed, and the letters themselves painted black -or any other desired color. This latter is, perhaps, the most -satisfactory. However, a few lines of explanation will be devoted -to each process. - -First in order comes a plate, the letters on which are painted -with japan black previous to gilding. To the learner, no doubt, -the plain block letters will prove an attraction, because of -their simplicity. This should be set out correctly on a sheet of -lining paper. It will only be necessary to run in an outline of -the letters. When completed to the satisfaction of the operator it -may be pasted round the edges and fixed on the face of the glass. -The back of the glass, that is the side upon which the work is -done, should be quite clean. When the plate is fixed on an easel or -stand, which is the most convenient place for working, the letters -will, of course, read backwards. In this form they must be painted. -When quite dry and hard, should the outlines of the letters be -irregular, they may be set right in a very simple manner. All that -is required to accomplish this is a metal straightedge and a sharp -quarter inch joiner’s chisel. The straightedge is laid across the -tops and bottoms of the letters and the chisel is employed to cut -them sharp and true. The sides of the straight letters are then -similarly treated; curves must be perfected with a writing-pencil. -The paper may now be taken from the face of the glass and the plate -examined all over. Should any specks of black be found on it they -must be removed before the gilding is gone on with. The smallest -speck shows up before the gold leaf. If convenient, before gilding, -have the plate fixed at an angle of about 45 degrees. While in this -position take a flat gilder’s mop and float the isinglass size over -the glass. Then take up the cushion, take out a few leaves of gold -from the book, and whilst the glass is wet cover it with gold, -lifting the gold from the cushion as described in the last chapter. -If possible lift a whole leaf at once, but should this at first -prove troublesome try half a leaf. Keep the glass wet with the size -and overlap slightly each successive leaf of gold until the whole -of the glass is covered. - -The glass must now dry before it can be re-gilded, and must then be -gently rubbed with the finest cotton wool. It is an easy matter to -ascertain whether it is dry or not. When wet the gold, if looked at -from the front of the glass, has a dead look, but if dry it shows -up bright. If possible leave the plate till next day before giving -it a second coat of gold. The advantage of this delay is obvious. -The gold has time to get hard, which materially reduces the risk of -its being removed when a second application of size is necessary. - -To the novice it will, no doubt, appear at first sight both a waste -of time and gold to gild all over the work again, but if the plate -be held up to the light it will show many imperfections in the -shape of small holes, cracks and imperfect joinings. Another coat -of size floated on and another layer of gold over the whole of the -work should turn out a so far satisfactory finish. Let the glass -dry again and be subjected to a further examination for faulty -places. Should any be found cover them with more gold. But if the -work is satisfactory it is ready for the burnishing process. The -first stage is to polish the gold by gently rubbing with fine -cotton wool, care being taken not to scratch the gold. This is, of -course, only a repetition of the polishing after the first layer of -gold. - -There are several methods in general use for obtaining that -brilliant burnish so much admired in glass gilding. But the one -that meets with most favor and success is what is called the “hot -water burnish.” It will be advisable to practice on the glass under -consideration. After the cotton wool polishing is completed warm -the glass either by holding it before a fire or gently pouring -warm water over it. This is only a precaution against breakage by -sudden expansion. Now let it dry, and while warm polish again with -the cotton wool. Repeat the pouring of water, hotter than the last, -and when the glass is dry, after this operation, gently rub it -again with cotton wool. This hot water flushing should be carried -on until the burnish is quite satisfactory. But it must be very -carefully done, else the gold runs a risk of being washed off in -patches. - - -HOW TO ESTIMATE WORK. - -Measure your work with the tape-line and be sure you get all there -is in it; projections, depressions, mouldings, edges, etc. - -Many a painter has dropped his profits by not taking in these -little particulars. Every bead, sunken or raised panel makes an -edge to paint. The edges of ordinary weather boarding _add ten -per cent_. to the surface, to say nothing of the edges of the -corner boards and window and door casings--the projections and -depressions in the panels of an ordinary four-paneled door, _add -at least ten per cent. to the surface_ to be painted. Then let me -say to you again, look closely for edges, projections, depressions, -hollows and rounds. They all count when you paint them; and it -is your fault if they are not included in the estimate. When you -have multiplied the number of feet around a house by the average -height and reduced it to yards you have only made a start. Measure -the cornice, follow the hollows, rounds and edges with the line. -_There is lots of surface in mouldings._ The tape-line is good -as far as you can make it go, but it can’t do it all. You must -use judgment in connection with it; and carefully estimate the -condition of the work, what per cent. is _slow_ to paint, or high -and difficult to reach. For instance, what is the condition of the -surface, is it porous and full of cracks? Is every joint gaping for -putty? Is the putty on the windows rough and broken? Is the old -paint cracked, blistered and scaling? Is the cornice ornamented -with dentils, brackets and panels? You may lose a day or a week of -extra time on a high tower or cupola if you fail to put it into -your estimate as extra hard to reach. Make the price accordingly. -Are the blind-slats stuck fast and difficult to paint? Is the -work to be done in the busy season when labor and material are -high priced and good men are hard to get; or in the dull season, -when dealers will cut prices and good men are hunting for work? -Bidding on specifications must be done with care. You can figure -the number of yards to be painted, but there are many points which -the completed job can alone disclose. A provision in your contract -to cover all changes in specifications comes mighty handy on the -day of final settlement. It is not safe to make anything like a -close bid on specifications, until the following questions have -been settled and put in your contract. To-wit: Will the building be -delivered to you at a specified time, finished and _cleaned out_ -and put in good condition for the painter; or will you be expected -to commence before the work is finished and paint as the work is -put up, and spend as much time dusting and sweeping as you do at -painting? Will the machine-dressed lumber, including mouldings, -doors, window-stops, etc., be put in as it comes from the factory -rough and fuzzy, or will it be redressed and made smooth and ready -for the paint? These points may look to you like small matters, but -they count when you come to paint the work. If you are to do a fine -job stipulate in your contract that the wood-work, etc., shall be -finished in good shape. If you are to paint the work as you find -it have it so stated in your contract. Paste this motto in the top -of your hat and read it often: “It is always better to lose a job -than to get it and lose money on it.” - -Two houses may be of equal dimensions, yet it may be worth 50 per -cent. more to paint one than the other; hence any definite scale -of prices for work by the yard is liable to be misleading. We may -determine by the line how much there is of the work, but we must -rely upon our judgment and experience to determine how much it will -cost to do it. - - -ONE WAY TO MEASURE A JOB. - -Find the surface measure of the entire job, including all edges -and projections, and estimate how much it is worth per yard, on -the basis that it is all plain work, easy to get at. Next we will -proceed by what we may call special measurement. Suppose the -cornice measures 60 yards, and is finished with blocks, moulded -panels and brackets, and we estimate that the cost of painting it -will be three times that of a plain cornice, hence we will add -two measures or 120 yards to the general or first measurement. -Next, suppose each window and casing measures three yards, and -there are 20 of them to be trimmed in colors, we estimate the -work of painting them double that of plain work; hence we add to -our special measurement 60 yards. If there is a cupola high and -difficult to reach we estimate that it will be worth double the -cost of painting ordinary work to do it. Say, it measures 50 yards, -we will add 50 yards to the general measurement, and so we will -go on until we have taken in all parts of the work which will cost -more than ordinary plain work. - -To illustrate: The building measures 600 yards, and as plain work -we estimate it worth twenty cents per yard to paint it. We amount -our special measurement which we will say adds up to 300 yards, -which added to the 600 yards general measurement, makes 900, which -at twenty cents per yard, makes $180. The same system may be used -inside. - - -TO SOFTEN HARD, LUMPY PUTTY. - -Break the putty into lumps; put it in a kettle with enough water to -cover it; add a little raw oil, and boil and stir well while hot. -The putty will absorb the oil; pour off the water, let the putty -cool, then work it, and your putty will be as good as new. - - -TACKY PAINT ON CHURCH SEATS, ETC. - -During my experience as a painter, I have been called upon to -repaint tacky seats in at least half a dozen churches. Such seats -are an unmitigated nuisance. Tacky paint may be the result of -putting too much japan in oil paint, or of using fat oil, or paint -which had been mixed a long time, especially if it had very much -japan in it, or by mixing oil and varnish, or by putting varnish on -oil paint, especially if the paint had not been given time to dry -hard before it was varnished. To harden tacky paint try this: Take -one part japan and three parts of turpentine, and give the work a -coat of the mixture. That will usually effect a cure, unless the -paint is soft clear to the wood. A coat of shellac will sometimes -do the work all right. Such seats usually seem all right until -warmed by the heat of the body; hence we may be satisfied that -the fault is in the oil used in the paint or varnish. It is best -on that account to use but little if any oil when painting seats -of any kind. Coat up with color ground in japan and thinned with -turps; varnish the part which comes in contact with the body with -shellac varnish. - -I have painted seats this way, and never heard of any further -trouble with them. - -To repaint tacky seats the best way is to burn off the old paint, -and coat up as above; because, if a hard drying paint is put over -the old soft paint it is liable to crack. It is well, however, to -see if the turpentine and japan will work a cure, or if a coat -of shellac will stop the trouble. To do this it is well to first -experiment on one seat, or upon a small surface. - -I have killed tacky paint by rubbing it with a cloth wet with -ammonia; when dry, try it, and see if the “tack” is gone; if not, -go over it again; when dry, put on a coat of shellac varnish; this -is a pretty sure cure. - - -TESTING JAPAN. - -If japan smells of benzine don’t buy it. Mix it with clear oil; if -it curdles, you don’t want it. Mix drop black with some of it; as -stiff as good drop black ground in japan; then thin with turps and -make a painting test, to see if it is a good binder. To see if it -will crack, paint on glass, let it dry and hold the glass between -your eye and the light. If you see fine cracks don’t buy any of it. - -When you go to buy japan, ask the dealer who made it. If he don’t -know, make up your mind at once that it is a _fatherless waif_ -without _a name_, and likely to be worthless. When a man makes -a good thing he is apt to send his name along with it as an -advertisement. This applies to all material. There is a great deal -of bad japan on the market, and a great amount of work ruined by -it. Buy none unless it bears the brand of a reputable maker and -will stand these tests. - -I do not need to tell the practical painter that there is a great -amount of bad japan on the market, and that a great deal of paint -is ruined by it. Buy no japan unless the can bears the name of some -reputable manufacturer, and will stand the above tests. - - -WHY DO PAINTS AND VARNISHES CRACK? - -The following paper was read by Mr. A. P. Sweet, of Iona, Mich., at -a meeting of master car painters: - - - SUBJECT: - - “_Why do paints and varnishes crack, and what is the reason that - cracks in the latter are usually at right angles to the grain of - the wood?_” - - The subject, as I understand it, relates to the cracking of - varnishes, etc., as experienced in connection with passenger - car work, and as such I introduce it for discussion before this - association. - - There are many theories as to the cause of the cracking of - paints and varnishes. Some are well defined, others are not - satisfactorily explained. - - I do not anticipate being able to add much to what is already - known, but will advance a few thoughts, which may call forth the - views of others on the subject. - - The old adage, “It takes two to make a quarrel,” is as true when - applied to paints and varnishes as it is to individuals. A single - coat of either seldom, if ever, produces cracks. These make - their appearance only after two or more coats have been applied; - consequently, it is necessary to have a body of color or varnish, - consisting of two or more coats, before any trouble of this kind - makes itself manifest. - - This being the case, it follows that the cause of the difficulty - must be sought for in the coatings themselves, either in the - quality of the material employed or in the mode of applying them. - - Poor and cheap oils and japans--especially the latter--are - a fruitful source of cracking in paint; but by far the most - prolific one, in my opinion, is the hurried application of the - succeeding coats before the preceding ones are dry enough to - receive them. If sufficient time is not given, cracks will - inevitably follow such a mode of procedure. - - I am of the opinion, also, that very little blame can be attached - to the wood used in the construction of cars, as most of it is - comparatively well seasoned, and its expansive and contractive - force is not sufficient to cause serious trouble. If green wood - was used there might be room for this excuse, especially where - the cracks run in the direction of the grain, and are large and - deep. - - Before pursuing this subject further, it may be well to examine - a little into the theory of the drying of paint. It is purely a - chemical process, not a mechanical one, as some suppose. Paint - dries by the evaporation of its volatile parts and its absorption - of oxygen; it is heavier when dried than when in the liquid form, - having attached to itself a sufficient amount of oxygen to very - perceptibly increase the weight some 6 per cent. - - The best grades of linseed oil are said to contain from 70 to - 80 per cent. of substance called linoleine, a resinous and - slow-drying oil and acid which imparts to the oil its elasticity. - - In the process of drying, contraction occurs. The various atoms - of which the coatings are composed move closer and closer - together; and as this contracting force is easier with than - across the grain, cracks at right angles to it are formed. This - fact suggests the necessity of so adjusting the elasticity of - the various coats that the force exerted in drying may be as - nearly equalized as possible, as their contracting force is - continued until all elasticity has left the paint and oxygen - ceases to be absorbed, all the oil acid has disappeared, and - nothing but a hard, brittle surface remains. - - Under the microscope, in the first stage of cracking, the surface - presents nothing unusual except that the cracks appear clean cut - and sharp on the edges. As months pass by and the surface is - exposed to the atmospheric changes of heat and cold, wet and dry, - the cracks become more numerous; and in the last stage, when the - oil is entirely destroyed, the surface assumes the appearance of - innumerable rectangular masses, higher in the center than at the - edges, like small mounds raised by the process of contraction and - adhesion. - - Cracking in color coats may, by careful attention to - preliminaries, be reduced to a minimum, provided good first-class - materials are used and sufficient time is given to each coat to - dry. - - Where varnish is to be applied as a finish, all coatings should - have oil in their composition and yet be mixed to dry flat. They - should be applied very evenly and thinly, even if it necessitates - an extra coat, to cover and make a solid job. - - Striping and ornamenting should be done on flat color, which - gives time for hardening, and fits it for the varnish coats to - follow. If work is done in this way, I think very little fear - of premature cracking need be entertained; at least, not until - time and weather have sufficient opportunity to play havoc - with its beauty, and natural decay of the materials themselves - necessitates a thorough overhauling and repairing. - - Rubbing varnishes are another source of trouble, causing the - succeeding coats of finishing varnish to show signs of cracking - long before they otherwise would, as it does not agree with - the slower drying varnishes usually applied above it, being of - a harder and more brittle character, serving the purpose of - producing a fine, smooth surface, but sacrificing the durability - of the job. - - Concerning the cracking of varnish, I have not much to say. It - seems to me that many of the reasons given above will apply to it - as well as to the paint. - - Poor material in the shape of varnish is poor indeed. A - first-class article only will give first-class results. - - It must be elastic, or it will crack easily and badly, no matter - how good the undercoats of paint may be. - - Good varnish on good color coats will not give any signs of - cracking until, by repeated varnishings, it has accumulated a - thick coating of brittle, unelastic gum. - - No painter can say truthfully that his cars never crack, as it is - a natural consequence of decay, and will come, sooner or later, - to the best of material. - - That varnish cracks to a great extent at right angles to the - grain of the wood, I think is due, in some degree, to the same - reasons as given above for the cracking of paint, and after its - elasticity is destroyed by age. Vibration has a great effect upon - the hard and brittle coating of gum that remains, coupled with - expansion and contraction caused by variations of temperature and - the disintegrating influences of the weather. - - -BRUSH CLEANING TROUGH. - -To make such a trough, take a piece of planed board, 6 inches wide -and 18 inches long, and nail on side pieces 2 inches wide; this -makes the trough. Nail this trough on a bench, box, or table, and -let one end of it project over the edge of the bench, box or table, -and place your slush bucket under the projecting end of the trough. -To clean a brush, lay it in the trough, keep hold of the handle -with one hand and with the other take a dull scraper and press the -paint out of the brush and shove it off into the slush bucket. The -advantage of this method is that you clean the whole length of the -brush and save the paint, instead of daubing it on the walls of -your shop. - - -FLOOR WAX. - -A good preparation for waxing floors may be obtained as follows: - - Yellow Wax 25 oz. - Yellow Ceresin 25 oz. - Burnt Sienna 5 oz. - Boiled Linseed Oil 1 oz. - Turpentine 1 gill - -Melt the wax and ceresin at a gentle heat, then add the sienna -previously well triturated with the boiled linseed oil, and mix -well. When the mixture begins to cool add the oil of turpentine, or -so much of it as is required to make a mass of the consistence of -an ointment. - -The burnt sienna may be used in smaller or larger quantity, -according to the tint desired, or may be replaced by raw sienna, -etc. - - -DAMAR VARNISH. - -Never use damar varnish over oil paint. - -Never put oil in damar varnish. See to it that your dealer does not -draw it into an oil measure, and that you do not keep it in an oily -or rancid can. Why? Because it is liable to dry tacky under any of -the above conditions. - - -STENCIL STAINING. - -Ordinary plain staining can be done by almost any one who can -handle a common paint brush. Yet it is not generally known, even to -skilled decorators, that stain, on sound white wood, evenly planed, -can be applied to imitate the most intricate of artistic designs; -such, however, is the case. A decorator if asked to imitate in -stain on white wood a piece of parquetry or inlaid wood, might -reply that such a thing was impossible, alleging as a reason that -by employing liquid stain in the same way as a distemper--that -is to say, by the aid of a stencil to reproduce the pattern--the -stain, as soon as it became absorbed would be found to “run,” and -so giving to the pattern imitated an indistinct or blurred edge. -Yet the most elaborate patterns are successfully stenciled direct -on to pine, and the figured work on this wood has invariably come -out distinctly and naturally as to be almost indistinguishable -from the inlaid work they have so successfully sought to imitate. -The great difficulty to be overcome in stenciling with stains is -undoubtedly the “running,” but with a very little care and patience -this can be easily obviated. Say a painter has a border to stain -round an ordinary pine floor in imitation of a selected pattern of -parquetry, the colors of which are generally in two or more shades -of oak, the first thing he has to do after having properly prepared -the floor--namely, making the part to be stained as smooth and as -even as possible by filling up the crevices and nail holes--is to -stain over the work in the lightest shade shown in his pattern; -this can be done by diluting the ordinary liquid oak stain with -water to the desired tint. Next let him cut out of a piece of -lining, paper in the form of a stencil--the pattern he has to -reproduce on the floor--care being taken to oil the stencil in -order to strengthen and preserve it. He should then mix the stain -into a stiff paste or to the consistency of a distemper used for -ordinary stenciling; place a portion of this mixture on a smooth -piece of wood, take up a very small quantity of it on a stencil -brush and apply through the stencil plate in the same way he would -a distemper. If a very dark shade is required apply more stain -before removing the stencil plate. - - -PAINTING BRICK. - -Objections: Chipping of the brick, and scaling of the paint. - -The chipping may be on account of defective brick or otherwise. - -Scaling may be caused by poor paint, or by _dampness in the brick_. - -When called upon to paint brick, first see if the brick is dry. -See that there is no place where water leaks in from the roof or -cornice and soaks into the brick. A brick wall may look dry and -still be damp inside. If you want paint to stay on brick, give the -brick time to dry, after heavy and driving rains. It is always a -bad plan to paint brick in the fall, after the autumn rains. The -only real safe time to paint a brick wall is in summer, after a -spell of hot, dry weather. You can not always wait for that, but -you can tell the owner that it is unsafe to paint a brick wall -until it has had time to dry. Why? Because in winter the moisture, -which is shut in by the paint, will freeze, expand and throw off -the paint or chip the brick. - -Prime brick work with a thin coat of good paint mixed in pure -linseed oil. Flow on the priming freely, and brush it well into the -brick; for second coat, whatever paint you use, put in at least -one-fourth white lead; make this coat one-third turps, and rub it -well out. Give it a good body. For the last coat, use your color -regardless of lead, unless you want it in to get your color. If -you want a gloss, mix this coat with all boiled oil, and flow on. -For flat, if your colors are ground in oil, use one-fourth oil and -three-fourths turps, and if it don’t show flat when painted, it -will flat in a short time. The last coat may admit of more oil or -may not take as much, and flat. This depends upon the work when -started, etc. Some painters make brick flating by breaking up the -pigment in japan, and elastic varnish for a binder, and thin with -turps. I prefer the oil for a binder, and have made the last coat -one-half oil, and had a nice flat in a few weeks. I always ridicule -the idea of painting brick flat, because it will not stand as long -as an oil finish, and the oil finish will be flat enough in a few -months. - - -CLEANING UP A ROOM. - -Now, if I were going to teach a boy to clean up a room, the first -thing would be how to prepare himself for the job. In the first -place, he wants a damp sponge with a string through it to tie over -his head, to hold the sponge over his mouth and under the nose to -catch the dust, because it is a great deal more pleasant and a -“sight” more healthful to carry lime and other dust in a sponge -than in nostrils and windpipe. Then he wants a cotton cloth cap, -large enough to draw down over his head and ears, bib overalls and -jacket to button close about the neck and he is well fixed. In such -a rig he may look peculiar, but he had better look like a monkey -than to skin his nostrils with dust and fill his ears and hair with -lime, sand and sawdust. - -For tools, he needs a good, new, fine corn broom, a wide bristle -sweeper (a ten or twelve-inch paper-hanger’s smoothing brush will -do), a good duster, a sharp tool to pick out corners, a two-inch -chiseled brush for corners. A sprinkler only turns dust to mud, -to dry in a few hours and become dust again. When you have swept -the floor with your broom and dusted your wood-work and gone over -the floor carefully with your wide bristle brush to take what you -brushed from the casings and what the broom left on the floor, look -at the air across this ray of sunlight; it is full of dust, soon -the most of it will settle on the floor and casings and window -stools. What then? Wait till it settles and _wipe it off with a -cloth_ and don’t forget the tops of the doors and casings. “Why use -a cloth?” Well, if you go in and begin to use a dust brush after -the dust settles you throw a portion of it in the air again and -it will settle on the work. And by the way, I want to say that a -wiping cloth is a very important article for a painter to carry. It -always makes me “red hot” to see a painter (?), after he has daubed -a key shield or a hinge, try to wipe it off with his thumb; I could -forgive him for the daub; the best man in the trade may sometimes -do that, but the man who will rub part of it off with his thumb and -let the rest dry ought to be sent off the job or suspended long -enough to take a lesson in the art of wiping off daubs. - -I want to say further that every well regulated dusting kit ought -to have a dust pan hitched to it in some way. It will save sweeping -the dust out on the steps to be tracked in again, save the time you -would lose in sweeping the dust over thresholds, or save the time -it would take to borrow one. - - -PASTE FOR LABELING ON TIN. - -Make a stiff flour paste in the usual way, with flour and water, -then add 2 ounces tartaric acid, and 1 pint of molasses; boil the -mixture until stiff, and put in ten or fifteen drops carbolic acid. - - -ANOTHER. - - Wheat flour 1 pound - Alum 2 drams - Borax 2 drams - Hydrochloric acid 1½ ounces - -Mix the flour, alum and borax in the usual way, to a smooth paste -in water, then add the acid and cook in the usual way with hot -water. - - -TO MAKE TENTS, ETC., WEATHERPROOF. - -To prevent tents, wagon covers, etc., from rotting dissolve 4 -ounces sulphate of zinc in 10 gallons of water, then put in -one-fourth pound sal-soda, stir well until dissolved and add -one-fourth ounce tartaric acid. Let the cloth lie in this one day -and night and hang up to dry. Don’t wring it. - - -TO PAINT ON CANVAS OR MUSLIN WITHOUT SIZING. - -First stretch, then wet the cloth. Wipe off the drops and letter -while the cloth is damp with color mixed with japan and turps. - - -TO PAINT ON ZINC. - -A difficulty is often experienced in causing oil colors to adhere -to sheet zinc. Boettger recommends the employment of a mordant, -so to speak, of the following composition: 1 part of chloride of -copper, 1 of nitrate of copper and 1 of sal-ammoniac are to be -dissolved in 64 parts of water, to which solution is to be added 1 -part of commercial hydrochloric acid. The sheets of zinc are to be -brushed over with this liquid, which gives them a deep black color; -in the course of 12 to 24 hours they become dry, and to their now -dirty gray surface a coat of any oil color will firmly adhere. Some -sheets of zinc prepared in this way, and afterwards painted, have -been found to withstand all the changes of winter and summer. - - -PAINTING BLINDS. - -When painting a blind never turn it upon edge when cutting in the -inside of the rail, because the paint will be likely to run into -the pivot-holes and stick the slats. When you set a blind up to -dry, set the bottom end up, and be sure to have the slats lie flat -side up. Why? Because the bottom end of the blind when hung is more -apt to drag on the window sill than the top end is to touch the jam -above. If set bottom end up, that end will dry solid and if there -are any sags it will be at the top. Keep the slats flat side up to -avoid flat edges. - - -TREATMENT FOR HARDWOOD FLOORS. - -First see that the floor is clean and smooth; then give it a coat -of best oil, with japan sufficient to make it dry; cut the japan in -turps. Then put on a good mineral paste, filler in the usual way -by rubbing the filler well into the wood; then clean off all the -surplus. When dry, sandpaper and putty up well with colored, hard -putty, and put on a coat of shellac; if too glossy, rub down with -powdered pumice and oil. Be careful to have the putty match the -floor. - - -WHITEWASH FOR OUTSIDE WORK. - -Take one-half pound of fresh burnt lime. Dip it in water and let -it slack in the open air. Melt two ounces of bagundy pitch by -gentle heat, in six ounces of linseed oil; then add two quarts of -skim milk while the lime is hot, add the mixture of pitch and oil, -a little at a time while hot, and stir it in; then add three pounds -of bolted whiting and stir. Add more milk if too thick for the -brush. - - -THE STRAINER. - -Don’t forget to use the strainer. After you have put in your best -licks to clean up and sandpaper a job, it is the height of folly to -daub it up with paint full of skins and specks. Oil paint is liable -to be “skinny” in the keg. Miller’s bolting cloth makes a good -strainer, and common cheese cloth at five cents a yard does very -well for ordinary purposes. - - -TO KILL GREASE SPOTS ON WOOD. - -Use a wash of saltpeter or a thin lime wash, then rinse with clear -water. Treat blacksmith’s smoke in the same way. - - -KALSOMINE. - -To please an old friend I give the following recipe for kalsomine. -_He says it is good._ I never used it, so you will have to take his -word for it. - -Fifteen pounds good paris white, mixed up in lukewarm water, add -one-fourth pound good glue, dissolved in the usual way, strain -through a fine sieve, then dissolve one-fourth pound white hard -soap in hot water and one-half pound of alum in cold water and mix. -Add water to give the right consistency for putting it on the wall. - - -TO TAKE OFF THE PAINT. - -If you have an old, roughly painted door to cut down for a fine -job, don’t fool away your time, and fill your nose with dust, -trying to do it with dry sandpaper, but take the door off its -hinges, lay it flat on horses, and keep the surface under your -sandpaper wet with benzine, and you can do in an hour what would -otherwise take half a day. The benzine softens the paint, and keeps -the paper from gumming up. If it is not practicable to take the -door off the hinges, put your benzine in a small spring-bottomed -oil can and squirt it on the work as needed to keep the paper -clear of paint and make it cut fast. Wipe off the loose paint with -rags. It works equally well on old varnish. Try it once on an old -carriage body. - -If the old paint is extra hard use a mixture in equal parts of -benzine and ammonia. - - -CLEANING SILVER, BRASS OR COPPER. - -In the course of our work we often meet with tarnished metal -ornaments, which must be cleaned to make our work look well. - -This preparation is a good one: - - Paris white (fine) 1 pound - Carb. magnesia 2 drams - Cyanuret potash 7 drams - Sulph. ether 3 drams - Crocus martis 1 dram - Soft water 1½ ounces - or sufficient to make a stiff paste. - -Mix by rubbing, add the paris white last, then stir into the water. -Apply with a rag or sponge, and rub dry and polish with a rag or -canton flannel. - - -WHY DO WALL PAPERS CRACK? - -Some papers are more inclined to crack than others, because they -are made of more brittle material. When selecting a paper for a -whitewashed wall or ceiling, take a pattern which feels soft and -pliable. Papers which crackle or rattle when crumpled in the hand -are liable to crack. Papers which stretch or expand the most when -wet are the most apt to crack; because when they dry and shrink -the pull is so great that the fibers give away, if great care is -not taken in putting it on. Cracking may be the fault of the paper -hanger. He may use his paste too thick, or too thin, or put on too -much or too little. Paste should be put on even and of the proper -consistency and thickness to cement the paper to the walls. Paper -is more liable to crack on rough and uneven walls. On a smooth -wall, if properly put on, it becomes, as it dries, so fastened to -the plaster that it cannot contract enough to break the fibers, but -on a rough and uneven wall there are apt to be loose places where -the air gets in, and the contraction of the paper so weakens the -fibers that it cracks. - -Now, if the paper hanger will be careful to secure the paper -uniformly by using sufficient paste on rough places to hold the -paper, and be careful to brush or pound the paper down firmly, he -will greatly reduce the chances of cracking. A roller can not be -depended upon for a rough wall. Too much or not enough sizing on a -wall may be a cause of cracking. Hot paste, which thickens as it -cools, is not safe to use on such walls, because it may appear just -right when hot but will be too thick when cool and cause the paper -to crack. - - -OIL SIZE FOR WHITEWASH. - -Oil size is good to use on a whitewashed ceiling before papering -if you don’t overdo it. A friend of mine thought, if a little was -good, a great deal would be better; so he gave his ceiling two -flowing coats of clear oil, and when dry put on his paper, but it -did not stay. Why? Because he put on so much oil that he made a -glossy surface _and the gloss could not hold the paste_. An oil -size on whitewash is all right if used right. It is a mistake to -use clear oil; 1 pint of oil, 1 pint japan and 1 quart turpentine -is better, because it will penetrate further, dry faster, flat the -surface, and have sufficient binding power to hold the whitewash -from coming off. Don’t size a wall with paste. Paste and whitewash -don’t go well together. The fact that you have to size your wall to -make paper stick proves this. - -Oil size should dry hard before the paper is put on. - -I find glutol, manufactured by the Arabol Manufacturing Co., No. -13 Gold street, New York, a first-class substitute for glue in wall -size and kalsomine, and prefer it to glue, because it will not -attract flies, nor spoil by standing in hot weather, and can be -mixed in cold water. - - -TO CLEAN BRICK. - -The white powder which comes on brick can be removed by sponging -with a mixture of muriatic acid and water, equal parts. Wash the -brick in clear water and let them become well dried before painting. - - -TO CLEAN TARNISHED ZINC. - -Mix 1 part sulphuric acid with 12 parts water and rub the zinc with -it with a rag, then rinse with clear water. - - -TO GILD ON WOOD. - -First get a good body and a smooth surface. The work should be flat -with three coats at least on wood, and not less than two on iron -or tin. The best size for outside work is oil gold size (fat oil), -mixed with a little medium chrome yellow toned down with white -lead; put in a very little japan gold size, and thin to workable -consistency with turps; let it stand until tacky. It must be hard -enough to prevent rubbing up or sweating. The method with the tip, -gold knife and cushion requires considerable dexterity as well as -practice to do good and rapid work. The tip, or lifter, is only -a few camel hairs glued between two pieces of paste board, or -other material. The knife is a long narrow flexible blade, and -the cushion is made on a block, 6 by 8 inches, first covered with -a thickness or two of woolen cloth, and finished by stretching -a piece of chamois skin over it. Hold the gold book in the left -hand, and turn back a leaf of the book, leaving the gold exposed -on the next leaf; press the leaf of gold against the cushion and -it will remain. Then straighten out wrinkles by a slight puff of -the breath from above, cut the leaf into the required size with the -gold-knife, and lift the leaf to its place with the tip. The tip -will lift the gold better if occasionally drawn over the hair of -your head. - -Another way to prepare the leaf: Cut the book through at the -binding with a sharp knife, which will leave all the leaves free -and separate. Now take up the top paper or cover, which will leave -the gold leaf on the book; lay the paper on a board and rub it over -with a piece of wax, paraffine candle, or a piece of hard soap; -either will do. Place the waxed side on to the gold, and smooth the -paper down gently; repeat until you have as many leaves prepared as -you need. Then, with good sharp shears cut them in such shape and -size as will best cover your work, and not waste the gold. Lay the -pieces on your board, gold side up. When ready, lay the pieces on -the work, rub down with the fingers, or a ball of cotton, take off -the paper and the gold will stay on the size. In this way the gold -adheres quite firmly to the waxed paper, and the size must have a -strong tack to take the gold off the paper. Experts lay the leaf -directly from the book, and you had best learn to do it that way -for general work, if you spoil half a dozen books while catching on -to the knack of it. Try it this way: Now, here is a stripe half an -inch wide, and the size is ready for the gold. Now hold the book -flat in your left hand with your thumb on top, hold the top paper -firm with your thumb. (If you let it slip, the leaf under it will -be spoiled.) If the stripe is one-half inch wide, turn back enough -of the paper to ex-pose three-fourths of an inch of the gold leaf, -crease the turned back cover down with the fingers of the right -hand, and hold it with the thumb on the back. Now cut the leaf with -the finger-nail, first rubbing it dry on your pants; then turn -the book carefully and quickly over on to the stripe, and press -the gold down gently by pressing the book. Then turn down more of -the paper, and repeat until that leaf is gone; then take another -and so on. If the book gets too limber towards the last to handle -well, have a square of cardboard to lay under the book next to the -hand; you will find this is a help even with a full book. You will, -perhaps, waste more gold in this way than by the transfer method, -but you will more than make it up in time, if you become expert. - -1st. Be sure of a good foundation. - -2d. Have your gold size right, and study to know when the tackiness -is just right. If your surface is not perfectly free from -tackiness, pounce with a bag of gilder’s whiting before putting on -the size, to keep the gold from sticking outside of the size. - -When you lay the leaf from the book and cut the leaf with your -finger nail, turn the ball of the finger toward you and the nail -towards the gold, and run the nail close to the edge of the turned -paper; then, if the nail is not too long, the end of the finger -will hold down the paper while the nail cuts the leaf. - -To prepare paper for the transfer method I rub the paper on my -hair, then lay it on the gold leaf, gently rub it with my finger -tips, and the leaf adheres to the paper. - -It can then be cut with shears in any desired shape to cover the -work. - -Some gold leaf is now packed in paper so prepared that the leaf -will adhere to one side of it and can be taken up in that way. - -Some gilders take up the leaf by wetting the paper on the back with -turpentine to make the leaf adhere to the other side, when it can -be cut to the required shape with shears. This is done instead of -waxing the paper. - - -STIR YOUR PAINT. - -It isn’t always your material that makes a bad job, but it seems an -easy matter to make even the best of paint the scapegoat for bad -work. The heedless workman who primes a plastered wall without -sweeping down the loose sand, or is careless about taking the -sand and dust from the tops of casings and the floors, will, if -he stops to examine, find some in the brush and some of it in his -paint pot; and then, to cover up his carelessness, he can lay the -blame on the paint. The careful painter will, when using heavy -pigments, carry a paddle, and not neglect to use it. To prevent -white lead and other heavy pigments from settling in the pot the -paint must be well mixed, and kept mixed by stirring with a paddle -as often and as much as may be necessary to _keep_ the oil or other -vehicle, and the pigment well incorporated. No one out a novice, -or a careless painter will permit a sediment to accumulate in the -bottom of his pot; no matter whether the pigment is coarse or -fine; or whether the vehicle used is linseed oil, turpentine or -benzine. The painter who goes to work without a stirring paddle in -his pot will be liable to do uneven work, and find more or less -sediment in the bottom of his paint pot at quitting time, because -there is no white lead made which does not contain more or less -particles sufficiently heavy to _commence settling_ the minute -the paddle stops, and go to the bottom of a pot of flating, as -ordinarily mixed, inside of thirty minutes, and other particles -of smaller size will follow later. If the pigment is mixed with -oil the process of settling is slower, but no less sure to take -place, and continue, if undisturbed, until clear oil stands on -top of the pigment. Don’t try to use your brush for a paddle; it -isn’t a good tool to stir paint from the bottom. Paint made of -heavy pigment must be frequently stirred with a paddle to keep it -of uniform consistency, but this operation is too often neglected. -For instance, a man starts out with a full pot in the morning and -neglects to stir his paint as he works, hence the heavier particles -commence to settle and soon get below the dip of the brush, and by -continual settling keep out of the reach of it until they reach the -bottom. When the paint is nearly all out, and the sediment at the -bottom don’t work well, he refills his pot, leaving in the coarse -pigment. At night the boss finds an inch or less of coarse paint in -the bottom of the pot, and without further inquiry complains that -the lead is sandy. - -Another instance: The paint for a job stands mixed over night; the -painters fill their pots from time to time during the day, but -never stir the paint from the bottom, hence the last pot or two -filled will have all the coarse pigment of the batch. There are -cases, I admit (too many of them), where not only white lead, but -dry colors and colors in oil, are too coarse to work well, but the -best white lead and heavy colored pigments in oil or turpentine are -liable to be called sandy unless frequently stirred by the painter. - - -TO MAKE CHERRY STAIN. - -Take annotto, 4 ounces, and clear rain water, 3 quarts. Boil in a -brass or copper kettle, new tin or galvanized iron will do, until -the color of the annotto is imparted to the water; then add ⅛ ounce -potash, and keep the mixture hot for 30 minutes; then, as soon as -cool enough to handle, it is ready for use. Now, have the work free -from dust, and spread on your stain with a brush or sponge and rub -it well into the wood. - -When the work is dry, rub lightly with fine sandpaper, because the -water stain will raise the grain unless the wood has been filled. - -You can suit the taste of the owner as to depth of color by -repeating the operation, or by making the stain weaker or stronger, -as the case may require. - - -VARNISH STAINS. - -These often come very handy to the painter, not only in toning up -new wood, but in renewing the freshness of old work. - - -MAHOGANY VARNISH STAIN. - -Spirits 1 gallon, gum sandarac 1 pound, shellac ½ pound, venice -turpentine 2 ounces, dragon’s blood 4 ounces. - - -WALNUT VARNISH STAIN. - -Shellac 1½ pounds, spirit 1 gallon, Bismarck brown 1 ounce, -nigrosine ½ ounce. You can, by varying the proportions of the two -colors, make the shade as you like it. - -(Spirit in this connection means either wood or grain alcohol.) - - -MAHOGANY VARNISH STAIN. - -Spirits 1 gallon, shellac 1½ pounds, Bismarck brown R ½ ounce, -nigrosine 30 grains. More nigrosine will make the stain darker. If -this is too thick to work well, thin with spirits. - - -TO MAKE NEW OAK LOOK OLD. - -Sponge it with a strong hot solution of common soda in water. This -will raise the grain, hence it will require cutting down with -sandpaper. - - -DARK STAIN FOR OAK. - -Make a solution of bi-chromate of potash, 1½ ounces to 2 quarts -soft water. Lay on the solution with a good clean sponge and keep -the wood wet with the solution until it is dark enough to please -you. Then wash off the potash with clean soft water. - - -ANOTHER. - -Apply with a brush, strong aqua ammonia until you get the desired -shade. - - -RED SAUNDERS STAIN. - -Fill a bottle ⅓ full of red saunders, then fill the bottle with -either wood or grain alcohol. The more red saunders you put in, -the stronger will be the stain; you can dilute it for the lighter -shades. The longer it stands, the more color will be extracted. -Always strain through muslin before using. - -Red saunders makes a good cherry stain. When used on the bare wood -it requires no binder, but when used over filled or oiled wood, put -in one-fourth as much shellac varnish as you have stain, to act -as a binder for it. If you want it to act as a filler as well as -a stain, for pine or other close-grained wood, add 1½ pounds corn -starch, to each gallon of the mixture of stain and shellac. Try a -little and if it rubs up when dry, add more shellac. - -You can mix red saunders stain with asphaltum varnish, to make -black walnut and mahogany stains, using more or less of either to -give the desired shade by using turpentine to make them mix. The -asphaltum acts as a binder in place of the shellac. - -The practical painter can get the shades he wants by experimenting -on this line. - - -TO CHANGE THE COLOR OF WALNUT TO DARK MAHOGANY. - -First give it a coat of very thin asphaltum varnish, then, when -dry, give it a coat of red saunders and shellac. - -You can mix the red saunders and asphaltum stain with any -turpentine varnish, or with spirit varnish, if you use turpentine -to make them mix. - -Burnt umber and burnt sienna in oil or varnish make a walnut -stain. Use but little of the pigments in proportion to the oil. Too -much pigment gives the work a muddy color. - - -NATURAL WOOD FINISHING. - -Clean up all soiled places on the wood. To be sure of a good job on -open grained wood use a Bliss Rock Wood Filler. If you use a ready -made filler, thin as per directions on the can. Whatever filler -you use, put it on with a good brush. As soon as the filler begins -to set, or show flat, commence to rub it into the grain with a pad -made by gluing a piece of harness leather onto a block; always when -practicable rub across the grain of the wood. For round work have -a long piece of leather to draw back and forth around the work. -Remember the main thing at this stage is to get as much of the -filler as possible rubbed into the wood. - -Another important point is to take off the surplus filler before -it becomes too hard to wipe off, and another point is to wipe off -the surplus filler and leave the pores of the wood level full. -Hence, it is important that the filler does not dry too fast, that -the painter puts on no more filler at a time than he can handle -before it dries, and that in wiping off the surplus filler he works -his rags across the grain. Some very open grained wood requires a -second application of filler to make a good job, or at least to be -looked over and touched up. The filler should have at least two -days to dry. When dry go over it lightly with fine sandpaper to -take off all particles of filler left on the surface. - -Walnut, mahogany, chestnut, oak, ash and butternut may be classed -as open grained woods, which need to be well filled with paste -filler colored to match the color of the wood. When the filler -is dry put on a coat or two of white shellac and rub down smooth -with No. 1 sandpaper, and follow with two or more coats of hard -oil or varnish, as you like; give each coat plenty of time to dry -and rub each coat with curled hair or hair cloth, except the last -coat. If you want an egg shell or half gloss, rub the last coat -with pulverized pumice stone and raw linseed oil. If you want a -dead finish rub down with pulverized pumice stone and water instead -of oil. If you want a polish, first rub with the pumice stone and -water; then with rotten stone and water, and polish with rotten -stone and oil, or furniture polish and rotten stone. If you want -a gloss finish, flow on the last coat and omit rubbing. Treat the -close-grained woods as above stated, with the exception of the -filler. The shellac also may be omitted, but it will take at least -one more coat of hard oil or varnish for the job. - -Cherry, sycamore, maple, birch, gumwood, redwood, cypress, pine, -whitewood, poplar and hemlock are all close-grained woods, and need -no paste filler. Pine especially should have a coat of shellac to -keep back the pitch. - -For an extra fine job of gloss finish, rub next to the last coat -with pumice stone and water, flow on a coat of good varnish, and -leave it in the gloss. In this case great care is required in -cleaning the work to keep it from showing specks. - -It stands the beginner in hand to be careful and not use his -shellac too heavy to work well; shellac has good body and an -apparently very thin coat will be a good heavy one. - -To do a fine job the room and work must be clean, the clothing free -from dust, and the work, brushes and varnish free from specks. If -specks show on your gloss coat call a halt, and find where they -come from. - -Soft cotton rags are the best material for wiping off surplus -filler. - -A felt pad of convenient size to handle is the best for rubbing -work. Get one at the furniture shop. For a cheap job omit the water -rubbing, and rub with pumice stone and raw oil. - - -TO MAKE BLEACHED OR WHITE SHELLAC VARNISH. - -Take powdered white shellac 1½ pounds, best grain alcohol 1 gallon. -Add the gum to the alcohol, set it in a warm place and shake your -jug or bottle occasionally. Don’t put it in tin or iron; either of -them will discolor it. You can hasten the process by setting your -jug in a sand or water bath, and gently heating it; or set it by -the stove, or in the sunshine. - -To make the common orange shellac of commerce, dissolve 1½ pounds -orange shellac in 1 gallon methylated spirit or grain alcohol. -This will dry in ten or fifteen minutes, and makes a hard lustrous -varnish when dry, and stands the weather better than most gum -varnishes. It makes a turbid liquid of orange brown hue and dries -rather a pale brown. For use on dark wood this is equal to the -white shellac, if not superior. - - -TO COLOR PUTTY. - -There is no use in trying to color common putty to match the color -of natural wood. The whiting in it will not take clear tints. Use -lead putty, which you can tint with raw sienna for pine, yellow -ochre for oak, burnt umber and burnt sienna for walnut, and burnt -sienna for mahogany. Better have the putty too light than too dark. - - -SPOTS ON PAINT. - -Poor lumber and thin painting are often the cause of spots on -paint, especially on two-coat work. On cross-grained and other -extra-porous places more of the oil sinks into the wood than on the -general surface, and the result is flat places in the paint, which -fade sooner than the glossy paint; hence, the work looks spotted. - -To provide against this kind of spotting use more care in priming -and see that all extra-porous places are well filled with the prime -coat, or touch them up before the second coat goes on. A little -extra work with the brush when putting on the prime will save -trouble. - -Another cause may be traced to the practice of putting on a coarse -dark priming coat, which will show through in places where the -paint is thinnest. - -Mildew, or fungus growth, is another cause. This sometimes comes -from the use of too much japan, _poor or fat oil_, or when the -paint dries tacky or soft. - -Adulteration of linseed oil with mineral and other non-drying oils, -has a tendency to make paint dry soft. Linseed oil, kept for a few -days in an old sour tank or in an old rancid can in the paint shop, -is liable to cause fermentation to take place, which may result in -mildew in damp weather in shaded places. - -When an oil can smells sour, or there is a deposit of foots at the -bottom, it is unfit to keep oil in. - -Another cause of spotting may be found in insufficient and improper -brushing or spreading the paint; especially the priming, which -requires as much care in putting on as any other coat on the job. - -For instance, here is a job which shows “laps.” Now, if this prime -is right when it is put on single, it is wrong when it is put on -double, because, where the laps are, the work has at least one more -coat than the balance of the job, hence the paint is liable to -fade spotted. - - -PORCELAIN FINISH.--CHINA GLOSS.--GLOSS FINISH. - -All different names for about the same thing. To make a fine job: -If the work is new, see that it is smooth, free from dust and -stains. Then give it a coat of priming, put on thin, so as not to -show brush marks, and rub down with No. 0 sandpaper. Next, get a -good body with keg lead, mixed in turpentine and a very little -linseed oil; put on thin coats, so as not to show brush marks; -use a fitch brush, or at least a _fine_ bristle chiseled brush. -When dry, rub down with sandpaper and flow on a coat of thin white -shellac. This is to keep back the oil in the lead coats, and -prevent chemical action between the lead and zinc coats. Next, put -on two or more coats of French zinc ground in damar varnish; enough -at least, to get a clear white. Thin with turps and a little damar -varnish, and put on thin enough to show no laps or brush marks. - -Then put on a coat or two of French zinc ground in damar varnish, -thinned with 1 part damar varnish and 2 parts turpentine. Next -put on a coat of damar varnish mixed with a little zinc ground in -damar, just enough to make the varnish white. Flow on a coat, and -be careful that it does not run on your work. To avoid runs always -commence at the top of a panel with a full brush and work down so -as not to have a surplus in the lower corners of the panels; this -applies to all parts of the work. It is quite a knack to put on a -full coat of this varnish and zinc, and not have it run. - -In all cases put on enough zinc coats to make a clear white before -you put on the varnish. The small quantity of zinc is put in the -varnish to take off the yellow tinge, and to keep it from turning -yellow. Use lead putty. See recipes to make it on another page. - - -ANOTHER WAY. - -Very hard and white, for parlors.--To prepare the wood for -the finish, if it be pine, give one or two coats of the -“Varnish--Transparent for wood,” which prevents the pitch from -oozing out, causing the finish to turn yellow; next, give the -room, at least, four coats of pure zinc, which may be ground in -only sufficient oil to enable it to grind properly; then mix to a -proper consistency with turpentine or naphtha. Give each coat time -to dry. When it is dry and hard, sandpaper it to a perfectly smooth -surface, when it is ready to receive the finish, which consists of -two coats of French zinc ground in, and thinned with damar varnish, -until it works properly under the brush. - - -LEAD POISONING--HOW TO AVOID IT. - -White lead may enter the human system in three ways, to-wit: -Through the stomach, the lungs and the skin. In other words, it -may be eaten, inhaled or absorbed, hence the stomach, lungs and -skin should each be carefully guarded against it. To guard the -stomach, through which you are in the most danger of taking in the -poison, make it a rule to keep the mouth closed as much as possible -when using white lead, and _especially when sandpapering_. Make -it a rule to never eat or drink without first carefully cleansing -your lips, and carefully removing the paint from your hands before -eating. Tobacco chewers, who carry tobacco in their pockets, are in -especial danger of lead poison, if working in paint, because the -tobacco becomes more or less poisoned with lead from the fingers, -if the painter is not careful to clean his hands before taking a -chew. There is no great danger from inhaling white lead, except -when sandpapering, or when dusting after sandpapering. - -It is a pretty good thing to carefully guard the nose with a damp -sponge while sandpapering, and to carefully free the nostrils -from lead. There is no danger of poisoning by absorption through -the skin, unless the painter is careless. When T see some men at -work, I wonder how they can possibly escape lead poisoning. Their -clothing glazed with oil paint, their hands daubed to the wrist by -grasping the brush by the head, instead of by the handle; or by -general carelessness in mixing and handling paints. - - -SYMPTOMS OF LEAD POISON. - -Tired feeling, wakefulness at night, neuralgic pains, “shaky” -hands, constipated bowels, bad taste in the mouth, and pain in the -bowels, a blue edge on the gums, and a coated tongue. If you get -the colic, see a doctor; for the other symptoms, get away from -paint for a while if possible, and take the following: Iodide of -potash, ½ oz.; syrup sarsaparilla, 8 oz. Dose:--Teaspoonful three -or four times a day in half a cup of milk. Eat graham mush and -drink milk. - - -TO FINISH FURNITURE AND OTHER WORK IN SIXTEENTH CENTURY OAK. - -First fill the wood with any good filler. Fill it well, then take -Vandyke brown 3 parts, and burnt sienna 1 part, and mix to a stiff -paste with boiled oil and japan, and thin with turpentine, until -you can brush it on the wood, and not have it look dauby or muddy. -Give the work a light coat, and brush it out well and carefully. -Too much pigment will make your work too dark. Wherever you want -the light or worn spots to appear, wipe off the stain with a cloth, -and with a badger blender carefully blend the stain into the edges -of the worn or light spots. Don’t stain too much at once, for fear -your stain may set so you cannot wipe out and blend. When the stain -is dry, sandpaper lightly with No. 0 paper. Finish with two coats -rubbing varnish, or with hard oil finish. Polish with rotten stone -and raw oil. - - -A SUPERIOR GLUE (WATERPROOF). - -A very superior article may be made by dissolving 3 parts of india -rubber in 30 parts of naphtha; heat and agitation will be required -to effect the solution; when the rubber is completely dissolved, -add 64 parts of finely powdered shellac, which must also be heated -in the above mixture until all is dissolved. This mixture may be -produced in sheets like glue by pouring it while hot upon plates -of metal, where it will harden. When required for use, it may -simply be heated in a pot till soft. Two pieces of wood or leather, -joined together with this glue, can scarcely be sundered without a -fracture of the parts. - - -A VALUABLE CEMENT. - -We find the following recipe good: The compound of glycerin, -oxide of lead, and red lead, for mending cast-iron that has been -fractured with the happiest results. It takes some little time to -dry, but turns almost as hard as stone, and is fire and waterproof. -For mending cracks in stone or cast-iron ware, where iron filling -cannot be had, we think it is invaluable. Take litharge and red -lead, equal parts, mix thoroughly and make into a paste with -concentrated glycerin to the consistency of soft putty, fill the -crack and smear a thin layer on both sides of the casting so as -to completely cover the fracture. This layer can be rubbed off, if -necessary, when nearly dry, by an old knife or chisel. - - -LINSEED OIL AND IRON RUST. - -The oleaginous principle of linseed oil is said to be in the nature -of neutral salts called linolein, consisting of linoleic acid -combined with a glycerine base. Linolein is said by some writers to -constitute three-fourths of the volume of linseed oil, and that the -drying properties of the oil reside in the acid principle of the -linolein; that is, linoleic acid has the property of attracting and -combining with oxygen to form the substance known as dry linseed -oil. This acid is said to be a compound of several different acid -principles, combined in definite proportions. Writers seem to -disagree as to what the acids are, and in what respect they differ -from the acid properties of the non-drying fixed oils, but that is -a question which need not be discussed here. The glycerine base of -linolein seems to be common to all fixed oils, and is set down as -an oxide consisting of one equivalent of water and five of oxygen; -hence the affinity between the linoleic acid and its glycerine base. - -Linoleic acid, like other acids, has an affinity for alkalies and -the ordinary metallic oxides. It unites with them, forming _neutral -compounds_. This affinity is said to be electrical; the alkalies -and oxides electro-positive, and the acid electro-negative. The -greater the contrast in this respect, the stronger the affinity; -hence, some acids separate others from their bases and form new -salts by precipitation. As an instance: - -Drop sulphuric acid into a solution of acetate of lead. It will -displace the acetic acid, form sulphate of lead and precipitate, -leaving the liberated acetic acid in solution. In linolein, this -acid is so constituted that the affinity, or attraction between -it and its glycerine base, is too feeble to resist and keep back -the oxygen of the air; hence, when linseed oil is exposed to the -air in a thin layer, oxygen unites with its linoleic acid, and -this process continues until the oil becomes dry to the touch. -Beyond this point the process is slower, because the oil is now -less penetrable; but the process goes on until the layer of oil -becomes hard and brittle, no matter with what pigment it may be -mixed, although the pigment may for a time retard the action of the -destroying elements. - -Linseed oil dries too slowly for general use by the painter, hence -various ways have been devised to hasten the drying process. If -the foregoing theory is correct, the process which will cause the -oil to dry to a good wearing body in the time desired, and leave -it in the best condition to resist the action of the elements and -the absorption of oxygen, is the best. I regard the lead oxides -as the best dryers for this purpose--at least according to my -experience. When we add an oxide to linseed oil as a dryer in the -small quantity which experience has taught us is best to use, it is -evident that it is not sufficient in itself to oxidize the whole of -the oil to an appreciable extent. Writers differ as to the peculiar -action of the oxides upon the oil, but I think it safe to say -that the dryer sets up some chemical reaction which increases the -affinity between the linolein and the oxygen of the atmosphere; at -any rate, there is no dispute upon the point that linseed oil in -drying absorbs a large per cent. of oxygen. - -A knowledge of this unanimously conceded point led me to believe -that a coat of pure linseed oil might make the best possible -priming coat for iron work which had commenced to rust. Why? -Because iron rust is an oxide of iron, having an excess of oxygen. -Spread on rusty iron, it penetrates the rust, absorbs its excess -of oxygen and dries with the remaining neutral oxide held fast in -its body. This is my theory; whether correct or not, numerous tests -have proved to me that a coat of linseed oil will stop the rusting -of iron if applied under proper conditions. When rust is _thick or -scaling_ there is no safety short of taking it off. Iron rust is -more or less hydrated; to free it from moisture, give it the flame -of the gasoline paint burner. - - -WHITE ENAMEL (SELECTED). - -First, the wood is primed with a composition consisting of three -parts of turpentine and one part of oil, japan gold size being used -as a dryer. On this drying thoroughly the work is rubbed down until -perfectly smooth. Next are applied two or three coats of pure white -lead mixed entirely flat; each coat is rubbed down, time being -allowed for it to dry. Equal parts of lead and zinc are used for -the next coat, and three-fourths zinc and one-fourth lead for the -one succeeding. After this has become thoroughly hard it is rubbed -down very smooth. A thin coat of color made of zinc and turpentine -is now rubbed on; for the next coat the same flat color is used, -with the addition of about one-half the quantity of good light -coach varnish. For the last coat enough zinc is used in the varnish -to make it white if the last coat of zinc is not white and solid -before varnishing. If the work is to be gilded or striped the zinc -must be left out of the last coat of varnish. - - -VARNISH TO IMITATE GROUND GLASS. - -An expert has sent the following to the _British Journal of -Photography_: To make a varnish to imitate ground glass, dissolve -90 grains sandrac and 20 grains of mastic in 2 ounces of washed -methylated ether, and add, in small quantities, a sufficiency of -benzine to make it dry with a suitable grain--too little making the -varnish too transparent, and excess making it crapy. The quantity -of benzine required depends upon its quality--from half an ounce -to an ounce and a half, or even more; but the best results are got -with a medium quality. It is important to use washed ether, free -from spirit. - - -VARNISH FOR RUSTIC WORK. - -One quart of boiled linseed oil and two ounces of asphaltum, to -be boiled on a slow fire until the asphaltum is dissolved, being -kept stirred to prevent its boiling over. This gives a fine dark -color, is not sticky, and looks well for a year; or, first wash -the article with soap and water, and when dry, on a sunny day do -it over with common boiled linseed oil; leave that to dry a day or -two, then varnish it over once or twice with hard varnish. If well -done this will last for years and prevent annoyance from insects. - - -TO CLEAN VERY DIRTY BRASS. - -Rub some bi-chromate of potassa fine, pour over it about twice its -bulk of sulphuric acid, and mix this with an equal quantity of -water. The dirtiest brass is cleaned in a trice. Wash right off in -plenty of water, wipe it and rub perfectly dry, and polish with -powdered rotten stone. - - -TO COUNTERFEIT TORTOISE SHELL VERY FINELY. - -In order to do this well, your foundation or ground-work must be -perfectly smooth and white, or nearly so, you then gild it with -silver leaf with slow size, so as to have it perfectly smooth with -no ragged edges, cleaning the loose leaf off. Then grind cologne -earth very fine, and mix it with gum water, common size; and with -this, you having added more gum water than it was ground with, spot -or cloud the ground-work, having a fine shell to imitate; and when -this is done, you will perceive several reds, lighter and darker, -appear on the edges of the black, and many times lie in streaks on -the transparent part of the shell. To imitate this finely, grind -dragon’s blood with gum water, and with a fine pencil draw those -warm reds, flushing it in about the dark places more thickly, -but fainter and fainter and thinner, with less color towards the -lighter parts, so sweetening it that it may in a manner lose the -red, being sunk in the silver or more transparent parts. When it is -dry, give it a coat of varnish, let it stand for a few days, then -rub it down with pumice stone and water. Then grind gamboge very -fine, and mix with varnish, giving of this as many coats as will -cause the silver to have a golden color, then finish with a clean -coat of varnish. - - -PRICE LIST. - -The prices of labor, and cost of material vary so much in different -localities that it seems impossible to make a reliable price list -for general work. The position, condition, and shape of different -jobs all go towards making a general price list, an unreliable -guide; also the quality of work demanded may make 50 per cent. -difference in price. I have half a dozen printed price lists before -me, and they generally agree to about the following prices for -painting and glazing, to-wit: - - _Per Yard._ - 1 coat on new work 8 to 10 cents - 1 coat on old work 10 to 18 cents - 2 coats on new work 18 to 20 cents - 2 coats on old work 20 to 25 cents - 3 coats on new work 25 to 28 cents - Brick walls, 2 coats 20 to 30 cents - Penciling 10 to 15 cents - - -PRIMING AND GLAZING SASH. - - _Per Light._ - 10 × 14 and under 5 to 6 cents - 12 × 16 7 to 9 cents - 14 × 24 10 to 12 cents - 18 × 24 15 to 18 cents - 24 × 30 20 to 25 cents - 30 × 40 35 to 50 cents - -For old work where the old putty is in the sash, multiply the above -figures by 3 or 4. When called out to the house to set a light or -two charge for time and material. Most work of this kind is done at -least 30 per cent. below the above prices. - -I quote below a price list for sign painters, from a very complete -report on painters’ prices and measurements, generally, by one of -the ablest of local associations of master painters and decorators: - - -JAPANNED TIN SIGNS. - - _Gold._ _Plain._ - 3 × 14 inches $1.25 $ .75 - 6 × 8 inches 1.50 .75 - 8 × 10 inches 1.75 1.00 - 10 × 14 inches 2.50 1.50 - 11 × 17 inches 3.00 2.00 - 11 × 17 inches, 3 lines 3.50 2.55 - 14 × 20 inches 4.00 2.50 - 14 × 20 inches, 3 lines 4.50 3.00 - 18 × 24 inches 6.00 3.50 - 18 × 24 inches, 3 lines 7.00 4.00 - Frames additional. - - -GLASS SIGNS ON WINDOWS AND DOORS. - - _In Silver or Gold_ _Per Foot._ - Letters up to 6 inches in height $ .75 - Letters 6 to 10 inches in height 1.00 - Letters 10 to 14 inches in height 1.50 - - Shaded, one color, 25 per cent. extra. - - -DRUM SIGNS. - - _Gold._ _Plain._ - 10 × 14 inches $ 3.50 $ 2.50 - 11 × 17 inches 4.00 3.00 - 14 × 20 inches 5.00 3.50 - 18 × 24 inches 7.00 5.00 - 20 × 24 inches 8.50 6.50 - 24 × 30 inches 10.00 7.00 - 30 × 30 inches 12.00 8.50 - 30 × 48 inches 15.00 10.00 - - The above include moulding and urns and putting up. - - Drilling holes in iron extra. - - -MUSLIN SIGNS. - - _Per Foot._ - Up to 1 foot high, black 8 cents - 1 to 2 feet, black 10 cents - 2 to 3 feet, black 12 cents - Colored one-half extra. - Muslin furnished. - Frames extra. - - -OIL CLOTH SIGNS. - - _Per Foot._ - Up to 1 foot 20 cents - 1 to 2 feet 25 cents - 2 to 3 feet 30 cents - Oil cloth furnished. - Frames extra. - - -BOARD SIGNS. - - Including three coats of paint and lettering. - _Gold._ _Plain._ - 6 inches × 4 feet $ 4.00 $ 2.50 - 8 inches × 6 feet 5.00 3.50 - 10 inches × 8 feet 6.00 4.00 - 1 foot × 12 feet 7.50 5.00 - 1 foot × 15 feet 8.50 5.00 - 14 inches × 16 feet 8.50 5.00 - 14 inches × 18 feet 9.00 6.00 - 14 inches × 20 feet 9.50 6.00 - 16 inches × 16 feet 9.50 6.00 - 16 inches × 18 feet 10.00 6.00 - 18 inches × 18 feet 10.00 6.00 - 18 inches × 20 feet 12.00 7.00 - 18 inches × 24 feet 15.00 7.00 - 18 inches × 30 feet 18.00 8.00 - Board extra. - Irons and putting up extra. - Shading, 25 per cent. additional, one color. - - -WALL SIGNS. - -Two coats of paint and lettering. Extra coat, 1 cent per square -foot additional. - - 2 × 16 feet $ 6.00 - 2 × 20 feet 7.00 - 2 × 24 feet 8.00 - 2 × 30 feet 10.50 - 3 × 16 feet 8.00 - 3 × 20 feet 10.00 - 3 × 24 feet 12.00 - 3 × 30 feet 14.00 - 4 × 16 feet 9.00 - 4 × 20 feet 12.00 - 4 × 24 feet 13.00 - 4 × 30 feet 15.00 - 6 × 16 feet 12.00 - 6 × 20 feet 14.00 - 6 × 24 feet 16.00 - 6 × 30 feet 18.00 - 8 × 16 feet 14.00 - 8 × 20 feet 16.00 - 8 × 24 feet 18.00 - 8 × 30 feet 20.00 - 10 × 12 feet 10.00 - 10 × 16 feet 13.00 - 10 × 20 feet 16.00 - 10 × 24 feet 19.00 - 10 × 30 feet 22.00 - 12 × 16 feet 14.00 - 12 × 20 feet 18.00 - 12 × 24 feet 20.00 - 12 × 30 feet 25.00 - 14 × 20 feet 20.00 - 14 × 24 feet 24.00 - 14 × 30 feet 28.00 - 16 × 24 feet 26.00 - 16 × 30 feet 39.00 - 20 × 24 feet 30.00 - 20 × 30 feet 35.00 - 20 × 40 feet 40.00 - 21 × 30 feet 37.00 - 24 × 36 feet 42.00 - 24 × 40 feet 48.00 - 30 × 40 feet 60.00 - 30 × 50 feet 70.00 - 30 × 60 feet 80.00 - - -SHOW CARDS. - - 1 sheet, 22 × 25 $ 1.50 - 1 sheet, 14 × 22 .75 - 1 sheet, 11 × 14 .50 - - The above prices are based upon white lead at 7 cents per pound - and wages at 33½ cents an hour. - - -MIDSUMMER PAINTING. - -All things considered, which is the best time of the year to do -outside painting? Spring and fall, did you say? Well, yes. I know -nearly all painters think so, and the people outside the trade are -almost, if not quite, unanimous in holding the same opinion. But -why? Do the winds of March, the frequent showers of April and May -add very much to the pleasure and profit of doing outside work -in spring? Do the soaking rains, which come along about the time -of the vernal equinox and drive you off your job for a week or -two and watersoak your unprimed work, add much pleasure to your -recollections of spring painting? Do you remember anything about -the clouds of midges and thousands of little moths which filled the -air, ready and willing to decorate your paint with their little -bodies on every still, warm mid-day in April and May? Of course, we -are speaking now of climatic conditions from our own standpoint, -the great Northwest, which may also be true in the Middle and -New England states. The mornings and evenings of spring and fall -are apt to be cool--often frosty; then the oil stiffens and the -paint rubs out hard and goes on slow, and we lose time and work -harder. Practically, I favor midsummer for outside work, because -the temperature is more uniformly warm and the paint spreads -easily and evenly at any time of day, and as a rule the rains are -less frequent and give a longer warning of their approach. The -little black flies are not so plentiful in the hot days of summer -as they are in spring and early fall. They are either dead or -seek the shade of trees and grass. The dew is all gone in summer -before seven o’clock a. m., and does not commence to fall until -after quitting time. A carpet of grass and other vegetation covers -a large portion of the ground in summer, holding down the dust. -The winds are not usually so high and gusty in summer as they are -in the spring and fall. In the warm days of summer your work is -more apt to dry quickly, cleanly and evenly; and when you “knock -off” from work at six p. m., and the sun is yet two hours above -the horizon, you know that your last ground stretch will soon be -out of the way of dust and rain. In the hot weather of summer the -pores of the wood are all open, and the oil, which is then soft -and thin, goes farther into the wood than in spring and fall, when -the weather is cool. There are, it is true, some fine days in the -fall for outside work, but the rainy season of the autumnal equinox -and the frosty nights of the later months often retard your work -and mar the finish of your job. One objection urged against summer -painting is the flies, but really are the flies which injure paint -any more numerous in midsummer than they are in spring and fall? It -is true the festive house-fly is in his glory in the summer, but, -as a rule, he is too smart to get stuck in outside paint. To get -inside is his ambition, and the molasses-cup and sugar-bowl are his -objective points. If the house-fly is an objection in the summer, -it certainly is a greater one in the fall, for in September and -early in October they are thicker, saucier and more familiar than -at any other time of year; then they want not only to get at the -sugar, but to get in and warm. - -A correspondent asks: “Does the reader know from practical -experiment that one season is better than another for applying -outside paint?” I suppose the writer means the effect upon the -wearing qualities of the paint and the permanency of the color. -I have been experimenting for a practical solution of this -question for my own satisfaction and guidance, and have come to -the conclusion that paint put on the outside in the hot weather of -summer will wear as well and hold its color as long as paint put on -in the cooler days of spring and fall. I know the idea that paint -dries too fast in hot weather is almost universal, but I think it -grows largely from the fact that a quick-drying paint is not as -good for outside as a slow dryer; but you must remember that there -is a great difference between a quick-drying paint and drying a -slow paint as quickly as the ingredients will admit of. Linseed -oil dries or hardens by absorbing oxygen from the air, and that -process goes on more rapidly in hot weather than in cool weather, -because the air in hot weather is in a condition more freely to -part with its oxygen, or because the oil is in a better condition -to receive it, or both. In other words, a warm atmosphere hastens -the process of absorption and a cool air retards it, but in either -case the result is the same: the air gives up enough of its oxygen -to solidify the oil. Now, the question arises, can any difference -be discovered (chemical or otherwise) in the composition of the -paint, whether dried in warm or cool air? From a business-point of -view, I have long advocated summer as a good time to paint outside, -and have usually succeeded in converting customers to my views upon -the subject, and as a consequence have not often had a dull time -in midsummer. We painters in the country know how unpleasant -and unprofitable it is to have all the work of the year rushed -upon us in the spring and fall, and I think if painters generally -could convince themselves by practical experiment that, all things -considered, summer time is the best season of the year to do -outside work, and advocate the same to their customers, backed by -argument and practical illustration, there would soon be less need -of complaint about a dull season in midsummer. - - -TO REMOVE PAINT. - -1. An expeditious way is by chemical process, using a solution of -soda and quicklime in equal proportions. The soda is dissolved in -water, the lime is then added, and the solution is applied with a -brush to the old paint. A few moments are sufficient to remove the -coats of paint, which may be washed off with hot water. The oldest -paint may be removed by a paste of the soda and quicklime. The wood -should be afterwards washed with vinegar or an acid solution before -repainting, to remove all traces of alkali. - -2. Wet the place with naphtha, repeating as often as required; but -frequently one application will dissolve the paint. As soon as it -is softened, rub the surface clean. Chloroform mixed with a small -quantity of spirit ammonia, composed of strong ammoniac, has been -employed very successfully to remove the stains of dry paint from -wood, silk, and other substances. - -3. To remove paint from floors.--Take one pound of American -pearlash, three pounds of quickstone lime. Slake the lime in -water, then add the pearlash, and make the whole amount about the -consistency of paint. Lay the mixture over the whole body of the -work which is required to be cleaned, with an old brush; let it -remain for twelve or fourteen hours, when the paint can be easily -scraped off. - - -TO SOFTEN PUTTY AND REMOVE OLD PAINT. - -1. Take three pounds of quickstone lime; slake the lime in water, -then add one pound of American pearlash; apply this to both sides -of the glass and let it remain for twelve hours, when the putty -will be softened, and the glass may be taken out without being -broken. To destroy paint, apply it to the whole body which is -required to be cleaned; use an old brush, as it will spoil a new -one; let it remain about twelve or fourteen hours, and then the -paint may be easily scraped off. - -2. To remove paint from old doors, etc., and to soften putty -in window frames, so that the glass may be taken out without -breakage or cutting, take one pound of pearlash and three pounds -of quicklime, slake the lime in water and then add the pearlash, -and make the whole about the consistency of paint. Apply to both -sides of the glass and let it remain for twelve hours, when the -putty will be so softened that the glass may be taken out of the -frame without being cut, and with the greatest facility. To destroy -paint, lay the above over the whole body of the work which is -required to be cleaned, using an old brush, as it will spoil a new -one. Let it remain for twelve or fourteen hours, when the paint can -be easily scraped off. - -3. Paint stains on glass.--American potash, 3 parts; unslaked lime, -1. Lay this on with a stick, letting it remain for some time, and -it will remove either tar or paint. - - -TREATMENT OF DAMP WALLS. - -There are two classes of damp walls, first where the water comes -in from the outside from defective roofs, bad gutters, defective -pipes, and where it comes through the walls from the ground, as -in basements. In the other class we may include walls which are -dampened by condensation of moisture, in places shut off from the -general artificial temperature of the room, behind stationary -furniture. Such walls may dry out during hot weather, or they may -be kept damp by a growth of mold or fungus. - -When water comes in from the outside, it is impossible to keep -paint or paper on the wall in good shape. Look around for the -places where the water comes in, point it out to the owner, and -if he fails to stop the leak have it _understood_ that the work -is done at _his risk_; or, what is better, refuse to do the work; -because, when a job comes off, or turns out badly, you will take -the blame generally, no matter whether it is your fault or not. -A job may be made to last awhile by a waterproof coating, or by -sheathing with thin lumber, but it is only a question of time when -the lining material will become water-soaked and spoil the paint or -paper, to your discredit. I have usually been _too busy_ to take -jobs of this kind. If the water can be cut off, the next thing is -to dry the wall, which you can do at the surface only by setting -a stove near it, or with the flame of a paint burner; then, after -all your trouble, the water, which remains in the wall, if of brick -or stone, may find its way to the surface, and destroy your work. -Sheet lead cemented to the wall will answer a good purpose for a -time, but the dampness will finally destroy the cement and let the -metal loose. - -Battening out for lath and plaster is the best for basement or damp -stone walls, but that is the plasterer’s work, and is rarely ever -done except in private residences. - -Battening and canvasing is next best; nail your battens up and down -18 inches apart. Have the canvas stitched in sheets the right size -to cover the large blank spaces of the wall. Then stretch and tack -it on the battens, and give it a coat of glue and alum size. - -When dampness is caused by condensation the best remedy is to -remove the cause and dry the wall. - - -TO PAPER ON A BOARD PARTITION. - -When paper is pasted on boards, it must crack, when the lumber -shrinks. If you paste cloth over the cracks, it must crack, if the -cracks open further than the cloth will stretch. When you tack -cloth on a partition and size it, if the size goes through the -cloth and sticks it fast to the boards, it will be likely to crack -when the lumber shrinks. For a good job I would advise that you -first cover the partition _with paper tacked on_, then when you -size the cloth, it will stick to the paper, and not to the boards. -I have met with uniform success in this way; because the boards -are left free to shrink and swell without breaking the cloth or -paper. I like to sew the cloth together with a running seam in -pieces large enough to cover all broad spaces, turn the smooth side -out, stretch well, and fasten the edges only; drive the tacks an -inch from the edges of the cloth, so that you can fasten them down -smoothly with paste. When a man has been unwise enough to put a -board partition across one end of an otherwise fine room, and is -willing to pay for his folly: first, take measurements of the blank -spaces, and sew together some fairly strong _unbleached_ muslin, -stretch on frames, and give it a coat of glue and alum size, and -whiting; when dry, carefully fit each piece in its place and tack -it an inch from the edges and fasten the edges down smooth with -strong flour paste. Tack only at the edges, and if you are careful -to butt edge the different pieces over the doors, etc., you can -make a nice smooth job in this way. By using this method the paste -will not stick the cloth to the wall. Use tinned tacks to prevent -rust. - - -SANDPAPERING. - -This is a job none of us like very well, but since it must be done, -it is worth while to be able to do it to the best advantage. The -first thing to look for is good paper. To test the strength of the -sand, rub two pieces together, and if the sand don’t fly off, it -is good in that respect; next see if the paper is tough and will -not tear easily. Chalk the back of your paper before you double it -and it will not slip. Don’t lose time using old, worn-out paper. -New paper will, of course, cut faster than old paper, and the -difference in the time gained by using sharp paper will pay for the -new paper twice over. Using old dull paper is like trying to save -money by using an old stub brush. Better use up fifty cents’ worth -of paper than to fool away dollars’ worth of time trying to save -money by using old paper. - -If you have old, hard paint to cut down, which dry sandpaper -will not touch, keep the work wet with benzine, and you will be -surprised to see how fast the sandpaper will cut the paint. To put -on benzine use a small spring-bottomed can, such as is used for -oiling machinery. You can use any grade of sandpaper, and it will -not soak up or gum. No. 1 paper is the best for this purpose. A -good deal of time may be lost where scrapers could be used to much -better advantage. A broad, flat scraper to shove endwise is always -in order, and a few narrow ones with various shaped ends to fit in -headings, moldings, etc., are a great help. - - -A STENCILED BORDER. - -This makes a nice finish for a painted or kalsomined room. To make -it look at its best, paint a stripe as wide as your stencil in a -pleasant contrast to the paint on the room and put the stencil on -that in soft harmonizing colors. - - -REPAINTING SCALED WORK. - -To repaint a job which has commenced to scale, without taking off -all the old paint, is very uncertain work, but if you have to try -it, have it understood in writing, or before witnesses, that it is -done at the owner’s risk. First scrape off the loose paint, then go -over the job with raw oil; put it on freely and let it stand until -dry; then scrape off all the paint loosened by the oil, and coat -up with strictly pure white lead and oil. Avoid zinc, and mixtures -of zinc, and barytes, on jobs of this kind; because they are more -or less liable to crack, and pull off more of the old paint. White -lead and oil lightly tinted will hold it if anything will. Use raw -oil and a little good japan. - - -TO MIX WATER COLORS. - -Light weight colors which will not mix well with water may be -easily mixed to a stiff paste with molasses or sirup, then mix in -glue size for a binder and thin with water. - - -TO SIZE MUSLIN FOR LETTERING. - -Use a thin size of white glue in water, or a thin starch paste. For -a sign to stand weather, dissolve white wax in turpentine by heat. -Melt the wax in a kettle, then take it outside and by degrees add -sufficient spirits of turpentine and make a thin size. - -One ounce of wax to the quart of turps is about right. Put it on -warm with a brush. - - -ANOTHER FOR WHITE WORK. - -Slake a little good, fresh lime in hot water and mix a size with -skim milk. Then strain through cheese cloth. This size is, when -dry, insoluble in water and will hold lettering as long as the -cloth lasts. May be tinted. - -[Illustration: No. 4. OLD STYLE EXTENDED. - - A B C D E F - G H I J K L M - N O P Q R S T - U V W X Y Z & , . - a b c d e f g h - i j k l m n o - p q r s t u v - w x y z 1 2 3 - 4 5 6 7 8 9 0 -] - - -TEST OF THE PURITY OF WHITE LEAD. - -The following is an infallible and simple commercial test of the -purity of white lead: - -Take a piece of firm, close-grained charcoal, and near one end of -it scoop out a cavity about half an inch in diameter and a quarter -of an inch in depth. Place in the cavity a sample of the lead to be -tested, about the size of a small pea, and apply to it continuously -the _blue_ or _hottest_ part of the flame of the blow-pipe; if the -sample be strictly pure it will, in a very short time, say two -minutes, be reduced to metallic lead, leaving no residue; but if it -be adulterated, even to the extent of 10 per cent. only, with oxide -of zinc, sulphate of baryta, whiting or any other carbonate of lime -(which substances are the principal adulterations used), or if it -be composed entirely of these materials, as is sometimes the case -with cheap lead (so-called), it cannot be reduced, but will remain -on the charcoal an infuscatible mass. - -A blow-pipe can be obtained from any jeweler at small cost. An -alcohol lamp, star candle, or a lard oil lamp furnishes the best -flame for use of the blow-pipe. This test is very simple and anyone -can very soon learn to make it with ease and skill. - - -POLISH TO RENOVATE VARNISHED WORK. - -One quart good vinegar, 2 ounces butter of antimony, 2 ounces -alcohol, 1 quart oil. Shake before using. - - -BRONZES--COLORS. - - White, - Light Gold, - Lemon, - Copper, - Lilac, - Silver, - Dark Gold, - Orange, - Carmine, - Violet, - Flesh, - Rich Gold, - Fire, - Crimson, - Brown, - Light and Dark Greens. - - -BLACK VARNISH FOR IRON. - - Asphaltum, 2 pounds. - Boiled linseed oil, 1 pint. - Spirits turpentine, 2 quarts. - -Melt the asphaltum with the oil in an iron kettle. Stir well before -removing from the fire. When partly cool add the turpentine and a -little good japan. - - -TO FREE BENZINE FROM ITS OFFENSIVE ODOR. - -To deodorize benzine, add 3 ounces quicklime to the gallon of -benzine; shake well. Let the lime settle and pour off and filter -the benzine. - - -PAINT TO PREVENT WOOD EXPOSED TO THE GROUND FROM ROTTING. - -Take of linseed oil, 4 parts; whiting, 40 parts; rosin, 50 parts; -clean sand, 300 parts; heat together in a kettle until the rosin -melts; then add 2 parts sulphate of copper; the mass to be well -stirred, and thinned to workable consistency with linseed oil. - - -RECIPES FOR BLACKBOARD SLATING. - -Dissolve 1 pound shellac in 1 gallon 95 per cent. alcohol; then add -½ pound best powdered ivory black, 5 ounces finest emery flour, 2 -ounces ultramarine blue; mix well and keep air tight. When using -stir frequently. If thick enough to show brush marks, add more -alcohol; work quick with a fine brush. - - -TO MAKE A BLACKBOARD ON COMMON PLASTER. - -Stop all cracks and holes with plaster paris mixed in glue size. -When dry sandpaper until all is smooth; then paper the wall with -white blank wall paper, butt the edges, put on with strong paste, -and be careful to rub out all blisters. When dry prime with oil -paint, then sandpaper with fine paper, and put on two coats of -above slating. This makes an excellent blackboard. Boards which I -made in this way twenty years ago are in good shape yet, and will -last for years to come with an occasional repainting. - - -CHEAP SLATING, BUT GOOD. - -Mix lamp black, 4 parts; ultramarine blue, 1 part, by weight, in -turpentine, with sufficient good japan and a very little oil to -bind it, then add one part by weight of _fine pumice stone_. Have -it thin enough to flow on and not leave brush marks. - - -WATERPROOF OIL RUBBER PAINT FOR CLOTH. - -Melt 2½ pounds of india rubber in ½ gallon of boiled oil by -boiling. If too thick, add more oil; if too thin, add more rubber, -and a little japan to dry it. Apply warm. - - -TO CLEAN PAINT. - -Have some whiting on a plate, then dip a piece of flannel in warm, -soft water and squeeze nearly dry, then take up some of the whiting -by dipping the flannel in it, and rub the paint until it looks -clean, then rub dry with a soft cloth or chamois skin. - - -GOOD QUICK STAIN FOR A BRICK CHIMNEY. - -For red stain, take Venetian red, 2 parts; yellow ochre, 1 -part--both dry--and mix with skim milk. For yellow stain, use -water-lime, tinted with yellow ochre. Mix as above. - -Skim milk when mixed with common quicklime, Portland cement, or -Venetian red, is converted into an insoluble binder, which renders -the mixture waterproof, so that it will not wash off when wet; -neither will it rub up when dry. Other pigments can be added, -by way of coloring, up to 25 per cent., without affecting the -insolubility of the paint. - -For a brick wall, which has not been rubbed or painted, Venetian -red toned down with yellow ochre, beats any glue and acid mixture -for durability. - - -TO CLEAN DOOR PLATES. - -Put on with a rag a weak solution of ammonia in water, and rub to -dryness. - - -TO CLEAN VARNISHED PAINT. - -In a gallon of water, boil a pound of wheat bran, and wash the -varnish with the water. - - -SLOWING THE DRYING OF PAINT. - -In wall painting or otherwise, especially in hot weather, if the -paint dries so fast as to show laps in spite of your best efforts -with the brush, the addition of a little cotton seed oil will make -the paint dry slower without hurting the gloss; or if you are using -flat color, and it dries too fast, a little cotton seed oil will -make it dry slower, and not make a gloss. You can, by a little -experiment, determine how much of cotton seed oil to use in each -case. - - -FINE BRONZE FOR METALS. - -Red aniline (fuchsine), 20 parts; purple aniline, 10 parts; 95 per -cent. alcohol, 200 parts; acid benzoic, 10 parts. Dissolve the -colors in the spirit in a porcelain vessel in a water or sand bath; -add the acid and boil until the mixture changes from a greenish -color to a beautiful bronze color. Lay it on the bright metal with -a brush. - - -REPAINTING BLISTERED DOORS. - -When the paint commences to blister or scale on a door, it is very -liable to keep on blistering and scaling from time to time, as -long as any of the old paint is left on the door, no matter how -carefully it may be repainted, because in most cases whatever -caused the paint to scale off in spots, weakened the entire coat -of paint on the door, making it liable to raise up, or come off -in other places, whenever exposed to any extra strain, such as -sun heat, or the drying of new coats of paint or varnish over it; -hence, to have a sure thing on painting a scaled or blistered door, -take off all the old paint. Put on a thin prime of pure white lead -and linseed oil; use the priming sparingly _and rub it out thin_; -let the prime dry and coat up with lead and oil paint, mixed with -good body; put in a little turps and spread the _paint out thin_, -so it will dry solid; rub each coat in the same way; give each coat -time to dry solid. For work to be varnished, prime as above, and -coat up flat. I think blistering is often caused by flowing on too -much paint having too much oil in it, in proportion to the pigment, -hence it does not dry solid, the oil is softened and expanded by -heat, and the coating, which is more of an oil skin than a body -of paint, lets go its hold on the wood and puffs out in a blister -to make room for the softened and expanding oil skin. If painters -will mix their paint with good body, and use more elbow grease in -rubbing it out, they will have less trouble with blisters. - - -FIREPROOF PAINT FOR ROOFS, ETC. - -A recipe published thirty years ago in the Maine _Farmer_: - -Slake stone lime by putting it into a tub to be covered to keep -in the steam. When slacked pass the powder through a fine sieve, -and to each 6 quarts of it add 1 quart rock salt, and water, 1 -gallon; then boil and skim clean. To each five gallons of this add -pulverized alum, 1 pound; pulverized copperas, ½ pound; then slowly -add powdered potash, ¾ pound; then add hardwood ashes sifted, 4 -pounds; now add any color and apply with a brush. This paint stops -small leaks in roofs, prevents moss, is incombustible, and renders -brick waterproof. It is durable as stone. - - -VARNISH FOR IRON. - -Genuine asphaltum 8 pounds, melt in an iron kettle, slowly adding -boiled linseed oil, 5 gallons; litharge, 1 pound, and sulphate of -zinc, ½ pound; continue to boil three hours, then add dark gum -amber, 1½ pounds, and boil two hours longer. When cool thin with -turpentine to good working consistency. - - -BLACK VARNISH FOR IRON. - -Genuine asphaltum (not coal tar imitation), 1 pound; lamp black, ¼ -pound; rosin, ½ pound; spirits turpentine, 1 quart. Dissolve the -asphaltum and rosin in the turpentine, then rub up the lamp black -with linseed oil, only sufficient to form a paste, and mix with the -others. - - -TO MIX DRY LAMP BLACK. - -First cut it up in benzine or turpentine to a thick paste, stir -well and add linseed oil; if the black is to be used as an oil -paint, a little at first, stir well and you may add more. In this -way you will have no trouble in mixing it with other paint, if you -do it when the paint is rather stiff. - - -TO CLEAN BRASS. - -One-half ounce oxalic acid, 3 ounces rotten stone, ¼ ounce gum -arabic, each in powder; made into a paste with sweet oil. Use -sparingly and rub dry with flannel. - - -DIPPING PAINT. - -Grind dry colors in japan and turps, with only enough japan to bind -the pigment. When dry varnish, use any pigment you like, or use -bolted whiting and color as you like. - - -TO MAKE WAX FINISH FOR FLOORS. - -Take 2 ounces pearlash and 2 pounds white wax. Slice the wax thin, -and boil it with the pearlash in 2 quarts of water; stir until the -wax is melted and unites with the water. - -Put on the finish with a brush, and polish with cloth or plush. - -This finish will be good only for light service. - - -SPIRIT VARNISHES. - -There are numerous recipes which might be given here for making -the fine elastic varnishes, but it would not be practicable for -the painter to make them, even if he had the requisite skill and -experience, but with spirit varnishes it is very different, and -the painter can make them by a formula as well as an expert can. -(For formulas for white and orange shellac varnish see article on -wood finishing.) For inside work, where the family is living at the -time the work is being done, the alcohol varnish is preferable. -First, because it dries very quickly, and second, because it is -free from sickening or disagreeable odors. - -Below are several recipes for making varnishes, which dry hard and -lustrous. The spirit used is wood or grain alcohol; in either case, -the spirit should be 95 per cent. proof. - - -BROWN HARD SPIRIT VARNISH (SELECTED). - -1. Sandarac, 1 pound; shellac, ½ pound; gum elemi, 4 ounces; Venice -turpentine, 4 ounces; spirit, 1 gallon. - -2. Gum sandarac, 1½ pounds; shellac, 1 pound; spirit, 1 gallon. -After the gums are dissolved, put in rosin turpentine varnish, 1 -pint. This makes a good varnish, not as quick drying as pure spirit -varnishes. - -A brown varnish may be made by mixing shellac, 1½ pounds; pale -rosin, 1½ pounds; spirit, 2 gallons. - - -WHITE HARD VARNISH. - -1. Sandarac, 2½ pounds; gum thus, 1 pound; spirit, 1 gallon. - -2. Mastic, ½ pound; sandarac, 2 pounds; elemi gum, 4 ounces; -spirit, 1 gallon. - -3. Mastic, ½ pound; sandarac, 1 pound; turps, 2 ounces; spirit, 1 -gallon. - -These are all prepared by mixing and setting in a warm place -until the gums are dissolved, then they are ready for use. Shake -occasionally. For fine work strain carefully. - - -PURE WHITE VARNISHES. - -1. Pale manila copal, 8 ounces; gum camphor, 1 ounce; mastic, 2 -ounces; venice turpentine, 1 ounce; spirit, 1 quart. - -2. Sandarac, 8 ounces; mastic, 2 ounces; Canada balsam, 4 ounces; -spirit, 1 quart. - -3. Sandarac, 8 ounces; damar, 4 ounces; gum thus, 8 ounces; manila -copal, 8 ounces; elemi, 8 ounces; spirit, ½ gallon. This is a good -pale article. - -4. Gum thus, 8 ounces; gum benzoin, 4 ounces; manila elemi, 4 -ounces; spirit, 1 quart. - - -VARNISH PAINTS. - -These are made by mixing opaque pigments with almost any varnish, -using sufficient turps to make them spread well. - - -GOLD VARNISH. - -Shellac, 8 ounces; sandarac, 8 ounces; mastic, 8 ounces; gamboge, -2 ounces; dragon’s blood, 1 ounce; turmeric, 4 ounces; spirit, 1 -gallon. - - -FURNITURE VARNISH. - -Shellac, 1¾ pounds; sandarac, 4 ounces; mastic, 4 ounces; spirit, 1 -gallon. - - -DAMAR VARNISH. - -Damar, 1 ounce; sandarac, 5 ounces, mastic, 1 ounce; turps, 20 -ounces. Digest at gentle heat until dissolved. If necessary add -more turps to bring down to the proper consistency. - - -LACQUERS FOR BRASS AND TIN. - -Pale gold lacquer.--Spirit, 1 gallon; orange shellac, 1 ounce; -gamboge, ½ ounce. - -Deep gold.--Orange shellac, 10 ounces; turmeric, 4 ounces; gamboge, -4 ounces; dragon’s blood, ½ ounce; spirit, ¾ gallon. - -Brass lacquer.--Shellac, 14 ounces; turmeric, 4 ounces; annotto, 1 -ounce; saffron, ½ ounce; spirit, 1 gallon. - - -LEATHER VARNISH (BLACK). - -Shellac, 12 ounces; gum thus, 5 ounces; sandarac, 2 ounces; lamp -black, 1 ounce; turpentine, 4 ounces; spirit, ¾ gallon. - -Mix the ingredients, and give them time to dissolve in the spirit -in a warm place. A shake-up now and then will quicken the process. - - -PAPER HANGER’S OUTFIT. - -Bib overalls, large pocket in front, side pockets for rule and -shears, long trimming shears, shorter wet shears, straightedge, -paste board, plumb bob, rule, paper brush, paste pail, size kettle, -step-ladders and rollers, some sandpaper, soft cloths and long -blotting paper to use under your roller on seams, when needed, and -a plank for scaffold, when papering ceilings. For common sized -rooms two step-ladders are good in the place of trestles to hold -up the plank. For butt edging I can recommend James Marks’ paper -cutters. See description on another page. - - -PAPER HANGERS’ PASTE. - -Beat up four pounds of sifted wheat flour in cold water sufficient -to make a stiff batter; beat out all the lumps, then add enough -cold water to make it like pudding batter. Then pour in a little -hot water and stir, then pour in hot water fast, and stir until the -paste swells and thickens, and turns darker. It is then cooked. To -keep the paste from “going back” and staining the paper, add about -two ounces of powdered or well pounded alum to the boiling water -which you pour on the batter. This will make three-quarters of a -common wooden pail full of paste. It will do better and go further -if you let it cool before using. Turn a little cold water on the -top to prevent it skinning over while you wait for it to cool. When -ready to use it, thin with cold water, until it works easily under -the brush, and according to the wall. A very rough porous wall -needs a stout paste and plenty of it, while a hard, smooth wall -should have the paste thinned and less of it. I have known paper -to crack and fall off from a smooth wall, because too much or too -thick paste was put on. Just enough to cement the paper to such a -wall is best; a body of paste between the paper and plaster will -decay and peel off, and take the paper with it. The other extreme -must be avoided also. Some hangers prepare this paste without the -alum. - -If hanging paper on a glossy painted surface, leave out the alum -and add one-half pint of nice clear sirup to each gallon of paste. - - -TO MAKE A PASTE FOR PAPERING OVER PAINTED OR VARNISHED WALLS. - -In a kettle mix some flour in water in the same way as in the above -formula, but make the batter thinner. To each gallon of the batter -add one ounce of powdered resin. Set the kettle on a moderate fire, -and keep stirring it until it boils and thickens, and the resin is -melted into the paste. When cool, thin down with a weak solution of -gum arabic. - - -LIQUID GLUE. - -Fine glue dissolved in alcohol makes a nice binder for fine water -colors. - - -TO CRYSTALIZE GLASS. - -Lay the glass flat and flow heavy alum water over it. Let it dry. - - -SIZE FOR WALLS BEFORE PAPERING OR KALSOMINING. - -One pound good white glue, 1 pound good bar soap, 2 pounds -pulverized alum. Dissolve each separately in one quart boiling -water, having first soaked the glue. Mix the glue and soap water, -and then slowly add the alum water, stirring all the time. Add cold -water to make one gallon. - - -STAIN OAK WOOD. - -Wash with a solution of bi-chromate of potash and acid water. One -ounce to a quart of water. - - -SIZING WALLS. - -“Anybody can do it!” Yes, but it takes an expert to do it right. -It is not a difficult matter to make paper stick to whitewash, but -the whitewash splits as far in as the paste goes, and a part of it -invariably sticks to the paper when it comes off and a part of it -is left on the wall. As a rule, if you size whitewash with flour -paste and let it stand a few days it will crack and roll up. Now, -pure glue size does not have this effect upon whitewash, but, on -the contrary, it not only acts as a binder, but as an intervening -coat between the paste and the whitewash. In other words, the glue -size will stick the whitewash fast without causing it to crack, -and the paste will adhere to the glue size without bad effects -upon either. Now, in order to bind the whitewash, the glue should -penetrate as far as possible. Hence, the size should be put on -warm, and the room should be warm, otherwise the glue will get cold -and stiff like jelly before it has time to penetrate; hence it will -remain on the surface instead of going into whitewash as a binder. -The idea is to get all you can into the wall and leave as little as -possible on the outside. Another thing to look after is the quality -of the glue. Very much of the white glue found on the market is not -genuine glue. Some of it is adulterated with starch and white clay, -some of it is not glue at all. A glue which will dissolve in cold -water is not good glue, or if it melts readily in hot water without -being soaked an hour or two in cold water, it is not first-class. -If it has a dead white look it is not good. Good glue should be -glossy and semi-transparent, and should soften and swell in cold -water, but not dissolve in it. When put into hot water without -being first soaked in cold water, it should not dissolve at once, -but form into a lump and resist the action of the hot water for -some time. - - -HOW TO APPLY WHITE ENAMELED LETTERS TO GLASS. - -An extract from a circular issued by the manufacturers of these -letters: - - Having thoroughly cleaned the window and freed it from grease, - draw with white marking chalk on front of it the plan or - arrangement of outline it is intended to adopt--straight or - curved, as the case may be. A rule is used for marking the - straight lines and a piece of twine for the curved lines. Now - divide these guide lines up into as many spaces as there are - letters to go on, carefully proportioning them. Then apply the - cement to the back of the letters with a knife, laying on equally - around both the inside edges. Place the letter upon the window in - the space marked for it and work it up and down, back and forth, - pressing against the glass, so as to expel the air and secure a - good adhesion, and taking care to press equally on top and bottom - of the letter, as otherwise there is a likelihood of breaking. - It is advisable, in cementing larger sized letters than six - inches, to leave the letters lay for an hour after placing the - cement around the edges, and then to give another coat of cement - and attach the letters immediately. The object is to prevent all - the cement from working inside the concave parts of the letters. - In affixing larger and heavy letters, small pieces of beeswax - (or, in summer, sealing wax) should be employed to keep them - in position until the cement sets. As soon as the letters are - attached to the glass take a small stick of wood, sharpen it on - the end and clean away all superfluous cement, keeping the end - of the stick constantly wet. Particular care should be taken to - leave no openings between the letters and the glass (especially - around the top edges) which would allow water to get in between. - - If wax has been used, remove it after a few days and clean with - a rag. The sign is then complete for long service. The above - method will answer equally well on any smooth surface such as - stone, iron, marble, wood. - - To make the cement, mix two parts of white lead ground in oil - with three parts of dry white lead, and thin it down to the - consistency of soft putty with some good furniture or copal - varnish. Then take small parts of it and grind them on a stone or - glass plate in the manner of painters grinding color with a bowl - or palette knife. This is to be continued until the cement is - entirely smooth and cornless, and then it is ready for use. - - To remove enameled letters, the most convenient way is to - scratch away around the edges all the cement you can from under - the letters. Use for this purpose a very thin knife or a piece - of thin sheet steel. You will soon reach the soft part of the - cement; then cut away with a sawing motion and twist them off. - Do not attempt to pry the letters off, or they may break. If the - cement should be very hard, say after a number of years, use a - little kerosene oil, which is applied on the top edges of the - letters, so as to work in and soften the cement. - - -WALL SIZING FOR KALSOMINING. - -There are many things about wall sizing, which depend largely upon -good judgment for success, because the treatment must be varied -according to the condition of the wall or ceiling. A good size is -made of good white glue, ½ pound; alum, 1 pound. - -Dissolve the glue in the usual way; that is, soak it in cold water -until soft, then pour off the cold water and pour on the hot water; -and stir until the glue is dissolved. - -Dissolve the alum in hot water. - -Then stir the glue, and put in the alum water. Thin the mixture -with water to the right consistency to work well. - -If one coat is not sufficient, give it two; or if there are porous -places in the wall, touch them up. - -In many cases a simple glue size is sufficient, but if you use the -glue and alum size as above directed, you will be pretty sure of a -good foundation for kalsomine. - -One of the most difficult things to overcome in preparing ceilings -for kalsomine is the water stain, which is liable to be invisible -until developed by a coat of kalsomine. If you find water stains on -a ceiling and suspect that there may be others which do not show, -go over the ceiling with a thin wash of whiting mixed in clear -water, which when dry will develop all hidden stains. To kill a bad -stain, first put on a coat of oil, japan and turps, equal parts; -second, put on a coat of good heavy shellac; third, give the spots -a coat of flat lead. This treatment is for dark stains; for light -stains a coat or two of shellac will stop the stain. It is best to -put a coat of keg lead thinned with turps over the shellac, because -kalsomine is liable to scale off from shellac. - -On cheap work, if the stain is not too dark, it may be kept back by -pasting a piece of paper over it. If the wall has been kalsomined -it is always in order to wash off the old kalsomine. If the work -has been whitewashed, either take it off or first give it a wash -of strong vinegar, then a glue size, which, if put on thin and -plentifully while warm in a warm room, is about the best size I -know of for whitewash. I have often used it successfully when it -was not practicable on account of the weakness of the ceiling -or other cause to take off the old whitewash. Two thin coats of -good glue size on firm whitewash makes as fair a foundation for -kalsomine as can be made on old whitewash. - -When it will not pay you to wash off the old kalsomine, a coat or -two of the wall sizing described above will make a good foundation. - - -SIGN PAINTING. - -To the beginner I will say: Learn the letters; get a variety of -alphabets in your head; the more you have the better you will be -prepared to do a pleasing variety of sign writing. A variety of -letters arranged in alphabets are given in the following pages as -a convenient means of reference for the painter who may desire to -refresh his memory, as to the form of any letter represented, or to -make a study of them with a view of acquiring a knowledge of the -formation of letters generally. - -[Illustration: No. 1. GOTHIC CONDENSED - - A B C D E F G - H I J K L M N - O P Q R S T U - V W X Y Z & . -] - -[Illustration: No. 1. GOTHIC CONDENSED--continued. - - a b c d e f g h - i j k l m n o p q - r s t u v w x y z - 1 2 3 4 5 6 - 7 8 9 0 , . -] - -[Illustration: No. 2. BLANCHARD. - - A B C D E F G H - I J K L M N O P - Q R S T U V W X - Y Z & - - 1 2 3 4 5 6 7 8 9 0 - a b c d e f g h i j - k l m n o p q r s - t u v w x y z , . -] - -[Illustration: No. 3. ALASKAN. - - A B C D E F G H - I J K L M N O P Q - R S T U V W X Y Z & - 1 2 3 4 5 6 7 8 9 0 , . -] - -[Illustration: No. 4. OLD STYLE EXTENDED. - - A B C D E F - G H I J K L M - N O P Q R S T - U V W X Y Z & , . - a b c d e f g h - i j k l m n o - p q r s t u v - w x y z 1 2 3 - 4 5 6 7 8 9 0 -] - -[Illustration: No. 5. LINING GOTHIC. - - A B C D E - F G H I J - K L M N - O P Q R S - T U V W - X Y Z & , . - 1 2 3 4 5 - 6 7 8 9 0 -] - -[Illustration: No. 6. CONDENSED DE VINNE. - - A B C D E F G H - I J K L M N O - P Q R S T U V - W X Y Z & , . - 1 2 3 4 5 6 7 8 9 0 - a b c d e f g h i j - k I m n o p q r s - t u v w x y z -] - -[Illustration: No. 7. GOTHIC SHADED. - - A B C D E - F G H I J K - L M N O P - Q R S T U - V W X Y Z - & , . - 1 2 3 4 5 - 6 7 8 9 0 -] - -[Illustration: No. 8. RONALDSON SLOPE. - - _A B C D E F G H I J - K L M N O P Q R S T - U V W X Y Z & , . - 1 2 3 4 5 6 7 8 9 0_ -] - -[Illustration: No. 9. FLORENTINE. - - A B C D E F G H - I J K L M N O P - Q R S T U V W X - Y Z & , . - 1 2 3 4 5 6 7 8 9 0 -] - -[Illustration: No. 10. FRENCH OLD STYLE. - - A B C D E F G H I - J K L M N O P Q R - S T U V W X Y Z & , . -] - -[Illustration: No. 11. LIVERMORE. - - _A B C D E F G H I - J K L M N O P Q - R S T U V W X Y Z - & , . a b c d e f g h i j - k l m n o p q r s t u v - w x y z 1 2 3 4 5 6 7 - 8 9 0_ -] - -[Illustration: No. 12. CASLON OLD STYLE. - - A B C D E F G - H I J K L M N - O P Q R S T U - V W X Y Z & , . - 1 2 3 4 5 6 7 8 9 - 0 a b c d e f g h - i j k l m n o p q - r s t u v w x y z -] - -[Illustration: No. 13. SATANICK. - - A B C D E - F G H I J K - L M N O P - Q R S T U - V W X Y Z -] - -[Illustration: No. 13. SATANICK--continued. - - a b c d e f g h - i j k l m n o p - q r s t u v w x - y z 1 2 3 4 5 6 - 7 8 9 0 . , ! ? & -] - -[Illustration: No. 14. COLUMBUS. - - A B C D E F G - H I J K L M N O - P Q R S T U V W - X Y Z & , . 1 2 3 - 4 5 6 7 8 9 0 a - b c d e f g h i j - k l m n o p q r s - t u v w x y z -] - -[Illustration: No. 15. BRADLEY. - - A B C D E F G H I J K - L M N O P Q R S T U - V W X Y Z a b c d e f - g h i j k l m n o p q r s - t u v w x y z & , . -] - -[Illustration: No. 16. DORIC ITALIC. - - _A B C D E F G H I - J K L M N O P Q R - S T U V W X Y Z , . - & 1 2 3 4 5 6 7 8 9 0_ -] - - -LIST OF PRICES AND MODE OF MEASUREMENT. - -Prices for Painting and Glazing. - - -SQUARE MEASURE. - - Plain weather boarding, close fencing, - ledge doors, partitions, paling - fences, etc. All common colors, viz.: - White, light yellow, slate, pearl, - light drab or cream color, for each - coat, per yard 8 cents - Each coat of varnish 10 cents - - -PANEL WORK. - - Flush panel work, panel doors, recesses, - etc., the above colors, for - each coat, per yard 10 cents - The same in two colors 12 cents - The same in three colors 14 cents - Striping after other work is finished, - per foot, lineal measure 1 cent - For expensive or unused colors, per - yard, additional 1 cent - For each coat of varnish, per yard 12 cents - For each coat of shellac, per yard 12 cents - - -BRICK WORK. - - _Per Yard._ - First coat 15 cents - Second coat 12 cents - Third coat 10 cents - Penciling 15 cents - Mastic or cement, first coat 20 cents - Additional coats, same as brick. - - -INSIDE WALL PAINTING. - - _Per Yard._ - First coat 12 cents - Second coat 10 cents - Third coat 8 cents - - -STOPPING AND CLEANING. - -Ordinary puttying, charge price of first coat for the several kinds -of work. Puttying longitudinal joints in ceilings, siding, floors, -etc., to be charged from two to four times the price of first coat -for the several kinds of work, at the discretion of the measurer. - - -SURFACING, STAINING AND VARNISHING. - - Each coat surfacing 10 cents - Each coat stain 8 cents - Each coat varnish 12 cents - - -LINEAL MEASURE. - -Pilasters, architraves, frames, jambs, base mouldings, etc: - - ----_Each Coat_---- - _Girth._ _Per Foot._ _Varnish._ - - 1 to 4 inches ½c ¾c - 4 to 6 inches ¾c 1 c - 6 to 8 inches 1 c 1¼c - 8 to 10 inches 1¼c 1½c - 10 to 12 inches 1½c 1¾c - 12 to 14 inches 1¾c 2 c - 14 to 16 inches 2 c 2¼c - 16 to 18 inches 2¼c 2½c - 18 to 20 inches 2½c 2¾c - 20 to 22 inches 2¾c 3 c - 22 to 24 inches 3 c 3¼c - -Larger dimensions taken in square measure. - -Column mantels as above. - -Panel jambs, door casings, etc., to be measured by the above rule. - -Plain rosettes, add one foot to length. - -Carved rosettes, add two feet to length. - -Other carved or ornamental work at the discretion of the measurer. - - -MODE OF MEASURING. - -Begin at wall, press line in all quirks to bead at edge of jamb -casing for girth. For jambs take inner sash rabbet to corner bead, -double the height and measure between jambs for length. - - -STRING BOARD, ETC. - - _Per Foot._ - Plain, each coat 2 cents - Bracketed, each coat 3 cents - Carved, each coat 4 cents - Staff beads, each coat ½ cent - Edge of shelves, each coat ¼ cent - - -CORNICES AND COLUMNS--PLAIN. - - _Per Foot._ - Girth, 1 to 2 feet, each coat 3 cents - Girth, 2 to 3 feet, each coat 4 cents - Girth, 3 to 4 feet, each coat 5 cents - Girth, 4 to 5 feet, each coat 6 cents - -Plain caps on columns, add to length two feet. - -Ornamental caps on columns, add to length four feet. - - -CORNICES WITH BRACKETS. - - _Per Foot._ - Girth, 1 to 2 feet, each coat 4 cents - Girth, 2 to 3 feet, each coat 6 cents - Girth, 3 to 4 feet, each coat 8 cents - Girth, 4 to 5 feet, each coat 10 cents - Girth, 5 to 6 feet, each coat 12 cents - -Larger dimensions in proportion. - -Dental cornices, same price as brackets. - - -MODE OF MEASURING. - -For girth, begin at top, press line into all quirks and over each -member to the bottom, and to the length add one-half the medium -girth of the brackets multiplied by their number. - - -PRIMING OR TRACING AND GLAZING SASH. - - EACH SIZE, PER LIGHT. - - _Old_ - _Priming_ _Glazing_ - _or_ _New_ _and Glass_ - _Tracing._ _Glazing._ _S.S._ - 8 to 10 × 12 to 14 $0.01¼ $0.05 $0.20 - 12 × 16 or 18 .01½ .08 .35 - 14 × 24 .02 .10 .40 - 18 × 24 .03 .14 .50 - - _D.S._ - 24 × 30 $ .05 $ .18 $1.00 - 26 × 36 .06 .20 1.30 - 30 × 36 .08 .25 1.65 - 36 × 40 .10 .30 - 40 × 44 .12 .35 - 40 × 50 .14 .40 - 40 × 50 .16 .50 - 50 × 60 .18 .60 - 50 × 70 .20 .75 - -These prices do not apply when called out to glaze one or two -lights. - -For back puttying add one-quarter, and for bedding add one-half, to -the above rates. - -In new glazing cost of glass not included. - -All breakage at the risk of the owners, if glass is furnished by -them. To all bills of glass furnished by the trade 20 per cent. -will be charged additional. - - -PLATE GLASS. - -Sizes same as table above, at same prices. Sizes above to 90 square -feet, 5 per cent. on net cost delivered; 90 to 108 square feet, 8 -per cent.; 108 square feet and upwards, 10 per cent. - -Removing old glass, same as above. The owner to pay cost of taking -up large glass above first floor. - -Unless otherwise provided for, glazier puts glass in at his own -risk of breakage, but cutting will be at owner’s risk. - - -SANDING. - -First coat of sand equal to two coats of paint, in addition to -paint. - -Second coat of sand equal to three coats of paint, in addition to -paint. - - -GRAINING--SQUARE MEASURE. - - _Per Yard._ - - Plain oak $0.40 - Plain walnut or ash .70 - Plain satinwood or maple .70 - Plain mahogany or cherry .70 - Shaded oak .50 - Penciled oak or ash 1.00 - Penciled chestnut or cherry 1.00 - Penciled walnut 1.00 - Rosewood 1.00 - Oak root 1.50 - - -LINEAL MEASURE. - - _Girth._ _Graining._ _Varnishing._ - 1 to 4 inches, per foot $0.03 $0.00¾ - 4 to 6 inches, per foot .04 .01 - 6 to 8 inches, per foot .05 .01¼ - 8 to 10 inches, per foot .06 .01½ - 10 to 12 inches, per foot .07 .01¾ - 12 to 14 inches, per foot .08 .02 - 14 to 16 inches, per foot .09 .02¼ - 16 to 18 inches, per foot .10 .02½ - -Other members in proportion. - -Graining edges of shelves, per foot, 1½ cents. - -Graining sash, double the price of plain painting. - - -MARBLING--SQUARE MEASURE. - - White, per yard $0.75 - Other kinds, per yard 1.00 - Varnishing, each coat, per yard .12 - - -LINEAL MEASURE. - - _All members_ ----_Per foot_---- - _from_ _Marbling._ _Varnishing._ - 1 to 8 inches girth $0.08 $0.01 - 8 to 10 inches girth .12 .01¼ - 10 to 12 inches girth .16 .01½ - 12 to 14 inches girth .18 .02 - 14 to 16 inches girth .20 .02¼ - Larger members in proportion. - - -CLEANING AND KALSOMINING. - - Ceilings and walls, per yard $0.16 - Plain cornices, 1 to 2 feet girth, per foot .02 - Plain cornices, 2 to 4 feet girth, per foot .03 - - Add to the above for each color, if more than one, 1 cent per - foot. - - -DEDUCTIONS. - -The price of any work measured and not specified in this list shall -be fixed by the measurer. - -The measurer is hereby authorized to deduct from 5 to 20 per cent. -from the price of any work that in his judgment is not first-class. - - -FEES FOR MEASURING. - - Jobs amounting to $150 or less 5 per cent. - Jobs amounting to over $150 and less than $500 4 per cent. - Jobs amounting to over $500 and less than $1,000 3 per cent. - Jobs amounting to over $1,000 2 per cent. - - -_Sign Painting._ - - -FACIA SIGNS. - - _Gold._ _Plain._ - 12 feet long $ 8.00 $ 4.00 - 14 feet long 9.00 4.00 - 16 feet long 10.00 5.00 - 18 feet long 12.00 6.00 - 20 feet long 15.00 7.00 - 24 feet long 16.50 8.00 - Above includes two coats of paint. - - -BRASS SIGNS. - - 3 × 14 inches $ 3.50 - 4 × 20 inches 5.00 - 6 × 8 inches 4.00 - 6 × 12 inches 4.50 - 8 × 14 inches 5.00 - 10 × 14 inches 5.00 - 12 × 17 inches 6.00 - 14 × 20 inches 7.00 - 18 × 25 inches 10.00 - 24 × 30 inches 15.00 - Sill signs, per square foot 3.50 - Square signs, per square foot 3.00 - - -TO MAKE HARD PUTTY. - - -_For Carriage Work._ - -Mix equal parts of dry __________ and keg white lead with equal -parts of rubbing varnish and gold size japan; mix thoroughly and -pound well. - - -_For Hurried Work._ - -Mix dry white lead with equal parts of rubbing varnish and gold -size japan. Keep hard putty covered in water when not in use. - - -TO MAKE AND APPLY KALSOMINE. - -Soak one pound good white glue in cold water until soft, then pour -off the cold water, and dissolve the glue in hot water. Mix twenty -pounds of good whiting in water to a thick paste; dissolve one -pound of alum in water, and add it to the mixture. Before mixing -the glue and whiting, put in your tinting colors, which should be -ground in water. Test your color by dipping in a piece of paper -and letting it dry. After you put in the glue, test in the same -way to see if there is enough glue to bind it well, then set your -kalsomine aside to get cold. - -Thin to good workable consistency with cold water. - -Have in enough glue to hold it from washing up when you have to -put on a second coat. Too much glue will cause the kalsomine to go -on hard, and crack and scale off when dry. If it dries too fast, -add two ounces of glycerine to one gallon of kalsomine. Have good -staging, and two men for a good sized room. Use good kalsomine -brushes, and work fast. Lay on the kalsomine freely; the beauty of -the work will depend upon how you lay it off, and level it up. Put -it on not as you would paint, _all one way_, but work your brush in -all directions, until your work is level, then carefully lay it off -with light strokes. - -For a white job put in a little blue. If you have never done a job -of kalsomining, and have no one to aid you, practice on the wall in -your shop or any other place, until you get the knack of it. Cover -a small space and see how it comes out. - -Always finish lightly with the point of your brush. If an edge -dries, stop and wet it with a clean brush and clear water; if -careful you can join to it without showing “laps.” If you find -you have missed any spots wet the edges in the same way, and -carefully touch them up with kalsomine. If you find after all your -precautions, a water stain has come through your kalsomine, wet -the place with a solution of sugar of lead, made in proportion of -1 ounce sugar of lead to 1 quart of rain water; it may kill the -stain. See article on wall sizing and water stains, page 39. - -Rough places in plaster take more color than a smooth wall, hence -they are liable to show spots; so it stands you in hand to make -such places smooth as possible; to do this take off the rough sand -with sandpaper and knife or trowel on a thin coat of plaster paris, -or give the rough places an extra coat or two or size. Fill all -cracks and holes, and give the filling time to dry before putting -on the size, because otherwise it will take more color than the -balance of the wall and your work will look spotted. - -In the kalsomining season have some large tubs and mix up as much -whiting in hot water as you will need for several days. Add your -color, glue, size and alum to _as much only_ as you want for -immediate use. In hot weather I use liquid glue. - - -LIQUID GLUE FOR KALSOMINE AND WALL SIZING. - -For use in hot weather, a liquid glue which will not decompose and -smell badly is very desirable to the workmen and the inmates of the -house. - -_No. 1._ To make such a glue fill a bottle a little more than half -full of broken up good white glue, and fill the bottle with common -whisky or equal parts of alcohol and water. Let it stand a few days -and it will dissolve the glue; this glue will keep for years. Keep -the bottle corked. - -_No. 2._ Melt your glue in the usual way, thick as you will want -it for any purpose, then put in ½ or ¾ ounce _nitric acid_ to each -pound of glue used; enough to give the glue a sour taste, like -vinegar. The acid keeps it in a liquid state, and from spoiling. If -you melt the glue in an iron kettle pour it into a wooden vessel, -before you add the acid, otherwise the acid will act on the iron -and blacken the glue. When wanted for use it can be thinned as -desired with cold water; a cask full of this made up and kept air -tight so the water will not evaporate will be found very handy -to draw from, when you want a little in a hurry for glue size or -kalsomine. When you make it up in this way put in at least 1 ounce -of acid to the pound of glue to make sure it will keep liquid, so -you can draw it from the cask. - -Acetic acid will answer the same purpose as nitric acid, but it -will take more of it and make the liquid glue more expensive. - - -TO PREPARE AN OLD WALL FOR PAINT OR PAPER. - -First cut out all the cracks V shape, clean out the holes and bevel -the edges same as the cracks. Then fill with fine plaster paris -mixed with thin glue size. Fill with care; when dry, sandpaper the -filling smooth and level. If the wall is sandy or rough, sandpaper -it smooth as you can. If the holes are large, have a plasterer -stop them, if you can; if you fail in that, and the job must be -done soon, fit in thin boards, fill around the edges with plaster, -and paste on cloth, or extra paper; but to do a nice job you must -insist on having the large holes plastered. If the _hole is up out -of reach_, and too large for you to fill, cement the edges with -plaster, stretch a piece of cloth, or extra thickness of paper over -it, and it will look all right, because the paper will shrink tight -when it dries. If you find places where the clinches are broken, -and the plaster is loose, press the plaster back to its place if -you can, and cut small holes through the plaster and turn small -broad headed screws into the lath even with the plaster and cement -around the screws with plaster paris. - -If it is a smooth wall with rough, sandy patches, sandpaper down -the patches a little below the level of the wall, sweep out the -loose plaster, give a coat of glue size, and knife or trowel in a -coat of plaster paris mixed with glue size or vinegar, and when -dry, sandpaper until smooth and level. - -There are several points to be considered and provided for in -filling cracks in a plastered wall preparatory to painting. First, -are the edges of the cracked wall level? To determine this, lay -your rule across the crack, and if you find the plaster on one -side of the crack higher than the other, it shows that side of the -wall has sprung out of place, because the laths are loose or the -clinches are broken. The first thing on the program is to get the -highest edges back to “place.” Failing in that, the next best thing -is to raise the other side. If that scheme don’t work, the next -method is to use sandpaper on a block and rub down the highest -side with a wide bevel to match the lowest, otherwise your filling -will be at an angle more or less acute with the general surface -of the wall, and cast a shadow or reflect the light according to -which way the light falls upon it, and the place where the crack -was will “show” in spite of your best efforts to conceal it. If -you find one edge of a crack higher than the other, gently press -against it, and if it goes back to place, cement it with plaster -paris wet up in clear water, and it will set in three minutes hard -enough to hold the plaster in place. If the loose edge will not go -back by gentle pressure, lay a piece of board over it and push hard -as you dare to and not crush the plaster. If it is still obstinate, -drill out a piece and insert a bent wire or other instrument made -on purpose, and see if you can feel the obstruction and remove -it. Failing in this, see if you can raise up the lower side to a -level with the highest and cement it fast. If the last scheme is -too much for your patience and ingenuity, resort to the block and -sandpaper, and rub down the high side with a wide bevel to match -the other. The next point is to prevent the paint near the edges -of the crack, and on the filling which we put in, from drying flat -while the balance of the wall bears out a gloss. To do this we must -find out the cause of the “flatting” near the edges of the crack -and over the “filling.” If we examine into the matter, we will find -that when the wall cracked the plaster adjacent was more or less -fractured and made more porous than the uninjured portions of it. -Hence, more oil is drawn from the paint near the crack than where -the wall is solid. Now, for the remedy: With a small pointed brush -wet the edges of the crack with linseed oil until they will take -no more in. Let the oil dry, and fill the crack with plaster mixed -with thin glue size, but have the top of the filling one-sixth of -an inch below the surface of the wall. Let the filling dry, and -with a fine pointed brush paint over the top of the filling and the -edges of the crack. Let the paint dry, and finish filling with hard -putty. Let the putty dry, and sandpaper the job smooth and level. -If you have to bevel the highest edge with sandpaper, first fill -the beveled portion with oil. Let the oil dry, and fill the pores -with hard putty, because the part beveled with sandpaper will be -more porous than the balance of the wall. Treat and fill all small -holes by the same method. Filling cracks in this way is a little -tedious, I admit; but it is the only way that I know of to stop a -crack in plaster, so it will stay stopped and not show after it is -painted. - - -HOW TO PAINT A PLASTERED WALL. - -Prime with lead and raw oil, tinted like succeeding coats. Have the -prime thin, not more than five pounds of white lead to the gallon -of oil; add a little benzine or turps to make it more penetrating. -If the room is cool, warm up your prime before you add the benzine -or turps. The idea is to have it penetrate as much as possible; -brush the prime well into the wall. If it is a sand wall, brush -off the loose sand. If it is a smooth one, putty coated or hard -finished wall, see that there are no lumps or grains of sand left -on the surface. It is a good idea to pass the hand over the wall to -feel the lumps, and to knock off lumps and grains of sand by going -over the work with sandpaper. - -For second coat use glue size, made as directed on another page. - -_Third coat._ Mix so as to dry with a gloss, have the body fairly -thick, and spread it well out. Mix with 3 parts linseed oil to 1 -part turps. - -_Fourth coat._--If this coat is to be flat, mix it thick enough to -cover well; mix mainly with turps, if the weather is hot, or from -any other cause the paint don’t work well, add a little linseed -oil. For an egg shell gloss, use about 1 part oil _and 3 parts -turps_. - -If the wall is to be finished in stipple, mix the last coat half -oil and half turps, rather thick, and add a little japan. To -stipple strike the paint evenly and continuously with the square -end of a large brush, made for the purpose; a new clean duster will -do. Let the stippler follow the painters. The coat of glue size -saves two coats of paint. It is put on after the prime to keep -moisture and air from the glue, otherwise it would be liable to -decay. - -Use boiled oil in all coats except priming coat. Have only enough -difference in the color of the different coats, so you can see -where you have painted, and not leave holidays; especially in rooms -where the light is not very good. - -Some painters advocate (especially on hard finished wall) a good -filling of clear linseed oil, before any paint is put on to keep -the surface from fire cracking. - -It is risky business to paint a _new hot_ wall; in such cases if it -must be done before the lime has become somewhat neutralized, give -it a coat of vinegar, and let it stand a day or so before you put -on the prime. The vinegar will neutralize the lime and not hurt the -priming. - - -TO PREPARE A ROUGH SANDY WALL FOR PAINT OR PAPER. - -If you have a rough brown mortar wall to paper and want to make -the job look smooth as possible, first go over it lightly with No. -2 paper to knock off the loose and most prominent grains of sand; -then with No. 2 paper rub down all “cat faces” and trowel marks; -level up all hollows with plaster paris wet up in thin glue size -or vinegar, and you will be ready to put on the lining paper. This -paper should be soft and porous so that it will quickly absorb -paste and not blister; good white blank wall paper having but -little color will answer very well for this purpose. Start in to -hang it with half a strip in width so as to break joints with the -next coat; use sufficient paste to make the paper stick to the -wall; butt the edges and be sure when the paper is dry that there -are no loose places. Right here is the turning point of your job -for “good or for bad.” - -Pound the lining paper down so closely that all the prominent -grains of sand will show through, and be sure to make it stay there -until dry. When the lining paper is dry, go over it with good sharp -No. 1½ sandpaper and cut out all the prominent grains of sand -which show through the paper, being careful to rub no more than is -necessary to take out the sand; the idea being to cut through to -the prominently projecting grains of sand, and rattle them out. -Some walls will need a second coat of lining paper and another -sandpapering, before they are smooth enough for anything like a -fine job. If the owner refuses to stand the expense of putting -on lining paper, glue size the wall, and when dry, knock off the -prominent grains of sand with sandpaper and knife in plaster paris -putty on the rough places. In either case, take extra pains with -portions of the wall where there are side lights, which always -magnify rough places. Sandy walls may be leveled and smoothed -somewhat with a coat of kalsomine to hold light bodied paper. - -Make a kalsomine of good white glue, 1 pound to 15 pounds of -whiting and half a pound of alum. Dissolve the glue and alum in the -usual way. When the kalsomine is dry, give the surface a thin coat -of glue size to stop the suction. Let the glue size dry, then put -on the paper; use light paste, and be sparing of it as you can and -make the paper stick. I have often noticed that too much or too -little paste is used in paperhanging; some walls and some papers -require more paste than others. Too much paste on a smooth wall, or -too little on a rough one, makes bad work. If you use a roller for -seams have it covered with short plush. To paint on a wall covered -with lining paper as above described, first put on a coat of glue -size. - - -TO PAINT OVER NEWLY PLASTERED CRACKS IN WALLS. - -When the painter has to paint over holes and cracks in walls -recently filled by the plasterer, he will be likely to have to -deal with plaster made in part of fresh lime. In such cases, it -is always best to soak the newly plastered places _with strong -vinegar, to kill as much as possible the caustic properties of the -lime_. Put on the vinegar plentifully and let it soak in; when dry, -give the new plaster a coat of size made of linseed oil, japan -and turpentine; when dry, put on a coat of white shellac before -painting. - - -FLASHED GLASS SIGNS. - -Flashed glass is clear on one side and colored on the other; -the colored glass forming only a thin film on one side of the -clear glass. We can make elegant signs on this glass by etching -the letter through the colored portion of the glass, making the -letters clear and the background colored; or by etching out the -background and leaving the letters colored. Lay out the letters on -paper, and place it under the glass as a guide to work by; then, -with asphaltum varnish cover the background and leave the letters -free and clear; in other words, “cut around them.” If you want a -clear background with colored border and colored letters, cover -the letters and border and leave the background free and clear. -Then melt some beeswax, and when it begins to cool, take up a small -portion of it with a putty knife and scrape it off on the edge of -the glass, and repeat the operation until a wall or dam is made -all around the glass, to hold the acid you are about to put on -the glass, from running off; then pour on a little hydrofluoric -acid, and it will etch out the colored glass not covered by the -asphaltum in about one hour; then you can pour the acid back into -your bottle, to be used again. Next wash the glass by pouring water -over it; then scrape off the wax, and take off the asphaltum with -turpentine. Some painters use a varnish made by melting together -equal parts of paraffine and asphaltum and thinning to working -consistency with turpentine. - - -FLUORIC ACID, TO MAKE FOR ETCHING PURPOSES. - -You can make your own fluoric acid (sometimes called hydrofluoric) -by getting the fluor spar, pulverizing it and putting as much of it -into sulphuric acid as the acid will cut or dissolve. - -Druggists through the country do not keep this acid generally, but -they can get it in the principal cities. One ounce will do at least -fifty dollars worth of work. It is put in gutta percha bottles or -lead bottles, and must be kept in them when not in use, having -corks of the same material. Glass, of course, will not hold it, as -it dissolves the glass, otherwise it would not etch upon it. - - -LIQUID WOOD FILLERS FOR CHEAP WORK. - -Corn starch and cheap varnish are the principal ingredients of -many cheap wood fillers; the corn starch is mixed with the varnish -and thinned with turps until workable. _You can experiment on this -idea._ - -_Corn starch in shellac_ in proportion of 1 pound to the gallon -_doubles its capacity as a filler_. I have made and used a filler -for cheap work in this way: Pale rosin, 2 pounds; boiled oil, 1 -gallon; japan, 1 pint. Melt the rosin in the oil, take the kettle -outside, and add ½ gallon turpentine; stir and when cold add ½ -pound of corn starch. Thin with turps until workable. Add more -or less starch, according to the surface you want to fill. These -mixtures are all the better if run through a paint mill. - - -ANOTHER PASTE FILLER. - -Corn starch mixed to a paste with one part linseed oil, two parts -each japan and rubbing varnish; thin to working consistency with -turpentine. - - -CARRIAGE PAINTING IN THE VILLAGE SHOP. NEW WORK. - -Prime with white lead, mixed thin in oil, add a little japan -and turpentine to make the paint dry hard and quick; when the -priming is dry and hard, putty up with hard putty as directed on -another page. Then follow with two coats of keg lead thinned with -turpentine; add a little japan to make it dry hard, and a little -oil to make it work well. Carefully mix and strain your paint. -Give the body five coats of rough stuff, made as directed on page -144 and a guide coat, and when dry, proceed to cut down the rough -stuff. For this purpose your tools will be several pieces of pumice -stone, a pail of water, a large flat file, a good sponge and a -chamois. Flatten one side of your stone for a grinding surface -and have no thin edges, because they will keep breaking off and -be liable to get under the stone, and scratch your work. Now, two -of the most important things you will have to guard against is -cutting through the rough stuff and lead coats, and scratching the -surface. There is a great difference in pieces of pumice stone. -Some are hard and full of flint like particles, which will scratch -the work; others are softer and of more even grit; the light -colored and fairly open grained pieces are the safest to use. You -can tell a fast cutting stone by its open grain and lightness. The -finer grades of German rubbing brick and English rubbing stone are -also used in rubbing rough stuff. A stone with a broad surface is -preferable for large surfaces. - -Have small pieces to rub around the bolt heads and other places -which are difficult to get at with the large stone. The practiced -workman can tell the moment a stone begins to scratch, both by -the sound and by the feeling to the hand, and you may train your -ear and nerve to this degree of sensitiveness; until you do so, -you will have to look sharp, and frequently rub your stone on the -file, and clean off your work with a sponge full of water to see -the condition of the work. Also by passing your hand back and forth -across it to determine the condition of it, or if there is any -large grit on it, liable to get under the stone and scratch. Rub -until the brush marks are gone, etc., which your guide coat will -show you. Use plenty of water while rubbing. Thoroughly wash the -body inside and out. When dry, sandpaper lightly over the body to -remove any grit which may be left on, and to clean out around the -irons and panels, also to sand off the irons which you have not -rubbed. Dust and wipe well, and when ready, put on a coat of drop -black, ground in japan. In mixing your drop black, stir it before -you add any turps, then add a little turps, and stir again until -it is beaten to a smooth, soft paste; then add sufficient turps to -make a workable paint, thin enough to go on easily with a camel -hair brush, which for body work on buggies should be not less than -one and one-half inches wide and double thick. Painters disagree -as to the use of oil in this coat. I like to use a very little good -raw oil, say a teaspoonful to a pint of color. It is a good idea -to keep a brush on purpose to coat the inside of the body, because -it is not usually made as smooth as the outside. Some practice -putting on the color coat in the morning and the color varnish -towards evening, but I prefer a longer time, say twenty-four hours -at least, and more, too, especially when I use a little oil in -the color coat. Rub the color with curled hair or hair cloth, -dust well, and put on your color varnish; some say with a bristle -varnish brush, but I prefer to mix it so I can use a camel hair -brush. For this coat mix drop black to a workable paint with equal -parts of turps and good body varnish. When this coat is dry, give -the body a coat of good rubbing varnish, using a fine bristle -varnish brush. Flow on a free coat, lay off to right and left, and -finish with up and down strokes across the work. Never put a full -brush at the lower edge of the body, because in that case, you will -be apt to get a fat edge. Watch for sags or runs, which you can -brush out, if discovered before the varnish sets. If a sag or run -should get the start of you on this coat, and you see it after the -varnish begins to set, squeeze the varnish out of your brush, wet -the point of it in turps, and carefully work out the sag or run. -Now, dust off the running parts, and put on a coat of color. Some -say, have a little more oil in the color for the gear than for the -body, but I would not advise the use of more. When dry, put on a -coat of color varnish. When dry, rub down with hair or hair cloth, -and your gear is ready to stripe. - -To paint a wheel, paint one spoke at a time, paint both sides and -the edge next to you, then take your brush in your left hand and -paint the back edge, and so on, until the spokes are finished. -Next paint the hub, then the outside and inside of the felly, then -finish the gear, being careful to leave no laps. Use only fine -lines for striping a buggy. On the springs, bars, spoke faces, hubs -and tongue is all the striping needed. Orange chrome, red, gold, -bronze and light green, all harmonize with black, and either may -be used for striping a black rig. When ready to varnish, set your -gear on trestles. Varnish the wheel with a fine bristle varnish -brush, and flow on a full coat. When done with a wheel, set it -running on the spindle, and commence the next, and start it off -again two or three times, while working at the next wheel, and so -on with all the wheels; by this method you may avoid runs, and -be able to flow on a fuller coat than you otherwise could. For a -finer job, give the gear a coat or two of clear rubbing varnish, -and rub each coat down with curled hair or hair cloth. For a cheap -job, rub down the body with hair cloth, but for a finer one, rub it -out with finely powdered pumice stone in water. For this method, -you will need a pail of clear water, some finely powdered pumice -stone and a felt pad. The object of this work is to take the gloss -off the rubbing varnish, and leave a smooth coat for the finishing -varnish. The particular knack is to rub just enough, and then -stop; a little too much will cut through, and spoil the job; and -not enough will not give you the best possible foundation for your -finishing coat of varnish. Keep the work washed off as you go, so -you can see defective places, and rub them out. When done rubbing, -the next thing is to wash the body perfectly free from grit. Your -water brush comes in play here to wash around irons, etc., where -the pumice might lodge; then with a pail of clear water, rinse the -body and wipe dry with a chamois skin. Right here is a good time -to give the inside of the body a coat of color varnish, and to put -on your transfers, if you use any. Some painters use a barrel for -a body stand, but one made on purpose, of boards, is better. You -want to look out for dust in every stage of the work, but right -here you must be especially careful, because you are about to put -on the finishing coat, which can neither be sandpapered nor rubbed -down. You will learn from experience, if not before, that you -cannot rely altogether upon the dust brush to free your work from -dust and specks. A large soft dry chamois kept for the purpose, -and never wet, can be used to advantage to wipe off the dust left -by the brush. A hand bellows is very effective in taking dust out -of corners where the brush or wiper cannot be worked. When you -have done all you can with the brush and wiper, rub the work over -with your _hand_ and the sensitive nerves of your fingers will -detect any specks which may still adhere to the surface. Some other -essentials to a good job of varnishing are a clean room, free as -possible from dust, clean brushes, and cups, and the person of the -varnisher so dressed that he will not shed material for specks. -Have one cup to hold your varnish and another to wipe your brush -in. Use good varnish and never try to varnish a body with the -temperature below 70 degrees F. Have a quill sharpened to a point -to pick out any specks which you may discover on your work, because -it requires very favorable conditions, and a mighty slick workman -to prepare and varnish a body, and not have it show _at least a -speck or two_. Use a fine chiseled bristle brush and know that it -is absolutely free from specks before you commence. Now, when you -are ready, don’t be timid or try to see how far you can make your -varnish go. Keep in mind from the start that the nearer level--that -is, a uniform thickness--you can have your coat of varnish the less -liable it will be to sag or run. Put on your varnish with a full -brush, laying it on right and left, and brush as level as you can, -then finish with up and down strokes, being careful to chisel off -the surplus at the lower corner to avoid a flat edge. _Note_--A -friend of mine, after laying on his varnish right and left, -finished with diagonal strokes across the surface at an angle of -45 degrees, then crossed it again at the same angle in an opposite -direction. He had uniform good success. - -For an extra fine job, give the work more coats of rubbing varnish, -and rub each coat with curled hair, or hair cloth; or you may knife -on a coat of putty made of keg lead and equal parts of turps and -japan; rub it well in with the flat blade of the knife, and when it -sets or flats, scrape off all surplus. Sandpaper when dry. This may -go on in the place of third lead. You may, when the job requires -it, knife on a coat of hard putty, work it down smooth, let it dry -and cut down with sandpaper. - - -OLD WORK. - -There are so many degrees of badness in repair work, that it is not -possible to cover the entire ground in a work of this kind. They -run all the way from the touch up and varnish job, to the cracked, -scaled and almost paintless old rigs. For a touch up and varnish -job, at least one which is in decent shape for such work, wash the -body, give it a rubbing down with fine powdered pumice stone, clean -off and carefully putty cracks, dents, etc., if any; then touch up -with color, using a small camel’s hair pencil, and cover only where -necessary. When dry, give a full coat of body varnish. For a better -job, give the body a coat of black rubbing varnish (provided the -body is black), then finish with a good coat of wearing body. The -gear may be treated the same as the body if in like condition, but -if the felloes are worn bare, lead them up and color as you would -new work, then touch up the balance and varnish. - -The great plague of the paint shop is cracked work, which is -otherwise solid. Where the varnish is hard but peeling, take it off -with ammonia; to do this, take a side of the body at a time, pour -out some ammonia in a cup, and put it on with a clean brush kept -for the purpose. Keep the side wet, until you can slice off the -varnish with a putty knife; if it fails to come off, you must keep -it wet longer. If the varnish is dead and soft, sandpaper down to -a solid foundation, then if cracks show sheet up with quick _hard -putty_ made soft enough to put on with a brush, and scrape off with -a knife when set. When dry, sandpaper and if the cracks are not -full, give it a second application of putty in the same way. Then -for a cheap job give it a coat of color varnish, a coat of rubbing -and a coat of body varnish. - -If you are to do a fine job, and can get pay for it, and you find -the body cracked, burn off the old paint, and commence at the -foundation as in new work. For a cheap job, lead up the bare places -on the gear and wheels, give a coat of color and a coat of color -varnish and finish with heavy gear varnish. For a fine job, if the -old paint is cracked or scaled, take it off and work up from the -wood as on a new job. - - -ROUGH STUFF. - -1. To make one coat per day rough stuff, take three pounds of -RENO’S filler and one pound of keg lead. Mix to stiff paste with -equal parts of rubbing varnish, and first-class japan, thin with -turps. Some painters add a little raw oil. Grind the filler fine. - -2. French yellow ochre dry, 5 pounds; keg lead 1½ pounds. Mix to -stiff paste with equal parts gold size, or best brown japan and -rubbing varnish; thin with turps and add a gill of raw oil. _Grind -fine._ - - -CLEANING PHAETON CUSHIONS. - -This old phaeton cushion is too dusty for any use, did you say? I -agree with you; the old cloth-covered phaeton cushion is one of the -unmitigated nuisances which we are often compelled to tolerate in -the paint shop. When such a cushion is once filled with dust its -capacity for “shedding” seems to be unlimited. The more you beat it -and the longer you brush it, the more dust comes to the surface. -You can take off a buggy cushion and relegate it to the backroom, -but the genius who invented that complicated vehicle called a -phaeton, nailed the cushions fast to the body, and we must take -them along with the job, dust and all, from the cleaning floor to -the varnish room. - -When I am so unfortunate as to have an old phaeton brought to my -shop, about the first thing I do after cleaning it up is to go -for the cushions with the sprinkler and wet them down with clean -water, repeating the operation as often as may be necessary to keep -in the dust. - -Spoil the cushions? No! When you run the rig out of the shop the -owner will wonder what you have done to his cushions to make them -look so bright. The same operation works well on an old cloth-lined -top. After you have brushed all you think you can afford to, and -the dust keeps coming to the front, turn the top bottom side up and -give it a shower from the sprinkler, and I will guarantee the dust -to lie still long enough for you to dress the top and paint the -bows. Dust is the natural enemy of the paint shop, and water is one -of our best weapons to fight it with. - - -MIXING QUICK COLOR. - -A quick-drying color can be slowed up and made to dry to any -required time without injuring it, while if ground in a slow drying -preparation, it cannot possibly be quickened without injuring -more or less the working and covering properties. The working -is certainly important, and the covering more so. The covering -property should be strong, because the fewer coats of color on a -job the better. Thus a quick dryer saves both labor and time. - -Japan colors are best when ground stiff, or with barely enough -liquid to bind them firmly, because after being reduced to thinness -with turpentine alone they will cling to the surface and will not -smut. The color will then have its greatest covering power. Now, -by the addition of sufficient pure raw oil to give the best working -property, and being also made to dry flat, the color is as near -perfection as possible, and the further addition of _anything_ -weakens the covering power. When an excess of japan is used in -grinding, the color is thin, there being less pigment to the pound; -and it is of less value to the consumer, while it affords more -profit to the manufacturer than when prepared as it should be. - - -BLACK VARNISH FOR GASOLINE STOVES, ETC. - -Asphaltum two pounds, boiled linseed oil one pint, turpentine two -quarts. Melt the asphaltum in an iron pot, heat the oil, and add it -to the asphaltum while hot. Stir well. When partly cool, add the -turpentine and four ounces of good japan. - - -BLACK STENCH INK. - -Shellac two ounces, borax two ounces, soft water twenty ounces, -gum arabic two ounces, lampblack and indigo sufficient. Boil the -shellac and borax in the water until dissolved, then add the gum -arabic; dissolve and take the mixture from the fire; when cold, add -enough lampblack to give it color and proper consistency, and a -little powdered indigo. Keep in glass or earthenware vessels. - - -BRONZE FOR BRIGHT METALS. - -Red aniline (fuscine) ten parts, purple aniline five parts, alcohol -95 per cent. one hundred parts, benzoic acid five parts. Add the -anilines to the alcohol, and dissolve by placing the vessel in a -sand or water bath. As soon as dissolved, add the benzoic acid and -boil for five or ten minutes, or until the greenish color of the -mixture is turned to a brilliant light bronze; spread with a brush -on bright metal. - - -VARNISH TO FIX PENCIL DRAWINGS. - -Gum mastic three ounces, alcohol one pint. Dissolve and apply with -a brush. - - -RUST SPOTS ON MARBLE. - -Apply a mixture of 1 part nitric acid and 25 parts of water, then -rinse with 3 parts water and 1 part ammonia. - - -WHITEWASH TO SOFTEN. - -To soften old whitewash which you wish to take off, wet it -thoroughly with a wash made of 1 pound of potash, dissolved in 10 -quarts of water. - - -WATER GLASS FOR FLOORS. - -Clean the floor, fill cracks with water glass cement made of -water glass and whiting, then put on a coat of water glass, to be -followed by second coat; when dry rub the last coat with pumice -stone and oil. - - -TO FINISH REDWOOD. - -Take one quart of spirits turpentine; add one pound of corn starch; -quarter of a pound burnt sienna; one tablespoonful raw linseed -oil and one tablespoonful brown japan. Mix thoroughly, apply -with the brush, let it stand, say, fifteen minutes, rub off all -you can with fine shavings or a soft rag, let it stand at least -twenty-four hours that it may sink into and harden the fibers of -the wood; afterward apply two coats of white shellac, rub down well -with fine flint paper, then put on from two to five coats best -polishing varnish; after it is well dried rub with water and pumice -stone ground very fine; stand a day to dry; after being washed -clean with a chamois rub with water and rotten stone; dry; wash as -before clean, and rub with olive oil until dry. Some use cork for -sandpapering and polishing, but a smooth block of hardwood like -maple is better. When treated in this way, redwood will be found -the peer of any wood for real beauty and life as a house trim or -finish. - - -MARKING INK. - -Asphaltum, dissolved in turpentine to a thin fluid, will give you -an excellent marking ink for all purposes; dries quickly, does not -spread, and is nearly indestructible. - - -FORMULAS FOR MIXING COLORS. (SELECTED.) - -It is impossible to give infallible recipes for mixing colors, -on account of the difference in the tone and color strength of -pigments, both dry and in oil, many samples having as high as fifty -per cent. of barytes or other white makewright material, which not -only lessens the color strength of the mixture in proportion to -their volume, but weakens the color, in a small measure, by their -presence as white material. Hence, color formulas are made subject -to modification, not only to please the taste of the mixer, but on -account of the presence of poor, weak and adulterated pigments. - -The writer has selected a few formulas from which the learner -may gain some knowledge of colors, which he can improve upon by -experiment. - - - NOTE.--Part means in bulk, not by weight. - -_Plumb._--White lead 2 parts; Indian red, 1 part; ultramarine -blue, 1 part. If too dark, add more white lead. (Outside.) - -_Brick._--Yellow ochre, 2 parts; Venetian red, 1 part; white lead, -1 part. If too dark, add more ochre. Don’t depend upon the common -ochre of the stores. It has but little tinting power. Use French -ochre ground in oil. (Outside.) - -_Bronze Green._--Chrome green, 5 parts; lampblack, 1 part; burnt -umber, 1 part. If too dark, use more green. (Outside.) - -_Jonquil Yellow._--White lead tinted with chrome yellow and -vermilion. - -_Lead Color._--White Lead, 16 parts; ultramarine blue, 1 part; -lampblack, 2 parts. (Outside.) - -_Light Buff._--White lead tinted with yellow ochre (Outside.) - -_Lemon._--Lemon chrome yellow, 5 parts; white lead, 2 parts. -(Outside.) - -_Brown._--Indian red, 3 parts; lamp black, 2 parts; yellow ochre, 1 -part. If too dark, use more ochre or less black. (Outside.) - -_Chestnut._--Venetian red, 2 parts; lamp black, 1 part; medium -chrome yellow, 4 parts. (Outside.) - -_Lilac._--Light Indian red, 3 parts; white lead, 3 parts; -ultramarine blue, 1 part. - -_Purple._--Light Indian red, 4 parts; white lead, 3 parts; -ultramarine blue, 2 parts. - -_London Smoke._--Burnt umber, 2 parts; white lead, 1 part; Venetian -red, 1 part. - -_Brown._--Venetian red, 3 parts; drop black, 2 parts; chrome -yellow, 1 part. (Outside.) - -_French Gray._--White, tinted with ivory or drop black. (Outside.) - -_Olive Yellow._--Burnt umber, 3 parts; lemon chrome yellow, 1 part. -For lighter shade, add more yellow. - -_Pearl._--White lead, 6 parts; Venetian red, 2 parts; lamp black, 1 -part. If too dark, add more lead. (Outside.) - -_Olive._--Lemon chrome yellow, 10 parts; ultramarine blue, 1 part; -light Indian red, 1 part. - -_Cream Color._--White lead, 8 parts; French yellow ochre in oil, 2 -parts; Venetian red, 1 part. (Outside.) - -_Tan._--Burnt sienna, 5 parts; medium chrome yellow, 2 parts; raw -umber, 1 part. If too red, add more raw umber. - -_Pea Green._--White lead, 5 parts; chrome green, 1 part. Vary the -proportions to suit. - -_Drab._--White lead, 10 parts; burnt umber, 1 part. Vary to suit. - -_Canary._--White lead, 6 parts; lemon chrome yellow, 2 parts, or -less, as you like it. (Outside.) - -_Fawn._--White lead, 8 parts; chrome yellow, 1 part; Indian red, 1 -part; burnt umber, 1 part. (Outside.) - -_Grass Green._--Lemon chrome yellow, 3 parts; Prussian blue, 1 part. - -_Peach Blossom._--White lead, 1 part; light Indian red, 1 part; -ultramarine blue, 1 part; lemon chrome yellow, 1 part. - -_Light Gray._--White lead, 10 parts; ultramarine blue, 1 part; -lampblack, 1 part. Make lighter or darker by using more or less -white lead, as the case may require. - -_Purple Brown._--Dark Indian red, 4 parts; ultramarine blue, 1 -part; lampblack, 1 part. Light up with white lead to fancy. If too -purple, use less blue; if too red, use more black. (Outside.) - -_Leather Brown._--Venetian red, 2 parts; yellow ochre, 4 parts; -lampblack, 1 part; white lead, 2 parts or more, to suit. If too -dark, use less black. (Outside.) - -_Dregs of Wine._--Tuscan red with a little lampblack and white lead. - -_Leaf Bud._--Equal parts white lead, orange chrome and chrome -green. If too dark, add more lead. (Inside only.) - -_Coral Pink._--Vermilion (English), 5 parts; white lead, 2 parts; -chrome yellow, 1 part. (Inside.) - -_Maroon._--Tuscan red, 3 parts; ultramarine blue, 1 part. If too -red, add more blue. - -_Myrtle._--Dark chrome green, 3 parts; ultramarine blue, 1 part. -Light up with white lead. - -_Stone._--White lead, 5 parts; French yellow ochre, 2 parts; burnt -umber, 1 part. Tint to desired shade with raw umber; a very little -will do. (Outside.) - -_Snuff._--Medium chrome yellow, 4 parts; Vandyke brown, 2 parts. - -_Rose._--White lead, 5 parts; carmine, 2 parts. (Inside only.) - -_Portland Stone._--Raw umber, 3 parts; yellow ochre, 3 parts; white -lead, 1 part. (Outside.) - -_Ashes of Roses._--White, lightly tinted with black, blue and lake. -(Inside only.) - -_Silver Gray._--Tint white lead with lampblack and indigo. - -_Fine Chocolate._--Tint the best burnt umber with Munich lake. -(Inside only.) - -_Fine Maroon._--Tint any deep red lake with a little orange chrome -yellow. - -_Vienna Smoke._--Tint fine burnt umber with lemon chrome yellow and -a little Venetian red. - -_Quaker Green._--Chrome green, 3 parts; lampblack, 1 part; Venetian -red, 1 part; medium chrome yellow, 1 part. - -_Chamoline._--Lemon yellow, 1 part; raw sienna, 3 parts; white -lead, 5 parts. - -_Clay Drab._--White lead, raw sienna, raw umber, equal parts. Tint -with chrome green. - -_Pearl._--White lead, tinted with ultramarine blue and lampblack. - -_Copper._--Medium chrome yellow, 2 parts; Venetian red, 1 part; -drop black, 1 part. - -_Buttercup._--White lead tinted with lemon chrome yellow. - -_Flesh._--White lead, 8 parts; light Venetian red, 1 part; orange -chrome, 2 parts. - -_Olive Brown._--Lemon chrome yellow, 1 part; burnt umber, 3 parts. - -_Deep Buff._--White lead tinted with yellow ochre and a little -Venetian red. (Outside.) - - -SOME EXPENSIVE COLORS. - -_Claret._--Carmine, 2 parts; ultramarine blue, 1 part. - -_Carnation Red._--Carmine lake, 3 parts; white lead, 1 part. - -_Chocolate._--Fine burnt umber, 5 parts; carmine or lake, 1 part. - -_French Red._--Indian red and English vermilion, equal parts, -glazed with carmine. - -_Rose._--White lead, 5 parts; carmine, 2 parts. - -_Yellow Lake._--Burnt umber and white lead, equal parts; tint with -chrome yellow and lake. - - -SUGGESTIONS FOR TINTS AND COLORS. - -_Delicate Flesh Tints_, white predominating.--1st, white and light -red; 2nd, white, Naples yellow, vermilion; 3rd, white, vermilion -and light red. - -_Gray and Half Tints_, white predominating.--1st, white, vermilion -and black; 2nd, white and terre verte; 3rd, white, black, Indian -red and raw umber. - -_Deep Shades_, color predominating.--1st, light red and raw umber; -2nd, Indian red, lake and black. - -_Carnations._--1st, white and Indian red; 2nd, white and rose -madder; 3rd, white and lake; 4th, white and Naples yellow. - -_Carnations_, color predominating.--1st, rose madder and white; -2nd, Indian red, rose madder and white. - -_Green Tints._--1st, white and ultramarine blue, with any yellow; -2nd, white and terre verte; add a little raw umber. - -_Gray Tints._--1st, ultramarine blue, light red and white; 2nd, -Indian red lake, black and white. - -_Pearly White_, white predominating.--1st, white, vermilion and -black; 2nd, white, vermilion and black; 3rd, white and black. - -_Gray._--White, Venetian red and black. - -_Yellow._--Yellow ochre and white. - -_Olive._--Yellow ochre, terre verte and umber. - -_Sky._--French blue and white. - - -PAINTING CARS AT HOME. - -Probably no other subject dealing with the problem of the motorist -has been so little, or to be correct, so unsatisfactorily treated -as the home painting of cars. Most of the literature dealing -with the subject is written in a technical vein, purely for the -delectation of the professional painter. This naturally leads the -novice to believe, owing to the great number of coats these writers -say is essential for good work, that it is entirely out of the -question for a car owner, without previous experience in painting, -to repaint his car satisfactorily. - -Fortunately this is not true. In the first place, the fewer number -of coats that can be applied and still accomplish the desired -result, will make far the most durable and lasting job of painting. -I maintain, and have proven, times without number, that if a -motorist really is in earnest about wanting to paint his cars, -the battle is more than half won. Give this class of motorists -the proper material mixed ready for use with the proper brushes -for their application, and tell him how they should be used, and -99 times out of 100 he will paint his car so well that he will be -sorry he had not done it before. - -The quality of the material used in this kind of painting is of -vital importance and unless they are the very best will give but -limited wear. And the proper brushes to use with the different -coats is of equal importance. About four-fifths the cost of -automobile painting is labor, so that a few dollars saved in buying -the materials is false economy. - -The general purpose enamels for sale in stores have no place on -a motor car. They belong to the home. Probably no other vehicle -excepting a locomotive has harder service for paint to withstand. -Hence, the necessity for the very best materials. - -There is one reputable concern selling repainting outfits to -car owners so that greatly simplifies the painting problem, if -one wishes to do it himself. These outfits include everything, -materials, brushes, and instructions, and range in price from $6 -for a small runabout to $8 and $10 for a roadster and touring car. -Compared to $35 to upwards of $100 that one has to pay a regular -painter, if one wishes to economize, the painting affords a grand -opportunity. - -The fenders and hood of a car are subjected to severe wear and -the time is coming when these parts will always be painted black, -regardless of the body color of the car. In fact, a great many of -the new cars will be painted this way. There are thousands of cars -in use that hardly need repainting, but if the hood and fenders -were done over in black it would make them look almost like new -cars. There is one concern making these hood and fender outfits and -a novice can do a really creditable job of painting with them. They -range in price from $3 to $5 and are in two coats with a suitable -brush. - -The gases from the motor are a big factor in dulling the paint on -hoods. It has the same effect that ammonia fumes from a stable has -on horse-drawn vehicles. This is one reason why the black painting -of hoods is mighty sensible. When your hood gets dull, instead of -laying up your car you can paint the hood yourself with little -trouble and no loss of time. - -For the novice to repaint the average car, for instance a 30 H. P. -touring car, it would require in labor only a few hours on four or -five different days. The hardest part of the whole operation is -preparing the car for paint. It is absolutely necessary to have -it thoroughly clean before applying any paint. It should be well -washed first, and then given a gasoline bath to the parts on which -dirt and grease have been allowed to accumulate. It is really not -so complex a proposition after all. If a woman can paint furniture -with enamels that are no better than they should be, a man can -surely paint a car if given the proper materials to do it with, and -if he be instructed in their use. - -Now as to striping. This is of course out of the question for the -novice. But you can black the mouldings of the body, seats, doors, -hubs and rims of wheels so that the absence of striping is not -noticed. So far as the striping goes, the tendency is away from -it--in fact, the most expensive cars have hardly any striping. -The blacking of the mouldings, etc., mentioned makes a harmonious -contrast and takes the place of striping. It looks in no ways -amateurish--rather like the handiwork of the professional painter. - -In addition to the saving that can be effected by repainting your -car yourself, there is the feeling of personal pride when the job -is finished, of having done something well yourself. - -As the majority of the new cars have enameled lamps instead of -polished brass as in years past, I believe a few words on the -subject will not be amiss. In my experience of twenty years in the -painting of vehicles, locomotives and automobiles, I have never -had a harder proposition to solve than the enameling of polished -brass lamps, particularly gas headlights. - -An enamel for this purpose must of necessity be made highly -elastic, so that it will contract and expand with the metal and -stick on the polished brass surface without any previous roughing. -This means that only the most expensive materials can be used in -the making of such an enamel. There is one enamel of proven merit -for this purpose on the market and it does not have to be baked. -I have seen a great many motorists who have used general purpose -enamels on their lamps and the experience has usually been that -the enamel leaves when the lights are lighted. If I were buying -an enamel for use on the brass parts of my car, I should be very -careful to buy the one that had been long on the market, for there -will undoubtedly be a large number of new ones offered. - -I have made some pretty strong statements in the foregoing article, -and it is no more than right that I tell you that they are based -on my experience of twenty years in the painting of carriages, -locomotives and automobiles, two years as the expert for the -largest paint and color house in the world, and several years in -the manufacture of the highest class of motor car paints. - - - - - TRANSCRIBER’S NOTE - - Obvious typographical errors and punctuation errors have been - corrected after careful comparison with other occurrences within - the text and consultation of external sources. - - Some hyphens in words have been silently removed, some added, - when a predominant preference was found in the original book. - - Except for those changes noted below, all misspellings in the text, - and inconsistent or archaic usage, have been retained. - - Pg iii: removed duplicated line ‘Black Varnish for Iron’. - Pg iv: line ‘Oak Wood Stain’ moved from page v to here, under - ‘Oak Stain’. - Pg 39: ‘gold againt the’ replaced by ‘gold against the’. - Pg 45: ‘bottle 1-3 full’ replaced by ‘bottle ⅓ full’. - Pg 60: ‘dissolve 90 gains’ replaced by ‘dissolve 90 grains’. - Pg 105: missing letter ‘W’ inserted into alphabet caption. - Pg 119: removed duplicated line ‘Shaded oak’. - Pg 121: a blank space has been replaced by __________. 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F. White</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Practical House, Wagon and Automobile Painter</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>including sign painting, and valuable hints and recipes</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: W. F. White</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 5, 2022 [eBook #67109]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, John Campbell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK PRACTICAL HOUSE, WAGON AND AUTOMOBILE PAINTER ***</div> - - -<div class="transnote"> -<p><strong>TRANSCRIBER’S NOTE</strong></p> - -<p>This book has no footnotes; it has one <span class="smcap">‘Note.’</span> which has been placed at the start of -the relevant text.</p> - -<p>Some minor changes to the text are noted at the <a href="#TN">end of the book.</a> -<span class="screenonly">These are indicated by a <ins class="corr">dotted gray</ins> underline.</span></p> -</div> - - -<div class="chapter"></div> - -<div class="bbox"> -<h1> -Practical House, Wagon<br /> -and Automobile<br /> -Painter</h1> - -<p class="p2 smcap pfs90">Including Sign Painting, and Valuable<br /> -Hints and Recipes</p> - -<p class="p4 pfs90">BY</p> -<p class="pfs135">W. F. WHITE</p> - -<div class="figcenter illowe3_75" id="colophon"> - <img class="p4 w100" src="images/colophon.jpg" alt="Publisher colophon" /> -</div> - -<p class="p4 pfs120">SHREWESBURY PUBLISHING CO.</p> -<p class="pfs90">CHICAGO</p> -</div> - - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter"></div> -<p class="p6 pfs70"><span class="smcap">Copyright</span>, 1919</p> - -<p class="p1 pfs60">BY</p> - -<p class="pfs70">SHREWESBURY PUBLISHING CO.</p> - - -<hr class="p6 chap x-ebookmaker-drop" /> -<div class="chapter"> -<p><span class="pagenum"><a id="Page_iii"></a>[Pg iii]</span><br /></p> -<h2 class="nobreak" id="INDEX">INDEX.</h2> -</div> - -<hr class="r20" /> - -<table class="autotable fs90" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr fs80">PAGE.</td> -</tr> -<tr> -<td class="tdl">Analysis of Yellow Ochre,</td> -<td class="tdr"><a href="#Page_3">3</a></td> -</tr> -<tr> -<td class="tdl">Brown Hard Spirit Varnishes,</td> -<td class="tdr"><a href="#Page_89">89</a></td> -</tr> -<tr> -<td class="tdl">Blistered Doors, to Repaint,</td> -<td class="tdr"><a href="#Page_85">85</a></td> -</tr> -<tr> -<td class="tdl">Brass, to Clean,</td> -<td class="tdr"><a href="#Page_88">88</a></td> -</tr> -<tr> -<td class="tdl"><ins class="corr" id="tn-iii" title="Transcriber’s Note—(this line was duplicated in the original text)"> -Black Varnish for Iron,</ins></td> -<td class="tdr"><a href="#Page_87">87</a></td> -</tr> -<tr> -<td class="tdl">Blinds, to Handle when Painting,</td> -<td class="tdr"><a href="#Page_33">33</a></td> -</tr> -<tr> -<td class="tdl">Brass and Copper, to Clean,</td> -<td class="tdr"><a href="#Page_35">35</a></td> -</tr> -<tr> -<td class="tdl">Bronze for Metal,</td> -<td class="tdr"><a href="#Page_85">85</a></td> -</tr> -<tr> -<td class="tdl">Benzine, to De-odorize,</td> -<td class="tdr"><a href="#Page_82">82</a></td> -</tr> -<tr> -<td class="tdl">Bronze,</td> -<td class="tdr"><a href="#Page_144">144</a></td> -</tr> -<tr> -<td class="tdl">Blackboard Slating,</td> -<td class="tdr"><a href="#Page_83">83</a></td> -</tr> -<tr> -<td class="tdl">Blackboard Slating, Cheap, but Good,</td> -<td class="tdr"><a href="#Page_83">83</a></td> -</tr> -<tr> -<td class="tdl">Blackboard, to Make on Common Plaster,</td> -<td class="tdr"><a href="#Page_83">83</a></td> -</tr> -<tr> -<td class="tdl">Brush Cleaning Trough,</td> -<td class="tdr"><a href="#Page_25">25</a></td> -</tr> -<tr> -<td class="tdl">Brick, to Clean,</td> -<td class="tdr"><a href="#Page_38">38</a></td> -</tr> -<tr> -<td class="tdl">Brick Painting,</td> -<td class="tdr"><a href="#Page_28">28</a></td> -</tr> -<tr> -<td class="tdl">Crawling Paint,</td> -<td class="tdr"><a href="#Page_5">5</a></td> -</tr> -<tr> -<td class="tdl">Cracks in Walls, to Fill,</td> -<td class="tdr"><a href="#Page_131">131</a></td> -</tr> -<tr> -<td class="tdl">Cleaning a Room,</td> -<td class="tdr"><a href="#Page_29">29</a></td> -</tr> -<tr> -<td class="tdl">Cherry Stain,</td> -<td class="tdr"><a href="#Page_44">44</a></td> -</tr> -<tr> -<td class="tdl">Cracks in Paint and Varnish,</td> -<td class="tdr"><a href="#Page_20">20</a></td> -</tr> -<tr> -<td class="tdl">Cleaning Phaeton Cushions,</td> -<td class="tdr"><a href="#Page_142">142</a></td> -</tr> -<tr> -<td class="tdl">Carriage Painting,</td> -<td class="tdr"><a href="#Page_134">134</a></td> -</tr> -<tr> -<td class="tdl">Damp Walls, to Treat,</td> -<td class="tdr"><a href="#Page_73">73</a></td> -</tr> -<tr> -<td class="tdl">Dipping Paint,</td> -<td class="tdr"><a href="#Page_88">88</a></td> -</tr> -<tr> -<td class="tdl">Door Plates, to Clean,</td> -<td class="tdr"><a href="#Page_84">84</a></td> -</tr> -<tr> -<td class="tdl">Damar Varnish,</td> -<td class="tdr"><a href="#Page_26">26</a>, <a href="#Page_91">91</a></td> -</tr> -<tr> -<td class="tdl">Dry Ochre for Priming,</td> -<td class="tdr"><a href="#Page_2">2</a><span class="pagenum"><a id="Page_iv"></a>[iv]</span></td> -</tr> -<tr> -<td class="tdl">Estimating Work,</td> -<td class="tdr"><a href="#Page_14">14</a></td> -</tr> -<tr> -<td class="tdl">Enameled Letters, to Apply to Glass,</td> -<td class="tdr"><a href="#Page_95">95</a></td> -</tr> -<tr> -<td class="tdl">Furniture Varnish,</td> -<td class="tdr"><a href="#Page_91">91</a></td> -</tr> -<tr> -<td class="tdl">Fire-proof Paint for Roofs,</td> -<td class="tdr"><a href="#Page_86">86</a></td> -</tr> -<tr> -<td class="tdl">Fluoric Acid, to Make,</td> -<td class="tdr"><a href="#Page_132">132</a></td> -</tr> -<tr> -<td class="tdl">Gold Varnish,</td> -<td class="tdr"><a href="#Page_90">90</a></td> -</tr> -<tr> -<td class="tdl">Guessing on Work,</td> -<td class="tdr"><a href="#Page_8">8</a></td> -</tr> -<tr> -<td class="tdl">Glass, to Crystallize,</td> -<td class="tdr"><a href="#Page_93">93</a></td> -</tr> -<tr> -<td class="tdl">Gilding on Glass,</td> -<td class="tdr"><a href="#Page_8">8</a></td> -</tr> -<tr> -<td class="tdl">Gilding on Wood,</td> -<td class="tdr"><a href="#Page_38">38</a></td> -</tr> -<tr> -<td class="tdl">Grease Spots, to Kill,</td> -<td class="tdr"><a href="#Page_34">34</a></td> -</tr> -<tr> -<td class="tdl">Hard Wood Floors, to Finish,</td> -<td class="tdr"><a href="#Page_33">33</a></td> -</tr> -<tr> -<td class="tdl">Hard Putty,</td> -<td class="tdr"><a href="#Page_121">121</a></td> -</tr> -<tr> -<td class="tdl">Japan, Testing,</td> -<td class="tdr"><a href="#Page_19">19</a></td> -</tr> -<tr> -<td class="tdl">Kalsomine,</td> -<td class="tdr"><a href="#Page_34">34</a></td> -</tr> -<tr> -<td class="tdl">Kalsomine, to Make and Apply,</td> -<td class="tdr"><a href="#Page_121">121</a></td> -</tr> -<tr> -<td class="tdl">Liquid Wood Fillers,</td> -<td class="tdr"><a href="#Page_133">133</a></td> -</tr> -<tr> -<td class="tdl">Lacquers for Brass and Tin,</td> -<td class="tdr"><a href="#Page_91">91</a></td> -</tr> -<tr> -<td class="tdl">Leather Varnish (black),</td> -<td class="tdr"><a href="#Page_91">91</a></td> -</tr> -<tr> -<td class="tdl">Lead Poisoning and Symptoms,</td> -<td class="tdr"><a href="#Page_53">53</a></td> -</tr> -<tr> -<td class="tdl">Liquid Glue,</td> -<td class="tdr"><a href="#Page_93">93</a></td> -</tr> -<tr> -<td class="tdl">Lamp Black, to Mix,</td> -<td class="tdr"><a href="#Page_87">87</a></td> -</tr> -<tr> -<td class="tdl">Liquid Glue for Kalsomine and Wall Sizing,</td> -<td class="tdr"><a href="#Page_123">123</a></td> -</tr> -<tr> -<td class="tdl">Measuring a Job,</td> -<td class="tdr"><a href="#Page_17">17</a></td> -</tr> -<tr> -<td class="tdl">Mahogany Stain,</td> -<td class="tdr"><a href="#Page_44">44</a>, <a href="#Page_45">45</a></td> -</tr> -<tr> -<td class="tdl">Midsummer Painting,</td> -<td class="tdr"><a href="#Page_67">67</a></td> -</tr> -<tr> -<td class="tdl">Marking Ink,</td> -<td class="tdr"><a href="#Page_146">146</a></td> -</tr> -<tr> -<td class="tdl">Natural Wood Finishing,</td> -<td class="tdr"><a href="#Page_47">47</a></td> -</tr> -<tr> -<td class="tdl">Old Carriage Work,</td> -<td class="tdr"><a href="#Page_140">140</a></td> -</tr> -<tr> -<td class="tdl">Oil Size for Old Whitewash,</td> -<td class="tdr"><a href="#Page_37">37</a></td> -</tr> -<tr> -<td class="tdl">Old Wall, to Prepare for Paint,</td> -<td class="tdr"><a href="#Page_124">124</a></td> -</tr> -<tr> -<td class="tdl">Oak Stain, dark,</td> -<td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> -<td class="tdl"><ins class="corr" id="tn-iv" title="Transcriber’s Note—(this line has been moved from the 'S' section)"> -Oak Wood Stain,</ins></td> -<td class="tdr"><a href="#Page_94">94</a></td> -</tr> -<tr> -<td class="tdl">Oil Rubber Paint for Cloth,</td> -<td class="tdr"><a href="#Page_83">83</a></td> -</tr> -<tr> -<td class="tdl">Painting Cars at Home,</td> -<td class="tdr"><a href="#Page_153">153</a></td> -</tr> -<tr> -<td class="tdl">Plastered Wall, to Paint,</td> -<td class="tdr"><a href="#Page_127">127</a></td> -</tr> -<tr> -<td class="tdl">Paste to Hold Labels on Tin,</td> -<td class="tdr"><a href="#Page_31">31</a><span class="pagenum"><a id="Page_v"></a>[v]</span></td> -</tr> -<tr> -<td class="tdl">Paint to Prevent Rotting under Ground,</td> -<td class="tdr"><a href="#Page_82">82</a></td> -</tr> -<tr> -<td class="tdl">Paint, to Remove,</td> -<td class="tdr"><a href="#Page_35">35</a></td> -</tr> -<tr> -<td class="tdl">Paper Hanger’s Outfit,</td> -<td class="tdr"><a href="#Page_91">91</a></td> -</tr> -<tr> -<td class="tdl">Price List and Measurement,</td> -<td class="tdr"><a href="#Page_62">62</a></td> -</tr> -<tr> -<td class="tdl">Paint, to Clean,</td> -<td class="tdr"><a href="#Page_84">84</a></td> -</tr> -<tr> -<td class="tdl">Porcelain Finish,</td> -<td class="tdr"><a href="#Page_52">52</a></td> -</tr> -<tr> -<td class="tdl">Paper Hanger’s Paste,</td> -<td class="tdr"><a href="#Page_92">92</a></td> -</tr> -<tr> -<td class="tdl">Putty, to Soften,</td> -<td class="tdr"><a href="#Page_18">18</a></td> -</tr> -<tr> -<td class="tdl">Putty, to Color,</td> -<td class="tdr"><a href="#Page_50">50</a></td> -</tr> -<tr> -<td class="tdl">Paste for Painted or Varnished Walls,</td> -<td class="tdr"><a href="#Page_93">93</a></td> -</tr> -<tr> -<td class="tdl">Rust Spots on Marble,</td> -<td class="tdr"><a href="#Page_145">145</a></td> -</tr> -<tr> -<td class="tdl">Red Saunders Stain,</td> -<td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> -<td class="tdl">Red Wood to Finish,</td> -<td class="tdr"><a href="#Page_145">145</a></td> -</tr> -<tr> -<td class="tdl">Rough Stuff,</td> -<td class="tdr"><a href="#Page_142">142</a></td> -</tr> -<tr> -<td class="tdl">Rough and Sandy Walls,</td> -<td class="tdr"><a href="#Page_129">129</a></td> -</tr> -<tr> -<td class="tdl">Sizing Walls,</td> -<td class="tdr"><a href="#Page_94">94</a></td> -</tr> -<tr> -<td class="tdl">Sign Painting,</td> -<td class="tdr"><a href="#Page_99">99</a>, <a href="#Page_117">117</a></td> -</tr> -<tr> -<td class="tdl">Scaled Work, to Repaint,</td> -<td class="tdr"><a href="#Page_77">77</a></td> -</tr> -<tr> -<td class="tdl">Sixteenth Century Oak,</td> -<td class="tdr"><a href="#Page_55">55</a></td> -</tr> -<tr> -<td class="tdl">Spots on Paint,</td> -<td class="tdr"><a href="#Page_50">50</a></td> -</tr> -<tr> -<td class="tdl">Sandpapering,</td> -<td class="tdr"><a href="#Page_76">76</a></td> -</tr> -<tr> -<td class="tdl">Stencil Border,</td> -<td class="tdr"><a href="#Page_77">77</a></td> -</tr> -<tr> -<td class="tdl">Spirit Varnishes,</td> -<td class="tdr"><a href="#Page_88">88</a>, <a href="#Page_90">90</a></td> -</tr> -<tr> -<td class="tdl">Size Muslin for Lettering,</td> -<td class="tdr"><a href="#Page_78">78</a></td> -</tr> -<tr> -<td class="tdl">Slowing the Drying of Paint,</td> -<td class="tdr"><a href="#Page_85">85</a></td> -</tr> -<tr> -<td class="tdl">Stir Your Paint,</td> -<td class="tdr"><a href="#Page_41">41</a></td> -</tr> -<tr> -<td class="tdl">Stencil Ink (black),</td> -<td class="tdr"><a href="#Page_144">144</a></td> -</tr> -<tr> -<td class="tdl">Signs on Colored Glass,</td> -<td class="tdr"><a href="#Page_131">131</a></td> -</tr> -<tr> -<td class="tdl">Strainers,</td> -<td class="tdr"><a href="#Page_34">34</a></td> -</tr> -<tr> -<td class="tdl">Silver, to Clean,</td> -<td class="tdr"><a href="#Page_35">35</a></td> -</tr> -<tr> -<td class="tdl">Stencil Staining,</td> -<td class="tdr"><a href="#Page_26">26</a></td> -</tr> -<tr> -<td class="tdl">Success in Painting,</td> -<td class="tdr"><a href="#Page_7">7</a></td> -</tr> -<tr> -<td class="tdl">Symptoms of Lead Poison,</td> -<td class="tdr"><a href="#Page_55">55</a></td> -</tr> -<tr> -<td class="tdl">Tin Roofs, to Paint,</td> -<td class="tdr"><a href="#Page_2">2</a><span class="pagenum"><a id="Page_vi"></a>[vi]</span></td> -</tr> -<tr> -<td class="tdl">Tents, etc., to Make Weather-proof,</td> -<td class="tdr"><a href="#Page_32">32</a></td> -</tr> -<tr> -<td class="tdl">Tacky Paint, to Cure,</td> -<td class="tdr"><a href="#Page_18">18</a></td> -</tr> -<tr> -<td class="tdl">Tortoise Shell, to Imitate,</td> -<td class="tdr"><a href="#Page_61">61</a></td> -</tr> -<tr> -<td class="tdl">Varnish to Fix Pencil Drawings,</td> -<td class="tdr"><a href="#Page_145">145</a></td> -</tr> -<tr> -<td class="tdl">Varnish to Imitate Ground Glass,</td> -<td class="tdr"><a href="#Page_60">60</a></td> -</tr> -<tr> -<td class="tdl">Varnish for Rustic Work,</td> -<td class="tdr"><a href="#Page_61">61</a></td> -</tr> -<tr> -<td class="tdl">Varnish Stains,</td> -<td class="tdr"><a href="#Page_44">44</a></td> -</tr> -<tr> -<td class="tdl">Varnished Paint, to Clean,</td> -<td class="tdr"><a href="#Page_85">85</a></td> -</tr> -<tr> -<td class="tdl">Very Dirty Brass, to Clean,</td> -<td class="tdr"><a href="#Page_61">61</a></td> -</tr> -<tr> -<td class="tdl">Wax Polish,</td> -<td class="tdr"><a href="#Page_26">26</a></td> -</tr> -<tr> -<td class="tdl">Whitewash, to Soften,</td> -<td class="tdr"><a href="#Page_145">145</a></td> -</tr> -<tr> -<td class="tdl">Water Glass for Floors,</td> -<td class="tdr"><a href="#Page_145">145</a></td> -</tr> -<tr> -<td class="tdl">Walnut Stain,</td> -<td class="tdr"><a href="#Page_44">44</a></td> -</tr> -<tr> -<td class="tdl">White Hard Spirit Varnishes,</td> -<td class="tdr"><a href="#Page_89">89</a></td> -</tr> -<tr> -<td class="tdl">Walnut, to Stain Like Mahogany,</td> -<td class="tdr"><a href="#Page_46">46</a></td> -</tr> -<tr> -<td class="tdl">Water Colors, to Mix,</td> -<td class="tdr"><a href="#Page_78">78</a></td> -</tr> -<tr> -<td class="tdl">White Shellac, to Make,</td> -<td class="tdr"><a href="#Page_49">49</a></td> -</tr> -<tr> -<td class="tdl">White Enamel,</td> -<td class="tdr"><a href="#Page_60">60</a></td> -</tr> -<tr> -<td class="tdl">Wall Sizing for Kalsomining,</td> -<td class="tdr"><a href="#Page_97">97</a></td> -</tr> -<tr> -<td class="tdl">Why Do Wall Papers Crack,</td> -<td class="tdr"><a href="#Page_36">36</a></td> -</tr> -<tr> -<td class="tdl">Whitewash for Outside,</td> -<td class="tdr"><a href="#Page_33">33</a></td> -</tr> -<tr> -<td class="tdl">Wax Floor Finish,</td> -<td class="tdr"><a href="#Page_88">88</a></td> -</tr> -<tr> -<td class="tdl">Zinc, to Clean,</td> -<td class="tdr"><a href="#Page_38">38</a></td> -</tr> -<tr> -<td class="tdl">Zinc, to Paint on,</td> -<td class="tdr"><a href="#Page_32">32</a></td> -</tr> -</table> - - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_1"></a>[Pg 1]</span><br /></p> -<p class="p2 pfs240">PRACTICAL -HOUSE PAINTER.</p> - -<hr class="r20" /> - -<p>The following is an infallible and simple commercial -test of the purity of white lead:</p> - -<p>“Take a piece of firm, close-grained charcoal, and near -one end of it scoop out a cavity about half an inch in -diameter and a quarter of an inch in depth. Place in the -cavity a sample of the lead to be tested, about the size of -a small pea, and apply to it continuously the <em>blue</em> or <em>hottest</em> -part of the flame of the blow-pipe; if the sample be strictly -pure it will, in a very short time, say in two minutes, be -reduced to metallic lead, leaving no residue; but if it be -adulterated, even to the extent of ten per cent. only, with -oxide of zinc, sulphate of baryta, whiting or any other carbonate -of lime (which substances are the principal adulterations -used) or if it be composed entirely of these materials, -as is sometimes the case with cheap lead (so-called), it cannot -be reduced, but will remain on the charcoal in an -infusible mass.</p> - -<p>“A blow-pipe can be obtained from any jeweler at small -cost. An alcohol lamp, star candle, or a lard oil lamp -furnishes the best flame for use of the blow-pipe. This -test is very simple and any one can very soon learn to make -it with ease and skill.”</p> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - - -<h3>JAPAN.</h3> - -<p>Always cut your japan in a little turps before you -add it to the paint. An ounce of japan, cut with -turps, will do better work than two ounces in <em>oil -paint</em>, if put in clear. <em>Don’t add dryer to any more -paint than you can use up in a few hours</em>, because it -will soon commence to fatten your paint in the pot -and lessen its covering and wearing properties. Many -a job has been spoiled by using old color, doped with -japan. Such paint is liable to mildew.</p> - - -<h3>OBJECTIONS TO THE USE OF CHEAP DRY OCHRE AS A -PRIMER.</h3> - -<p>1st. It is too dark for light colored work, because -sooner or later it will show through in spots, or -darken the entire work.</p> - -<p>2d. It leaves a rough, coarse surface which the -succeeding coats fail to completely level up.</p> - -<p>3d. Succeeding coats are liable to scale from -cheap coarse ochre priming.</p> - - -<h3>PAINTING TIN ROOFS.</h3> - -<p>When paint scales from a tin roof it is not always -the fault of the paint. It stands the painter in hand -to carefully examine a new tin roof before painting -it. When the tinner uses rosin as a flux to make his -solder flow, the rosin is melted and cools again on the -tin. When such is the case, carefully scrape it off -with a knife, otherwise it will be liable to scale off, -and take the paint with it.</p> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<p>When acid is used in the place of rosin it is apt to -corrode the tin, hence it is best, if you want a permanent -job, to clean off the acid. To do this, first -rub the seams with kerosene oil, then wash with soap -suds and rinse with clean water. If the roof is quite -new, and the tin feels greasy, go over it with a wash -made of one pound of sal-soda to six quarts of water, -let it stand one-half day; then wash the tin with clear -water.</p> - -<p>Instead of this method, I have given new tin a -good rubbing with No. 1 sandpaper to make it hold -the paint.</p> - - -<h3>ANALYSIS OF OCHRE.</h3> - -<p>Below is an analysis of a sample of French ochre, -which is about the average of that pigment:</p> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc"><em>Parts.</em></td> -</tr> -<tr> -<td class="tdl">Hydrated oxide of iron</td> -<td class="tdc">42</td> -</tr> -<tr> -<td class="tdl">Alumina</td> -<td class="tdc">20</td> -</tr> -<tr> -<td class="tdl">Silica</td> -<td class="tdc">38</td> -</tr> -</table> - -<p>The oxide gives the color; the parts as given -above are in the right proportion to give the most -stable color and durable body to be found in ochre.</p> - -<p>Here is an ochre, which was ground in a linseed -oil substitute, and sold to the trade at four cents per -pound in twenty-five pound cans, and retailed to the -painter at <em>seven cents per pound</em> in cans, to-wit:</p> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc"><em>Parts.</em></td> -</tr> -<tr> -<td class="tdl">Barytes</td> -<td class="tdc">58 </td> -</tr> -<tr> -<td class="tdl">Whiting</td> -<td class="tdc">15 </td> -</tr> -<tr> -<td class="tdl">Oxide of iron, silicate and alumina</td> -<td class="tdc">24½</td> -</tr> -<tr> -<td class="tdl">Chrome yellow</td> -<td class="tdc">2½</td> -</tr> -</table> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<p>This so-called ochre could be ground in one-half -the oil it would take to grind yellow ochre.</p> - - -<h3>ANOTHER.</h3> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc"><em>Parts.</em></td> -</tr> -<tr> -<td class="tdl">Poor chrome yellow</td> -<td class="tdc"> 8</td> -</tr> -<tr> -<td class="tdl">Ochre</td> -<td class="tdc">25</td> -</tr> -<tr> -<td class="tdl">Whiting</td> -<td class="tdc">67</td> -</tr> -</table> - -<p>Ground in snide oil, and sold to jobbers at five -cents per pound, to painters <em>eight and ten cents</em>.</p> - - -<h3>ANOTHER.</h3> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc"><em>Parts.</em></td> -</tr> -<tr> -<td class="tdl">Barytes</td> -<td class="tdc">62.90</td> -</tr> -<tr> -<td class="tdl">Ochre</td> -<td class="tdc">40.00</td> -</tr> -</table> - - -<p>Barytes is not ochre, and this was <em>sold as pure -ochre</em>.</p> - - -<h3>ANOTHER.</h3> - -<p>Sold as French ochre, and recommended for priming:</p> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc"><em>Parts.</em></td> -</tr> -<tr> -<td class="tdl">Oxide of iron, alumina</td> -<td class="tdc">19.79</td> -</tr> -<tr> -<td class="tdl">Silica</td> -<td class="tdc">40.93</td> -</tr> -<tr> -<td class="tdl">Whiting</td> -<td class="tdc">11.57</td> -</tr> -<tr> -<td class="tdl">Barytes</td> -<td class="tdc">26.64</td> -</tr> -</table> - - -<h3>ANOTHER IN OIL.</h3> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc"><em>Parts.</em></td> -</tr> -<tr> -<td class="tdl">Chrome yellow</td> -<td class="tdc">12</td> -</tr> -<tr> -<td class="tdl">Whiting</td> -<td class="tdc">25</td> -</tr> -<tr> -<td class="tdl">Barytes</td> -<td class="tdc">63</td> -</tr> -<tr> -<td class="tdl">Oil</td> -<td class="tdc">13</td> -</tr> -</table> - - -<p>The markets are flooded with such imitations of -ochre, both dry and in oil. The quantity of oil<span class="pagenum"><a id="Page_5"></a>[5]</span> -required to grind pure French ochre makes it high-priced, -hence there is a motive for putting up barytes, -which takes but little oil in grinding.</p> - - -<h3>YELLOW IRON ORE.</h3> - -<p>Much of the so-called dry ochre on the market is -a <em>yellow, iron ore and not yellow ochre</em>. When mixed -in oil and put on a tin roof it will turn brown inside -of ninety days. I presume you have had experience -with such stuff. This makes a bad primer; it is very -liable to scale.</p> - - -<h3>CRAWLING PAINT.</h3> - -<p>When paint crawls it is because there is not sufficient -adhesion between the undercoat and the new -coat, caused usually by too much gloss on the undercoat. -To prevent crawling subdue the gloss on the -undercoat by sandpapering, rubbing, or by the application -of some material which will have the desired -effect; or, if on the outside, wait until the -gloss has been subdued by the elements. There is -nothing more trying to one’s patience than to have -the paint let go and crawl up in bunches after it has -been carefully brushed out. Hence, it is well to provide -against such trouble in advance. The observing -painter has no doubt noticed that paint is more -liable to crawl under cornices, and upon other sheltered -positions, than elsewhere; hence, it is best in -all <em>such sheltered places, where the elements do not<span class="pagenum"><a id="Page_6"></a>[6]</span> -have full play, to use sufficient turpentine to prevent -a high gloss on the undercoats</em>.</p> - - -<h3>TO PAINT BLINDS AND NOT DAUB YOUR HANDS.</h3> - -<p>First, have a stick to open and shut the slats with -after you commence to paint. Second, leave a place -on each stile, or side rail, half way between the -hinges, six or eight inches long, unpainted, except to -cut in the edge next the end of the slats to take hold -of when you turn the blind over or set it aside; also -leave the bottom hinge unpainted. After you have -set up the blind hold it up by the unpainted hinge -until you finish the stiles; then lean it up against its -support and touch up the hinge. In this way you -need get no more paint on your hands than you -would in painting a door. No time will be lost, -because you can touch up the stiles in less time than -it would take to wipe your hands and brush handle.</p> - - -<h3>LEGLESS STEP-LADDERS.</h3> - -<p>Step-ladders without legs for outside work are -good things to have on the job. Say, three of them, -6, 8 and 10 feet long. A man of good height can -paint 14 feet high from the 10-foot ladder. They are -much easier on the feet than a “round” ladder. You -can stand straighter and reach farther when standing -on a step than you can while trying to balance on -a round stick; besides, a step is a handy place to set -your pail on.</p> - -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - - -<h3>SUCCESS IN PAINTING.</h3> - -<p>Painting don’t pay, eh? No wonder it don’t pay, -because here you are spending half your time growling. -The facts in the case are, “You are not up-to-date.” -If there is no possibility of making money -at the trade, how is it that your competitor gets along -so well? Why is it that he accumulates and you -lose? He goes into the same market for labor, material -and jobs that you do. He comes out every -fall with his pockets full, and you round up poor as -a church mouse. There must be a screw loose somewhere -in your management. Will I point one out? -Certainly, we have always been friends, and I can -never do too much for a friend. In the first place -you are too impetuous. You forget for the time that -bills for labor and material will fall due, that you -must live—and you take the job at losing figures. -You ought to realize that the success of a contracting -painter depends upon his business qualifications. -To-wit: Correct and careful estimates, coolness in -bidding, care in selecting materials and men, systematizing -his work so as to keep each man in the -right place. I don’t know how much you are getting -for this job, but it looks to me that you are -losing money every day by using poor material and -improper handling of your men. The good business -man prefers the strictly pure Dutch process white -lead to the adulterated brands. He uses pure linseed<span class="pagenum"><a id="Page_8"></a>[8]</span> -oil instead of adulterated mixtures and imitations -of it, and he never loses sight of the fact that a -good reputation is a mine of gold to him. If he finds -a man is a good hand on a ladder or swing stage he -keeps him there, and if he finds a man an expert at -inside work he keeps him there, and if he finds a man -is a poor stick in any place he lets him go, rush or no -rush. If he has high work he provides a safe and -easy way to get there. If he has inside work his -step-ladders are equal to the work. He knows when -a man has to reach too far or stand on top of a ladder -he can’t half work. Learn to manage your -men, to keep the right man in the right place. Stop -making ruinous bids. Open your eyes to the fact -that a man who makes a losing bid on a job, to beat -his competitor, acts like an idiot, and is meaner than -flies in paint.</p> - - -<h3>GUESSING ON WORK.</h3> - -<p>The practice of estimating work by guess has -brought many a painter up with a round turn in the -fall in debt. The curious part of it is that the lesson -is rarely, if ever, learned. Don’t be too smart. -Guessing on work is very uncertain business.</p> - - -<h3>GLASS GILDING.</h3> - -<p>A practical expert in an English journal, the -“Plumber and Decorator,” gives the following as his -process acquired and tested by many years’ experience.</p> - -<p><span class="pagenum"><a id="Page_9"></a>[9]</span></p> - -<p>The tools and materials required for glass gilding -are the same as used for gilding in oil, excepting the -gold size. Oil gold size would never do for glass -work. In glass gilding the object is to get a size or -mordant which will have the least possible tendency -to destroy or mar the burnish of the gold leaf. This -is absolutely necessary, when we consider that in this -kind of work the size is before the gold, not as in oil -gilding—behind it. For a mordant nothing can be -better than the best isinglass. To prepare this for -use the utmost care and cleanliness should be exercised. -The water must be quite pure—free from -grease or impurities of any kind. In preparing the -size the following may be relied upon as a first-class -recipe: Boil about one pint of water in a perfectly -clean pan. Should any scum rise during the operation -remove it with a large spoon. Then add about -as much isinglass as will lie on a dime to the boiling -water. This is best done a little at a time to prevent -it gathering in a mass before it has a chance of -dissolving. When the isinglass is dissolved strain the -size through a fine silk handkerchief, folded double -or fourfold, or, better still, through some white blotting -paper. This straining or filtering will remove -any bits or impurities that may have lodged unperceived -in the isinglass. When cool the mordant is -ready for applying to the glass. Some gilders like -to add spirit in some form—generally spirits of -wine—to their size. Their reasons for doing this are<span class="pagenum"><a id="Page_10"></a>[10]</span> -not always very explicit. Some do it because they -have seen others do it. Others add it, they say, to -give the gold a better burnish, or to make it better -adhere to the glass. This is a delusion. The most -sensible reason for its use was imparted to me by a -veteran in the trade. He used spirits of wine to -take out or kill any slight greasiness that may have -been in the water or isinglass. I must confess that -until I learned this, spirits always formed part of my -mordant, because others used it. However, on further -consideration, its use has been discarded, and, -if anything, a better burnish on the gold is the result. -In making the size it must be borne in mind -that the less isinglass used the brighter will be the -gilding when completed. Of course, if too little -be used, the gold will not adhere to the glass as it -should, and this would cause much damage and annoyance -when the isinglass size was floated on again -to proceed with the second gilding. When the size -is too strong, or contains too much isinglass, no -amount of burnishing will remove it altogether from -before the gold. These are important points and -should be carefully studied. But a little practice -soon teaches the gilder how to arrive at the happy -medium.</p> - -<p>There are a variety of purposes to which ornamental -glass gilding may be applied besides sign -work, shop fronts or glass doors. It is now much -used for show cases, window tablets, druggists’ bottles,<span class="pagenum"><a id="Page_11"></a>[11]</span> -fixtures and pilasters for shop fronts. Very -often the design is embossed or bit into the glass, -and worked up with gold and silver leaf, besides being -picked out in colors. This is both a costly and -effective method of decorating, which shall have full -consideration in a future chapter. For the present -it will, no doubt, be advisable to consider the simpler -form of glass gilding. When this is thoroughly understood -very little further instruction is needed for -high-class work.</p> - -<p>For the sake of example we will suppose a glass -slab about three feet six by twelve inches is the subject -to be treated. This is to have black letters without -thickness or shadow on a gold ground. There -are two methods of doing this. One is to first paint -on the glass the letters with japan black and afterwards -gild the plate. The other consists in first -gilding the plate solid and then painting in the -background with japan black. By this method the -lettering is left untouched. The gold on these is -then washed off, the edges trimmed, and the letters -themselves painted black or any other desired color. -This latter is, perhaps, the most satisfactory. However, -a few lines of explanation will be devoted to -each process.</p> - -<p>First in order comes a plate, the letters on which -are painted with japan black previous to gilding. -To the learner, no doubt, the plain block letters will -prove an attraction, because of their simplicity. This<span class="pagenum"><a id="Page_12"></a>[12]</span> -should be set out correctly on a sheet of lining paper. -It will only be necessary to run in an outline of -the letters. When completed to the satisfaction of -the operator it may be pasted round the edges and -fixed on the face of the glass. The back of the -glass, that is the side upon which the work is done, -should be quite clean. When the plate is fixed on an -easel or stand, which is the most convenient place -for working, the letters will, of course, read backwards. -In this form they must be painted. When -quite dry and hard, should the outlines of the letters -be irregular, they may be set right in a very -simple manner. All that is required to accomplish -this is a metal straightedge and a sharp -quarter inch joiner’s chisel. The straightedge is laid -across the tops and bottoms of the letters and the -chisel is employed to cut them sharp and true. The -sides of the straight letters are then similarly treated; -curves must be perfected with a writing-pencil. The -paper may now be taken from the face of the glass -and the plate examined all over. Should any -specks of black be found on it they must be removed -before the gilding is gone on with. The -smallest speck shows up before the gold leaf. If -convenient, before gilding, have the plate fixed at -an angle of about 45 degrees. While in this position -take a flat gilder’s mop and float the isinglass -size over the glass. Then take up the cushion, take -out a few leaves of gold from the book, and whilst<span class="pagenum"><a id="Page_13"></a>[13]</span> -the glass is wet cover it with gold, lifting the gold -from the cushion as described in the last chapter. -If possible lift a whole leaf at once, but should -this at first prove troublesome try half a leaf. Keep -the glass wet with the size and overlap slightly each -successive leaf of gold until the whole of the glass -is covered.</p> - -<p>The glass must now dry before it can be re-gilded, -and must then be gently rubbed with the -finest cotton wool. It is an easy matter to ascertain -whether it is dry or not. When wet the gold, -if looked at from the front of the glass, has a dead -look, but if dry it shows up bright. If possible -leave the plate till next day before giving it a second -coat of gold. The advantage of this delay is -obvious. The gold has time to get hard, which materially -reduces the risk of its being removed when -a second application of size is necessary.</p> - -<p>To the novice it will, no doubt, appear at first sight -both a waste of time and gold to gild all over the -work again, but if the plate be held up to the light -it will show many imperfections in the shape of -small holes, cracks and imperfect joinings. Another -coat of size floated on and another layer of -gold over the whole of the work should turn out -a so far satisfactory finish. Let the glass dry -again and be subjected to a further examination for -faulty places. Should any be found cover them -with more gold. But if the work is satisfactory it<span class="pagenum"><a id="Page_14"></a>[14]</span> -is ready for the burnishing process. The first stage -is to polish the gold by gently rubbing with fine cotton -wool, care being taken not to scratch the gold. -This is, of course, only a repetition of the polishing -after the first layer of gold.</p> - -<p>There are several methods in general use for obtaining -that brilliant burnish so much admired in -glass gilding. But the one that meets with most -favor and success is what is called the “hot water -burnish.” It will be advisable to practice on the -glass under consideration. After the cotton wool -polishing is completed warm the glass either by holding -it before a fire or gently pouring warm water over -it. This is only a precaution against breakage by -sudden expansion. Now let it dry, and while warm -polish again with the cotton wool. Repeat the pouring -of water, hotter than the last, and when the -glass is dry, after this operation, gently rub it again -with cotton wool. This hot water flushing should -be carried on until the burnish is quite satisfactory. -But it must be very carefully done, else the gold runs -a risk of being washed off in patches.</p> - - -<h3>HOW TO ESTIMATE WORK.</h3> - -<p>Measure your work with the tape-line and be sure -you get all there is in it; projections, depressions, -mouldings, edges, etc.</p> - -<p>Many a painter has dropped his profits by not -taking in these little particulars. Every bead, sunken<span class="pagenum"><a id="Page_15"></a>[15]</span> -or raised panel makes an edge to paint. The edges -of ordinary weather boarding <em>add ten per cent</em>. to -the surface, to say nothing of the edges of the corner -boards and window and door casings—the projections -and depressions in the panels of an ordinary -four-paneled door, <em>add at least ten per cent. to the -surface</em> to be painted. Then let me say to you -again, look closely for edges, projections, depressions, -hollows and rounds. They all count when you paint -them; and it is your fault if they are not included -in the estimate. When you have multiplied the number -of feet around a house by the average height and -reduced it to yards you have only made a start. -Measure the cornice, follow the hollows, rounds and -edges with the line. <em>There is lots of surface in -mouldings.</em> The tape-line is good as far as you can -make it go, but it can’t do it all. You must use -judgment in connection with it; and carefully estimate -the condition of the work, what per cent. is <em>slow</em> -to paint, or high and difficult to reach. For instance, -what is the condition of the surface, is it porous and -full of cracks? Is every joint gaping for putty? Is -the putty on the windows rough and broken? Is -the old paint cracked, blistered and scaling? Is the -cornice ornamented with dentils, brackets and -panels? You may lose a day or a week of extra time -on a high tower or cupola if you fail to put it into -your estimate as extra hard to reach. Make the price -accordingly. Are the blind-slats stuck fast and difficult<span class="pagenum"><a id="Page_16"></a>[16]</span> -to paint? Is the work to be done in the busy -season when labor and material are high priced and -good men are hard to get; or in the dull season, when -dealers will cut prices and good men are hunting -for work? Bidding on specifications must be done -with care. You can figure the number of yards to -be painted, but there are many points which the completed -job can alone disclose. A provision in your -contract to cover all changes in specifications comes -mighty handy on the day of final settlement. It is -not safe to make anything like a close bid on specifications, -until the following questions have been settled -and put in your contract. To-wit: Will the -building be delivered to you at a specified time, finished -and <em>cleaned out</em> and put in good condition for -the painter; or will you be expected to commence before -the work is finished and paint as the work is put -up, and spend as much time dusting and sweeping -as you do at painting? Will the machine-dressed -lumber, including mouldings, doors, window-stops, -etc., be put in as it comes from the factory rough and -fuzzy, or will it be redressed and made smooth and -ready for the paint? These points may look to you -like small matters, but they count when you come to -paint the work. If you are to do a fine job stipulate -in your contract that the wood-work, etc., shall be -finished in good shape. If you are to paint the work -as you find it have it so stated in your contract. Paste -this motto in the top of your hat and read it often:<span class="pagenum"><a id="Page_17"></a>[17]</span> -“It is always better to lose a job than to get it and -lose money on it.”</p> - -<p>Two houses may be of equal dimensions, yet it -may be worth 50 per cent. more to paint one than the -other; hence any definite scale of prices for work by -the yard is liable to be misleading. We may determine -by the line how much there is of the work, but -we must rely upon our judgment and experience to -determine how much it will cost to do it.</p> - - -<h3>ONE WAY TO MEASURE A JOB.</h3> - -<p>Find the surface measure of the entire job, including -all edges and projections, and estimate how -much it is worth per yard, on the basis that it is all -plain work, easy to get at. Next we will proceed by -what we may call special measurement. Suppose the -cornice measures 60 yards, and is finished with -blocks, moulded panels and brackets, and we estimate -that the cost of painting it will be three times that -of a plain cornice, hence we will add two measures -or 120 yards to the general or first measurement. -Next, suppose each window and casing measures -three yards, and there are 20 of them to be trimmed -in colors, we estimate the work of painting them -double that of plain work; hence we add to our -special measurement 60 yards. If there is a cupola -high and difficult to reach we estimate that it will -be worth double the cost of painting ordinary work -to do it. Say, it measures 50 yards, we will add<span class="pagenum"><a id="Page_18"></a>[18]</span> -50 yards to the general measurement, and so we will -go on until we have taken in all parts of the work -which will cost more than ordinary plain work.</p> - -<p>To illustrate: The building measures 600 yards, -and as plain work we estimate it worth twenty cents -per yard to paint it. We amount our special measurement -which we will say adds up to 300 yards, -which added to the 600 yards general measurement, -makes 900, which at twenty cents per yard, makes -$180. The same system may be used inside.</p> - - -<h3>TO SOFTEN HARD, LUMPY PUTTY.</h3> - -<p>Break the putty into lumps; put it in a kettle with -enough water to cover it; add a little raw oil, and boil -and stir well while hot. The putty will absorb the -oil; pour off the water, let the putty cool, then work -it, and your putty will be as good as new.</p> - - -<h3>TACKY PAINT ON CHURCH SEATS, ETC.</h3> - -<p>During my experience as a painter, I have been -called upon to repaint tacky seats in at least half -a dozen churches. Such seats are an unmitigated -nuisance. Tacky paint may be the result of putting -too much japan in oil paint, or of using fat oil, or -paint which had been mixed a long time, especially -if it had very much japan in it, or by mixing oil and -varnish, or by putting varnish on oil paint, especially -if the paint had not been given time to dry hard -before it was varnished. To harden tacky paint try<span class="pagenum"><a id="Page_19"></a>[19]</span> -this: Take one part japan and three parts of turpentine, -and give the work a coat of the mixture. -That will usually effect a cure, unless the paint is -soft clear to the wood. A coat of shellac will sometimes -do the work all right. Such seats usually -seem all right until warmed by the heat of the body; -hence we may be satisfied that the fault is in the -oil used in the paint or varnish. It is best on that -account to use but little if any oil when painting -seats of any kind. Coat up with color ground in -japan and thinned with turps; varnish the part which -comes in contact with the body with shellac varnish.</p> - -<p>I have painted seats this way, and never heard of -any further trouble with them.</p> - -<p>To repaint tacky seats the best way is to burn off -the old paint, and coat up as above; because, if a hard -drying paint is put over the old soft paint it is liable -to crack. It is well, however, to see if the turpentine -and japan will work a cure, or if a coat of shellac -will stop the trouble. To do this it is well to first -experiment on one seat, or upon a small surface.</p> - -<p>I have killed tacky paint by rubbing it with a -cloth wet with ammonia; when dry, try it, and see -if the “tack” is gone; if not, go over it again; when -dry, put on a coat of shellac varnish; this is a pretty -sure cure.</p> - - -<h3>TESTING JAPAN.</h3> - -<p>If japan smells of benzine don’t buy it. Mix it -with clear oil; if it curdles, you don’t want it. Mix<span class="pagenum"><a id="Page_20"></a>[20]</span> -drop black with some of it; as stiff as good drop -black ground in japan; then thin with turps and -make a painting test, to see if it is a good binder. -To see if it will crack, paint on glass, let it dry and -hold the glass between your eye and the light. If -you see fine cracks don’t buy any of it.</p> - -<p>When you go to buy japan, ask the dealer who -made it. If he don’t know, make up your mind at -once that it is a <em>fatherless waif</em> without <em>a name</em>, -and likely to be worthless. When a man makes a -good thing he is apt to send his name along with it -as an advertisement. This applies to all material. -There is a great deal of bad japan on the market, -and a great amount of work ruined by it. Buy -none unless it bears the brand of a reputable maker -and will stand these tests.</p> - -<p>I do not need to tell the practical painter that there -is a great amount of bad japan on the market, and -that a great deal of paint is ruined by it. Buy no -japan unless the can bears the name of some reputable -manufacturer, and will stand the above tests.</p> - - -<h3>WHY DO PAINTS AND VARNISHES CRACK?</h3> - -<p>The following paper was read by Mr. A. P. Sweet, -of Iona, Mich., at a meeting of master car painters:</p> - - -<p class="pfs80">SUBJECT:</p> - -<div class="blockquot"> - -<p>“<em>Why do paints and varnishes crack, and what is -the reason that cracks in the latter are usually at -right angles to the grain of the wood?</em>”</p> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<p>The subject, as I understand it, relates to the -cracking of varnishes, etc., as experienced in connection -with passenger car work, and as such I introduce -it for discussion before this association.</p> - -<p>There are many theories as to the cause of the -cracking of paints and varnishes. Some are well defined, -others are not satisfactorily explained.</p> - -<p>I do not anticipate being able to add much to what -is already known, but will advance a few thoughts, -which may call forth the views of others on the subject.</p> - -<p>The old adage, “It takes two to make a quarrel,” -is as true when applied to paints and varnishes as it -is to individuals. A single coat of either seldom, if -ever, produces cracks. These make their appearance -only after two or more coats have been applied; consequently, -it is necessary to have a body of color or -varnish, consisting of two or more coats, before any -trouble of this kind makes itself manifest.</p> - -<p>This being the case, it follows that the cause of -the difficulty must be sought for in the coatings -themselves, either in the quality of the material -employed or in the mode of applying them.</p> - -<p>Poor and cheap oils and japans—especially the -latter—are a fruitful source of cracking in paint; -but by far the most prolific one, in my opinion, is -the hurried application of the succeeding coats before -the preceding ones are dry enough to receive them.<span class="pagenum"><a id="Page_22"></a>[22]</span> -If sufficient time is not given, cracks will inevitably -follow such a mode of procedure.</p> - -<p>I am of the opinion, also, that very little blame -can be attached to the wood used in the construction -of cars, as most of it is comparatively well seasoned, -and its expansive and contractive force is not sufficient -to cause serious trouble. If green wood was -used there might be room for this excuse, especially -where the cracks run in the direction of the grain, -and are large and deep.</p> - -<p>Before pursuing this subject further, it may be -well to examine a little into the theory of the drying -of paint. It is purely a chemical process, not a mechanical -one, as some suppose. Paint dries by the -evaporation of its volatile parts and its absorption -of oxygen; it is heavier when dried than when in -the liquid form, having attached to itself a sufficient -amount of oxygen to very perceptibly increase the -weight some 6 per cent.</p> - -<p>The best grades of linseed oil are said to contain -from 70 to 80 per cent. of substance called linoleine, -a resinous and slow-drying oil and acid which imparts -to the oil its elasticity.</p> - -<p>In the process of drying, contraction occurs. The -various atoms of which the coatings are composed -move closer and closer together; and as this contracting -force is easier with than across the grain, -cracks at right angles to it are formed. This fact -suggests the necessity of so adjusting the elasticity<span class="pagenum"><a id="Page_23"></a>[23]</span> -of the various coats that the force exerted in drying -may be as nearly equalized as possible, as their contracting -force is continued until all elasticity has left -the paint and oxygen ceases to be absorbed, all the -oil acid has disappeared, and nothing but a hard, -brittle surface remains.</p> - -<p>Under the microscope, in the first stage of cracking, -the surface presents nothing unusual except that -the cracks appear clean cut and sharp on the edges. -As months pass by and the surface is exposed to the -atmospheric changes of heat and cold, wet and dry, -the cracks become more numerous; and in the last -stage, when the oil is entirely destroyed, the surface -assumes the appearance of innumerable rectangular -masses, higher in the center than at the edges, like -small mounds raised by the process of contraction -and adhesion.</p> - -<p>Cracking in color coats may, by careful attention -to preliminaries, be reduced to a minimum, provided -good first-class materials are used and sufficient -time is given to each coat to dry.</p> - -<p>Where varnish is to be applied as a finish, all coatings -should have oil in their composition and yet be -mixed to dry flat. They should be applied very -evenly and thinly, even if it necessitates an extra -coat, to cover and make a solid job.</p> - -<p>Striping and ornamenting should be done on flat -color, which gives time for hardening, and fits it for<span class="pagenum"><a id="Page_24"></a>[24]</span> -the varnish coats to follow. If work is done in this -way, I think very little fear of premature cracking -need be entertained; at least, not until time and -weather have sufficient opportunity to play havoc with -its beauty, and natural decay of the materials themselves -necessitates a thorough overhauling and repairing.</p> - -<p>Rubbing varnishes are another source of trouble, -causing the succeeding coats of finishing varnish to -show signs of cracking long before they otherwise -would, as it does not agree with the slower drying -varnishes usually applied above it, being of a harder -and more brittle character, serving the purpose of -producing a fine, smooth surface, but sacrificing the -durability of the job.</p> - -<p>Concerning the cracking of varnish, I have not -much to say. It seems to me that many of the reasons -given above will apply to it as well as to the -paint.</p> - -<p>Poor material in the shape of varnish is poor indeed. -A first-class article only will give first-class -results.</p> - -<p>It must be elastic, or it will crack easily and badly, -no matter how good the undercoats of paint may be.</p> - -<p>Good varnish on good color coats will not give -any signs of cracking until, by repeated varnishings, -it has accumulated a thick coating of brittle, unelastic -gum.</p> - -<p><span class="pagenum"><a id="Page_25"></a>[25]</span></p> - -<p>No painter can say truthfully that his cars never -crack, as it is a natural consequence of decay, and -will come, sooner or later, to the best of material.</p> - -<p>That varnish cracks to a great extent at right -angles to the grain of the wood, I think is due, in -some degree, to the same reasons as given above for -the cracking of paint, and after its elasticity is destroyed -by age. Vibration has a great effect upon -the hard and brittle coating of gum that remains, -coupled with expansion and contraction caused by -variations of temperature and the disintegrating influences -of the weather.</p> -</div> - - -<h3>BRUSH CLEANING TROUGH.</h3> - -<p>To make such a trough, take a piece of planed -board, 6 inches wide and 18 inches long, and nail on -side pieces 2 inches wide; this makes the trough. -Nail this trough on a bench, box, or table, and let one -end of it project over the edge of the bench, box or -table, and place your slush bucket under the projecting -end of the trough. To clean a brush, lay it in -the trough, keep hold of the handle with one hand -and with the other take a dull scraper and press the -paint out of the brush and shove it off into the slush bucket. -The advantage of this method is that you -clean the whole length of the brush and save the -paint, instead of daubing it on the walls of your -shop.</p> - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span></p> - - -<h3>FLOOR WAX.</h3> - -<p>A good preparation for waxing floors may be -obtained as follows:</p> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Yellow Wax</td> -<td class="tdr">25</td> -<td class="tdl">oz.</td> -</tr> -<tr> -<td class="tdl">Yellow Ceresin</td> -<td class="tdr">25</td> -<td class="tdl">oz.</td> -</tr> -<tr> -<td class="tdl">Burnt Sienna</td> -<td class="tdr">5</td> -<td class="tdl">oz.</td> -</tr> -<tr> -<td class="tdl">Boiled Linseed Oil</td> -<td class="tdr">1</td> -<td class="tdl">oz.</td> -</tr> -<tr> -<td class="tdl">Turpentine</td> -<td class="tdr">1</td> -<td class="tdl">gill</td> -</tr> -</table> - - -<p>Melt the wax and ceresin at a gentle heat, then -add the sienna previously well triturated with the -boiled linseed oil, and mix well. When the mixture -begins to cool add the oil of turpentine, or so much -of it as is required to make a mass of the consistence -of an ointment.</p> - -<p>The burnt sienna may be used in smaller or larger -quantity, according to the tint desired, or may be -replaced by raw sienna, etc.</p> - - -<h3>DAMAR VARNISH.</h3> - -<p>Never use damar varnish over oil paint.</p> - -<p>Never put oil in damar varnish. See to it that -your dealer does not draw it into an oil measure, and -that you do not keep it in an oily or rancid can. -Why? Because it is liable to dry tacky under any -of the above conditions.</p> - - -<h3>STENCIL STAINING.</h3> - -<p>Ordinary plain staining can be done by almost any -one who can handle a common paint brush. Yet it -is not generally known, even to skilled decorators, -that stain, on sound white wood, evenly planed, can<span class="pagenum"><a id="Page_27"></a>[27]</span> -be applied to imitate the most intricate of artistic -designs; such, however, is the case. A decorator -if asked to imitate in stain on white wood a piece of -parquetry or inlaid wood, might reply that such a -thing was impossible, alleging as a reason that by -employing liquid stain in the same way as a distemper—that -is to say, by the aid of a stencil to reproduce -the pattern—the stain, as soon as it became absorbed -would be found to “run,” and so giving to the -pattern imitated an indistinct or blurred edge. Yet -the most elaborate patterns are successfully stenciled -direct on to pine, and the figured work on this wood -has invariably come out distinctly and naturally as -to be almost indistinguishable from the inlaid work -they have so successfully sought to imitate. The -great difficulty to be overcome in stenciling with -stains is undoubtedly the “running,” but with a very -little care and patience this can be easily obviated. -Say a painter has a border to stain round an ordinary -pine floor in imitation of a selected pattern of parquetry, -the colors of which are generally in two or -more shades of oak, the first thing he has to do after -having properly prepared the floor—namely, making -the part to be stained as smooth and as even as possible -by filling up the crevices and nail holes—is to -stain over the work in the lightest shade shown in -his pattern; this can be done by diluting the ordinary -liquid oak stain with water to the desired tint. -Next let him cut out of a piece of lining, paper in<span class="pagenum"><a id="Page_28"></a>[28]</span> -the form of a stencil—the pattern he has to reproduce -on the floor—care being taken to oil the stencil -in order to strengthen and preserve it. He should -then mix the stain into a stiff paste or to the consistency -of a distemper used for ordinary stenciling; -place a portion of this mixture on a smooth piece -of wood, take up a very small quantity of it on a -stencil brush and apply through the stencil plate in -the same way he would a distemper. If a very dark -shade is required apply more stain before removing -the stencil plate.</p> - - -<h3>PAINTING BRICK.</h3> - -<p>Objections: Chipping of the brick, and scaling of -the paint.</p> - -<p>The chipping may be on account of defective brick -or otherwise.</p> - -<p>Scaling may be caused by poor paint, or by <em>dampness -in the brick</em>.</p> - -<p>When called upon to paint brick, first see if the -brick is dry. See that there is no place where water -leaks in from the roof or cornice and soaks into the -brick. A brick wall may look dry and still be damp -inside. If you want paint to stay on brick, give the -brick time to dry, after heavy and driving rains. It -is always a bad plan to paint brick in the fall, after -the autumn rains. The only real safe time to paint a -brick wall is in summer, after a spell of hot, dry -weather. You can not always wait for that, but you -can tell the owner that it is unsafe to paint a brick<span class="pagenum"><a id="Page_29"></a>[29]</span> -wall until it has had time to dry. Why? Because in -winter the moisture, which is shut in by the paint, -will freeze, expand and throw off the paint or chip the -brick.</p> - -<p>Prime brick work with a thin coat of good paint -mixed in pure linseed oil. Flow on the priming -freely, and brush it well into the brick; for second -coat, whatever paint you use, put in at least one-fourth -white lead; make this coat one-third turps, -and rub it well out. Give it a good body. For the -last coat, use your color regardless of lead, unless -you want it in to get your color. If you want a -gloss, mix this coat with all boiled oil, and flow on. -For flat, if your colors are ground in oil, use one-fourth -oil and three-fourths turps, and if it don’t -show flat when painted, it will flat in a short time. -The last coat may admit of more oil or may not take -as much, and flat. This depends upon the work -when started, etc. Some painters make brick flating -by breaking up the pigment in japan, and elastic -varnish for a binder, and thin with turps. I prefer -the oil for a binder, and have made the last coat -one-half oil, and had a nice flat in a few weeks. I -always ridicule the idea of painting brick flat, because -it will not stand as long as an oil finish, and -the oil finish will be flat enough in a few months.</p> - - -<h3>CLEANING UP A ROOM.</h3> - -<p>Now, if I were going to teach a boy to clean up a -room, the first thing would be how to prepare himself<span class="pagenum"><a id="Page_30"></a>[30]</span> -for the job. In the first place, he wants a damp -sponge with a string through it to tie over his head, -to hold the sponge over his mouth and under the nose -to catch the dust, because it is a great deal more pleasant -and a “sight” more healthful to carry lime and -other dust in a sponge than in nostrils and windpipe. -Then he wants a cotton cloth cap, large enough to -draw down over his head and ears, bib overalls and -jacket to button close about the neck and he is well -fixed. In such a rig he may look peculiar, but he had -better look like a monkey than to skin his nostrils -with dust and fill his ears and hair with lime, sand -and sawdust.</p> - -<p>For tools, he needs a good, new, fine corn broom, a -wide bristle sweeper (a ten or twelve-inch paper-hanger’s -smoothing brush will do), a good duster, -a sharp tool to pick out corners, a two-inch chiseled -brush for corners. A sprinkler only turns dust to -mud, to dry in a few hours and become dust again. -When you have swept the floor with your broom and -dusted your wood-work and gone over the floor carefully -with your wide bristle brush to take what you -brushed from the casings and what the broom left -on the floor, look at the air across this ray of sunlight; -it is full of dust, soon the most of it will settle -on the floor and casings and window stools. What -then? Wait till it settles and <em>wipe it off with a cloth</em> -and don’t forget the tops of the doors and casings. -“Why use a cloth?” Well, if you go in and begin to<span class="pagenum"><a id="Page_31"></a>[31]</span> -use a dust brush after the dust settles you throw a -portion of it in the air again and it will settle on the -work. And by the way, I want to say that a wiping -cloth is a very important article for a painter to carry. -It always makes me “red hot” to see a painter (?), -after he has daubed a key shield or a hinge, try to -wipe it off with his thumb; I could forgive him for -the daub; the best man in the trade may sometimes -do that, but the man who will rub part of it off with -his thumb and let the rest dry ought to be sent off the -job or suspended long enough to take a lesson in -the art of wiping off daubs.</p> - -<p>I want to say further that every well regulated -dusting kit ought to have a dust pan hitched to it -in some way. It will save sweeping the dust out on -the steps to be tracked in again, save the time you -would lose in sweeping the dust over thresholds, or -save the time it would take to borrow one.</p> - - -<h3>PASTE FOR LABELING ON TIN.</h3> - -<p>Make a stiff flour paste in the usual way, with -flour and water, then add 2 ounces tartaric acid, and -1 pint of molasses; boil the mixture until stiff, and -put in ten or fifteen drops carbolic acid.</p> - - -<h3>ANOTHER.</h3> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Wheat flour</td> -<td class="tdr">1 </td> -<td class="tdl">pound</td> -</tr> -<tr> -<td class="tdl">Alum</td> -<td class="tdr">2 </td> -<td class="tdl">drams</td> -</tr> -<tr> -<td class="tdl">Borax</td> -<td class="tdr">2 </td> -<td class="tdl">drams</td> -</tr> -<tr> -<td class="tdl">Hydrochloric acid</td> -<td class="tdr">1½</td> -<td class="tdl">ounces</td> -</tr> -</table> - -<p>Mix the flour, alum and borax in the usual way,<span class="pagenum"><a id="Page_32"></a>[32]</span> -to a smooth paste in water, then add the acid and -cook in the usual way with hot water.</p> - - -<h3>TO MAKE TENTS, ETC., WEATHERPROOF.</h3> - -<p>To prevent tents, wagon covers, etc., from rotting -dissolve 4 ounces sulphate of zinc in 10 gallons of -water, then put in one-fourth pound sal-soda, stir -well until dissolved and add one-fourth ounce tartaric -acid. Let the cloth lie in this one day and night and -hang up to dry. Don’t wring it.</p> - - -<h3>TO PAINT ON CANVAS OR MUSLIN WITHOUT SIZING.</h3> - -<p>First stretch, then wet the cloth. Wipe off the -drops and letter while the cloth is damp with color -mixed with japan and turps.</p> - - -<h3>TO PAINT ON ZINC.</h3> - -<p>A difficulty is often experienced in causing oil -colors to adhere to sheet zinc. Boettger recommends -the employment of a mordant, so to speak, of the -following composition: 1 part of chloride of copper, -1 of nitrate of copper and 1 of sal-ammoniac are to -be dissolved in 64 parts of water, to which solution -is to be added 1 part of commercial hydrochloric -acid. The sheets of zinc are to be brushed over with -this liquid, which gives them a deep black color; in -the course of 12 to 24 hours they become dry, and to -their now dirty gray surface a coat of any oil color -will firmly adhere. Some sheets of zinc prepared in -this way, and afterwards painted, have been found -to withstand all the changes of winter and summer.</p> - - -<p><span class="pagenum"><a id="Page_33"></a>[33]</span></p> - -<h3>PAINTING BLINDS.</h3> - -<p>When painting a blind never turn it upon edge -when cutting in the inside of the rail, because the -paint will be likely to run into the pivot-holes and -stick the slats. When you set a blind up to dry, set -the bottom end up, and be sure to have the slats lie -flat side up. Why? Because the bottom end of the -blind when hung is more apt to drag on the window -sill than the top end is to touch the jam above. If -set bottom end up, that end will dry solid and if -there are any sags it will be at the top. Keep the -slats flat side up to avoid flat edges.</p> - - -<h3>TREATMENT FOR HARDWOOD FLOORS.</h3> - -<p>First see that the floor is clean and smooth; then -give it a coat of best oil, with japan sufficient to make -it dry; cut the japan in turps. Then put on a good -mineral paste, filler in the usual way by rubbing the -filler well into the wood; then clean off all the surplus. -When dry, sandpaper and putty up well with -colored, hard putty, and put on a coat of shellac; if -too glossy, rub down with powdered pumice and oil. -Be careful to have the putty match the floor.</p> - - -<h3>WHITEWASH FOR OUTSIDE WORK.</h3> - -<p>Take one-half pound of fresh burnt lime. Dip it -in water and let it slack in the open air. Melt two -ounces of bagundy pitch by gentle heat, in six ounces -of linseed oil; then add two quarts of skim milk -while the lime is hot, add the mixture of pitch and<span class="pagenum"><a id="Page_34"></a>[34]</span> -oil, a little at a time while hot, and stir it in; then -add three pounds of bolted whiting and stir. Add -more milk if too thick for the brush.</p> - - -<h3>THE STRAINER.</h3> - -<p>Don’t forget to use the strainer. After you have -put in your best licks to clean up and sandpaper a -job, it is the height of folly to daub it up with paint -full of skins and specks. Oil paint is liable to be -“skinny” in the keg. Miller’s bolting cloth makes -a good strainer, and common cheese cloth at five cents -a yard does very well for ordinary purposes.</p> - - -<h3>TO KILL GREASE SPOTS ON WOOD.</h3> - -<p>Use a wash of saltpeter or a thin lime wash, then -rinse with clear water. Treat blacksmith’s smoke in -the same way.</p> - - -<h3>KALSOMINE.</h3> - -<p>To please an old friend I give the following recipe -for kalsomine. <em>He says it is good.</em> I never used it, -so you will have to take his word for it.</p> - -<p>Fifteen pounds good paris white, mixed up in lukewarm -water, add one-fourth pound good glue, dissolved -in the usual way, strain through a fine sieve, -then dissolve one-fourth pound white hard soap in -hot water and one-half pound of alum in cold water -and mix. Add water to give the right consistency -for putting it on the wall.</p> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - - -<h3>TO TAKE OFF THE PAINT.</h3> - -<p>If you have an old, roughly painted door to cut -down for a fine job, don’t fool away your time, and -fill your nose with dust, trying to do it with dry sandpaper, -but take the door off its hinges, lay it flat on -horses, and keep the surface under your sandpaper -wet with benzine, and you can do in an hour what -would otherwise take half a day. The benzine softens -the paint, and keeps the paper from gumming up. -If it is not practicable to take the door off the -hinges, put your benzine in a small spring-bottomed -oil can and squirt it on the work as needed to keep -the paper clear of paint and make it cut fast. Wipe -off the loose paint with rags. It works equally well -on old varnish. Try it once on an old carriage body.</p> - -<p>If the old paint is extra hard use a mixture in -equal parts of benzine and ammonia.</p> - - -<h3>CLEANING SILVER, BRASS OR COPPER.</h3> - -<p>In the course of our work we often meet with -tarnished metal ornaments, which must be cleaned to -make our work look well.</p> - -<p>This preparation is a good one:</p> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Paris white (fine)</td> -<td class="tdr">1 </td> -<td class="tdl">pound</td> -</tr> -<tr> -<td class="tdl">Carb. magnesia</td> -<td class="tdr">2 </td> -<td class="tdl">drams</td> -</tr> -<tr> -<td class="tdl">Cyanuret potash</td> -<td class="tdr">7 </td> -<td class="tdl">drams</td> -</tr> -<tr> -<td class="tdl">Sulph. ether</td> -<td class="tdr">3 </td> -<td class="tdl">drams</td> -</tr> -<tr> -<td class="tdl">Crocus martis</td> -<td class="tdr">1 </td> -<td class="tdl">dram</td> -</tr> -<tr> -<td class="tdl">Soft water</td> -<td class="tdr">1½</td> -<td class="tdl">ounces</td> -</tr> -<tr> -<td class="tdl pad4" colspan="2">or sufficient to make a stiff paste.</td> -</tr> -</table> - -<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p> - -<p>Mix by rubbing, add the paris white last, then stir -into the water. Apply with a rag or sponge, and rub -dry and polish with a rag or canton flannel.</p> - - -<h3>WHY DO WALL PAPERS CRACK?</h3> - -<p>Some papers are more inclined to crack than -others, because they are made of more brittle material. -When selecting a paper for a whitewashed wall -or ceiling, take a pattern which feels soft and pliable. -Papers which crackle or rattle when crumpled in -the hand are liable to crack. Papers which stretch or -expand the most when wet are the most apt to crack; -because when they dry and shrink the pull is so -great that the fibers give away, if great care is not -taken in putting it on. Cracking may be the fault -of the paper hanger. He may use his paste too -thick, or too thin, or put on too much or too little. -Paste should be put on even and of the proper consistency -and thickness to cement the paper to the -walls. Paper is more liable to crack on rough and -uneven walls. On a smooth wall, if properly put on, -it becomes, as it dries, so fastened to the plaster that -it cannot contract enough to break the fibers, but on -a rough and uneven wall there are apt to be loose -places where the air gets in, and the contraction of -the paper so weakens the fibers that it cracks.</p> - -<p>Now, if the paper hanger will be careful to secure -the paper uniformly by using sufficient paste on -rough places to hold the paper, and be careful to<span class="pagenum"><a id="Page_37"></a>[37]</span> -brush or pound the paper down firmly, he will greatly -reduce the chances of cracking. A roller can not -be depended upon for a rough wall. Too much or -not enough sizing on a wall may be a cause of cracking. -Hot paste, which thickens as it cools, is not -safe to use on such walls, because it may appear just -right when hot but will be too thick when cool and -cause the paper to crack.</p> - - -<h3>OIL SIZE FOR WHITEWASH.</h3> - -<p>Oil size is good to use on a whitewashed ceiling -before papering if you don’t overdo it. A friend of -mine thought, if a little was good, a great deal would -be better; so he gave his ceiling two flowing coats of -clear oil, and when dry put on his paper, but it did -not stay. Why? Because he put on so much oil -that he made a glossy surface <em>and the gloss could not -hold the paste</em>. An oil size on whitewash is all right -if used right. It is a mistake to use clear oil; 1 -pint of oil, 1 pint japan and 1 quart turpentine is -better, because it will penetrate further, dry faster, -flat the surface, and have sufficient binding power -to hold the whitewash from coming off. Don’t size -a wall with paste. Paste and whitewash don’t go -well together. The fact that you have to size your -wall to make paper stick proves this.</p> - -<p>Oil size should dry hard before the paper is put -on.</p> - -<p>I find glutol, manufactured by the Arabol Manufacturing Co.,<span class="pagenum"><a id="Page_38"></a>[38]</span> -No. 13 Gold street, New York, a first-class -substitute for glue in wall size and kalsomine, -and prefer it to glue, because it will not attract flies, -nor spoil by standing in hot weather, and can be -mixed in cold water.</p> - - -<h3>TO CLEAN BRICK.</h3> - -<p>The white powder which comes on brick can be -removed by sponging with a mixture of muriatic -acid and water, equal parts. Wash the brick in clear -water and let them become well dried before painting.</p> - - -<h3>TO CLEAN TARNISHED ZINC.</h3> - -<p>Mix 1 part sulphuric acid with 12 parts water and -rub the zinc with it with a rag, then rinse with clear -water.</p> - - -<h3>TO GILD ON WOOD.</h3> - -<p>First get a good body and a smooth surface. The -work should be flat with three coats at least on wood, -and not less than two on iron or tin. The best size -for outside work is oil gold size (fat oil), mixed with -a little medium chrome yellow toned down with white -lead; put in a very little japan gold size, and thin to -workable consistency with turps; let it stand until -tacky. It must be hard enough to prevent rubbing up -or sweating. The method with the tip, gold knife and -cushion requires considerable dexterity as well as -practice to do good and rapid work. The tip, or lifter, -is only a few camel hairs glued between two pieces of<span class="pagenum"><a id="Page_39"></a>[39]</span> -paste board, or other material. The knife is a long -narrow flexible blade, and the cushion is made on a -block, 6 by 8 inches, first covered with a thickness or -two of woolen cloth, and finished by stretching a piece -of chamois skin over it. Hold the gold book in the -left hand, and turn back a leaf of the book, leaving -the gold exposed on the next leaf; press the leaf of -<ins class="corr" id="tn-39" title="Transcriber’s Note—Original text: 'gold againt the'"> -gold against the</ins> cushion and it will remain. Then -straighten out wrinkles by a slight puff of the breath -from above, cut the leaf into the required size with -the gold-knife, and lift the leaf to its place with the -tip. The tip will lift the gold better if occasionally -drawn over the hair of your head.</p> - -<p>Another way to prepare the leaf: Cut the book -through at the binding with a sharp knife, which will -leave all the leaves free and separate. Now take up -the top paper or cover, which will leave the gold leaf -on the book; lay the paper on a board and rub it over -with a piece of wax, paraffine candle, or a piece of -hard soap; either will do. Place the waxed side on -to the gold, and smooth the paper down gently; -repeat until you have as many leaves prepared as you -need. Then, with good sharp shears cut them in such -shape and size as will best cover your work, and not -waste the gold. Lay the pieces on your board, gold -side up. When ready, lay the pieces on the work, rub -down with the fingers, or a ball of cotton, take off the -paper and the gold will stay on the size. In this way -the gold adheres quite firmly to the waxed paper, and<span class="pagenum"><a id="Page_40"></a>[40]</span> -the size must have a strong tack to take the gold off -the paper. Experts lay the leaf directly from the -book, and you had best learn to do it that way for -general work, if you spoil half a dozen books while -catching on to the knack of it. Try it this way: -Now, here is a stripe half an inch wide, and the size -is ready for the gold. Now hold the book flat in -your left hand with your thumb on top, hold the top -paper firm with your thumb. (If you let it slip, the -leaf under it will be spoiled.) If the stripe is one-half -inch wide, turn back enough of the paper to ex-pose -three-fourths of an inch of the gold leaf, crease -the turned back cover down with the fingers of the -right hand, and hold it with the thumb on the back. -Now cut the leaf with the finger-nail, first rubbing it -dry on your pants; then turn the book carefully -and quickly over on to the stripe, and press the gold -down gently by pressing the book. Then turn down -more of the paper, and repeat until that leaf is gone; -then take another and so on. If the book gets too -limber towards the last to handle well, have a square -of cardboard to lay under the book next to the hand; -you will find this is a help even with a full book. -You will, perhaps, waste more gold in this way than -by the transfer method, but you will more than -make it up in time, if you become expert.</p> - -<p>1st. Be sure of a good foundation.</p> - -<p>2d. Have your gold size right, and study to know -when the tackiness is just right. If your surface is<span class="pagenum"><a id="Page_41"></a>[41]</span> -not perfectly free from tackiness, pounce with a bag -of gilder’s whiting before putting on the size, to keep -the gold from sticking outside of the size.</p> - -<p>When you lay the leaf from the book and cut the -leaf with your finger nail, turn the ball of the finger -toward you and the nail towards the gold, and run -the nail close to the edge of the turned paper; then, -if the nail is not too long, the end of the finger will -hold down the paper while the nail cuts the leaf.</p> - -<p>To prepare paper for the transfer method I rub -the paper on my hair, then lay it on the gold leaf, -gently rub it with my finger tips, and the leaf adheres -to the paper.</p> - -<p>It can then be cut with shears in any desired shape -to cover the work.</p> - -<p>Some gold leaf is now packed in paper so prepared -that the leaf will adhere to one side of it and can be -taken up in that way.</p> - -<p>Some gilders take up the leaf by wetting the paper -on the back with turpentine to make the leaf adhere -to the other side, when it can be cut to the required -shape with shears. This is done instead of waxing -the paper.</p> - - -<h3>STIR YOUR PAINT.</h3> - -<p>It isn’t always your material that makes a bad job, -but it seems an easy matter to make even the best of -paint the scapegoat for bad work. The heedless workman<span class="pagenum"><a id="Page_42"></a>[42]</span> -who primes a plastered wall without sweeping -down the loose sand, or is careless about taking the -sand and dust from the tops of casings and the floors, -will, if he stops to examine, find some in the brush -and some of it in his paint pot; and then, to cover -up his carelessness, he can lay the blame on the paint. -The careful painter will, when using heavy pigments, -carry a paddle, and not neglect to use it. To prevent -white lead and other heavy pigments from settling -in the pot the paint must be well mixed, and -kept mixed by stirring with a paddle as often and as -much as may be necessary to <em>keep</em> the oil or other -vehicle, and the pigment well incorporated. No one -out a novice, or a careless painter will permit a sediment -to accumulate in the bottom of his pot; no -matter whether the pigment is coarse or fine; or -whether the vehicle used is linseed oil, turpentine or -benzine. The painter who goes to work without a stirring -paddle in his pot will be liable to do uneven -work, and find more or less sediment in the bottom -of his paint pot at quitting time, because there is no -white lead made which does not contain more or less -particles sufficiently heavy to <em>commence settling</em> the -minute the paddle stops, and go to the bottom of a -pot of flating, as ordinarily mixed, inside of thirty -minutes, and other particles of smaller size will follow -later. If the pigment is mixed with oil the process -of settling is slower, but no less sure to take -place, and continue, if undisturbed, until clear oil<span class="pagenum"><a id="Page_43"></a>[43]</span> -stands on top of the pigment. Don’t try to use your -brush for a paddle; it isn’t a good tool to stir paint -from the bottom. Paint made of heavy pigment -must be frequently stirred with a paddle to keep it -of uniform consistency, but this operation is too -often neglected. For instance, a man starts out with -a full pot in the morning and neglects to stir his -paint as he works, hence the heavier particles commence -to settle and soon get below the dip of the -brush, and by continual settling keep out of the -reach of it until they reach the bottom. When the -paint is nearly all out, and the sediment at the bottom -don’t work well, he refills his pot, leaving in the -coarse pigment. At night the boss finds an inch or -less of coarse paint in the bottom of the pot, and -without further inquiry complains that the lead is -sandy.</p> - -<p>Another instance: The paint for a job stands -mixed over night; the painters fill their pots from -time to time during the day, but never stir the paint -from the bottom, hence the last pot or two filled will -have all the coarse pigment of the batch. There are -cases, I admit (too many of them), where not only -white lead, but dry colors and colors in oil, are too -coarse to work well, but the best white lead and heavy -colored pigments in oil or turpentine are liable to -be called sandy unless frequently stirred by the -painter.</p> - -<p><span class="pagenum"><a id="Page_44"></a>[44]</span></p> - - -<h3>TO MAKE CHERRY STAIN.</h3> - -<p>Take annotto, 4 ounces, and clear rain water, 3 -quarts. Boil in a brass or copper kettle, new tin or -galvanized iron will do, until the color of the annotto -is imparted to the water; then add ⅛ ounce potash, -and keep the mixture hot for 30 minutes; then, as -soon as cool enough to handle, it is ready for use. -Now, have the work free from dust, and spread on -your stain with a brush or sponge and rub it well -into the wood.</p> - -<p>When the work is dry, rub lightly with fine sandpaper, -because the water stain will raise the grain -unless the wood has been filled.</p> - -<p>You can suit the taste of the owner as to depth -of color by repeating the operation, or by making the -stain weaker or stronger, as the case may require.</p> - - -<h3>VARNISH STAINS.</h3> - -<p>These often come very handy to the painter, not -only in toning up new wood, but in renewing the -freshness of old work.</p> - - -<h3>MAHOGANY VARNISH STAIN.</h3> - -<p>Spirits 1 gallon, gum sandarac 1 pound, shellac -½ pound, venice turpentine 2 ounces, dragon’s blood -4 ounces.</p> - - -<h3>WALNUT VARNISH STAIN.</h3> - -<p>Shellac 1½ pounds, spirit 1 gallon, Bismarck brown -1 ounce, nigrosine ½ ounce. You can, by varying the<span class="pagenum"><a id="Page_45"></a>[45]</span> -proportions of the two colors, make the shade as you -like it.</p> - -<p>(Spirit in this connection means either wood or -grain alcohol.)</p> - - -<h3>MAHOGANY VARNISH STAIN.</h3> - -<p>Spirits 1 gallon, shellac 1½ pounds, Bismarck -brown R ½ ounce, nigrosine 30 grains. More nigrosine -will make the stain darker. If this is too thick to -work well, thin with spirits.</p> - - -<h3>TO MAKE NEW OAK LOOK OLD.</h3> - -<p>Sponge it with a strong hot solution of common -soda in water. This will raise the grain, hence it -will require cutting down with sandpaper.</p> - - -<h3>DARK STAIN FOR OAK.</h3> - -<p>Make a solution of bi-chromate of potash, 1½ ounces -to 2 quarts soft water. Lay on the solution with a -good clean sponge and keep the wood wet with the -solution until it is dark enough to please you. Then -wash off the potash with clean soft water.</p> - - -<h3>ANOTHER.</h3> - -<p>Apply with a brush, strong aqua ammonia until -you get the desired shade.</p> - - -<h3>RED SAUNDERS STAIN.</h3> - -<p>Fill a <ins class="corr" id="tn-45" title="Transcriber’s Note—Original text: 'bottle 1-3 full'"> -bottle ⅓ full</ins> of red saunders, then fill the -bottle with either wood or grain alcohol. The more -red saunders you put in, the stronger will be the<span class="pagenum"><a id="Page_46"></a>[46]</span> -stain; you can dilute it for the lighter shades. The -longer it stands, the more color will be extracted. -Always strain through muslin before using.</p> - -<p>Red saunders makes a good cherry stain. When -used on the bare wood it requires no binder, but when -used over filled or oiled wood, put in one-fourth as -much shellac varnish as you have stain, to act as a -binder for it. If you want it to act as a filler as well -as a stain, for pine or other close-grained wood, add -1½ pounds corn starch, to each gallon of the mixture -of stain and shellac. Try a little and if it rubs up -when dry, add more shellac.</p> - -<p>You can mix red saunders stain with asphaltum -varnish, to make black walnut and mahogany stains, -using more or less of either to give the desired shade -by using turpentine to make them mix. The asphaltum -acts as a binder in place of the shellac.</p> - -<p>The practical painter can get the shades he wants -by experimenting on this line.</p> - - -<h3>TO CHANGE THE COLOR OF WALNUT TO DARK MAHOGANY.</h3> - -<p>First give it a coat of very thin asphaltum varnish, -then, when dry, give it a coat of red saunders and -shellac.</p> - -<p>You can mix the red saunders and asphaltum stain -with any turpentine varnish, or with spirit varnish, if -you use turpentine to make them mix.</p> - -<p>Burnt umber and burnt sienna in oil or varnish<span class="pagenum"><a id="Page_47"></a>[47]</span> -make a walnut stain. Use but little of the pigments -in proportion to the oil. Too much pigment gives -the work a muddy color.</p> - - -<h3 id="WF">NATURAL WOOD FINISHING.</h3> - -<p>Clean up all soiled places on the wood. To be -sure of a good job on open grained wood use a Bliss -Rock Wood Filler. If you use a ready made filler, -thin as per directions on the can. Whatever filler -you use, put it on with a good brush. As soon as -the filler begins to set, or show flat, commence to rub -it into the grain with a pad made by gluing a piece -of harness leather onto a block; always when practicable -rub across the grain of the wood. For round -work have a long piece of leather to draw back and -forth around the work. Remember the main thing -at this stage is to get as much of the filler as possible -rubbed into the wood.</p> - -<p>Another important point is to take off the surplus -filler before it becomes too hard to wipe off, and -another point is to wipe off the surplus filler and -leave the pores of the wood level full. Hence, it -is important that the filler does not dry too fast, -that the painter puts on no more filler at a time -than he can handle before it dries, and that in wiping -off the surplus filler he works his rags across the -grain. Some very open grained wood requires a -second application of filler to make a good job, or at -least to be looked over and touched up. The filler<span class="pagenum"><a id="Page_48"></a>[48]</span> -should have at least two days to dry. When dry go -over it lightly with fine sandpaper to take off all -particles of filler left on the surface.</p> - -<p>Walnut, mahogany, chestnut, oak, ash and butternut -may be classed as open grained woods, which -need to be well filled with paste filler colored to -match the color of the wood. When the filler is dry -put on a coat or two of white shellac and rub down -smooth with No. 1 sandpaper, and follow with two -or more coats of hard oil or varnish, as you like; give -each coat plenty of time to dry and rub each coat -with curled hair or hair cloth, except the last coat. -If you want an egg shell or half gloss, rub the last -coat with pulverized pumice stone and raw linseed -oil. If you want a dead finish rub down with pulverized -pumice stone and water instead of oil. If -you want a polish, first rub with the pumice stone -and water; then with rotten stone and water, and -polish with rotten stone and oil, or furniture polish -and rotten stone. If you want a gloss finish, -flow on the last coat and omit rubbing. Treat the -close-grained woods as above stated, with the exception -of the filler. The shellac also may be omitted, -but it will take at least one more coat of hard oil or -varnish for the job.</p> - -<p>Cherry, sycamore, maple, birch, gumwood, redwood, -cypress, pine, whitewood, poplar and hemlock -are all close-grained woods, and need no paste filler.<span class="pagenum"><a id="Page_49"></a>[49]</span> -Pine especially should have a coat of shellac to keep -back the pitch.</p> - -<p>For an extra fine job of gloss finish, rub next to -the last coat with pumice stone and water, flow on a -coat of good varnish, and leave it in the gloss. In -this case great care is required in cleaning the work -to keep it from showing specks.</p> - -<p>It stands the beginner in hand to be careful and -not use his shellac too heavy to work well; shellac -has good body and an apparently very thin coat will -be a good heavy one.</p> - -<p>To do a fine job the room and work must be clean, -the clothing free from dust, and the work, brushes -and varnish free from specks. If specks show on -your gloss coat call a halt, and find where they come -from.</p> - -<p>Soft cotton rags are the best material for wiping -off surplus filler.</p> - -<p>A felt pad of convenient size to handle is the best -for rubbing work. Get one at the furniture shop. -For a cheap job omit the water rubbing, and rub -with pumice stone and raw oil.</p> - - -<h3>TO MAKE BLEACHED OR WHITE SHELLAC VARNISH.</h3> - -<p>Take powdered white shellac 1½ pounds, best grain -alcohol 1 gallon. Add the gum to the alcohol, set -it in a warm place and shake your jug or bottle -occasionally. Don’t put it in tin or iron; either of -them will discolor it. You can hasten the process by<span class="pagenum"><a id="Page_50"></a>[50]</span> -setting your jug in a sand or water bath, and gently -heating it; or set it by the stove, or in the sunshine.</p> - -<p>To make the common orange shellac of commerce, -dissolve 1½ pounds orange shellac in 1 gallon methylated -spirit or grain alcohol. This will dry in ten -or fifteen minutes, and makes a hard lustrous varnish -when dry, and stands the weather better than most -gum varnishes. It makes a turbid liquid of orange -brown hue and dries rather a pale brown. For use -on dark wood this is equal to the white shellac, if not -superior.</p> - - -<h3>TO COLOR PUTTY.</h3> - -<p>There is no use in trying to color common putty to -match the color of natural wood. The whiting in it -will not take clear tints. Use lead putty, which you -can tint with raw sienna for pine, yellow ochre for -oak, burnt umber and burnt sienna for walnut, and -burnt sienna for mahogany. Better have the putty -too light than too dark.</p> - - -<h3>SPOTS ON PAINT.</h3> - -<p>Poor lumber and thin painting are often the cause -of spots on paint, especially on two-coat work. On -cross-grained and other extra-porous places more of -the oil sinks into the wood than on the general surface, -and the result is flat places in the paint, which -fade sooner than the glossy paint; hence, the work -looks spotted.</p> - -<p>To provide against this kind of spotting use more<span class="pagenum"><a id="Page_51"></a>[51]</span> -care in priming and see that all extra-porous places -are well filled with the prime coat, or touch them up -before the second coat goes on. A little extra work -with the brush when putting on the prime will save -trouble.</p> - -<p>Another cause may be traced to the practice of -putting on a coarse dark priming coat, which will -show through in places where the paint is thinnest.</p> - -<p>Mildew, or fungus growth, is another cause. This -sometimes comes from the use of too much japan, -<em>poor or fat oil</em>, or when the paint dries tacky or soft.</p> - -<p>Adulteration of linseed oil with mineral and other -non-drying oils, has a tendency to make paint dry -soft. Linseed oil, kept for a few days in an old sour -tank or in an old rancid can in the paint shop, is -liable to cause fermentation to take place, which may -result in mildew in damp weather in shaded places.</p> - -<p>When an oil can smells sour, or there is a deposit -of foots at the bottom, it is unfit to keep oil in.</p> - -<p>Another cause of spotting may be found in insufficient -and improper brushing or spreading the -paint; especially the priming, which requires as -much care in putting on as any other coat on the -job.</p> - -<p>For instance, here is a job which shows “laps.” -Now, if this prime is right when it is put on single, it -is wrong when it is put on double, because, where the -laps are, the work has at least one more coat than<span class="pagenum"><a id="Page_52"></a>[52]</span> -the balance of the job, hence the paint is liable to -fade spotted.</p> - - -<h3>PORCELAIN FINISH.—CHINA GLOSS.—GLOSS FINISH.</h3> - -<p>All different names for about the same thing. To -make a fine job: If the work is new, see that it is -smooth, free from dust and stains. Then give it a -coat of priming, put on thin, so as not to show -brush marks, and rub down with No. 0 sandpaper. -Next, get a good body with keg lead, mixed in turpentine -and a very little linseed oil; put on thin -coats, so as not to show brush marks; use a fitch -brush, or at least a <em>fine</em> bristle chiseled brush. When -dry, rub down with sandpaper and flow on a coat of -thin white shellac. This is to keep back the oil in -the lead coats, and prevent chemical action between -the lead and zinc coats. Next, put on two or more -coats of French zinc ground in damar varnish; -enough at least, to get a clear white. Thin with turps -and a little damar varnish, and put on thin enough to -show no laps or brush marks.</p> - -<p>Then put on a coat or two of French zinc ground -in damar varnish, thinned with 1 part damar varnish -and 2 parts turpentine. Next put on a coat of damar -varnish mixed with a little zinc ground in -damar, just enough to make the varnish white. Flow -on a coat, and be careful that it does not run on -your work. To avoid runs always commence at the -top of a panel with a full brush and work down so<span class="pagenum"><a id="Page_53"></a>[53]</span> -as not to have a surplus in the lower corners of the -panels; this applies to all parts of the work. It is -quite a knack to put on a full coat of this varnish -and zinc, and not have it run.</p> - -<p>In all cases put on enough zinc coats to make a -clear white before you put on the varnish. The small -quantity of zinc is put in the varnish to take off -the yellow tinge, and to keep it from turning yellow. -Use lead putty. See recipes to make it on another -page.</p> - - -<h3>ANOTHER WAY.</h3> - -<p>Very hard and white, for parlors.—To prepare -the wood for the finish, if it be pine, give one or -two coats of the “Varnish—Transparent for wood,” -which prevents the pitch from oozing out, causing the -finish to turn yellow; next, give the room, at least, -four coats of pure zinc, which may be ground in -only sufficient oil to enable it to grind properly; -then mix to a proper consistency with turpentine or -naphtha. Give each coat time to dry. When it is -dry and hard, sandpaper it to a perfectly smooth -surface, when it is ready to receive the finish, which -consists of two coats of French zinc ground in, and -thinned with damar varnish, until it works properly -under the brush.</p> - - -<h3>LEAD POISONING—HOW TO AVOID IT.</h3> - -<p>White lead may enter the human system in three -ways, to-wit: Through the stomach, the lungs and<span class="pagenum"><a id="Page_54"></a>[54]</span> -the skin. In other words, it may be eaten, inhaled -or absorbed, hence the stomach, lungs and skin -should each be carefully guarded against it. To -guard the stomach, through which you are in the -most danger of taking in the poison, make it a rule -to keep the mouth closed as much as possible when -using white lead, and <em>especially when sandpapering</em>. -Make it a rule to never eat or drink without first -carefully cleansing your lips, and carefully removing -the paint from your hands before eating. Tobacco -chewers, who carry tobacco in their pockets, are in -especial danger of lead poison, if working in paint, -because the tobacco becomes more or less poisoned -with lead from the fingers, if the painter is not careful -to clean his hands before taking a chew. There -is no great danger from inhaling white lead, except -when sandpapering, or when dusting after sandpapering.</p> - -<p>It is a pretty good thing to carefully guard the -nose with a damp sponge while sandpapering, and -to carefully free the nostrils from lead. There is -no danger of poisoning by absorption through the -skin, unless the painter is careless. When T see -some men at work, I wonder how they can possibly -escape lead poisoning. Their clothing glazed with oil -paint, their hands daubed to the wrist by grasping -the brush by the head, instead of by the handle; or -by general carelessness in mixing and handling -paints.</p> - -<p><span class="pagenum"><a id="Page_55"></a>[55]</span></p> - - -<h3>SYMPTOMS OF LEAD POISON.</h3> - -<p>Tired feeling, wakefulness at night, neuralgic -pains, “shaky” hands, constipated bowels, bad taste -in the mouth, and pain in the bowels, a blue edge on -the gums, and a coated tongue. If you get the -colic, see a doctor; for the other symptoms, get away -from paint for a while if possible, and take the -following: Iodide of potash, ½ oz.; syrup sarsaparilla, -8 oz. Dose:—Teaspoonful three or four times a day -in half a cup of milk. Eat graham mush and drink -milk.</p> - - -<h3>TO FINISH FURNITURE AND OTHER WORK IN SIXTEENTH CENTURY OAK.</h3> - -<p>First fill the wood with any good filler. Fill it -well, then take Vandyke brown 3 parts, and burnt -sienna 1 part, and mix to a stiff paste with boiled -oil and japan, and thin with turpentine, until you -can brush it on the wood, and not have it look dauby -or muddy. Give the work a light coat, and brush -it out well and carefully. Too much pigment will -make your work too dark. Wherever you want the -light or worn spots to appear, wipe off the stain -with a cloth, and with a badger blender carefully -blend the stain into the edges of the worn or light -spots. Don’t stain too much at once, for fear your -stain may set so you cannot wipe out and blend. -When the stain is dry, sandpaper lightly with No. 0 -paper. Finish with two coats rubbing varnish, or<span class="pagenum"><a id="Page_56"></a>[56]</span> -with hard oil finish. Polish with rotten stone and -raw oil.</p> - - -<h3>A SUPERIOR GLUE (WATERPROOF).</h3> - -<p>A very superior article may be made by dissolving -3 parts of india rubber in 30 parts of naphtha; -heat and agitation will be required to effect the -solution; when the rubber is completely dissolved, -add 64 parts of finely powdered shellac, which must -also be heated in the above mixture until all is dissolved. -This mixture may be produced in sheets like -glue by pouring it while hot upon plates of metal, -where it will harden. When required for use, it -may simply be heated in a pot till soft. Two pieces -of wood or leather, joined together with this glue, -can scarcely be sundered without a fracture of the -parts.</p> - - -<h3>A VALUABLE CEMENT.</h3> - -<p>We find the following recipe good: The compound -of glycerin, oxide of lead, and red lead, for mending -cast-iron that has been fractured with the happiest -results. It takes some little time to dry, but turns -almost as hard as stone, and is fire and waterproof. -For mending cracks in stone or cast-iron ware, -where iron filling cannot be had, we think it is invaluable. -Take litharge and red lead, equal parts, -mix thoroughly and make into a paste with concentrated -glycerin to the consistency of soft putty, fill -the crack and smear a thin layer on both sides of the<span class="pagenum"><a id="Page_57"></a>[57]</span> -casting so as to completely cover the fracture. This -layer can be rubbed off, if necessary, when nearly dry, -by an old knife or chisel.</p> - - -<h3>LINSEED OIL AND IRON RUST.</h3> - -<p>The oleaginous principle of linseed oil is said to -be in the nature of neutral salts called linolein, consisting -of linoleic acid combined with a glycerine -base. Linolein is said by some writers to constitute -three-fourths of the volume of linseed oil, and that -the drying properties of the oil reside in the acid -principle of the linolein; that is, linoleic acid has the -property of attracting and combining with oxygen -to form the substance known as dry linseed oil. This -acid is said to be a compound of several different -acid principles, combined in definite proportions. -Writers seem to disagree as to what the acids are, -and in what respect they differ from the acid properties -of the non-drying fixed oils, but that is a -question which need not be discussed here. The -glycerine base of linolein seems to be common to all -fixed oils, and is set down as an oxide consisting of -one equivalent of water and five of oxygen; hence -the affinity between the linoleic acid and its glycerine -base.</p> - -<p>Linoleic acid, like other acids, has an affinity for -alkalies and the ordinary metallic oxides. It unites -with them, forming <em>neutral compounds</em>. This affinity -is said to be electrical; the alkalies and oxides<span class="pagenum"><a id="Page_58"></a>[58]</span> -electro-positive, and the acid electro-negative. The -greater the contrast in this respect, the stronger the -affinity; hence, some acids separate others from -their bases and form new salts by precipitation. As -an instance:</p> - -<p>Drop sulphuric acid into a solution of acetate of -lead. It will displace the acetic acid, form sulphate -of lead and precipitate, leaving the liberated acetic -acid in solution. In linolein, this acid is so constituted -that the affinity, or attraction between it and -its glycerine base, is too feeble to resist and keep -back the oxygen of the air; hence, when linseed oil -is exposed to the air in a thin layer, oxygen unites -with its linoleic acid, and this process continues until -the oil becomes dry to the touch. Beyond this -point the process is slower, because the oil is now -less penetrable; but the process goes on until the -layer of oil becomes hard and brittle, no matter -with what pigment it may be mixed, although the -pigment may for a time retard the action of the -destroying elements.</p> - -<p>Linseed oil dries too slowly for general use by the -painter, hence various ways have been devised to -hasten the drying process. If the foregoing theory -is correct, the process which will cause the oil to -dry to a good wearing body in the time desired, and -leave it in the best condition to resist the action of -the elements and the absorption of oxygen, is the -best. I regard the lead oxides as the best dryers<span class="pagenum"><a id="Page_59"></a>[59]</span> -for this purpose—at least according to my experience. -When we add an oxide to linseed oil as a -dryer in the small quantity which experience has -taught us is best to use, it is evident that it is not -sufficient in itself to oxidize the whole of the oil to -an appreciable extent. Writers differ as to the peculiar -action of the oxides upon the oil, but I think it -safe to say that the dryer sets up some chemical reaction -which increases the affinity between the linolein -and the oxygen of the atmosphere; at any rate, -there is no dispute upon the point that linseed oil -in drying absorbs a large per cent. of oxygen.</p> - -<p>A knowledge of this unanimously conceded point -led me to believe that a coat of pure linseed oil -might make the best possible priming coat for iron -work which had commenced to rust. Why? Because -iron rust is an oxide of iron, having an excess -of oxygen. Spread on rusty iron, it penetrates the -rust, absorbs its excess of oxygen and dries with the -remaining neutral oxide held fast in its body. This -is my theory; whether correct or not, numerous -tests have proved to me that a coat of linseed oil -will stop the rusting of iron if applied under proper -conditions. When rust is <em>thick or scaling</em> there is -no safety short of taking it off. Iron rust is more -or less hydrated; to free it from moisture, give it the -flame of the gasoline paint burner.</p> - -<p><span class="pagenum"><a id="Page_60"></a>[60]</span></p> - - -<h3>WHITE ENAMEL (SELECTED).</h3> - -<p>First, the wood is primed with a composition consisting -of three parts of turpentine and one part of -oil, japan gold size being used as a dryer. On this -drying thoroughly the work is rubbed down until -perfectly smooth. Next are applied two or three -coats of pure white lead mixed entirely flat; each -coat is rubbed down, time being allowed for it to -dry. Equal parts of lead and zinc are used for the -next coat, and three-fourths zinc and one-fourth -lead for the one succeeding. After this has become -thoroughly hard it is rubbed down very smooth. A -thin coat of color made of zinc and turpentine is now -rubbed on; for the next coat the same flat color is -used, with the addition of about one-half the quantity -of good light coach varnish. For the last coat -enough zinc is used in the varnish to make it white -if the last coat of zinc is not white and solid before -varnishing. If the work is to be gilded or striped -the zinc must be left out of the last coat of varnish.</p> - - -<h3>VARNISH TO IMITATE GROUND GLASS.</h3> - -<p>An expert has sent the following to the <cite>British -Journal of Photography</cite>: To make a varnish to imitate -ground glass, <ins class="corr" id="tn-60" title="Transcriber’s Note—Original text: 'dissolve 90 gains'"> -dissolve 90 grains</ins> sandrac and 20 -grains of mastic in 2 ounces of washed methylated -ether, and add, in small quantities, a sufficiency of -benzine to make it dry with a suitable grain—too -little making the varnish too transparent, and excess<span class="pagenum"><a id="Page_61"></a>[61]</span> -making it crapy. The quantity of benzine required -depends upon its quality—from half an ounce -to an ounce and a half, or even more; but the best -results are got with a medium quality. It is important -to use washed ether, free from spirit.</p> - - -<h3>VARNISH FOR RUSTIC WORK.</h3> - -<p>One quart of boiled linseed oil and two ounces of -asphaltum, to be boiled on a slow fire until the -asphaltum is dissolved, being kept stirred to prevent -its boiling over. This gives a fine dark color, is not -sticky, and looks well for a year; or, first wash the -article with soap and water, and when dry, on a -sunny day do it over with common boiled linseed -oil; leave that to dry a day or two, then varnish -it over once or twice with hard varnish. If well -done this will last for years and prevent annoyance -from insects.</p> - - -<h3>TO CLEAN VERY DIRTY BRASS.</h3> - -<p>Rub some bi-chromate of potassa fine, pour over -it about twice its bulk of sulphuric acid, and mix -this with an equal quantity of water. The dirtiest -brass is cleaned in a trice. Wash right off in plenty -of water, wipe it and rub perfectly dry, and polish -with powdered rotten stone.</p> - - -<h3>TO COUNTERFEIT TORTOISE SHELL VERY FINELY.</h3> - -<p>In order to do this well, your foundation or -ground-work must be perfectly smooth and white,<span class="pagenum"><a id="Page_62"></a>[62]</span> -or nearly so, you then gild it with silver leaf with slow -size, so as to have it perfectly smooth with no ragged -edges, cleaning the loose leaf off. Then grind cologne -earth very fine, and mix it with gum water, -common size; and with this, you having added more -gum water than it was ground with, spot or cloud -the ground-work, having a fine shell to imitate; and -when this is done, you will perceive several reds, -lighter and darker, appear on the edges of the black, -and many times lie in streaks on the transparent -part of the shell. To imitate this finely, grind -dragon’s blood with gum water, and with a fine -pencil draw those warm reds, flushing it in about the -dark places more thickly, but fainter and fainter and -thinner, with less color towards the lighter parts, -so sweetening it that it may in a manner lose the -red, being sunk in the silver or more transparent -parts. When it is dry, give it a coat of varnish, -let it stand for a few days, then rub it down with -pumice stone and water. Then grind gamboge very -fine, and mix with varnish, giving of this as many -coats as will cause the silver to have a golden color, -then finish with a clean coat of varnish.</p> - - -<h3>PRICE LIST.</h3> - -<p>The prices of labor, and cost of material vary so -much in different localities that it seems impossible -to make a reliable price list for general work. The -position, condition, and shape of different jobs all<span class="pagenum"><a id="Page_63"></a>[63]</span> -go towards making a general price list, an unreliable -guide; also the quality of work demanded may make -50 per cent. difference in price. I have half a dozen -printed price lists before me, and they generally -agree to about the following prices for painting and -glazing, to-wit:</p> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Yard. </em></td> -</tr> -<tr> -<td class="tdl">1 coat on new work</td> -<td class="tdr">8 to 10 cents</td> -</tr> -<tr> -<td class="tdl">1 coat on old work</td> -<td class="tdr">10 to 18 cents</td> -</tr> -<tr> -<td class="tdl">2 coats on new work</td> -<td class="tdr">18 to 20 cents</td> -</tr> -<tr> -<td class="tdl">2 coats on old work</td> -<td class="tdr">20 to 25 cents</td> -</tr> -<tr> -<td class="tdl">3 coats on new work</td> -<td class="tdr">25 to 28 cents</td> -</tr> -<tr> -<td class="tdl">Brick walls, 2 coats</td> -<td class="tdr">20 to 30 cents</td> -</tr> -<tr> -<td class="tdl">Penciling</td> -<td class="tdr">10 to 15 cents</td> -</tr> -</table> - - -<h4>PRIMING AND GLAZING SASH.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Light. </em></td> -</tr> -<tr> -<td class="tdl">10 × 14 and under</td> -<td class="tdr">5 to 6 cents</td> -</tr> -<tr> -<td class="tdl">12 × 16</td> -<td class="tdr">7 to 9 cents</td> -</tr> -<tr> -<td class="tdl">14 × 24</td> -<td class="tdr">10 to 12 cents</td> -</tr> -<tr> -<td class="tdl">18 × 24</td> -<td class="tdr">15 to 18 cents</td> -</tr> -<tr> -<td class="tdl">24 × 30</td> -<td class="tdr">20 to 25 cents</td> -</tr> -<tr> -<td class="tdl">30 × 40</td> -<td class="tdr">35 to 50 cents</td> -</tr> -</table> - -<p>For old work where the old putty is in the sash, -multiply the above figures by 3 or 4. When called -out to the house to set a light or two charge for -time and material. Most work of this kind is done -at least 30 per cent. below the above prices.</p> - -<p>I quote below a price list for sign painters, from -a very complete report on painters’ prices and measurements, -generally, by one of the ablest of local -associations of master painters and decorators:</p> - -<p><span class="pagenum"><a id="Page_64"></a>[64]</span></p> - - -<h4>JAPANNED TIN SIGNS.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Gold.</em></td> -<td class="tdr"><em>Plain.</em></td> -</tr> -<tr> -<td class="tdl"> 3 × 14 inches</td> -<td class="tdr">$1.25</td> -<td class="tdr">$ .75</td> -</tr> -<tr> -<td class="tdl"> 6 × 8 inches</td> -<td class="tdr">1.50</td> -<td class="tdr">.75</td> -</tr> -<tr> -<td class="tdl"> 8 × 10 inches</td> -<td class="tdr">1.75</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">10 × 14 inches</td> -<td class="tdr">2.50</td> -<td class="tdr">1.50</td> -</tr> -<tr> -<td class="tdl">11 × 17 inches</td> -<td class="tdr">3.00</td> -<td class="tdr">2.00</td> -</tr> -<tr> -<td class="tdl">11 × 17 inches, 3 lines</td> -<td class="tdr">3.50</td> -<td class="tdr">2.55</td> -</tr> -<tr> -<td class="tdl">14 × 20 inches</td> -<td class="tdr">4.00</td> -<td class="tdr">2.50</td> -</tr> -<tr> -<td class="tdl">14 × 20 inches, 3 lines</td> -<td class="tdr">4.50</td> -<td class="tdr">3.00</td> -</tr> -<tr> -<td class="tdl">18 × 24 inches</td> -<td class="tdr">6.00</td> -<td class="tdr">3.50</td> -</tr> -<tr> -<td class="tdl">18 × 24 inches, 3 lines</td> -<td class="tdr">7.00</td> -<td class="tdr">4.00</td> -</tr> -<tr> -<td class="tdl pad3">Frames additional.</td> -</tr> -</table> - - -<h4>GLASS SIGNS ON WINDOWS AND DOORS.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl pad4"><em>In Silver or Gold</em></td> -<td class="tdr"><em>Per Foot.</em></td> -</tr> -<tr> -<td class="tdl">Letters up to 6 inches in height</td> -<td class="tdr">$ .75</td> -</tr> -<tr> -<td class="tdl">Letters 6 to 10 inches in height</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">Letters 10 to 14 inches in height</td> -<td class="tdr">1.50</td> -</tr> -<tr> -<td class="tdl pad3" colspan="2">Shaded, one color, 25 per cent. extra.</td> -</tr> -</table> - - -<h4>DRUM SIGNS.</h4> - - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Gold.</em></td> -<td class="tdr"><em>Plain.</em></td> -</tr> -<tr> -<td class="tdl">10 × 14 inches</td> -<td class="tdr">$ 3.50</td> -<td class="tdr">$ 2.50</td> -</tr> -<tr> -<td class="tdl">11 × 17 inches</td> -<td class="tdr">4.00</td> -<td class="tdr">3.00</td> -</tr> -<tr> -<td class="tdl">14 × 20 inches</td> -<td class="tdr">5.00</td> -<td class="tdr">3.50</td> -</tr> -<tr> -<td class="tdl">18 × 24 inches</td> -<td class="tdr">7.00</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl">20 × 24 inches</td> -<td class="tdr">8.50</td> -<td class="tdr">6.50</td> -</tr> -<tr> -<td class="tdl">24 × 30 inches</td> -<td class="tdr">10.00</td> -<td class="tdr">7.00</td> -</tr> -<tr> -<td class="tdl">30 × 30 inches</td> -<td class="tdr">12.00</td> -<td class="tdr">8.50</td> -</tr> -<tr> -<td class="tdl">30 × 48 inches</td> -<td class="tdr">15.00</td> -<td class="tdr">10.00</td> -</tr> -<tr> -<td class="tdl pad3" colspan="3">The above include moulding and urns and putting up.</td> -</tr> -<tr> -<td class="tdl pad3" colspan="3">Drilling holes in iron extra.</td> -</tr> -</table> - - -<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p> - -<h4>MUSLIN SIGNS.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Foot.</em></td> -</tr> -<tr> -<td class="tdl">Up to 1 foot high, black</td> -<td class="tdr">8 cents</td> -</tr> -<tr> -<td class="tdl">1 to 2 feet, black</td> -<td class="tdr">10 cents</td> -</tr> -<tr> -<td class="tdl">2 to 3 feet, black</td> -<td class="tdr">12 cents</td> -</tr> -<tr> -<td class="tdl pad3">Colored one-half extra.</td> -</tr> -<tr> -<td class="tdl pad3">Muslin furnished.</td> -</tr> -<tr> -<td class="tdl pad3">Frames extra.</td> -</tr> -</table> - - -<h4>OIL CLOTH SIGNS.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Foot.</em></td> -</tr> -<tr> -<td class="tdl">Up to 1 foot</td> -<td class="tdr">20 cents</td> -</tr> -<tr> -<td class="tdl">1 to 2 feet</td> -<td class="tdr">25 cents</td> -</tr> -<tr> -<td class="tdl">2 to 3 feet</td> -<td class="tdr">30 cents</td> -</tr> -<tr> -<td class="tdl pad3">Oil cloth furnished.</td> -</tr> -<tr> -<td class="tdl pad3">Frames extra.</td> -</tr> -</table> - - -<h4>BOARD SIGNS.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl pad3" colspan="3">Including three coats of paint and lettering.</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Gold.</em></td> -<td class="tdr"><em>Plain.</em></td> -</tr> -<tr> -<td class="tdl"> 6 inches × 4 feet</td> -<td class="tdr">$ 4.00</td> -<td class="tdr">$ 2.50</td> -</tr> -<tr> -<td class="tdl"> 8 inches × 6 feet</td> -<td class="tdr">5.00</td> -<td class="tdr">3.50</td> -</tr> -<tr> -<td class="tdl">10 inches × 8 feet</td> -<td class="tdr">6.00</td> -<td class="tdr">4.00</td> -</tr> -<tr> -<td class="tdl"> 1 foot × 12 feet</td> -<td class="tdr">7.50</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl"> 1 foot × 15 feet</td> -<td class="tdr">8.50</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl">14 inches × 16 feet</td> -<td class="tdr">8.50</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl">14 inches × 18 feet</td> -<td class="tdr">9.00</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">14 inches × 20 feet</td> -<td class="tdr">9.50</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">16 inches × 16 feet</td> -<td class="tdr">9.50</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">16 inches × 18 feet</td> -<td class="tdr">10.00</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">18 inches × 18 feet</td> -<td class="tdr">10.00</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">18 inches × 20 feet</td> -<td class="tdr">12.00</td> -<td class="tdr">7.00</td> -</tr> -<tr> -<td class="tdl">18 inches × 24 feet</td> -<td class="tdr">15.00</td> -<td class="tdr">7.00</td> -</tr> -<tr> -<td class="tdl">18 inches × 30 feet</td> -<td class="tdr">18.00</td> -<td class="tdr">8.00</td> -</tr> -<tr> -<td class="tdl pad3">Board extra.</td> -</tr> -<tr> -<td class="tdl pad3" colspan="3">Irons and putting up extra.</td> -</tr> -<tr> -<td class="tdl pad3" colspan="3">Shading, 25 per cent. additional, one color.</td> -</tr> -</table> - -<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p> - - -<h4>WALL SIGNS.</h4> - -<p class="pad4 fs85">Two coats of paint and lettering. Extra coat, 1 cent per square foot additional.</p> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl"> 2 × 16 feet</td> -<td class="tdr">$ 6.00</td> -</tr> -<tr> -<td class="tdl"> 2 × 20 feet</td> -<td class="tdr">7.00</td> -</tr> -<tr> -<td class="tdl"> 2 × 24 feet</td> -<td class="tdr">8.00</td> -</tr> -<tr> -<td class="tdl"> 2 × 30 feet</td> -<td class="tdr">10.50</td> -</tr> -<tr> -<td class="tdl"> 3 × 16 feet</td> -<td class="tdr">8.00</td> -</tr> -<tr> -<td class="tdl"> 3 × 20 feet</td> -<td class="tdr">10.00</td> -</tr> -<tr> -<td class="tdl"> 3 × 24 feet</td> -<td class="tdr">12.00</td> -</tr> -<tr> -<td class="tdl"> 3 × 30 feet</td> -<td class="tdr">14.00</td> -</tr> -<tr> -<td class="tdl"> 4 × 16 feet</td> -<td class="tdr">9.00</td> -</tr> -<tr> -<td class="tdl"> 4 × 20 feet</td> -<td class="tdr">12.00</td> -</tr> -<tr> -<td class="tdl"> 4 × 24 feet</td> -<td class="tdr">13.00</td> -</tr> -<tr> -<td class="tdl"> 4 × 30 feet</td> -<td class="tdr">15.00</td> -</tr> -<tr> -<td class="tdl"> 6 × 16 feet</td> -<td class="tdr">12.00</td> -</tr> -<tr> -<td class="tdl"> 6 × 20 feet</td> -<td class="tdr">14.00</td> -</tr> -<tr> -<td class="tdl"> 6 × 24 feet</td> -<td class="tdr">16.00</td> -</tr> -<tr> -<td class="tdl"> 6 × 30 feet</td> -<td class="tdr">18.00</td> -</tr> -<tr> -<td class="tdl"> 8 × 16 feet</td> -<td class="tdr">14.00</td> -</tr> -<tr> -<td class="tdl"> 8 × 20 feet</td> -<td class="tdr">16.00</td> -</tr> -<tr> -<td class="tdl"> 8 × 24 feet</td> -<td class="tdr">18.00</td> -</tr> -<tr> -<td class="tdl"> 8 × 30 feet</td> -<td class="tdr">20.00</td> -</tr> -<tr> -<td class="tdl">10 × 12 feet</td> -<td class="tdr">10.00</td> -</tr> -<tr> -<td class="tdl">10 × 16 feet</td> -<td class="tdr">13.00</td> -</tr> -<tr> -<td class="tdl">10 × 20 feet</td> -<td class="tdr">16.00</td> -</tr> -<tr> -<td class="tdl">10 × 24 feet</td> -<td class="tdr">19.00</td> -</tr> -<tr> -<td class="tdl">10 × 30 feet</td> -<td class="tdr">22.00</td> -</tr> -<tr> -<td class="tdl">12 × 16 feet</td> -<td class="tdr">14.00</td> -</tr> -<tr> -<td class="tdl">12 × 20 feet</td> -<td class="tdr">18.00</td> -</tr> -<tr> -<td class="tdl">12 × 24 feet</td> -<td class="tdr">20.00</td> -</tr> -<tr> -<td class="tdl">12 × 30 feet</td> -<td class="tdr">25.00</td> -</tr> -<tr> -<td class="tdl">14 × 20 feet</td> -<td class="tdr">20.00</td> -</tr> -<tr> -<td class="tdl">14 × 24 feet</td> -<td class="tdr">24.00</td> -</tr> -<tr> -<td class="tdl">14 × 30 feet</td> -<td class="tdr">28.00<span class="pagenum"><a id="Page_67"></a>[67]</span></td> -</tr> -<tr> -<td class="tdl">16 × 24 feet</td> -<td class="tdr">26.00</td> -</tr> -<tr> -<td class="tdl">16 × 30 feet</td> -<td class="tdr">39.00</td> -</tr> -<tr> -<td class="tdl">20 × 24 feet</td> -<td class="tdr">30.00</td> -</tr> -<tr> -<td class="tdl">20 × 30 feet</td> -<td class="tdr">35.00</td> -</tr> -<tr> -<td class="tdl">20 × 40 feet</td> -<td class="tdr">40.00</td> -</tr> -<tr> -<td class="tdl">21 × 30 feet</td> -<td class="tdr">37.00</td> -</tr> -<tr> -<td class="tdl">24 × 36 feet</td> -<td class="tdr">42.00</td> -</tr> -<tr> -<td class="tdl">24 × 40 feet</td> -<td class="tdr">48.00</td> -</tr> -<tr> -<td class="tdl">30 × 40 feet</td> -<td class="tdr">60.00</td> -</tr> -<tr> -<td class="tdl">30 × 50 feet</td> -<td class="tdr">70.00</td> -</tr> -<tr> -<td class="tdl">30 × 60 feet</td> -<td class="tdr">80.00</td> -</tr> -</table> - - -<h4>SHOW CARDS.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl">1 sheet, 22 × 25</td> -<td class="tdr">$ 1.50</td> -</tr> -<tr> -<td class="tdl">1 sheet, 14 × 22</td> -<td class="tdr">.75</td> -</tr> -<tr> -<td class="tdl">1 sheet, 11 × 14</td> -<td class="tdr">.50</td> -</tr> -</table> - -<p class="pad4 fs85">The above prices are based upon white lead at 7 cents per -pound and wages at 33½ cents an hour.</p> - - -<h3>MIDSUMMER PAINTING.</h3> - -<p>All things considered, which is the best time of the -year to do outside painting? Spring and fall, did -you say? Well, yes. I know nearly all painters think -so, and the people outside the trade are almost, if -not quite, unanimous in holding the same opinion. -But why? Do the winds of March, the frequent -showers of April and May add very much to the -pleasure and profit of doing outside work in spring? -Do the soaking rains, which come along about the -time of the vernal equinox and drive you off your -job for a week or two and watersoak your unprimed -work, add much pleasure to your recollections of<span class="pagenum"><a id="Page_68"></a>[68]</span> -spring painting? Do you remember anything about -the clouds of midges and thousands of little moths -which filled the air, ready and willing to decorate -your paint with their little bodies on every still, -warm mid-day in April and May? Of course, we -are speaking now of climatic conditions from -our own standpoint, the great Northwest, which may -also be true in the Middle and New England states. -The mornings and evenings of spring and fall are -apt to be cool—often frosty; then the oil stiffens and -the paint rubs out hard and goes on slow, and we -lose time and work harder. Practically, I favor midsummer -for outside work, because the temperature is -more uniformly warm and the paint spreads easily -and evenly at any time of day, and as a rule the -rains are less frequent and give a longer warning of -their approach. The little black flies are not so -plentiful in the hot days of summer as they are in -spring and early fall. They are either dead or seek -the shade of trees and grass. The dew is all gone -in summer before seven o’clock a. m., and does not -commence to fall until after quitting time. A carpet -of grass and other vegetation covers a large portion -of the ground in summer, holding down the -dust. The winds are not usually so high and gusty -in summer as they are in the spring and fall. In -the warm days of summer your work is more apt to -dry quickly, cleanly and evenly; and when you -“knock off” from work at six p. m., and the sun is<span class="pagenum"><a id="Page_69"></a>[69]</span> -yet two hours above the horizon, you know that your -last ground stretch will soon be out of the way of -dust and rain. In the hot weather of summer the -pores of the wood are all open, and the oil, which is -then soft and thin, goes farther into the wood than -in spring and fall, when the weather is cool. There -are, it is true, some fine days in the fall for outside -work, but the rainy season of the autumnal equinox -and the frosty nights of the later months often retard -your work and mar the finish of your job. One -objection urged against summer painting is the -flies, but really are the flies which injure paint any -more numerous in midsummer than they are in -spring and fall? It is true the festive house-fly is -in his glory in the summer, but, as a rule, he is too -smart to get stuck in outside paint. To get inside -is his ambition, and the molasses-cup and sugar-bowl -are his objective points. If the house-fly is an -objection in the summer, it certainly is a greater one -in the fall, for in September and early in October -they are thicker, saucier and more familiar than at -any other time of year; then they want not only to -get at the sugar, but to get in and warm.</p> - -<p>A correspondent asks: “Does the reader know -from practical experiment that one season is better -than another for applying outside paint?” I suppose -the writer means the effect upon the wearing -qualities of the paint and the permanency of the -color. I have been experimenting for a practical<span class="pagenum"><a id="Page_70"></a>[70]</span> -solution of this question for my own satisfaction -and guidance, and have come to the conclusion that -paint put on the outside in the hot weather of summer -will wear as well and hold its color as long as -paint put on in the cooler days of spring and fall. -I know the idea that paint dries too fast in hot -weather is almost universal, but I think it grows -largely from the fact that a quick-drying paint is -not as good for outside as a slow dryer; but you must -remember that there is a great difference between a -quick-drying paint and drying a slow paint as -quickly as the ingredients will admit of. Linseed -oil dries or hardens by absorbing oxygen from the -air, and that process goes on more rapidly in hot -weather than in cool weather, because the air in hot -weather is in a condition more freely to part with -its oxygen, or because the oil is in a better condition -to receive it, or both. In other words, a warm atmosphere -hastens the process of absorption and a -cool air retards it, but in either case the result is -the same: the air gives up enough of its oxygen to -solidify the oil. Now, the question arises, can any -difference be discovered (chemical or otherwise) in -the composition of the paint, whether dried in warm -or cool air? From a business-point of view, I have -long advocated summer as a good time to paint outside, -and have usually succeeded in converting customers -to my views upon the subject, and as a consequence -have not often had a dull time in midsummer.<span class="pagenum"><a id="Page_71"></a>[71]</span> -We painters in the country know how unpleasant -and unprofitable it is to have all the work -of the year rushed upon us in the spring and fall, -and I think if painters generally could convince -themselves by practical experiment that, all things -considered, summer time is the best season of the -year to do outside work, and advocate the same to -their customers, backed by argument and practical -illustration, there would soon be less need of complaint -about a dull season in midsummer.</p> - - -<h3>TO REMOVE PAINT.</h3> - -<p>1. An expeditious way is by chemical process, using -a solution of soda and quicklime in equal proportions. -The soda is dissolved in water, the lime -is then added, and the solution is applied with a -brush to the old paint. A few moments are sufficient -to remove the coats of paint, which may be -washed off with hot water. The oldest paint may be -removed by a paste of the soda and quicklime. The -wood should be afterwards washed with vinegar or -an acid solution before repainting, to remove all -traces of alkali.</p> - -<p>2. Wet the place with naphtha, repeating as often -as required; but frequently one application will dissolve -the paint. As soon as it is softened, rub the -surface clean. Chloroform mixed with a small -quantity of spirit ammonia, composed of strong ammoniac, -has been employed very successfully to remove<span class="pagenum"><a id="Page_72"></a>[72]</span> -the stains of dry paint from wood, silk, and -other substances.</p> - -<p>3. To remove paint from floors.—Take one pound -of American pearlash, three pounds of quickstone -lime. Slake the lime in water, then add the pearlash, -and make the whole amount about the consistency -of paint. Lay the mixture over the whole body -of the work which is required to be cleaned, with an -old brush; let it remain for twelve or fourteen hours, -when the paint can be easily scraped off.</p> - - -<h3>TO SOFTEN PUTTY AND REMOVE OLD PAINT.</h3> - -<p>1. Take three pounds of quickstone lime; slake the -lime in water, then add one pound of American -pearlash; apply this to both sides of the glass and -let it remain for twelve hours, when the putty will -be softened, and the glass may be taken out without -being broken. To destroy paint, apply it to the whole -body which is required to be cleaned; use an old -brush, as it will spoil a new one; let it remain about -twelve or fourteen hours, and then the paint may be -easily scraped off.</p> - -<p>2. To remove paint from old doors, etc., and to -soften putty in window frames, so that the glass -may be taken out without breakage or cutting, take -one pound of pearlash and three pounds of quicklime, -slake the lime in water and then add the -pearlash, and make the whole about the consistency -of paint. Apply to both sides of the glass and let it<span class="pagenum"><a id="Page_73"></a>[73]</span> -remain for twelve hours, when the putty will be so -softened that the glass may be taken out of the -frame without being cut, and with the greatest facility. -To destroy paint, lay the above over the whole -body of the work which is required to be cleaned, -using an old brush, as it will spoil a new one. Let -it remain for twelve or fourteen hours, when the -paint can be easily scraped off.</p> - -<p>3. Paint stains on glass.—American potash, 3 -parts; unslaked lime, 1. Lay this on with a stick, -letting it remain for some time, and it will remove -either tar or paint.</p> - - -<h3>TREATMENT OF DAMP WALLS.</h3> - -<p>There are two classes of damp walls, first where -the water comes in from the outside from defective -roofs, bad gutters, defective pipes, and where it comes -through the walls from the ground, as in basements. -In the other class we may include walls which are -dampened by condensation of moisture, in places -shut off from the general artificial temperature of -the room, behind stationary furniture. Such walls -may dry out during hot weather, or they may be kept -damp by a growth of mold or fungus.</p> - -<p>When water comes in from the outside, it is impossible -to keep paint or paper on the wall in good -shape. Look around for the places where the water -comes in, point it out to the owner, and if he fails -to stop the leak have it <em>understood</em> that the work is<span class="pagenum"><a id="Page_74"></a>[74]</span> -done at <em>his risk</em>; or, what is better, refuse to do the -work; because, when a job comes off, or turns out -badly, you will take the blame generally, no matter -whether it is your fault or not. A job may be made -to last awhile by a waterproof coating, or by sheathing -with thin lumber, but it is only a question of time -when the lining material will become water-soaked -and spoil the paint or paper, to your discredit. I -have usually been <em>too busy</em> to take jobs of this kind. -If the water can be cut off, the next thing is to dry -the wall, which you can do at the surface only by -setting a stove near it, or with the flame of a paint -burner; then, after all your trouble, the water, which -remains in the wall, if of brick or stone, may find its -way to the surface, and destroy your work. Sheet -lead cemented to the wall will answer a good purpose -for a time, but the dampness will finally destroy the -cement and let the metal loose.</p> - -<p>Battening out for lath and plaster is the best for -basement or damp stone walls, but that is the plasterer’s -work, and is rarely ever done except in private -residences.</p> - -<p>Battening and canvasing is next best; nail your -battens up and down 18 inches apart. Have the -canvas stitched in sheets the right size to cover the -large blank spaces of the wall. Then stretch and -tack it on the battens, and give it a coat of glue and -alum size.</p> - -<p><span class="pagenum"><a id="Page_75"></a>[75]</span></p> - -<p>When dampness is caused by condensation the best -remedy is to remove the cause and dry the wall.</p> - - -<h3>TO PAPER ON A BOARD PARTITION.</h3> - -<p>When paper is pasted on boards, it must crack, -when the lumber shrinks. If you paste cloth over the -cracks, it must crack, if the cracks open further than -the cloth will stretch. When you tack cloth on a -partition and size it, if the size goes through the -cloth and sticks it fast to the boards, it will be likely -to crack when the lumber shrinks. For a good job -I would advise that you first cover the partition <em>with -paper tacked on</em>, then when you size the cloth, it will -stick to the paper, and not to the boards. I have met -with uniform success in this way; because the boards -are left free to shrink and swell without breaking the -cloth or paper. I like to sew the cloth together with -a running seam in pieces large enough to cover all -broad spaces, turn the smooth side out, stretch well, -and fasten the edges only; drive the tacks an inch -from the edges of the cloth, so that you can fasten -them down smoothly with paste. When a man has -been unwise enough to put a board partition across -one end of an otherwise fine room, and is willing to -pay for his folly: first, take measurements of the -blank spaces, and sew together some fairly strong -<em>unbleached</em> muslin, stretch on frames, and give it a -coat of glue and alum size, and whiting; when dry, -carefully fit each piece in its place and tack it an -inch from the edges and fasten the edges down<span class="pagenum"><a id="Page_76"></a>[76]</span> -smooth with strong flour paste. Tack only at the -edges, and if you are careful to butt edge the different -pieces over the doors, etc., you can make a nice -smooth job in this way. By using this method the -paste will not stick the cloth to the wall. Use tinned -tacks to prevent rust.</p> - - -<h3>SANDPAPERING.</h3> - -<p>This is a job none of us like very well, but since -it must be done, it is worth while to be able to do -it to the best advantage. The first thing to look for -is good paper. To test the strength of the sand, rub -two pieces together, and if the sand don’t fly off, it -is good in that respect; next see if the paper is tough -and will not tear easily. Chalk the back of your -paper before you double it and it will not slip. -Don’t lose time using old, worn-out paper. New -paper will, of course, cut faster than old paper, and -the difference in the time gained by using sharp -paper will pay for the new paper twice over. Using -old dull paper is like trying to save money by using -an old stub brush. Better use up fifty cents’ worth -of paper than to fool away dollars’ worth of time -trying to save money by using old paper.</p> - -<p>If you have old, hard paint to cut down, which -dry sandpaper will not touch, keep the work wet with -benzine, and you will be surprised to see how fast -the sandpaper will cut the paint. To put on benzine -use a small spring-bottomed can, such as is used for -oiling machinery. You can use any grade of sandpaper,<span class="pagenum"><a id="Page_77"></a>[77]</span> -and it will not soak up or gum. No. 1 paper is the -best for this purpose. A good deal of time may be -lost where scrapers could be used to much better -advantage. A broad, flat scraper to shove endwise is -always in order, and a few narrow ones with various -shaped ends to fit in headings, moldings, etc., are -a great help.</p> - - -<h3>A STENCILED BORDER.</h3> - -<p>This makes a nice finish for a painted or kalsomined -room. To make it look at its best, paint a -stripe as wide as your stencil in a pleasant contrast -to the paint on the room and put the stencil on that -in soft harmonizing colors.</p> - - -<h3>REPAINTING SCALED WORK.</h3> - -<p>To repaint a job which has commenced to scale, -without taking off all the old paint, is very uncertain -work, but if you have to try it, have it understood in -writing, or before witnesses, that it is done at the -owner’s risk. First scrape off the loose paint, then -go over the job with raw oil; put it on freely and let -it stand until dry; then scrape off all the paint loosened -by the oil, and coat up with strictly pure white -lead and oil. Avoid zinc, and mixtures of zinc, and -barytes, on jobs of this kind; because they are more -or less liable to crack, and pull off more of the old -paint. White lead and oil lightly tinted will hold -it if anything will. Use raw oil and a little good -japan.</p> - -<p><span class="pagenum"><a id="Page_78"></a>[78]</span></p> - - -<h3>TO MIX WATER COLORS.</h3> - -<p>Light weight colors which will not mix well with -water may be easily mixed to a stiff paste with molasses -or sirup, then mix in glue size for a binder -and thin with water.</p> - - -<h3>TO SIZE MUSLIN FOR LETTERING.</h3> - -<p>Use a thin size of white glue in water, or a thin -starch paste. For a sign to stand weather, dissolve -white wax in turpentine by heat. Melt the wax in -a kettle, then take it outside and by degrees add sufficient -spirits of turpentine and make a thin size.</p> - -<p>One ounce of wax to the quart of turps is about -right. Put it on warm with a brush.</p> - - -<h3>ANOTHER FOR WHITE WORK.</h3> - -<p>Slake a little good, fresh lime in hot water and -mix a size with skim milk. Then strain through -cheese cloth. This size is, when dry, insoluble in -water and will hold lettering as long as the cloth -lasts. May be tinted.</p> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_79"></a>[79]</span></p> - -<div class="figcenter illowp53" id="image079" style="max-width: 37.5em;"> - <img class="w100" src="images/image079.jpg" alt="" /> - <div class="caption">No. 4. OLD STYLE EXTENDED.<br /> -<p class="noindent pad4"> -A B C D E F<br /> -G H I J K L M<br /> -N O P Q R S T<br /> -U V W X Y Z & , .<br /> -a b c d e f g h<br /> -i j k l m n o<br /> -p q r s t u v<br /> -w x y z 1 2 3<br /> -4 5 6 7 8 9 0<br /> -</p></div> -</div> - -<p><span class="pagenum"><a id="Page_80"></a>[80]</span><br /> - <span class="pagenum"><a id="Page_81"></a>[81]</span></p> - - -<h3>TEST OF THE PURITY OF WHITE LEAD.</h3> - -<p>The following is an infallible and simple commercial -test of the purity of white lead:</p> - -<p>Take a piece of firm, close-grained charcoal, and -near one end of it scoop out a cavity about half an -inch in diameter and a quarter of an inch in depth. -Place in the cavity a sample of the lead to be tested, -about the size of a small pea, and apply to it continuously -the <em>blue</em> or <em>hottest</em> part of the flame of the -blow-pipe; if the sample be strictly pure it will, in -a very short time, say two minutes, be reduced to -metallic lead, leaving no residue; but if it be adulterated, -even to the extent of 10 per cent. only, with -oxide of zinc, sulphate of baryta, whiting or any other -carbonate of lime (which substances are the principal -adulterations used), or if it be composed entirely -of these materials, as is sometimes the case with -cheap lead (so-called), it cannot be reduced, but will -remain on the charcoal an infuscatible mass.</p> - -<p>A blow-pipe can be obtained from any jeweler at -small cost. An alcohol lamp, star candle, or a lard -oil lamp furnishes the best flame for use of the blow-pipe. -This test is very simple and anyone can very -soon learn to make it with ease and skill.</p> - - -<h3>POLISH TO RENOVATE VARNISHED WORK.</h3> - -<p>One quart good vinegar, 2 ounces butter of antimony, -2 ounces alcohol, 1 quart oil. Shake before -using.</p> - -<p><span class="pagenum"><a id="Page_82"></a>[82]</span></p> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdc fs80" colspan="3">BRONZES—COLORS.</td> -</tr> -<tr> -<td class="tdl">White,</td> -<td class="tdl">Silver,</td> -<td class="tdl">Flesh,</td> -</tr> -<tr> -<td class="tdl">Light Gold,</td> -<td class="tdl">Dark Gold,</td> -<td class="tdl">Rich Gold,</td> -</tr> -<tr> -<td class="tdl">Lemon,</td> -<td class="tdl">Orange,</td> -<td class="tdl">Fire,</td> -</tr> -<tr> -<td class="tdl">Copper,</td> -<td class="tdl">Carmine,</td> -<td class="tdl">Crimson,</td> -</tr> -<tr> -<td class="tdl">Lilac,</td> -<td class="tdl">Violet,</td> -<td class="tdl">Brown,</td> -</tr> -<tr> -<td class="tdc" colspan="3">Light and Dark Greens.</td> -</tr> -</table> - - - -<h3>BLACK VARNISH FOR IRON.</h3> - -<p>Asphaltum, 2 pounds.</p> -<p>Boiled linseed oil, 1 pint.</p> -<p>Spirits turpentine, 2 quarts.</p> - -<p>Melt the asphaltum with the oil in an iron kettle. -Stir well before removing from the fire. When -partly cool add the turpentine and a little good -japan.</p> - - -<h3>TO FREE BENZINE FROM ITS OFFENSIVE ODOR.</h3> - -<p>To deodorize benzine, add 3 ounces quicklime to -the gallon of benzine; shake well. Let the lime settle -and pour off and filter the benzine.</p> - - -<h3>PAINT TO PREVENT WOOD EXPOSED TO THE GROUND -FROM ROTTING.</h3> - -<p>Take of linseed oil, 4 parts; whiting, 40 parts; -rosin, 50 parts; clean sand, 300 parts; heat together -in a kettle until the rosin melts; then add 2 parts -sulphate of copper; the mass to be well stirred, and -thinned to workable consistency with linseed oil.</p> - -<p><span class="pagenum"><a id="Page_83"></a>[83]</span></p> - - -<h3>RECIPES FOR BLACKBOARD SLATING.</h3> - -<p>Dissolve 1 pound shellac in 1 gallon 95 per cent. -alcohol; then add ½ pound best powdered ivory black, -5 ounces finest emery flour, 2 ounces ultramarine -blue; mix well and keep air tight. When using stir -frequently. If thick enough to show brush marks, -add more alcohol; work quick with a fine brush.</p> - - -<h3>TO MAKE A BLACKBOARD ON COMMON PLASTER.</h3> - -<p>Stop all cracks and holes with plaster paris mixed -in glue size. When dry sandpaper until all is smooth; -then paper the wall with white blank wall paper, butt -the edges, put on with strong paste, and be careful to -rub out all blisters. When dry prime with oil paint, -then sandpaper with fine paper, and put on two coats -of above slating. This makes an excellent blackboard. -Boards which I made in this way twenty -years ago are in good shape yet, and will last for -years to come with an occasional repainting.</p> - - -<h3>CHEAP SLATING, BUT GOOD.</h3> - -<p>Mix lamp black, 4 parts; ultramarine blue, 1 part, -by weight, in turpentine, with sufficient good japan -and a very little oil to bind it, then add one part by -weight of <em>fine pumice stone</em>. Have it thin enough to -flow on and not leave brush marks.</p> - - -<h3>WATERPROOF OIL RUBBER PAINT FOR CLOTH.</h3> - -<p>Melt 2½ pounds of india rubber in ½ gallon of -boiled oil by boiling. If too thick, add more oil; if<span class="pagenum"><a id="Page_84"></a>[84]</span> -too thin, add more rubber, and a little japan to dry -it. Apply warm.</p> - - -<h3>TO CLEAN PAINT.</h3> - -<p>Have some whiting on a plate, then dip a piece of -flannel in warm, soft water and squeeze nearly dry, -then take up some of the whiting by dipping the -flannel in it, and rub the paint until it looks clean, -then rub dry with a soft cloth or chamois skin.</p> - - -<h3>GOOD QUICK STAIN FOR A BRICK CHIMNEY.</h3> - -<p>For red stain, take Venetian red, 2 parts; yellow -ochre, 1 part—both dry—and mix with skim milk. -For yellow stain, use water-lime, tinted with yellow -ochre. Mix as above.</p> - -<p>Skim milk when mixed with common quicklime, -Portland cement, or Venetian red, is converted into -an insoluble binder, which renders the mixture waterproof, -so that it will not wash off when wet; neither -will it rub up when dry. Other pigments can be -added, by way of coloring, up to 25 per cent., without -affecting the insolubility of the paint.</p> - -<p>For a brick wall, which has not been rubbed or -painted, Venetian red toned down with yellow ochre, -beats any glue and acid mixture for durability.</p> - - -<h3>TO CLEAN DOOR PLATES.</h3> - -<p>Put on with a rag a weak solution of ammonia in -water, and rub to dryness.</p> - -<p><span class="pagenum"><a id="Page_85"></a>[85]</span></p> - - -<h3>TO CLEAN VARNISHED PAINT.</h3> - -<p>In a gallon of water, boil a pound of wheat bran, -and wash the varnish with the water.</p> - - -<h3>SLOWING THE DRYING OF PAINT.</h3> - -<p>In wall painting or otherwise, especially in hot -weather, if the paint dries so fast as to show laps -in spite of your best efforts with the brush, the addition -of a little cotton seed oil will make the paint -dry slower without hurting the gloss; or if you are -using flat color, and it dries too fast, a little cotton -seed oil will make it dry slower, and not make a -gloss. You can, by a little experiment, determine -how much of cotton seed oil to use in each case.</p> - - -<h3>FINE BRONZE FOR METALS.</h3> - -<p>Red aniline (fuchsine), 20 parts; purple aniline, -10 parts; 95 per cent. alcohol, 200 parts; acid benzoic, -10 parts. Dissolve the colors in the spirit in a -porcelain vessel in a water or sand bath; add the -acid and boil until the mixture changes from a greenish -color to a beautiful bronze color. Lay it on the -bright metal with a brush.</p> - - -<h3>REPAINTING BLISTERED DOORS.</h3> - -<p>When the paint commences to blister or scale on a -door, it is very liable to keep on blistering and scaling -from time to time, as long as any of the old paint -is left on the door, no matter how carefully it may be<span class="pagenum"><a id="Page_86"></a>[86]</span> -repainted, because in most cases whatever caused the -paint to scale off in spots, weakened the entire coat -of paint on the door, making it liable to raise up, -or come off in other places, whenever exposed to any -extra strain, such as sun heat, or the drying of new -coats of paint or varnish over it; hence, to have a -sure thing on painting a scaled or blistered door, take -off all the old paint. Put on a thin prime of pure -white lead and linseed oil; use the priming sparingly -<em>and rub it out thin</em>; let the prime dry and coat up -with lead and oil paint, mixed with good body; put -in a little turps and spread the <em>paint out thin</em>, so it -will dry solid; rub each coat in the same way; give -each coat time to dry solid. For work to be varnished, -prime as above, and coat up flat. I think -blistering is often caused by flowing on too much -paint having too much oil in it, in proportion to the -pigment, hence it does not dry solid, the oil is softened -and expanded by heat, and the coating, which is -more of an oil skin than a body of paint, lets go its -hold on the wood and puffs out in a blister to make -room for the softened and expanding oil skin. If -painters will mix their paint with good body, and use -more elbow grease in rubbing it out, they will have -less trouble with blisters.</p> - - -<h3>FIREPROOF PAINT FOR ROOFS, ETC.</h3> - -<p>A recipe published thirty years ago in the Maine -<cite>Farmer</cite>:</p> - -<p>Slake stone lime by putting it into a tub to be<span class="pagenum"><a id="Page_87"></a>[87]</span> -covered to keep in the steam. When slacked pass the -powder through a fine sieve, and to each 6 quarts -of it add 1 quart rock salt, and water, 1 gallon; then -boil and skim clean. To each five gallons of this add -pulverized alum, 1 pound; pulverized copperas, ½ -pound; then slowly add powdered potash, ¾ pound; -then add hardwood ashes sifted, 4 pounds; now add -any color and apply with a brush. This paint stops -small leaks in roofs, prevents moss, is incombustible, -and renders brick waterproof. It is durable as stone.</p> - - -<h3>VARNISH FOR IRON.</h3> - -<p>Genuine asphaltum 8 pounds, melt in an iron -kettle, slowly adding boiled linseed oil, 5 gallons; -litharge, 1 pound, and sulphate of zinc, ½ pound; -continue to boil three hours, then add dark gum -amber, 1½ pounds, and boil two hours longer. When -cool thin with turpentine to good working consistency.</p> - - -<h3>BLACK VARNISH FOR IRON.</h3> - -<p>Genuine asphaltum (not coal tar imitation), 1 -pound; lamp black, ¼ pound; rosin, ½ pound; spirits -turpentine, 1 quart. Dissolve the asphaltum and -rosin in the turpentine, then rub up the lamp black -with linseed oil, only sufficient to form a paste, and -mix with the others.</p> - - -<h3>TO MIX DRY LAMP BLACK.</h3> - -<p>First cut it up in benzine or turpentine to a thick -paste, stir well and add linseed oil; if the black is to<span class="pagenum"><a id="Page_88"></a>[88]</span> -be used as an oil paint, a little at first, stir well and -you may add more. In this way you will have no -trouble in mixing it with other paint, if you do it -when the paint is rather stiff.</p> - - -<h3>TO CLEAN BRASS.</h3> - -<p>One-half ounce oxalic acid, 3 ounces rotten stone, -¼ ounce gum arabic, each in powder; made into a -paste with sweet oil. Use sparingly and rub dry with -flannel.</p> - - -<h3>DIPPING PAINT.</h3> - -<p>Grind dry colors in japan and turps, with only -enough japan to bind the pigment. When dry varnish, -use any pigment you like, or use bolted whiting and -color as you like.</p> - - -<h3>TO MAKE WAX FINISH FOR FLOORS.</h3> - -<p>Take 2 ounces pearlash and 2 pounds white wax. -Slice the wax thin, and boil it with the pearlash in -2 quarts of water; stir until the wax is melted and -unites with the water.</p> - -<p>Put on the finish with a brush, and polish with -cloth or plush.</p> - -<p>This finish will be good only for light service.</p> - - -<h3>SPIRIT VARNISHES.</h3> - -<p>There are numerous recipes which might be given -here for making the fine elastic varnishes, but it -would not be practicable for the painter to make -them, even if he had the requisite skill and experience,<span class="pagenum"><a id="Page_89"></a>[89]</span> -but with spirit varnishes it is very different, and -the painter can make them by a formula as well as -an expert can. (For formulas for white and orange -shellac varnish see <a href="#WF">article on wood finishing</a>.) For -inside work, where the family is living at the time -the work is being done, the alcohol varnish is preferable. -First, because it dries very quickly, and second, -because it is free from sickening or disagreeable -odors.</p> - -<p>Below are several recipes for making varnishes, -which dry hard and lustrous. The spirit used is -wood or grain alcohol; in either case, the spirit should -be 95 per cent. proof.</p> - - -<h3>BROWN HARD SPIRIT VARNISH (SELECTED).</h3> - -<p>1. Sandarac, 1 pound; shellac, ½ pound; gum -elemi, 4 ounces; Venice turpentine, 4 ounces; spirit, -1 gallon.</p> - -<p>2. Gum sandarac, 1½ pounds; shellac, 1 pound; -spirit, 1 gallon. After the gums are dissolved, put -in rosin turpentine varnish, 1 pint. This makes a -good varnish, not as quick drying as pure spirit varnishes.</p> - -<p>A brown varnish may be made by mixing shellac, -1½ pounds; pale rosin, 1½ pounds; spirit, 2 gallons.</p> - - -<h3>WHITE HARD VARNISH.</h3> - -<p>1. Sandarac, 2½ pounds; gum thus, 1 pound; spirit, -1 gallon.</p> - -<p><span class="pagenum"><a id="Page_90"></a>[90]</span></p> - -<p>2. Mastic, ½ pound; sandarac, 2 pounds; elemi -gum, 4 ounces; spirit, 1 gallon.</p> - -<p>3. Mastic, ½ pound; sandarac, 1 pound; turps, 2 -ounces; spirit, 1 gallon.</p> - -<p>These are all prepared by mixing and setting in -a warm place until the gums are dissolved, then they -are ready for use. Shake occasionally. For fine work -strain carefully.</p> - - -<h3>PURE WHITE VARNISHES.</h3> - -<p>1. Pale manila copal, 8 ounces; gum camphor, -1 ounce; mastic, 2 ounces; venice turpentine, 1 -ounce; spirit, 1 quart.</p> - -<p>2. Sandarac, 8 ounces; mastic, 2 ounces; Canada -balsam, 4 ounces; spirit, 1 quart.</p> - -<p>3. Sandarac, 8 ounces; damar, 4 ounces; gum -thus, 8 ounces; manila copal, 8 ounces; elemi, 8 -ounces; spirit, ½ gallon. This is a good pale article.</p> - -<p>4. Gum thus, 8 ounces; gum benzoin, 4 ounces; -manila elemi, 4 ounces; spirit, 1 quart.</p> - - -<h3>VARNISH PAINTS.</h3> - -<p>These are made by mixing opaque pigments with -almost any varnish, using sufficient turps to make -them spread well.</p> - - -<h3>GOLD VARNISH.</h3> - -<p>Shellac, 8 ounces; sandarac, 8 ounces; mastic, 8 -ounces; gamboge, 2 ounces; dragon’s blood, 1 ounce; -turmeric, 4 ounces; spirit, 1 gallon.</p> - -<p><span class="pagenum"><a id="Page_91"></a>[91]</span></p> - - -<h3>FURNITURE VARNISH.</h3> - -<p>Shellac, 1¾ pounds; sandarac, 4 ounces; mastic, 4 -ounces; spirit, 1 gallon.</p> - - -<h3>DAMAR VARNISH.</h3> - -<p>Damar, 1 ounce; sandarac, 5 ounces, mastic, 1 -ounce; turps, 20 ounces. Digest at gentle heat until -dissolved. If necessary add more turps to bring -down to the proper consistency.</p> - - -<h3>LACQUERS FOR BRASS AND TIN.</h3> - -<p>Pale gold lacquer.—Spirit, 1 gallon; orange shellac, -1 ounce; gamboge, ½ ounce.</p> - -<p>Deep gold.—Orange shellac, 10 ounces; turmeric, -4 ounces; gamboge, 4 ounces; dragon’s blood, ½ -ounce; spirit, ¾ gallon.</p> - -<p>Brass lacquer.—Shellac, 14 ounces; turmeric, 4 -ounces; annotto, 1 ounce; saffron, ½ ounce; spirit, -1 gallon.</p> - - -<h3>LEATHER VARNISH (BLACK).</h3> - -<p>Shellac, 12 ounces; gum thus, 5 ounces; sandarac, -2 ounces; lamp black, 1 ounce; turpentine, 4 ounces; -spirit, ¾ gallon.</p> - -<p>Mix the ingredients, and give them time to dissolve -in the spirit in a warm place. A shake-up now and -then will quicken the process.</p> - - -<h3>PAPER HANGER’S OUTFIT.</h3> - -<p>Bib overalls, large pocket in front, side pockets -for rule and shears, long trimming shears, shorter<span class="pagenum"><a id="Page_92"></a>[92]</span> -wet shears, straightedge, paste board, plumb bob, -rule, paper brush, paste pail, size kettle, step-ladders -and rollers, some sandpaper, soft cloths and long -blotting paper to use under your roller on seams, -when needed, and a plank for scaffold, when papering -ceilings. For common sized rooms two step-ladders -are good in the place of trestles to hold up the -plank. For butt edging I can recommend James -Marks’ paper cutters. See description on another -page.</p> - - -<h3>PAPER HANGERS’ PASTE.</h3> - -<p>Beat up four pounds of sifted wheat flour in cold -water sufficient to make a stiff batter; beat out all -the lumps, then add enough cold water to make it -like pudding batter. Then pour in a little hot water -and stir, then pour in hot water fast, and stir until -the paste swells and thickens, and turns darker. It -is then cooked. To keep the paste from “going -back” and staining the paper, add about two ounces -of powdered or well pounded alum to the boiling -water which you pour on the batter. This will make -three-quarters of a common wooden pail full of paste. -It will do better and go further if you let it cool -before using. Turn a little cold water on the top -to prevent it skinning over while you wait for it to -cool. When ready to use it, thin with cold water, -until it works easily under the brush, and according -to the wall. A very rough porous wall needs a stout -paste and plenty of it, while a hard, smooth wall<span class="pagenum"><a id="Page_93"></a>[93]</span> -should have the paste thinned and less of it. I have -known paper to crack and fall off from a smooth -wall, because too much or too thick paste was put on. -Just enough to cement the paper to such a wall is -best; a body of paste between the paper and plaster -will decay and peel off, and take the paper with it. -The other extreme must be avoided also. Some -hangers prepare this paste without the alum.</p> - -<p>If hanging paper on a glossy painted surface, -leave out the alum and add one-half pint of nice -clear sirup to each gallon of paste.</p> - - -<h3>TO MAKE A PASTE FOR PAPERING OVER PAINTED OR -VARNISHED WALLS.</h3> - -<p>In a kettle mix some flour in water in the same -way as in the above formula, but make the batter -thinner. To each gallon of the batter add one ounce -of powdered resin. Set the kettle on a moderate -fire, and keep stirring it until it boils and thickens, -and the resin is melted into the paste. When cool, -thin down with a weak solution of gum arabic.</p> - - -<h3>LIQUID GLUE.</h3> - -<p>Fine glue dissolved in alcohol makes a nice binder -for fine water colors.</p> - - -<h3>TO CRYSTALIZE GLASS.</h3> - -<p>Lay the glass flat and flow heavy alum water over -it. Let it dry.</p> - -<p><span class="pagenum"><a id="Page_94"></a>[94]</span></p> - - -<h3>SIZE FOR WALLS BEFORE PAPERING OR KALSOMINING.</h3> - -<p>One pound good white glue, 1 pound good bar -soap, 2 pounds pulverized alum. Dissolve each separately -in one quart boiling water, having first soaked -the glue. Mix the glue and soap water, and then -slowly add the alum water, stirring all the time. -Add cold water to make one gallon.</p> - - -<h3>STAIN OAK WOOD.</h3> - -<p>Wash with a solution of bi-chromate of potash and -acid water. One ounce to a quart of water.</p> - - -<h3>SIZING WALLS.</h3> - -<p>“Anybody can do it!” Yes, but it takes an expert -to do it right. It is not a difficult matter to -make paper stick to whitewash, but the whitewash -splits as far in as the paste goes, and a part of it -invariably sticks to the paper when it comes off and -a part of it is left on the wall. As a rule, if you -size whitewash with flour paste and let it stand a few -days it will crack and roll up. Now, pure glue size -does not have this effect upon whitewash, but, on -the contrary, it not only acts as a binder, but as an -intervening coat between the paste and the whitewash. -In other words, the glue size will stick the whitewash -fast without causing it to crack, and the paste will -adhere to the glue size without bad effects upon -either. Now, in order to bind the whitewash, the -glue should penetrate as far as possible. Hence, the<span class="pagenum"><a id="Page_95"></a>[95]</span> -size should be put on warm, and the room should be -warm, otherwise the glue will get cold and stiff like -jelly before it has time to penetrate; hence it will -remain on the surface instead of going into whitewash -as a binder. The idea is to get all you can into -the wall and leave as little as possible on the outside. -Another thing to look after is the quality of the -glue. Very much of the white glue found on the -market is not genuine glue. Some of it is adulterated -with starch and white clay, some of it is not -glue at all. A glue which will dissolve in cold water -is not good glue, or if it melts readily in hot water -without being soaked an hour or two in cold water, -it is not first-class. If it has a dead white look it is -not good. Good glue should be glossy and semi-transparent, -and should soften and swell in cold -water, but not dissolve in it. When put into hot -water without being first soaked in cold water, it -should not dissolve at once, but form into a lump -and resist the action of the hot water for some time.</p> - - -<h3>HOW TO APPLY WHITE ENAMELED LETTERS TO GLASS.</h3> - -<p>An extract from a circular issued by the manufacturers -of these letters:</p> - -<div class="blockquot"> - -<p>Having thoroughly cleaned the window and freed -it from grease, draw with white marking chalk on -front of it the plan or arrangement of outline it is -intended to adopt—straight or curved, as the case -may be. A rule is used for marking the straight lines -and a piece of twine for the curved lines. Now divide<span class="pagenum"><a id="Page_96"></a>[96]</span> -these guide lines up into as many spaces as there -are letters to go on, carefully proportioning them. -Then apply the cement to the back of the letters with -a knife, laying on equally around both the inside -edges. Place the letter upon the window in the -space marked for it and work it up and down, back -and forth, pressing against the glass, so as to expel -the air and secure a good adhesion, and taking care -to press equally on top and bottom of the letter, as -otherwise there is a likelihood of breaking. It is -advisable, in cementing larger sized letters than six -inches, to leave the letters lay for an hour after -placing the cement around the edges, and then to -give another coat of cement and attach the letters -immediately. The object is to prevent all the cement -from working inside the concave parts of the letters. -In affixing larger and heavy letters, small -pieces of beeswax (or, in summer, sealing wax) -should be employed to keep them in position until -the cement sets. As soon as the letters are attached to -the glass take a small stick of wood, sharpen it on -the end and clean away all superfluous cement, keeping -the end of the stick constantly wet. Particular -care should be taken to leave no openings between -the letters and the glass (especially around the top -edges) which would allow water to get in between.</p> - -<p>If wax has been used, remove it after a few days -and clean with a rag. The sign is then complete for<span class="pagenum"><a id="Page_97"></a>[97]</span> -long service. The above method will answer equally -well on any smooth surface such as stone, iron, marble, -wood.</p> - -<p>To make the cement, mix two parts of white lead -ground in oil with three parts of dry white lead, and -thin it down to the consistency of soft putty with -some good furniture or copal varnish. Then take -small parts of it and grind them on a stone or glass -plate in the manner of painters grinding color with -a bowl or palette knife. This is to be continued until -the cement is entirely smooth and cornless, and -then it is ready for use.</p> - -<p>To remove enameled letters, the most convenient -way is to scratch away around the edges all the -cement you can from under the letters. Use for this -purpose a very thin knife or a piece of thin sheet -steel. You will soon reach the soft part of the cement; -then cut away with a sawing motion and twist -them off. Do not attempt to pry the letters off, or -they may break. If the cement should be very hard, -say after a number of years, use a little kerosene oil, -which is applied on the top edges of the letters, so -as to work in and soften the cement.</p> -</div> - - -<h3>WALL SIZING FOR KALSOMINING.</h3> - -<p>There are many things about wall sizing, which -depend largely upon good judgment for success, because -the treatment must be varied according to -the condition of the wall or ceiling. A good size -is made of good white glue, ½ pound; alum, 1 pound.</p> - -<p><span class="pagenum"><a id="Page_98"></a>[98]</span></p> - -<p>Dissolve the glue in the usual way; that is, soak -it in cold water until soft, then pour off the cold -water and pour on the hot water; and stir until the -glue is dissolved.</p> - -<p>Dissolve the alum in hot water.</p> - -<p>Then stir the glue, and put in the alum water. -Thin the mixture with water to the right consistency -to work well.</p> - -<p>If one coat is not sufficient, give it two; or if there -are porous places in the wall, touch them up.</p> - -<p>In many cases a simple glue size is sufficient, but -if you use the glue and alum size as above directed, -you will be pretty sure of a good foundation for -kalsomine.</p> - -<p>One of the most difficult things to overcome in -preparing ceilings for kalsomine is the water stain, -which is liable to be invisible until developed by a -coat of kalsomine. If you find water stains on a -ceiling and suspect that there may be others which -do not show, go over the ceiling with a thin wash -of whiting mixed in clear water, which when dry will -develop all hidden stains. To kill a bad stain, first -put on a coat of oil, japan and turps, equal parts; -second, put on a coat of good heavy shellac; third, -give the spots a coat of flat lead. This treatment is -for dark stains; for light stains a coat or two of -shellac will stop the stain. It is best to put a coat -of keg lead thinned with turps over the shellac, because -kalsomine is liable to scale off from shellac.</p> - -<p><span class="pagenum"><a id="Page_99"></a>[99]</span></p> - -<p>On cheap work, if the stain is not too dark, it may -be kept back by pasting a piece of paper over it. If -the wall has been kalsomined it is always in order to -wash off the old kalsomine. If the work has been -whitewashed, either take it off or first give it a wash -of strong vinegar, then a glue size, which, if put on -thin and plentifully while warm in a warm room, -is about the best size I know of for whitewash. I -have often used it successfully when it was not practicable -on account of the weakness of the ceiling or -other cause to take off the old whitewash. Two -thin coats of good glue size on firm whitewash makes -as fair a foundation for kalsomine as can be made on -old whitewash.</p> - -<p>When it will not pay you to wash off the old kalsomine, -a coat or two of the wall sizing described above -will make a good foundation.</p> - - -<h3>SIGN PAINTING.</h3> - -<p>To the beginner I will say: Learn the letters; get -a variety of alphabets in your head; the more you -have the better you will be prepared to do a pleasing -variety of sign writing. A variety of letters arranged -in alphabets are given in the following pages as a -convenient means of reference for the painter who -may desire to refresh his memory, as to the form of -any letter represented, or to make a study of them -with a view of acquiring a knowledge of the formation -of letters generally.</p> - - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_100"></a>[100]</span></p> - -<div class="figcenter illowp62" id="image100" style="max-width: 37.5em;"> - <img class="w100" src="images/image100.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 1. GOTHIC CONDENSED<br /> - -A B C D E F G<br /> -H I J K L M N<br /> -O P Q R S T U<br /> -V W X Y Z & .<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_101"></a>[101]</span></p> - -<div class="figcenter illowp54" id="image101" style="max-width: 37.5em;"> - <img class="w100" src="images/image101.jpg" alt="" /> - <div class="caption"><p class="noindent pad10pc">No. 1. GOTHIC CONDENSED—continued.<br /> - -a b c d e f g h<br /> -i j k l m n o p q<br /> -r s t u v w x y z<br /> -1 2 3 4 5 6<br /> -7 8 9 0 , .<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_102"></a>[102]</span></p> - -<div class="figcenter illowp85" id="image102a" style="max-width: 37.5em;"> - <img class="w100" src="images/image102a.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 2. BLANCHARD.<br /> - -A B C D E F G H<br /> -I J K L M N O P<br /> -Q R S T U V W X<br /> -Y Z &<br /> -<br /> -1 2 3 4 5 6 7 8 9 0<br /> -a b c d e f g h i j<br /> -k l m n o p q r s<br /> -t u v w x y z , .<br /> -</p> -</div> -</div> - -<div class="figcenter illowp100" id="image102b" style="max-width: 37.5em;"> - <img class="w100" src="images/image102b.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 3. ALASKAN.<br /> - -A B C D E F G H<br /> -I J K L M N O P Q<br /> -R S T U V W X Y Z &<br /> -1 2 3 4 5 6 7 8 9 0 , .<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_103"></a>[103]</span></p> - -<div class="figcenter illowp53" id="image103" style="max-width: 37.5em;"> - <img class="w100" src="images/image103.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 4. OLD STYLE EXTENDED.<br /> - -A B C D E F<br /> -G H I J K L M<br /> -N O P Q R S T<br /> -U V W X Y Z & , .<br /> -a b c d e f g h<br /> -i j k l m n o<br /> -p q r s t u v<br /> -w x y z 1 2 3<br /> -4 5 6 7 8 9 0<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_104"></a>[104]</span></p> - -<div class="figcenter illowp51" id="image104" style="max-width: 37.5em;"> - <img class="w100" src="images/image104.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 5. LINING GOTHIC.<br /> - -A B C D E<br /> -F G H I J<br /> -K L M N<br /> -O P Q R S<br /> -T U V W<br /> -X Y Z & , .<br /> -1 2 3 4 5<br /> -6 7 8 9 0<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_105"></a>[105]</span></p> - -<div class="figcenter illowp53" id="image105" style="max-width: 37.5em;"> - <img class="w100" src="images/image105.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 6. CONDENSED DE VINNE.<br /> - -A B C D E F G H<br /> -I J K L M N O<br /> -P Q R S T U V<br /> -<ins class="corr" id="tn-105" title="Transcriber’s Note—Original text: this 'W' is missing from the image"> -W</ins> X Y Z & , .<br /> -1 2 3 4 5 6 7 8 9 0<br /> -a b c d e f g h i j<br /> -k I m n o p q r s<br /> -t u v w x y z<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_106"></a>[106]</span></p> - -<div class="figcenter illowp53" id="image106" style="max-width: 37.5em;"> - <img class="w100" src="images/image106.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 7. GOTHIC SHADED.<br /> - -A B C D E<br /> -F G H I J K<br /> -L M N O P<br /> -Q R S T U<br /> -V W X Y Z<br /> -<span class="pad1">& , .</span><br /> -1 2 3 4 5<br /> -6 7 8 9 0<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_107"></a>[107]</span></p> - -<div class="figcenter illowp100" id="image107a" style="max-width: 37.5em;"> - <img class="w100" src="images/image107a.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 8. RONALDSON SLOPE.<br /> - -<em>A B C D E F G H I J<br /> -K L M N O P Q R S T<br /> -U V W X Y Z & , .<br /> -1 2 3 4 5 6 7 8 9 0</em><br /> -</p> -</div> -</div> - -<div class="figcenter illowp100" id="image107b" style="max-width: 37.5em;"> - <img class="w100" src="images/image107b.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 9. FLORENTINE.<br /> - -A B C D E F G H<br /> -I J K L M N O P<br /> -Q R S T U V W X<br /> -Y Z & , .<br /> -1 2 3 4 5 6 7 8 9 0<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_108"></a>[108]</span></p> - -<div class="figcenter illowp100" id="image108a" style="max-width: 37.5em;"> - <img class="w100" src="images/image108a.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 10. FRENCH OLD STYLE.<br /> - -A B C D E F G H I<br /> -J K L M N O P Q R<br /> -S T U V W X Y Z & , .<br /> -</p> -</div> -</div> - -<div class="figcenter illowp84" id="image108b" style="max-width: 37.5em;"> - <img class="w100" src="images/image108b.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 11. LIVERMORE.<br /> - -<em>A B C D E F G H I<br /> -J K L M N O P Q<br /> -R S T U V W X Y Z<br /> -& , . a b c d e f g h i j<br /> -k l m n o p q r s t u v<br /> -w x y z 1 2 3 4 5 6 7<br /> -8 9 0</em><br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_109"></a>[109]</span></p> - -<div class="figcenter illowp53" id="image109" style="max-width: 37.5em;"> - <img class="w100" src="images/image109.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 12. CASLON OLD STYLE.<br /> - -A B C D E F G<br /> -H I J K L M N<br /> -O P Q R S T U<br /> -V W X Y Z & , .<br /> -1 2 3 4 5 6 7 8 9<br /> -0 a b c d e f g h<br /> -i j k l m n o p q<br /> -r s t u v w x y z<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_110"></a>[110]</span></p> - -<div class="figcenter illowp54" id="image110" style="max-width: 37.5em;"> - <img class="w100" src="images/image110.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 13. SATANICK.<br /> - -A B C D E<br /> -F G H I J K<br /> -L M N O P<br /> -Q R S T U<br /> -V W X Y Z<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_111"></a>[111]</span></p> - -<div class="figcenter illowp54" id="image111" style="max-width: 37.5em;"> - <img class="w100" src="images/image111.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 13. SATANICK—continued.<br /> - -a b c d e f g h<br /> -i j k l m n o p<br /> -q r s t u v w x<br /> -y z 1 2 3 4 5 6<br /> -7 8 9 0 . , ! ? &<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_112"></a>[112]</span></p> - -<div class="figcenter illowp54" id="image112" style="max-width: 37.5em;"> - <img class="w100" src="images/image112.jpg" alt="" /> - <div class="caption"><p class="noindent pad20pc">No. 14. COLUMBUS.<br /> - -A B C D E F G<br /> -H I J K L M N O<br /> -P Q R S T U V W<br /> -X Y Z & , . 1 2 3<br /> -4 5 6 7 8 9 0 a<br /> -b c d e f g h i j<br /> -k l m n o p q r s<br /> -t u v w x y z<br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_113"></a>[113]</span></p> - -<div class="figcenter illowp98" id="image113a" style="max-width: 37.5em;"> - <img class="w100" src="images/image113a.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 15. BRADLEY.<br /> - -A B C D E F G H I J K<br /> -L M N O P Q R S T U<br /> -V W X Y Z a b c d e f<br /> -g h i j k l m n o p q r s<br /> -t u v w x y z & , .<br /> -</p> -</div> -</div> - -<div class="figcenter illowp100" id="image113b" style="max-width: 37.5em;"> - <img class="w100" src="images/image113b.jpg" alt="" /> - <div class="caption"><p class="noindent pad30pc">No. 16. DORIC ITALIC.<br /> - -<em>A B C D E F G H I<br /> -J K L M N O P Q R<br /> -S T U V W X Y Z , .<br /> -& 1 2 3 4 5 6 7 8 9 0</em><br /> -</p> -</div> -</div> - -<div class="chapter"></div> -<p><span class="pagenum"><a id="Page_114"></a>[114]</span></p> - - -<h3>LIST OF PRICES AND MODE OF MEASUREMENT.</h3> - -<p>Prices for Painting and Glazing.</p> - - -<h4>SQUARE MEASURE.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Plain weather boarding, close fencing, ledge doors, partitions, - paling fences, etc. All common colors, viz.: White, light yellow, - slate, pearl, light drab or cream color, for each coat, per yard</td> -<td class="tdrb">8 cents</td> -</tr> -<tr> -<td class="tdl">Each coat of varnish</td> -<td class="tdrb">10 cents</td> -</tr> -</table> - - -<h4>PANEL WORK.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Flush panel work, panel doors, recesses, etc., the above colors, - for each coat, per yard</td> -<td class="tdrb">10 cents</td> -</tr> -<tr> -<td class="tdl">The same in two colors</td> -<td class="tdrb">12 cents</td> -</tr> -<tr> -<td class="tdl">The same in three colors</td> -<td class="tdrb">14 cents</td> -</tr> -<tr> -<td class="tdl">Striping after other work is finished, per foot, lineal measure</td> -<td class="tdrb">1 cent </td> -</tr> -<tr> -<td class="tdl">For expensive or unused colors, per yard, additional</td> -<td class="tdrb">1 cent </td> -</tr> -<tr> -<td class="tdl">For each coat of varnish, per yard</td> -<td class="tdrb">12 cents</td> -</tr> -<tr> -<td class="tdl">For each coat of shellac, per yard</td> -<td class="tdrb">12 cents</td> -</tr> -</table> - - -<h4>BRICK WORK.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Yard.</em></td> -</tr> -<tr> -<td class="tdl">First coat</td> -<td class="tdr">15 cents</td> -</tr> -<tr> -<td class="tdl">Second coat</td> -<td class="tdr">12 cents</td> -</tr> -<tr> -<td class="tdl">Third coat</td> -<td class="tdr">10 cents</td> -</tr> -<tr> -<td class="tdl">Penciling</td> -<td class="tdr">15 cents</td> -</tr> -<tr> -<td class="tdl">Mastic or cement, first coat</td> -<td class="tdr">20 cents</td> -</tr> -<tr> -<td class="tdl pad4" colspan="2">Additional coats, same as brick.</td> -</tr> -</table> - - -<p><span class="pagenum"><a id="Page_115"></a>[115]</span></p> - -<h4>INSIDE WALL PAINTING.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Yard.</em></td> -</tr> -<tr> -<td class="tdl">First coat</td> -<td class="tdr">12 cents</td> -</tr> -<tr> -<td class="tdl">Second coat</td> -<td class="tdr">10 cents</td> -</tr> -<tr> -<td class="tdl">Third coat</td> -<td class="tdr">8 cents</td> -</tr> -</table> - - -<h4>STOPPING AND CLEANING.</h4> - -<p>Ordinary puttying, charge price of first coat for -the several kinds of work. Puttying longitudinal -joints in ceilings, siding, floors, etc., to be charged -from two to four times the price of first coat for -the several kinds of work, at the discretion of the -measurer.</p> - - -<h4>SURFACING, STAINING AND VARNISHING.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Each coat surfacing</td> -<td class="tdr">10 cents</td> -</tr> -<tr> -<td class="tdl">Each coat stain</td> -<td class="tdr">8 cents</td> -</tr> -<tr> -<td class="tdl">Each coat varnish</td> -<td class="tdr">12 cents</td> -</tr> -</table> - - -<h4>LINEAL MEASURE.</h4> - -<p>Pilasters, architraves, frames, jambs, base mouldings, -etc:</p> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdc pad10pc" colspan="2">——<em>Each Coat</em>——</td> -</tr> -<tr> -<td class="tdl pad3"><em>Girth.</em></td> -<td class="tdr"><em>Per Foot.</em></td> -<td class="tdr"><em>Varnish.</em></td> -</tr> -<tr> -<td class="tdl"> 1 to 4 inches</td> -<td class="tdrq">½c</td> -<td class="tdrq">¾c</td> -</tr> -<tr> -<td class="tdl"> 4 to 6 inches</td> -<td class="tdrq">¾c</td> -<td class="tdrq">1 c</td> -</tr> -<tr> -<td class="tdl"> 6 to 8 inches</td> -<td class="tdrq">1 c</td> -<td class="tdrq">1¼c</td> -</tr> -<tr> -<td class="tdl"> 8 to 10 inches</td> -<td class="tdrq">1¼c</td> -<td class="tdrq">1½c</td> -</tr> -<tr> -<td class="tdl">10 to 12 inches</td> -<td class="tdrq">1½c</td> -<td class="tdrq">1¾c</td> -</tr> -<tr> -<td class="tdl">12 to 14 inches</td> -<td class="tdrq">1¾c</td> -<td class="tdrq">2 c</td> -</tr> -<tr> -<td class="tdl">14 to 16 inches</td> -<td class="tdrq">2 c</td> -<td class="tdrq">2¼c</td> -</tr> -<tr> -<td class="tdl">16 to 18 inches</td> -<td class="tdrq">2¼c</td> -<td class="tdrq">2½c</td> -</tr> -<tr> -<td class="tdl">18 to 20 inches</td> -<td class="tdrq">2½c</td> -<td class="tdrq">2¾c</td> -</tr> -<tr> -<td class="tdl">20 to 22 inches</td> -<td class="tdrq">2¾c</td> -<td class="tdrq">3 c</td> -</tr> -<tr> -<td class="tdl">22 to 24 inches</td> -<td class="tdrq">3 c</td> -<td class="tdrq">3¼c</td> -</tr> -</table> - -<p><span class="pagenum"><a id="Page_116"></a>[116]</span></p> - -<p>Larger dimensions taken in square measure.</p> - -<p>Column mantels as above.</p> - -<p>Panel jambs, door casings, etc., to be measured by -the above rule.</p> - -<p>Plain rosettes, add one foot to length.</p> - -<p>Carved rosettes, add two feet to length.</p> - -<p>Other carved or ornamental work at the discretion -of the measurer.</p> - - -<h3>MODE OF MEASURING.</h3> - -<p>Begin at wall, press line in all quirks to bead at -edge of jamb casing for girth. For jambs take inner -sash rabbet to corner bead, double the height and -measure between jambs for length.</p> - - -<h4>STRING BOARD, ETC.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Foot.</em></td> -</tr> -<tr> -<td class="tdl">Plain, each coat</td> -<td class="tdr">2 cents</td> -</tr> -<tr> -<td class="tdl">Bracketed, each coat</td> -<td class="tdr">3 cents</td> -</tr> -<tr> -<td class="tdl">Carved, each coat</td> -<td class="tdr">4 cents</td> -</tr> -<tr> -<td class="tdl">Staff beads, each coat</td> -<td class="tdr">½ cent</td> -</tr> -<tr> -<td class="tdl">Edge of shelves, each coat</td> -<td class="tdr">¼ cent</td> -</tr> -</table> - - -<h4>CORNICES AND COLUMNS—PLAIN.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Foot.</em></td> -</tr> -<tr> -<td class="tdl">Girth, 1 to 2 feet, each coat</td> -<td class="tdr">3 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 2 to 3 feet, each coat</td> -<td class="tdr">4 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 3 to 4 feet, each coat</td> -<td class="tdr">5 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 4 to 5 feet, each coat</td> -<td class="tdr">6 cents</td> -</tr> -</table> - -<p>Plain caps on columns, add to length two feet.</p> - -<p>Ornamental caps on columns, add to length four -feet.</p> - -<p><span class="pagenum"><a id="Page_117"></a>[117]</span></p> - - -<h4>CORNICES WITH BRACKETS.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Foot.</em></td> -</tr> -<tr> -<td class="tdl">Girth, 1 to 2 feet, each coat</td> -<td class="tdr">4 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 2 to 3 feet, each coat</td> -<td class="tdr">6 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 3 to 4 feet, each coat</td> -<td class="tdr">8 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 4 to 5 feet, each coat</td> -<td class="tdr">10 cents</td> -</tr> -<tr> -<td class="tdl">Girth, 5 to 6 feet, each coat</td> -<td class="tdr">12 cents</td> -</tr> -</table> - -<p>Larger dimensions in proportion.</p> - -<p>Dental cornices, same price as brackets.</p> - - -<h3>MODE OF MEASURING.</h3> - -<p>For girth, begin at top, press line into all quirks -and over each member to the bottom, and to the -length add one-half the medium girth of the brackets -multiplied by their number.</p> - - -<h4>PRIMING OR TRACING AND GLAZING SASH.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdl"></td> -<td class="tdc fs80" colspan="3">EACH SIZE, PER LIGHT.</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl"></td> -<td class="tdr"><em>Priming</em></td> -<td class="tdr"></td> -<td class="tdr"><em>Old Glazing</em></td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl"></td> -<td class="tdr"><em>or </em></td> -<td class="tdr"><em>New </em></td> -<td class="tdr"><em>and Glass</em></td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl"></td> -<td class="tdr"><em>Tracing.</em></td> -<td class="tdr"><em>Glazing.</em></td> -<td class="tdr"><em>S.S. </em></td> -</tr> -<tr> -<td class="tdl" colspan="2"> 8 to 10 × 12 to 14</td> -<td class="tdr">$0.01¼</td> -<td class="tdrq">$0.05</td> -<td class="tdrq">$0.20</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">12 × 16 or 18</td> -<td class="tdr">.01½</td> -<td class="tdrq">.08</td> -<td class="tdrq">.35</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">14 × 24</td> -<td class="tdrq">.02</td> -<td class="tdrq">.10</td> -<td class="tdrq">.40</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">18 × 24</td> -<td class="tdrq">.03</td> -<td class="tdrq">.14</td> -<td class="tdrq">.50</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl"></td> -<td class="tdrq"></td> -<td class="tdrq"></td> -<td class="tdrq"><em>D.S.</em></td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">24 × 30</td> -<td class="tdrq">$ .05</td> -<td class="tdrq">$ .18</td> -<td class="tdrq">$1.00</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">26 × 36</td> -<td class="tdrq">.06</td> -<td class="tdrq">.20</td> -<td class="tdrq">1.30</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">30 × 36</td> -<td class="tdrq">.08</td> -<td class="tdrq">.25</td> -<td class="tdrq">1.65</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">36 × 40</td> -<td class="tdrq">.10</td> -<td class="tdrq">.30</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">40 × 44</td> -<td class="tdrq">.12</td> -<td class="tdrq">.35</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">40 × 50</td> -<td class="tdrq">.14</td> -<td class="tdrq">.40</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">40 × 50</td> -<td class="tdrq">.16</td> -<td class="tdrq">.50</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">50 × 60</td> -<td class="tdrq">.18</td> -<td class="tdrq">.60</td> -</tr> -<tr> -<td class="tdl"></td> -<td class="tdl">50 × 70</td> -<td class="tdrq">.20</td> -<td class="tdrq">.75</td> -</tr> -</table> - -<p><span class="pagenum"><a id="Page_118"></a>[118]</span></p> - -<p>These prices do not apply when called out to glaze -one or two lights.</p> - -<p>For back puttying add one-quarter, and for bedding -add one-half, to the above rates.</p> - -<p>In new glazing cost of glass not included.</p> - -<p>All breakage at the risk of the owners, if glass is -furnished by them. To all bills of glass furnished -by the trade 20 per cent. will be charged additional.</p> - - -<h3>PLATE GLASS.</h3> - -<p>Sizes same as table above, at same prices. Sizes -above to 90 square feet, 5 per cent. on net cost -delivered; 90 to 108 square feet, 8 per cent.; 108 -square feet and upwards, 10 per cent.</p> - -<p>Removing old glass, same as above. The owner -to pay cost of taking up large glass above first floor.</p> - -<p>Unless otherwise provided for, glazier puts glass -in at his own risk of breakage, but cutting will be -at owner’s risk.</p> - - -<h3>SANDING.</h3> - -<p>First coat of sand equal to two coats of paint, in -addition to paint.</p> - -<p>Second coat of sand equal to three coats of paint, -in addition to paint.</p> - - -<h4>GRAINING—SQUARE MEASURE.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Per Yard.</em></td> -</tr> -<tr> -<td class="tdl">Plain oak</td> -<td class="tdr">$0.40</td> -</tr> -<tr> -<td class="tdl">Plain walnut or ash</td> -<td class="tdr">.70</td> -</tr> -<tr> -<td class="tdl">Plain satinwood or maple</td> -<td class="tdr">.70</td> -</tr> -<tr> -<td class="tdl">Plain mahogany or cherry</td> -<td class="tdr">.70</td> -</tr> -<tr> -<td class="tdl"><ins class="corr" id="tn-119" title="Transcriber’s Note—(this line was duplicated in the original text)"> -Shaded oak</ins></td> -<td class="tdr">.50<span class="pagenum"><a id="Page_119"></a>[119]</span></td> -</tr> -<tr> -<td class="tdl">Penciled oak or ash</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">Penciled chestnut or cherry</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">Penciled walnut</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">Rosewood</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">Oak root</td> -<td class="tdr">1.50</td> -</tr> -</table> - - -<h4>LINEAL MEASURE.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl pad3"><em>Girth.</em></td> -<td class="tdr"><em>Graining.</em></td> -<td class="tdr"><em>Varnishing.</em></td> -</tr> -<tr> -<td class="tdl"> 1 to 4 inches, per foot</td> -<td class="tdrq">$0.03</td> -<td class="tdrq">$0.00¾</td> -</tr> -<tr> -<td class="tdl"> 4 to 6 inches, per foot</td> -<td class="tdrq">.04</td> -<td class="tdrq">.01 </td> -</tr> -<tr> -<td class="tdl"> 6 to 8 inches, per foot</td> -<td class="tdrq">.05</td> -<td class="tdrq">.01¼</td> -</tr> -<tr> -<td class="tdl"> 8 to 10 inches, per foot</td> -<td class="tdrq">.06</td> -<td class="tdrq">.01½</td> -</tr> -<tr> -<td class="tdl">10 to 12 inches, per foot</td> -<td class="tdrq">.07</td> -<td class="tdrq">.01¾</td> -</tr> -<tr> -<td class="tdl">12 to 14 inches, per foot</td> -<td class="tdrq">.08</td> -<td class="tdrq">.02 </td> -</tr> -<tr> -<td class="tdl">14 to 16 inches, per foot</td> -<td class="tdrq">.09</td> -<td class="tdrq">.02¼</td> -</tr> -<tr> -<td class="tdl">16 to 18 inches, per foot</td> -<td class="tdrq">.10</td> -<td class="tdrq">.02½</td> -</tr> -</table> - -<p>Other members in proportion.</p> - -<p>Graining edges of shelves, per foot, 1½ cents.</p> - -<p>Graining sash, double the price of plain painting.</p> - - -<h4>MARBLING—SQUARE MEASURE.</h4> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl">White, per yard</td> -<td class="tdr">$0.75</td> -</tr> -<tr> -<td class="tdl">Other kinds, per yard</td> -<td class="tdr">1.00</td> -</tr> -<tr> -<td class="tdl">Varnishing, each coat, per yard</td> -<td class="tdr">.12</td> -</tr> -</table> - - -<h4>LINEAL MEASURE.</h4> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl pad3"><em>All members</em></td> -<td class="tdc pad10pc" colspan="2">——<em>Per foot</em>——</td> -</tr> -<tr> -<td class="tdl pad4"><em>from</em></td> -<td class="tdr"><em>Marbling.</em></td> -<td class="tdr"><em>Varnishing.</em></td> -</tr> -<tr> -<td class="tdl"> 1 to 8 inches girth</td> -<td class="tdrq">$0.08</td> -<td class="tdrq">$0.01 </td> -</tr> -<tr> -<td class="tdl"> 8 to 10 inches girth</td> -<td class="tdrq">.12</td> -<td class="tdrq">.01¼</td> -</tr> -<tr> -<td class="tdl">10 to 12 inches girth</td> -<td class="tdrq">.16</td> -<td class="tdrq">.01½</td> -</tr> -<tr> -<td class="tdl">12 to 14 inches girth</td> -<td class="tdrq">.18</td> -<td class="tdrq">.02 </td> -</tr> -<tr> -<td class="tdl">14 to 16 inches girth</td> -<td class="tdrq">.20</td> -<td class="tdrq">.02¼</td> -</tr> -</table> - -<p>Larger members in proportion.</p> - - -<p><span class="pagenum"><a id="Page_120"></a>[120]</span></p> - -<h3>CLEANING AND KALSOMINING.</h3> - -<table class="autotable fs85" width="70%" summary=""> -<tr> -<td class="tdl">Ceilings and walls, per yard</td> -<td class="tdr">$0.16</td> -</tr> -<tr> -<td class="tdl">Plain cornices, 1 to 2 feet girth, per foot</td> -<td class="tdr">.02</td> -</tr> -<tr> -<td class="tdl">Plain cornices, 2 to 4 feet girth, per foot</td> -<td class="tdr">.03</td> -</tr> -</table> - -<p>Add to the above for each color, if more than one, 1 cent -per foot.</p> - - -<h3>DEDUCTIONS.</h3> - -<p>The price of any work measured and not specified -in this list shall be fixed by the measurer.</p> - -<p>The measurer is hereby authorized to deduct from -5 to 20 per cent. from the price of any work that in -his judgment is not first-class.</p> - - -<h3>FEES FOR MEASURING.</h3> - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl">Jobs amounting to $150 or less</td> -<td class="tdr">5 per cent.</td> -</tr> -<tr> -<td class="tdl">Jobs amounting to over $150 and less than $500</td> -<td class="tdr">4 per cent.</td> -</tr> -<tr> -<td class="tdl">Jobs amounting to over $500 and less than $1,000</td> -<td class="tdr">3 per cent.</td> -</tr> -<tr> -<td class="tdl">Jobs amounting to over $1,000</td> -<td class="tdr">2 per cent.</td> -</tr> -</table> - - -<h3 class="fs120"><em>Sign Painting.</em></h3> - - -<h4>FACIA SIGNS.</h4> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"></td> -<td class="tdr"><em>Gold.</em></td> -<td class="tdr"><em>Plain.</em></td> -</tr> -<tr> -<td class="tdl">12 feet long</td> -<td class="tdr">$ 8.00</td> -<td class="tdr">$ 4.00</td> -</tr> -<tr> -<td class="tdl">14 feet long</td> -<td class="tdr">9.00</td> -<td class="tdr">4.00</td> -</tr> -<tr> -<td class="tdl">16 feet long</td> -<td class="tdr">10.00</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl">18 feet long</td> -<td class="tdr">12.00</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">20 feet long</td> -<td class="tdr">15.00</td> -<td class="tdr">7.00</td> -</tr> -<tr> -<td class="tdl">24 feet long</td> -<td class="tdr">16.50</td> -<td class="tdr">8.00</td> -</tr> -<tr> -<td class="tdl pad3" colspan="3">Above includes two coats of paint.</td> -</tr> -</table> - - -<h4>BRASS SIGNS.</h4> - - -<table class="autotable fs85" width="80%" summary=""> -<tr> -<td class="tdl"> 3 × 14 inches</td> -<td class="tdr">$ 3.50</td> -</tr> -<tr> -<td class="tdl"> 4 × 20 inches</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl"> 6 × 8 inches</td> -<td class="tdr">4.00<span class="pagenum"><a id="Page_121"></a>[121]</span></td> -</tr> -<tr> -<td class="tdl"> 6 × 12 inches</td> -<td class="tdr">4.50</td> -</tr> -<tr> -<td class="tdl"> 8 × 14 inches</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl">10 × 14 inches</td> -<td class="tdr">5.00</td> -</tr> -<tr> -<td class="tdl">12 × 17 inches</td> -<td class="tdr">6.00</td> -</tr> -<tr> -<td class="tdl">14 × 20 inches</td> -<td class="tdr">7.00</td> -</tr> -<tr> -<td class="tdl">18 × 25 inches</td> -<td class="tdr">10.00</td> -</tr> -<tr> -<td class="tdl">24 × 30 inches</td> -<td class="tdr">15.00</td> -</tr> -<tr> -<td class="tdl">Sill signs, per square foot</td> -<td class="tdr">3.50</td> -</tr> -<tr> -<td class="tdl">Square signs, per square foot</td> -<td class="tdr">3.00</td> -</tr> -</table> - - -<h3>TO MAKE HARD PUTTY.</h3> - -<p class="pfs90"><em>For Carriage Work.</em></p> - -<p>Mix equal parts of dry <ins class="corr" id="tn-121" title="Transcriber’s Note—Original text was blank space"> -__________</ins> and keg white -lead with equal parts of rubbing varnish and gold size -japan; mix thoroughly and pound well.</p> - - -<p class="pfs90"><em>For Hurried Work.</em></p> - -<p>Mix dry white lead with equal parts of rubbing -varnish and gold size japan. Keep hard putty covered -in water when not in use.</p> - - -<h3>TO MAKE AND APPLY KALSOMINE.</h3> - -<p>Soak one pound good white glue in cold water until -soft, then pour off the cold water, and dissolve the -glue in hot water. Mix twenty pounds of good whiting -in water to a thick paste; dissolve one pound of -alum in water, and add it to the mixture. Before -mixing the glue and whiting, put in your tinting -colors, which should be ground in water. Test your -color by dipping in a piece of paper and letting it<span class="pagenum"><a id="Page_122"></a>[122]</span> -dry. After you put in the glue, test in the same way -to see if there is enough glue to bind it well, then -set your kalsomine aside to get cold.</p> - -<p>Thin to good workable consistency with cold water.</p> - -<p>Have in enough glue to hold it from washing up -when you have to put on a second coat. Too much -glue will cause the kalsomine to go on hard, and -crack and scale off when dry. If it dries too fast, add -two ounces of glycerine to one gallon of kalsomine. -Have good staging, and two men for a good sized -room. Use good kalsomine brushes, and work fast. -Lay on the kalsomine freely; the beauty of the work -will depend upon how you lay it off, and level it up. -Put it on not as you would paint, <em>all one way</em>, but -work your brush in all directions, until your work is -level, then carefully lay it off with light strokes.</p> - -<p>For a white job put in a little blue. If you have -never done a job of kalsomining, and have no one to -aid you, practice on the wall in your shop or any -other place, until you get the knack of it. Cover a -small space and see how it comes out.</p> - -<p>Always finish lightly with the point of your brush. -If an edge dries, stop and wet it with a clean brush -and clear water; if careful you can join to it without -showing “laps.” If you find you have missed any -spots wet the edges in the same way, and carefully -touch them up with kalsomine. If you find after all -your precautions, a water stain has come through your -kalsomine, wet the place with a solution of sugar of<span class="pagenum"><a id="Page_123"></a>[123]</span> -lead, made in proportion of 1 ounce sugar of lead to -1 quart of rain water; it may kill the stain. See -article on wall sizing and water stains, page 39.</p> - -<p>Rough places in plaster take more color than a -smooth wall, hence they are liable to show spots; so it -stands you in hand to make such places smooth as -possible; to do this take off the rough sand with sandpaper -and knife or trowel on a thin coat of plaster -paris, or give the rough places an extra coat or two or -size. Fill all cracks and holes, and give the filling -time to dry before putting on the size, because otherwise -it will take more color than the balance of the -wall and your work will look spotted.</p> - -<p>In the kalsomining season have some large tubs -and mix up as much whiting in hot water as you will -need for several days. Add your color, glue, size and -alum to <em>as much only</em> as you want for immediate use. -In hot weather I use liquid glue.</p> - - -<h3>LIQUID GLUE FOR KALSOMINE AND WALL SIZING.</h3> - -<p>For use in hot weather, a liquid glue which will -not decompose and smell badly is very desirable to -the workmen and the inmates of the house.</p> - -<p><em>No. 1.</em> To make such a glue fill a bottle a little -more than half full of broken up good white glue, and -fill the bottle with common whisky or equal parts of -alcohol and water. Let it stand a few days and it -will dissolve the glue; this glue will keep for years. -Keep the bottle corked.</p> - -<p><em>No. 2.</em> Melt your glue in the usual way, thick as<span class="pagenum"><a id="Page_124"></a>[124]</span> -you will want it for any purpose, then put in ½ or ¾ -ounce <ins class="corr" id="tn-124" title="Transcriber’s Note—Original text: 'nictric acid'"> -<em>nitric acid</em></ins> to each pound of glue used; enough -to give the glue a sour taste, like vinegar. The acid -keeps it in a liquid state, and from spoiling. If you -melt the glue in an iron kettle pour it into a wooden -vessel, before you add the acid, otherwise the acid will -act on the iron and blacken the glue. When wanted -for use it can be thinned as desired with cold water; -a cask full of this made up and kept air tight so the -water will not evaporate will be found very handy to -draw from, when you want a little in a hurry for glue -size or kalsomine. When you make it up in this way -put in at least 1 ounce of acid to the pound of glue -to make sure it will keep liquid, so you can draw it -from the cask.</p> - -<p>Acetic acid will answer the same purpose as nitric -acid, but it will take more of it and make the liquid -glue more expensive.</p> - - -<h3>TO PREPARE AN OLD WALL FOR PAINT OR PAPER.</h3> - -<p>First cut out all the cracks V shape, clean out the -holes and bevel the edges same as the cracks. Then -fill with fine plaster paris mixed with thin glue size. -Fill with care; when dry, sandpaper the filling -smooth and level. If the wall is sandy or rough, sandpaper -it smooth as you can. If the holes are large, -have a plasterer stop them, if you can; if you fail -in that, and the job must be done soon, fit in thin -boards, fill around the edges with plaster, and paste -on cloth, or extra paper; but to do a nice job you<span class="pagenum"><a id="Page_125"></a>[125]</span> -must insist on having the large holes plastered. If -the <em>hole is up out of reach</em>, and too large for you to -fill, cement the edges with plaster, stretch a piece of -cloth, or extra thickness of paper over it, and it will -look all right, because the paper will shrink tight -when it dries. If you find places where the clinches -are broken, and the plaster is loose, press the plaster -back to its place if you can, and cut small holes -through the plaster and turn small broad headed -screws into the lath even with the plaster and cement -around the screws with plaster paris.</p> - -<p>If it is a smooth wall with rough, sandy patches, -sandpaper down the patches a little below the level -of the wall, sweep out the loose plaster, give a coat of -glue size, and knife or trowel in a coat of plaster -paris mixed with glue size or vinegar, and when dry, -sandpaper until smooth and level.</p> - -<p>There are several points to be considered and provided -for in filling cracks in a plastered wall preparatory -to painting. First, are the edges of the cracked -wall level? To determine this, lay your rule across the -crack, and if you find the plaster on one side of the -crack higher than the other, it shows that side of -the wall has sprung out of place, because the laths -are loose or the clinches are broken. The first thing -on the program is to get the highest edges back to -“place.” Failing in that, the next best thing is to -raise the other side. If that scheme don’t work, the -next method is to use sandpaper on a block and rub<span class="pagenum"><a id="Page_126"></a>[126]</span> -down the highest side with a wide bevel to match -the lowest, otherwise your filling will be at an angle -more or less acute with the general surface of the -wall, and cast a shadow or reflect the light according -to which way the light falls upon it, and the place -where the crack was will “show” in spite of your best -efforts to conceal it. If you find one edge of a crack -higher than the other, gently press against it, and if -it goes back to place, cement it with plaster paris wet -up in clear water, and it will set in three minutes -hard enough to hold the plaster in place. If the loose -edge will not go back by gentle pressure, lay a piece -of board over it and push hard as you dare to and -not crush the plaster. If it is still obstinate, drill -out a piece and insert a bent wire or other instrument -made on purpose, and see if you can feel the obstruction -and remove it. Failing in this, see if you can -raise up the lower side to a level with the highest -and cement it fast. If the last scheme is too much -for your patience and ingenuity, resort to the block -and sandpaper, and rub down the high side with a -wide bevel to match the other. The next point is to -prevent the paint near the edges of the crack, and -on the filling which we put in, from drying flat while -the balance of the wall bears out a gloss. To do -this we must find out the cause of the “flatting” near -the edges of the crack and over the “filling.” If we -examine into the matter, we will find that when the -wall cracked the plaster adjacent was more or less<span class="pagenum"><a id="Page_127"></a>[127]</span> -fractured and made more porous than the uninjured -portions of it. Hence, more oil is drawn from the -paint near the crack than where the wall is solid. -Now, for the remedy: With a small pointed brush -wet the edges of the crack with linseed oil until they -will take no more in. Let the oil dry, and fill the -crack with plaster mixed with thin glue size, but -have the top of the filling one-sixth of an inch below -the surface of the wall. Let the filling dry, and -with a fine pointed brush paint over the top of the -filling and the edges of the crack. Let the paint -dry, and finish filling with hard putty. Let the putty -dry, and sandpaper the job smooth and level. If -you have to bevel the highest edge with sandpaper, -first fill the beveled portion with oil. Let the oil dry, -and fill the pores with hard putty, because the part -beveled with sandpaper will be more porous than -the balance of the wall. Treat and fill all small -holes by the same method. Filling cracks in this -way is a little tedious, I admit; but it is the only -way that I know of to stop a crack in plaster, so it -will stay stopped and not show after it is painted.</p> - - -<h3>HOW TO PAINT A PLASTERED WALL.</h3> - -<p>Prime with lead and raw oil, tinted like succeeding -coats. Have the prime thin, not more than five -pounds of white lead to the gallon of oil; add a little -benzine or turps to make it more penetrating. -If the room is cool, warm up your prime before you -add the benzine or turps. The idea is to have it<span class="pagenum"><a id="Page_128"></a>[128]</span> -penetrate as much as possible; brush the prime well -into the wall. If it is a sand wall, brush off the loose -sand. If it is a smooth one, putty coated or hard finished -wall, see that there are no lumps or grains of -sand left on the surface. It is a good idea to pass -the hand over the wall to feel the lumps, and to -knock off lumps and grains of sand by going over -the work with sandpaper.</p> - -<p>For second coat use glue size, made as directed on -another page.</p> - -<p><em>Third coat.</em> Mix so as to dry with a gloss, have -the body fairly thick, and spread it well out. Mix -with 3 parts linseed oil to 1 part turps.</p> - -<p><em>Fourth coat.</em>—If this coat is to be flat, mix it -thick enough to cover well; mix mainly with turps, -if the weather is hot, or from any other cause the -paint don’t work well, add a little linseed oil. For -an egg shell gloss, use about 1 part oil <em>and 3 parts -turps</em>.</p> - -<p>If the wall is to be finished in stipple, mix the -last coat half oil and half turps, rather thick, and -add a little japan. To stipple strike the paint evenly -and continuously with the square end of a large -brush, made for the purpose; a new clean duster will -do. Let the stippler follow the painters. The coat -of glue size saves two coats of paint. It is put on -after the prime to keep moisture and air from the -glue, otherwise it would be liable to decay.</p> - -<p>Use boiled oil in all coats except priming coat. -Have only enough difference in the color of the different<span class="pagenum"><a id="Page_129"></a>[129]</span> -coats, so you can see where you have painted, -and not leave holidays; especially in rooms where -the light is not very good.</p> - -<p>Some painters advocate (especially on hard finished -wall) a good filling of clear linseed oil, before -any paint is put on to keep the surface from fire -cracking.</p> - -<p>It is risky business to paint a <em>new hot</em> wall; in such -cases if it must be done before the lime has become -somewhat neutralized, give it a coat of vinegar, and -let it stand a day or so before you put on the prime. -The vinegar will neutralize the lime and not hurt the -priming.</p> - - -<h3>TO PREPARE A ROUGH SANDY WALL FOR PAINT OR PAPER.</h3> - -<p>If you have a rough brown mortar wall to paper -and want to make the job look smooth as possible, -first go over it lightly with No. 2 paper to knock off -the loose and most prominent grains of sand; then -with No. 2 paper rub down all “cat faces” and trowel -marks; level up all hollows with plaster paris wet up -in thin glue size or vinegar, and you will be ready to -put on the lining paper. This paper should be soft -and porous so that it will quickly absorb paste and -not blister; good white blank wall paper having but -little color will answer very well for this purpose. -Start in to hang it with half a strip in width so as -to break joints with the next coat; use sufficient paste<span class="pagenum"><a id="Page_130"></a>[130]</span> -to make the paper stick to the wall; butt the edges -and be sure when the paper is dry that there are no -loose places. Right here is the turning point of your -job for “good or for bad.”</p> - -<p>Pound the lining paper down so closely that all -the prominent grains of sand will show through, -and be sure to make it stay there until dry. When -the lining paper is dry, go over it with good sharp -No. 1½ sandpaper and cut out all the prominent -grains of sand which show through the paper, being -careful to rub no more than is necessary to take out -the sand; the idea being to cut through to the prominently -projecting grains of sand, and rattle them out. -Some walls will need a second coat of lining paper -and another sandpapering, before they are smooth -enough for anything like a fine job. If the owner -refuses to stand the expense of putting on lining -paper, glue size the wall, and when dry, knock off the -prominent grains of sand with sandpaper and knife -in plaster paris putty on the rough places. In -either case, take extra pains with portions of the wall -where there are side lights, which always magnify -rough places. Sandy walls may be leveled and -smoothed somewhat with a coat of kalsomine to hold -light bodied paper.</p> - -<p>Make a kalsomine of good white glue, 1 pound to -15 pounds of whiting and half a pound of alum. -Dissolve the glue and alum in the usual way. When -the kalsomine is dry, give the surface a thin coat of<span class="pagenum"><a id="Page_131"></a>[131]</span> -glue size to stop the suction. Let the glue size dry, -then put on the paper; use light paste, and be sparing -of it as you can and make the paper stick. I have -often noticed that too much or too little paste is -used in paperhanging; some walls and some papers -require more paste than others. Too much paste on -a smooth wall, or too little on a rough one, makes bad -work. If you use a roller for seams have it covered -with short plush. To paint on a wall covered with -lining paper as above described, first put on a coat of -glue size.</p> - - -<h3>TO PAINT OVER NEWLY PLASTERED CRACKS IN WALLS.</h3> - -<p>When the painter has to paint over holes and -cracks in walls recently filled by the plasterer, he will -be likely to have to deal with plaster made in part of -fresh lime. In such cases, it is always best to soak -the newly plastered places <em>with strong vinegar, to kill -as much as possible the caustic properties of the lime</em>. -Put on the vinegar plentifully and let it soak in; -when dry, give the new plaster a coat of size made of -linseed oil, japan and turpentine; when dry, put on -a coat of white shellac before painting.</p> - - -<h3>FLASHED GLASS SIGNS.</h3> - -<p>Flashed glass is clear on one side and colored on -the other; the colored glass forming only a thin film -on one side of the clear glass. We can make elegant -signs on this glass by etching the letter through the -colored portion of the glass, making the letters clear<span class="pagenum"><a id="Page_132"></a>[132]</span> -and the background colored; or by etching out the -background and leaving the letters colored. Lay out -the letters on paper, and place it under the glass as a -guide to work by; then, with asphaltum varnish cover -the background and leave the letters free and clear; -in other words, “cut around them.” If you want a -clear background with colored border and colored letters, -cover the letters and border and leave the background -free and clear. Then melt some beeswax, -and when it begins to cool, take up a small portion -of it with a putty knife and scrape it off on the edge -of the glass, and repeat the operation until a wall or -dam is made all around the glass, to hold the acid -you are about to put on the glass, from running off; -then pour on a little hydrofluoric acid, and it will -etch out the colored glass not covered by the asphaltum -in about one hour; then you can pour the acid -back into your bottle, to be used again. Next wash -the glass by pouring water over it; then scrape off -the wax, and take off the asphaltum with turpentine. -Some painters use a varnish made by melting together -equal parts of paraffine and asphaltum and thinning -to working consistency with turpentine.</p> - - -<h3>FLUORIC ACID, TO MAKE FOR ETCHING PURPOSES.</h3> - -<p>You can make your own fluoric acid (sometimes -called hydrofluoric) by getting the fluor spar, pulverizing -it and putting as much of it into sulphuric -acid as the acid will cut or dissolve.</p> - -<p><span class="pagenum"><a id="Page_133"></a>[133]</span></p> - -<p>Druggists through the country do not keep this -acid generally, but they can get it in the principal -cities. One ounce will do at least fifty dollars worth -of work. It is put in gutta percha bottles or lead -bottles, and must be kept in them when not in use, -having corks of the same material. Glass, of course, -will not hold it, as it dissolves the glass, otherwise it -would not etch upon it.</p> - - -<h3>LIQUID WOOD FILLERS FOR CHEAP WORK.</h3> - -<p>Corn starch and cheap varnish are the principal ingredients -of many cheap wood fillers; the corn starch -is mixed with the varnish and thinned with turps -until workable. <em>You can experiment on this idea.</em></p> - -<p><em>Corn starch in shellac</em> in proportion of 1 pound to -the gallon <em>doubles its capacity as a filler</em>. I have -made and used a filler for cheap work in this way: -Pale rosin, 2 pounds; boiled oil, 1 gallon; japan, 1 -pint. Melt the rosin in the oil, take the kettle outside, -and add ½ gallon turpentine; stir and when cold add ½ -pound of corn starch. Thin with turps until workable. -Add more or less starch, according to the surface -you want to fill. These mixtures are all the better if -run through a paint mill.</p> - - -<h3>ANOTHER PASTE FILLER.</h3> - -<p>Corn starch mixed to a paste with one part linseed -oil, two parts each japan and rubbing varnish; thin -to working consistency with turpentine.</p> - -<p><span class="pagenum"><a id="Page_134"></a>[134]</span></p> - - -<h3>CARRIAGE PAINTING IN THE VILLAGE SHOP.</h3> - -<h4>NEW WORK.</h4> - -<p>Prime with white lead, mixed thin in oil, add a -little japan and turpentine to make the paint dry -hard and quick; when the priming is dry and hard, -putty up with hard putty as directed on another page. -Then follow with two coats of keg lead thinned with -turpentine; add a little japan to make it dry hard, -and a little oil to make it work well. Carefully mix -and strain your paint. Give the body five coats of -rough stuff, made as directed on page 144 and a -guide coat, and when dry, proceed to cut down the -rough stuff. For this purpose your tools will be several -pieces of pumice stone, a pail of water, a large -flat file, a good sponge and a chamois. Flatten one -side of your stone for a grinding surface and have no -thin edges, because they will keep breaking off and -be liable to get under the stone, and scratch your -work. Now, two of the most important things you -will have to guard against is cutting through the -rough stuff and lead coats, and scratching the surface. -There is a great difference in pieces of pumice stone. -Some are hard and full of flint like particles, which -will scratch the work; others are softer and of more -even grit; the light colored and fairly open grained -pieces are the safest to use. You can tell a fast cutting -stone by its open grain and lightness. The finer -grades of German rubbing brick and English rubbing -stone are also used in rubbing rough stuff. A<span class="pagenum"><a id="Page_135"></a>[135]</span> -stone with a broad surface is preferable for large -surfaces.</p> - -<p>Have small pieces to rub around the bolt heads and -other places which are difficult to get at with the -large stone. The practiced workman can tell the -moment a stone begins to scratch, both by the sound -and by the feeling to the hand, and you may train -your ear and nerve to this degree of sensitiveness; -until you do so, you will have to look sharp, and -frequently rub your stone on the file, and clean off -your work with a sponge full of water to see the condition -of the work. Also by passing your hand back -and forth across it to determine the condition of it, -or if there is any large grit on it, liable to get under -the stone and scratch. Rub until the brush marks -are gone, etc., which your guide coat will show you. -Use plenty of water while rubbing. Thoroughly -wash the body inside and out. When dry, sandpaper -lightly over the body to remove any grit which may -be left on, and to clean out around the irons and -panels, also to sand off the irons which you have not -rubbed. Dust and wipe well, and when ready, put -on a coat of drop black, ground in japan. In mixing -your drop black, stir it before you add any turps, -then add a little turps, and stir again until it is -beaten to a smooth, soft paste; then add sufficient -turps to make a workable paint, thin enough to go -on easily with a camel hair brush, which for body -work on buggies should be not less than one and one-half<span class="pagenum"><a id="Page_136"></a>[136]</span> -inches wide and double thick. Painters disagree -as to the use of oil in this coat. I like to use a -very little good raw oil, say a teaspoonful to a pint -of color. It is a good idea to keep a brush on purpose -to coat the inside of the body, because it is not -usually made as smooth as the outside. Some practice -putting on the color coat in the morning and the -color varnish towards evening, but I prefer a longer -time, say twenty-four hours at least, and more, too, -especially when I use a little oil in the color coat. -Rub the color with curled hair or hair cloth, dust well, -and put on your color varnish; some say with a -bristle varnish brush, but I prefer to mix it so I can -use a camel hair brush. For this coat mix drop -black to a workable paint with equal parts of turps -and good body varnish. When this coat is dry, give -the body a coat of good rubbing varnish, using a fine -bristle varnish brush. Flow on a free coat, lay off -to right and left, and finish with up and down strokes -across the work. Never put a full brush at the lower -edge of the body, because in that case, you will be -apt to get a fat edge. Watch for sags or runs, which -you can brush out, if discovered before the varnish -sets. If a sag or run should get the start of you on -this coat, and you see it after the varnish begins to -set, squeeze the varnish out of your brush, wet the -point of it in turps, and carefully work out the sag or -run. Now, dust off the running parts, and put on a -coat of color. Some say, have a little more oil in the<span class="pagenum"><a id="Page_137"></a>[137]</span> -color for the gear than for the body, but I would not -advise the use of more. When dry, put on a coat -of color varnish. When dry, rub down with hair or -hair cloth, and your gear is ready to stripe.</p> - -<p>To paint a wheel, paint one spoke at a time, paint -both sides and the edge next to you, then take your -brush in your left hand and paint the back edge, and -so on, until the spokes are finished. Next paint the -hub, then the outside and inside of the felly, then -finish the gear, being careful to leave no laps. Use -only fine lines for striping a buggy. On the springs, -bars, spoke faces, hubs and tongue is all the striping -needed. Orange chrome, red, gold, bronze and light -green, all harmonize with black, and either may be -used for striping a black rig. When ready to varnish, -set your gear on trestles. Varnish the wheel -with a fine bristle varnish brush, and flow on a full -coat. When done with a wheel, set it running on -the spindle, and commence the next, and start it off -again two or three times, while working at the next -wheel, and so on with all the wheels; by this method -you may avoid runs, and be able to flow on a fuller -coat than you otherwise could. For a finer job, give -the gear a coat or two of clear rubbing varnish, and -rub each coat down with curled hair or hair cloth. -For a cheap job, rub down the body with hair cloth, -but for a finer one, rub it out with finely powdered -pumice stone in water. For this method, you will -need a pail of clear water, some finely powdered<span class="pagenum"><a id="Page_138"></a>[138]</span> -pumice stone and a felt pad. The object of this -work is to take the gloss off the rubbing varnish, and -leave a smooth coat for the finishing varnish. The -particular knack is to rub just enough, and then -stop; a little too much will cut through, and spoil -the job; and not enough will not give you the best -possible foundation for your finishing coat of varnish. -Keep the work washed off as you go, so you can see -defective places, and rub them out. When done rubbing, -the next thing is to wash the body perfectly -free from grit. Your water brush comes in play here -to wash around irons, etc., where the pumice might -lodge; then with a pail of clear water, rinse the body -and wipe dry with a chamois skin. Right here is a -good time to give the inside of the body a coat of color -varnish, and to put on your transfers, if you use -any. Some painters use a barrel for a body stand, -but one made on purpose, of boards, is better. You -want to look out for dust in every stage of the work, -but right here you must be especially careful, because -you are about to put on the finishing coat, -which can neither be sandpapered nor rubbed down. -You will learn from experience, if not before, that -you cannot rely altogether upon the dust brush to -free your work from dust and specks. A large soft -dry chamois kept for the purpose, and never wet, can -be used to advantage to wipe off the dust left by the -brush. A hand bellows is very effective in taking -dust out of corners where the brush or wiper cannot<span class="pagenum"><a id="Page_139"></a>[139]</span> -be worked. When you have done all you can with -the brush and wiper, rub the work over with your -<em>hand</em> and the sensitive nerves of your fingers will detect -any specks which may still adhere to the surface. -Some other essentials to a good job of varnishing are -a clean room, free as possible from dust, clean -brushes, and cups, and the person of the varnisher -so dressed that he will not shed material for specks. -Have one cup to hold your varnish and another to -wipe your brush in. Use good varnish and never try -to varnish a body with the temperature below 70 degrees -F. Have a quill sharpened to a point to pick -out any specks which you may discover on your work, -because it requires very favorable conditions, and a -mighty slick workman to prepare and varnish a body, -and not have it show <em>at least a speck or two</em>. Use a -fine chiseled bristle brush and know that it is absolutely -free from specks before you commence. Now, -when you are ready, don’t be timid or try to see how -far you can make your varnish go. Keep in mind -from the start that the nearer level—that is, a uniform -thickness—you can have your coat of varnish the -less liable it will be to sag or run. Put on your varnish -with a full brush, laying it on right and left, and -brush as level as you can, then finish with up and -down strokes, being careful to chisel off the surplus -at the lower corner to avoid a flat edge. <em>Note</em>—A -friend of mine, after laying on his varnish right and -left, finished with diagonal strokes across the surface<span class="pagenum"><a id="Page_140"></a>[140]</span> -at an angle of 45 degrees, then crossed it again at the -same angle in an opposite direction. He had uniform -good success.</p> - -<p>For an extra fine job, give the work more coats of -rubbing varnish, and rub each coat with curled hair, -or hair cloth; or you may knife on a coat of putty -made of keg lead and equal parts of turps and japan; -rub it well in with the flat blade of the knife, and -when it sets or flats, scrape off all surplus. Sandpaper -when dry. This may go on in the place of -third lead. You may, when the job requires it, knife -on a coat of hard putty, work it down smooth, let it -dry and cut down with sandpaper.</p> - - -<h4>OLD WORK.</h4> - -<p>There are so many degrees of badness in repair -work, that it is not possible to cover the entire ground -in a work of this kind. They run all the way from -the touch up and varnish job, to the cracked, scaled -and almost paintless old rigs. For a touch up and -varnish job, at least one which is in decent shape for -such work, wash the body, give it a rubbing down -with fine powdered pumice stone, clean off and carefully -putty cracks, dents, etc., if any; then touch up -with color, using a small camel’s hair pencil, and -cover only where necessary. When dry, give a full -coat of body varnish. For a better job, give the body a -coat of black rubbing varnish (provided the body is -black), then finish with a good coat of wearing body. -The gear may be treated the same as the body if in<span class="pagenum"><a id="Page_141"></a>[141]</span> -like condition, but if the felloes are worn bare, lead -them up and color as you would new work, then -touch up the balance and varnish.</p> - -<p>The great plague of the paint shop is cracked work, -which is otherwise solid. Where the varnish is hard -but peeling, take it off with ammonia; to do this, -take a side of the body at a time, pour out some ammonia -in a cup, and put it on with a clean brush -kept for the purpose. Keep the side wet, until you -can slice off the varnish with a putty knife; if it -fails to come off, you must keep it wet longer. If -the varnish is dead and soft, sandpaper down to a -solid foundation, then if cracks show sheet up with -quick <em>hard putty</em> made soft enough to put on with -a brush, and scrape off with a knife when set. When -dry, sandpaper and if the cracks are not full, give it -a second application of putty in the same way. Then -for a cheap job give it a coat of color varnish, a coat -of rubbing and a coat of body varnish.</p> - -<p>If you are to do a fine job, and can get pay for it, -and you find the body cracked, burn off the old paint, -and commence at the foundation as in new work. For -a cheap job, lead up the bare places on the gear and -wheels, give a coat of color and a coat of color varnish -and finish with heavy gear varnish. For a fine job, -if the old paint is cracked or scaled, take it off and -work up from the wood as on a new job.</p> - -<p><span class="pagenum"><a id="Page_142"></a>[142]</span></p> - - -<h4>ROUGH STUFF.</h4> - -<p>1. To make one coat per day rough stuff, take -three pounds of <span class="smcap">Reno’s</span> filler and one pound of keg -lead. Mix to stiff paste with equal parts of rubbing -varnish, and first-class japan, thin with turps. Some -painters add a little raw oil. Grind the filler fine.</p> - -<p>2. French yellow ochre dry, 5 pounds; keg lead -1½ pounds. Mix to stiff paste with equal parts gold -size, or best brown japan and rubbing varnish; thin -with turps and add a gill of raw oil. <em>Grind fine.</em></p> - - -<h4>CLEANING PHAETON CUSHIONS.</h4> - -<p>This old phaeton cushion is too dusty for any use, -did you say? I agree with you; the old cloth-covered -phaeton cushion is one of the unmitigated nuisances -which we are often compelled to tolerate in the paint -shop. When such a cushion is once filled with dust -its capacity for “shedding” seems to be unlimited. -The more you beat it and the longer you brush it, the -more dust comes to the surface. You can take off a -buggy cushion and relegate it to the backroom, but -the genius who invented that complicated vehicle -called a phaeton, nailed the cushions fast to the -body, and we must take them along with the job, -dust and all, from the cleaning floor to the varnish -room.</p> - -<p>When I am so unfortunate as to have an old phaeton -brought to my shop, about the first thing I do -after cleaning it up is to go for the cushions with<span class="pagenum"><a id="Page_143"></a>[143]</span> -the sprinkler and wet them down with clean water, -repeating the operation as often as may be necessary -to keep in the dust.</p> - -<p>Spoil the cushions? No! When you run the rig -out of the shop the owner will wonder what you -have done to his cushions to make them look so -bright. The same operation works well on an old -cloth-lined top. After you have brushed all you -think you can afford to, and the dust keeps coming -to the front, turn the top bottom side up and give -it a shower from the sprinkler, and I will guarantee -the dust to lie still long enough for you to dress -the top and paint the bows. Dust is the natural -enemy of the paint shop, and water is one of our -best weapons to fight it with.</p> - - -<h3>MIXING QUICK COLOR.</h3> - -<p>A quick-drying color can be slowed up and made -to dry to any required time without injuring it, -while if ground in a slow drying preparation, it cannot -possibly be quickened without injuring more or -less the working and covering properties. The working -is certainly important, and the covering more so. -The covering property should be strong, because the -fewer coats of color on a job the better. Thus a -quick dryer saves both labor and time.</p> - -<p>Japan colors are best when ground stiff, or with -barely enough liquid to bind them firmly, because -after being reduced to thinness with turpentine alone -they will cling to the surface and will not smut.<span class="pagenum"><a id="Page_144"></a>[144]</span> -The color will then have its greatest covering power. -Now, by the addition of sufficient pure raw oil to -give the best working property, and being also made -to dry flat, the color is as near perfection as possible, -and the further addition of <em>anything</em> weakens -the covering power. When an excess of japan is -used in grinding, the color is thin, there being less -pigment to the pound; and it is of less value to the -consumer, while it affords more profit to the manufacturer -than when prepared as it should be.</p> - - -<h3>BLACK VARNISH FOR GASOLINE STOVES, ETC.</h3> - -<p>Asphaltum two pounds, boiled linseed oil one pint, -turpentine two quarts. Melt the asphaltum in an -iron pot, heat the oil, and add it to the asphaltum -while hot. Stir well. When partly cool, add the -turpentine and four ounces of good japan.</p> - - -<h3>BLACK STENCH INK.</h3> - -<p>Shellac two ounces, borax two ounces, soft water -twenty ounces, gum arabic two ounces, lampblack -and indigo sufficient. Boil the shellac and borax in -the water until dissolved, then add the gum arabic; -dissolve and take the mixture from the fire; when -cold, add enough lampblack to give it color and -proper consistency, and a little powdered indigo. -Keep in glass or earthenware vessels.</p> - - -<h3>BRONZE FOR BRIGHT METALS.</h3> - -<p>Red aniline (fuscine) ten parts, purple aniline -five parts, alcohol 95 per cent. one hundred parts,<span class="pagenum"><a id="Page_145"></a>[145]</span> -benzoic acid five parts. Add the anilines to the -alcohol, and dissolve by placing the vessel in a sand -or water bath. As soon as dissolved, add the benzoic -acid and boil for five or ten minutes, or until the -greenish color of the mixture is turned to a brilliant -light bronze; spread with a brush on bright metal.</p> - - -<h3>VARNISH TO FIX PENCIL DRAWINGS.</h3> - -<p>Gum mastic three ounces, alcohol one pint. Dissolve -and apply with a brush.</p> - - -<h3>RUST SPOTS ON MARBLE.</h3> - -<p>Apply a mixture of 1 part nitric acid and 25 parts -of water, then rinse with 3 parts water and 1 part -ammonia.</p> - - -<h3>WHITEWASH TO SOFTEN.</h3> - -<p>To soften old whitewash which you wish to take -off, wet it thoroughly with a wash made of 1 pound -of potash, dissolved in 10 quarts of water.</p> - - -<h3>WATER GLASS FOR FLOORS.</h3> - -<p>Clean the floor, fill cracks with water glass cement -made of water glass and whiting, then put on a -coat of water glass, to be followed by second coat; -when dry rub the last coat with pumice stone and -oil.</p> - - -<h3>TO FINISH REDWOOD.</h3> - -<p>Take one quart of spirits turpentine; add one -pound of corn starch; quarter of a pound burnt<span class="pagenum"><a id="Page_146"></a>[146]</span> -sienna; one tablespoonful raw linseed oil and one -tablespoonful brown japan. Mix thoroughly, apply -with the brush, let it stand, say, fifteen minutes, rub -off all you can with fine shavings or a soft rag, let -it stand at least twenty-four hours that it may sink -into and harden the fibers of the wood; afterward -apply two coats of white shellac, rub down well with -fine flint paper, then put on from two to five coats -best polishing varnish; after it is well dried rub with -water and pumice stone ground very fine; stand a -day to dry; after being washed clean with a chamois -rub with water and rotten stone; dry; wash as before -clean, and rub with olive oil until dry. Some -use cork for sandpapering and polishing, but a -smooth block of hardwood like maple is better. -When treated in this way, redwood will be found the -peer of any wood for real beauty and life as a house -trim or finish.</p> - - -<h3>MARKING INK.</h3> - -<p>Asphaltum, dissolved in turpentine to a thin fluid, -will give you an excellent marking ink for all purposes; -dries quickly, does not spread, and is nearly -indestructible.</p> - - -<div class="chapter"></div> -<h3>FORMULAS FOR MIXING COLORS. (SELECTED.)</h3> - -<p>It is impossible to give infallible recipes for mixing -colors, <ins class="corr" id="tn-146" title="Transcriber’s Note—Original text: 'on acount of'"> -on account of</ins> the difference in the tone -and color strength of pigments, both dry and in oil, -many samples having as high as fifty per cent. of<span class="pagenum"><a id="Page_147"></a>[147]</span> -barytes or other white makewright material, which -not only lessens the color strength of the mixture in -proportion to their volume, but weakens the color, -in a small measure, by their presence as white material. -Hence, color formulas are made subject to -modification, not only to please the taste of the -mixer, but on account of the presence of poor, weak -and adulterated pigments.</p> - -<p>The writer has selected a few formulas from -which the learner may gain some knowledge of -colors, which he can improve upon by experiment.</p> - -<p class="pad2 fs90"><span class="smcap">Note.</span>—Part means in bulk, not by weight.</p> - -<p><em>Plumb.</em>—White lead 2 parts; Indian red, 1 part; -ultramarine blue, 1 part. If too dark, add more -white lead. (Outside.)</p> - -<p><em>Brick.</em>—Yellow ochre, 2 parts; Venetian red, 1 -part; white lead, 1 part. If too dark, add more -ochre. Don’t depend upon the common ochre of the -stores. It has but little tinting power. Use French -ochre ground in oil. (Outside.)</p> - -<p><em>Bronze Green.</em>—Chrome green, 5 parts; lampblack, -1 part; burnt umber, 1 part. If too dark, -use more green. (Outside.)</p> - -<p><em>Jonquil Yellow.</em>—White lead tinted with chrome -yellow and vermilion.</p> - -<p><em>Lead Color.</em>—White Lead, 16 parts; ultramarine -blue, 1 part; lampblack, 2 parts. (Outside.)</p> - -<p><em>Light Buff.</em>—White lead tinted with yellow ochre -(Outside.)</p> - -<p><span class="pagenum"><a id="Page_148"></a>[148]</span></p> - -<p><em>Lemon.</em>—Lemon chrome yellow, 5 parts; white -lead, 2 parts. (Outside.)</p> - -<p><em>Brown.</em>—Indian red, 3 parts; lamp black, 2 parts; -yellow ochre, 1 part. If too dark, use more ochre or -less black. (Outside.)</p> - -<p><em>Chestnut.</em>—Venetian red, 2 parts; lamp black, 1 -part; medium chrome yellow, 4 parts. (Outside.)</p> - -<p><em>Lilac.</em>—Light Indian red, 3 parts; white lead, 3 -parts; ultramarine blue, 1 part.</p> - -<p><em>Purple.</em>—Light Indian red, 4 parts; white lead, 3 -parts; ultramarine blue, 2 parts.</p> - -<p><em>London Smoke.</em>—Burnt umber, 2 parts; white -lead, 1 part; Venetian red, 1 part.</p> - -<p><em>Brown.</em>—Venetian red, 3 parts; drop black, 2 -parts; chrome yellow, 1 part. (Outside.)</p> - -<p><em>French Gray.</em>—White, tinted with ivory or drop -black. (Outside.)</p> - -<p><em>Olive Yellow.</em>—Burnt umber, 3 parts; lemon -chrome yellow, 1 part. For lighter shade, add more -yellow.</p> - -<p><em>Pearl.</em>—White lead, 6 parts; Venetian red, 2 -parts; lamp black, 1 part. If too dark, add more -lead. (Outside.)</p> - -<p><em>Olive.</em>—Lemon chrome yellow, 10 parts; ultramarine -blue, 1 part; light Indian red, 1 part.</p> - -<p><em>Cream Color.</em>—White lead, 8 parts; French yellow -ochre in oil, 2 parts; Venetian red, 1 part. (Outside.)</p> - -<p><em>Tan.</em>—Burnt sienna, 5 parts; medium chrome<span class="pagenum"><a id="Page_149"></a>[149]</span> -yellow, 2 parts; raw umber, 1 part. If too red, add -more raw umber.</p> - -<p><em>Pea Green.</em>—White lead, 5 parts; chrome green, -1 part. Vary the proportions to suit.</p> - -<p><em>Drab.</em>—White lead, 10 parts; burnt umber, 1 -part. Vary to suit.</p> - -<p><em>Canary.</em>—White lead, 6 parts; lemon chrome yellow, -2 parts, or less, as you like it. (Outside.)</p> - -<p><em>Fawn.</em>—White lead, 8 parts; chrome yellow, 1 -part; Indian red, 1 part; burnt umber, 1 part. (Outside.)</p> - -<p><em>Grass Green.</em>—Lemon chrome yellow, 3 parts; -Prussian blue, 1 part.</p> - -<p><em>Peach Blossom.</em>—White lead, 1 part; light Indian -red, 1 part; ultramarine blue, 1 part; lemon chrome -yellow, 1 part.</p> - -<p><em>Light Gray.</em>—White lead, 10 parts; ultramarine -blue, 1 part; lampblack, 1 part. Make lighter or -darker by using more or less white lead, as the case -may require.</p> - -<p><em>Purple Brown.</em>—Dark Indian red, 4 parts; ultramarine -blue, 1 part; lampblack, 1 part. Light up -with white lead to fancy. If too purple, use less -blue; if too red, use more black. (Outside.)</p> - -<p><em>Leather Brown.</em>—Venetian red, 2 parts; yellow -ochre, 4 parts; lampblack, 1 part; white lead, 2 -parts or more, to suit. If too dark, use less black. -(Outside.)</p> - -<p><span class="pagenum"><a id="Page_150"></a>[150]</span></p> - -<p><em>Dregs of Wine.</em>—Tuscan red with a little lampblack -and white lead.</p> - -<p><em>Leaf Bud.</em>—Equal parts white lead, orange chrome -and chrome green. If too dark, add more lead. (Inside -only.)</p> - -<p><em>Coral Pink.</em>—Vermilion (English), 5 parts; white -lead, 2 parts; chrome yellow, 1 part. (Inside.)</p> - -<p><em>Maroon.</em>—Tuscan red, 3 parts; ultramarine blue, -1 part. If too red, add more blue.</p> - -<p><em>Myrtle.</em>—Dark chrome green, 3 parts; ultramarine -blue, 1 part. Light up with white lead.</p> - -<p><em>Stone.</em>—White lead, 5 parts; French yellow ochre, -2 parts; burnt umber, 1 part. Tint to desired -shade with raw umber; a very little will do. (Outside.)</p> - -<p><em>Snuff.</em>—Medium chrome yellow, 4 parts; Vandyke -brown, 2 parts.</p> - -<p><em>Rose.</em>—White lead, 5 parts; carmine, 2 parts. -(Inside only.)</p> - -<p><em>Portland Stone.</em>—Raw umber, 3 parts; yellow -ochre, 3 parts; white lead, 1 part. (Outside.)</p> - -<p><em>Ashes of Roses.</em>—White, lightly tinted with black, -blue and lake. (Inside only.)</p> - -<p><em>Silver Gray.</em>—Tint white lead with lampblack and -indigo.</p> - -<p><em>Fine Chocolate.</em>—Tint the best burnt umber with -Munich lake. (Inside only.)</p> - -<p><em>Fine Maroon.</em>—Tint any deep red lake with a little -orange chrome yellow.</p> - -<p><span class="pagenum"><a id="Page_151"></a>[151]</span></p> - -<p><em>Vienna Smoke.</em>—Tint fine burnt umber with lemon -chrome yellow and a little Venetian red.</p> - -<p><em>Quaker Green.</em>—Chrome green, 3 parts; lampblack, -1 part; Venetian red, 1 part; medium chrome -yellow, 1 part.</p> - -<p><em>Chamoline.</em>—Lemon yellow, 1 part; raw sienna, -3 parts; white lead, 5 parts.</p> - -<p><em>Clay Drab.</em>—White lead, raw sienna, raw umber, -equal parts. Tint with chrome green.</p> - -<p><em>Pearl.</em>—White lead, tinted with ultramarine blue -and lampblack.</p> - -<p><em>Copper.</em>—Medium chrome yellow, 2 parts; Venetian -red, 1 part; drop black, 1 part.</p> - -<p><em>Buttercup.</em>—White lead tinted with lemon chrome -yellow.</p> - -<p><em>Flesh.</em>—White lead, 8 parts; light Venetian red, -1 part; orange chrome, 2 parts.</p> - -<p><em>Olive Brown.</em>—Lemon chrome yellow, 1 part; -burnt umber, 3 parts.</p> - -<p><em>Deep Buff.</em>—White lead tinted with yellow ochre -and a little Venetian red. (Outside.)</p> - - -<h3>SOME EXPENSIVE COLORS.</h3> - -<p><em>Claret.</em>—Carmine, 2 parts; ultramarine blue, 1 -part.</p> - -<p><em>Carnation Red.</em>—Carmine lake, 3 parts; white -lead, 1 part.</p> - -<p><em>Chocolate.</em>—Fine burnt umber, 5 parts; carmine -or lake, 1 part.</p> - -<p><span class="pagenum"><a id="Page_152"></a>[152]</span></p> - -<p><em>French Red.</em>—Indian red and English vermilion, -equal parts, glazed with carmine.</p> - -<p><em>Rose.</em>—White lead, 5 parts; carmine, 2 parts.</p> - -<p><em>Yellow Lake.</em>—Burnt umber and white lead, equal -parts; tint with chrome yellow and lake.</p> - - -<h3>SUGGESTIONS FOR TINTS AND COLORS.</h3> - -<p><em>Delicate Flesh Tints</em>, white predominating.—1st, -white and light red; 2nd, white, Naples yellow, vermilion; -3rd, white, vermilion and light red.</p> - -<p><em>Gray and Half Tints</em>, white predominating.—1st, -white, vermilion and black; 2nd, white and terre -verte; 3rd, white, black, Indian red and raw umber.</p> - -<p><em>Deep Shades</em>, color predominating.—1st, light red -and raw umber; 2nd, Indian red, lake and black.</p> - -<p><em>Carnations.</em>—1st, white and Indian red; 2nd, -white and rose madder; 3rd, white and lake; 4th, -white and Naples yellow.</p> - -<p><em>Carnations</em>, color predominating.—1st, rose madder -and white; 2nd, Indian red, rose madder and -white.</p> - -<p><em>Green Tints.</em>—1st, white and ultramarine blue, -with any yellow; 2nd, white and terre verte; add a -little raw umber.</p> - -<p><em>Gray Tints.</em>—1st, ultramarine blue, light red and -white; 2nd, Indian red lake, black and white.</p> - -<p><em>Pearly White</em>, white predominating.—1st, white,<span class="pagenum"><a id="Page_153"></a>[153]</span> -vermilion and black; 2nd, white, vermilion and -black; 3rd, white and black.</p> - -<p><em>Gray.</em>—White, Venetian red and black.</p> - -<p><em>Yellow.</em>—Yellow ochre and white.</p> - -<p><em>Olive.</em>—Yellow ochre, terre verte and umber.</p> - -<p><em>Sky.</em>—French blue and white.</p> - - -<div class="chapter"></div> -<h3>PAINTING CARS AT HOME.</h3> - -<p>Probably no other subject dealing with the problem -of the motorist has been so little, or to be correct, -so unsatisfactorily treated as the home painting -of cars. Most of the literature dealing with -the subject is written in a technical vein, purely -for the delectation of the professional painter. -This naturally leads the novice to believe, owing to -the great number of coats these writers say is essential -for good work, that it is entirely out of the -question for a car owner, without previous experience -in painting, to repaint his car satisfactorily.</p> - -<p>Fortunately this is not true. In the first place, -the fewer number of coats that can be applied and -still accomplish the desired result, will make far -the most durable and lasting job of painting. I -maintain, and have proven, times without number, -that if a motorist really is in earnest about wanting -to paint his cars, the battle is more than half -won. Give this class of motorists the proper material<span class="pagenum"><a id="Page_154"></a>[154]</span> -mixed ready for use with the proper brushes -for their application, and tell him how they should -be used, and 99 times out of 100 he will paint his -car so well that he will be sorry he had not done -it before.</p> - -<p>The quality of the material used in this kind of -painting is of vital importance and unless they are -the very best will give but limited wear. And the -proper brushes to use with the different coats is of -equal importance. About four-fifths the cost of automobile -painting is labor, so that a few dollars -saved in buying the materials is false economy.</p> - -<p>The general purpose enamels for sale in stores -have no place on a motor car. They belong to the -home. Probably no other vehicle excepting a locomotive -has harder service for paint to withstand. -Hence, the necessity for the very best materials.</p> - -<p>There is one reputable concern selling repainting -outfits to car owners so that greatly simplifies the -painting problem, if one wishes to do it himself. -These outfits include everything, materials, brushes, -and instructions, and range in price from $6 for a -small runabout to $8 and $10 for a roadster and -touring car. Compared to $35 to upwards of $100 -that one has to pay a regular painter, if one wishes -to economize, the painting affords a grand opportunity.</p> - -<p><span class="pagenum"><a id="Page_155"></a>[155]</span></p> - -<p>The fenders and hood of a car are subjected to -severe wear and the time is coming when these parts -will always be painted black, regardless of the body -color of the car. In fact, a great many of the new -cars will be painted this way. There are thousands -of cars in use that hardly need repainting, but if -the hood and fenders were done over in black it would -make them look almost like new cars. There is one -concern making these hood and fender outfits and -a novice can do a really creditable job of painting -with them. They range in price from $3 to $5 and -are in two coats with a suitable brush.</p> - -<p>The gases from the motor are a big factor in dulling -the paint on hoods. It has the same effect that -ammonia fumes from a stable has on horse-drawn -vehicles. This is one reason why the black painting -of hoods is mighty sensible. When your hood -gets dull, instead of laying up your car you can -paint the hood yourself with little trouble and no -loss of time.</p> - -<p>For the novice to repaint the average car, for -instance a 30 H. P. touring car, it would require in -labor only a few hours on four or five different days. -The hardest part of the whole operation is preparing -the car for paint. It is absolutely necessary -to have it thoroughly clean before applying any -paint. It should be well washed first, and then<span class="pagenum"><a id="Page_156"></a>[156]</span> -given a gasoline bath to the parts on which dirt -and grease have been allowed to accumulate. It is -really not so complex a proposition after all. If a -woman can paint furniture with enamels that are -no better than they should be, a man can surely -paint a car if given the proper materials to do it -with, and if he be instructed in their use.</p> - -<p>Now as to striping. This is of course out of -the question for the novice. But you can black the -mouldings of the body, seats, doors, hubs and rims -of wheels so that the absence of striping is not noticed. -So far as the striping goes, the tendency is -away from it—in fact, the most expensive cars have -hardly any striping. The blacking of the mouldings, -etc., mentioned makes a harmonious contrast -and takes the place of striping. It looks in no ways -amateurish—rather like the handiwork of the professional -painter.</p> - -<p>In addition to the saving that can be effected by -repainting your car yourself, there is the feeling of -personal pride when the job is finished, of having -done something well yourself.</p> - -<p>As the majority of the new cars have enameled -lamps instead of polished brass as in years past, I -believe a few words on the subject will not be amiss. -In my experience of twenty years in the painting of -vehicles, locomotives and automobiles, I have never<span class="pagenum"><a id="Page_157"></a>[157]</span> -had a harder proposition to solve than the enameling -of polished brass lamps, particularly gas headlights.</p> - -<p>An enamel for this purpose must of necessity be -made highly elastic, so that it will contract and -expand with the metal and stick on the polished -brass surface without any previous roughing. This -means that only the most expensive materials can -be used in the making of such an enamel. There -is one enamel of proven merit for this purpose on -the market and it does not have to be baked. I -have seen a great many motorists who have used -general purpose enamels on their lamps and the -experience has usually been that the enamel leaves -when the lights are lighted. If I were buying an -enamel for use on the brass parts of my car, I -should be very careful to buy the one that had been -long on the market, for there will undoubtedly be -a large number of new ones offered.</p> - -<p>I have made some pretty strong statements in -the foregoing article, and it is no more than right -that I tell you that they are based on my experience -of twenty years in the painting of carriages, -locomotives and automobiles, two years as the expert -for the largest paint and color house in the -world, and several years in the manufacture of the -highest class of motor car paints.</p> - - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter"></div> - -<div class="p4 transnote"> -<a name="TN" id="TN"></a> -<p><strong>TRANSCRIBER’S NOTE</strong></p> - -<p>Obvious typographical errors and punctuation errors have been -corrected after careful comparison with other occurrences within -the text and consultation of external sources.</p> - -<p>Some hyphens in words have been silently removed, some added, -when a predominant preference was found in the original book.</p> - -<p>Except for those changes noted below, all misspellings in the text, -and inconsistent or archaic usage, have been retained.</p> - -<p> -<a href="#tn-iii">Pg iii</a>: removed duplicated line ‘Black Varnish for Iron’.<br /> -<a href="#tn-iv">Pg iv</a>: line ‘Oak Wood Stain’ moved from page v to here, under -‘Oak Stain’.<br /> -<a href="#tn-39">Pg 39</a>: ‘gold againt the’ replaced by ‘gold against the’.<br /> -<a href="#tn-45">Pg 45</a>: ‘bottle 1-3 full’ replaced by ‘bottle ⅓ full’.<br /> -<a href="#tn-60">Pg 60</a>: ‘dissolve 90 gains’ replaced by ‘dissolve 90 grains’.<br /> -<a href="#tn-105">Pg 105</a>: missing letter ‘W’ inserted into alphabet caption.<br /> -<a href="#tn-119">Pg 119</a>: removed duplicated line ‘Shaded oak’.<br /> -<a href="#tn-121">Pg 121</a>: a blank space has been replaced by __________. It probably -was meant to be ‘white lead’.<br /> -<a href="#tn-124">Pg 124</a>: ‘nictric acid’ replaced by ‘nitric acid’.<br /> -<a href="#tn-146">Pg 146</a>: ‘on acount of’ replaced by ‘on account of’.<br /> -</p> -</div> - - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK PRACTICAL HOUSE, WAGON AND AUTOMOBILE PAINTER ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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