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-The Project Gutenberg eBook of Hints for painters, decorators, and
-paper-hangers., by An Old Hand
-
-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: Hints for painters, decorators, and paper-hangers.
-       Being a selection of useful rules, data, memoranda, methods, and
-       suggestions for house, ship and furniture painting,
-       paper-hanging, gilding, color mixing, and other matters useful
-       and instructive to painters and decorators. Prepared with special
-       reference to the wants of amateurs
-
-Author: An Old Hand
-
-Release Date: August 29, 2022 [eBook #68866]
-
-Language: English
-
-Produced by: Charlene Taylor 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 HINTS FOR PAINTERS,
-DECORATORS, AND PAPER-HANGERS. ***
-
-
-
-
-
-NOW READY.
-
-_Second and Enlarged Edition._
-
-The Steel Square
-
-AND ITS USES.
-
-By FRED. T. HODGSON.
-
-
-This is the only work on THE STEEL SQUARE AND ITS USES ever published.
-It is Thorough, Exhaustive, Clear, and Easily Understood. Confounding
-terms and scientific phrases have been religiously avoided where
-possible, and everything in the book has been made so plain that a boy
-twelve years of age, possessing ordinary intelligence, can understand
-it from end to end.
-
-The New Edition is Illustrated with over Seventy-five Wood-cuts,
-showing how the Square may be used for solving almost every problem in
-the whole Art of Carpentry.
-
-The following synopsis of the contents of the work will give some idea
-of its character and scope.
-
- --History of the “Square.”--Description, with Explanation of the
- Rules, Figures, Scales, and Divisions shown on good Squares.
-
- --Brace Rules, Octagonal Scale, Board, Plank and Scantling Rules,
- fully explained and described.
-
- --How to lay out Rafters, Hips, Jack-Rafters, Purlins, Bevel Works,
- etc., etc.
-
- --Backing for Hips, Lengths and Bevels of Valley Rafters. Laying out
- Stairs and Strings.
-
- --How to describe Circles, Ellipses, Parabolas and other figures, with
- the Square.
-
- --How to obtain Bevels for Hoppers and all kinds of Splayed Work and
- Spring Mouldings, by the Square.
-
- --Bisecting Circles, Proportion of Circles, Division of Widths,
- Bisection of Angles, Diminishing Stiles, Centering Circles, etc., etc.
-
- --Theoretical Rafters, Cuts for Mitre Boxes, Measurement of Surfaces,
- including Painting, Plastering, Shingling, Siding, Flooring, Rough
- Boarding, Tinning and Roofing.
-
- --Rules for describing Octagons and Polygons of every description and
- how to find their angles and areas.
-
- --Rules for finding the lengths of Rafters and Hips of Irregular
- Roofs, Cuts for Equal and Unequal Mitres, Trusses and Bevel Timber
- Work.
-
- --The Development of Hip and Curved Roofs; Veranda Rafters, Straight
- and Curved; Hopper Cuts of all kinds, Angle Corner-pieces, Splayed
- Work for Gothic Heads, etc., etc., and many other things useful to the
- Operative Mechanic.
-
-
-  Handsomely Bound in Cloth with Gilt Title.
-  Price ONE DOLLAR.
-
-  INDUSTRIAL PUBLICATION COMPANY.
-
-  New York.
-
-
-
-
-  HINTS FOR PAINTERS,
-
-  DECORATORS,
-
-  AND PAPER-HANGERS.
-
-  BEING
-
-  A SELECTION OF USEFUL RULES, DATA, MEMORANDA, METHODS,
-  AND SUGGESTIONS FOR HOUSE, SHIP AND FURNITURE PAINTING,
-  PAPER-HANGING, GILDING, COLOR MIXING, AND OTHER
-  MATTERS USEFUL AND INSTRUCTIVE TO PAINTERS
-  AND DECORATORS.
-
-  Prepared with Special Reference to the Wants of Amateurs.
-
-  BY
-
-  AN OLD HAND.
-
-
-  NEW YORK:
-  THE INDUSTRIAL PUBLICATION COMPANY.
-  1882.
-
-
-
-
-PREFACE.
-
-
-This little work is intended to furnish the PRACTICAL
-HOUSE-PAINTER--THE EVERY-DAY WORKMAN--with information sufficient to
-enable him to understand his business intelligently. One of its objects
-is to deal with the nature, characteristics, qualities, and defects of
-the materials employed by the class of artisans for whom it is written;
-and to a limited extent this has been done with as little theory as
-possible; high-sounding technicalities have also been avoided wherever
-the author has been able to make himself understood without them.
-
-It is thought the young painter may derive great profit and advancement
-from a careful study of this book, as the hints, rules, and recipes it
-contains are reliable, practical, and of every-day use.
-
-The author has consulted many works on the subject, and is indebted
-to many of them for much of the matter contained, among which may be
-mentioned “Building Construction and Materials,” “House-Painter’s
-Hand-Book,” “Artists’ and Tradesmen’s Companion,” “Painter’s Guide,”
-“Chevreul’s Oils and Paints,” and several other works of more or less
-note. To this has been added many things discovered by the actual
-experience of the writer.
-
-
-
-
-CONTENTS.
-
-
-                                              PAGE
-
-  Preface,                                     iii
-
-  Preliminary,                                   7
-
-  Preparation of Surfaces,                       7
-
-  Materials Used,                                8
-
-  Bases and Vehicles,                           10
-
-  White Lead, Genuine and Adulterated,          10
-
-  Linseed and other Oils,                       13
-
-  Driers,                                       14
-
-  Coloring Paints,                              15
-
-  Blacks and Blues,                             16
-
-  Yellows,                                      17
-
-  Browns,                                       18
-
-  Pinks and Reds,                               19
-
-  Lakes and Orange,                             20
-
-  Green,                                        21
-
-  Proportion of Ingredients in Mixed Paints,    22
-
-  Table showing the composition of the
-  different coats of white paint, and the
-  quantities required to cover 100 yards of
-  new work,                                     23
-
-  Operations,                                   24
-
-  Preparing the Work,                           25
-
-  Taste in Color,                               30
-
-  Graining--General Remarks,                    32
-
-  Graining in Oak, Mahogany, Rosewood, Walnut,
-  Maple, Satin-wood, Granites, Marbles, etc.,   36
-
-  Rules for Mixing Compound Colors,             41
-
-  Miscellaneous Receipts, for Painting Iron,
-  Stucco, Glass; Gilding, Gilding on Glass,
-  Gilding Fretwork, Painting on Gilded Panels,
-  Gilding on Wood, Gilding Letters, Gilder’s
-  Size, Staining Wood, Staining Floors,
-  Varnishing, Painting Brick-work and Masonry,
-  French Polish, Wood-filling, Rules for
-  Painters to Observe,                          43
-
-  Paper-hanging,                                54
-
-  Operations,                                   56
-
-  Cleaning Paper-hangings,                      57
-
-  Varnishing Paper,                             57
-
-  The Making of Paste,                          58
-
-  Useful Hints and Table for Estimating Cost
-  of Work and Materials,                        59
-
-
-
-
-HINTS FOR PAINTERS AND PAPER-HANGERS.
-
-
-There is a general belief abroad that anybody can execute all that is
-required of a house-painter. This is a very popular error; it is not
-so easy to prepare and apply a coat of paint in a thorough workmanlike
-manner as some may imagine. It is still less easy to paint in parti
-colors; and very few can produce a good piece of graining.
-
-The painter should not only be acquainted with the method of applying
-paint when it is provided for him, and the brush placed in his hand,
-but he should know the composition of the colors; the manner in which
-they are made, and the colors which must harmonize with each other when
-they are associated together. These observations being of a practical
-nature and the result of experience, are commended for his perusal and
-study.
-
-=Preparation.=--All surfaces painted should be first thoroughly dry and
-free from dust. All heads of nails should be punched or “set” below the
-surface of the wood, and after the priming is dry, the holes formed
-by the heads, as well as all cracks, defects, etc., should be filled
-up with putty made of raw linseed oil and whiting. To prevent knots
-or “fat” spots from showing through, they should receive two coats of
-shellac varnish, and when dry rubbed down with sand-paper. The shellac
-should be applied with a small brush. It dries soon and may be painted
-over as soon as dry. Shellac prepared this way is called “knotting,”
-and can be purchased wherever painters’ materials are kept for sale.
-
-=Materials.=--The principal materials used for painting, _i.e._, white
-lead and oxide of zinc, are so well known that it is unnecessary to
-allude particularly to their manufacture at present. Before using them
-they should be mixed with pure raw linseed oil. Turpentine may be
-used in cold weather to make the paint work easy, as the oil is apt
-to chill, which thickens it and makes it difficult to apply. In warm
-weather, however, turpentine should not be used in priming any parts
-where the sun shines upon. In cold weather it is always necessary
-to use litharge or some other drier; or the work will remain a long
-time before it hardens; in summer, however, driers in most cases are
-unnecessary, for if the wood to be painted is as well seasoned as it
-ought to be there is little danger of the paint being washed off by
-rain, as it will mostly be absorbed in the surface.
-
-To make satisfactory work it is imperative that all cans, pots and
-brushes used in painting be perfectly clean at the start, and kept so
-whenever the conditions will permit. A marble slab and muller will be
-required to grind the finer colors used. Sometimes a small cast-iron
-mill will be found useful not only to grind colors; but to pass the
-tinted color through, so that it may be thoroughly mixed. It is
-scarcely necessary to say that it is presumed the workman will know
-what brushes he will require according to the work he has in hand.
-His large ground paint brush, called a “pound-brush;” his half-size,
-for smaller work; his fitch and sash tools, duster, pallet, putty and
-hasp knives; oval and flat varnish brushes, varnish-pot, step-ladders
-and long ladders, mahl-stick, pallet-board, gilding-knife, camel and
-sable hair-pencils, whitewash brushes, jack for window work, cushion,
-tip-pole, etc., etc.
-
-Large brushes, such as 6-0 size, should be bridled when new by winding
-good twine around them about one-third up the length of the bristles,
-and as the brush wears, this binding can be unwound. Care should be
-taken to use the brushes so that they will have a flat wedge-shaped
-point, straight on the edge. This can be done by holding the brush
-always in one position. If brushes are turned round and round in the
-hand while in use, they wear round and stubby on the point and soon
-become useless for fine or smooth work.
-
-Brushes that are in use every day should be placed in water half the
-depth of the bristles at night, taking care that brushes containing
-different colors do not come in contact with one another. If they
-are to be laid aside for any length of time, however, they should be
-washed with warm water and soap after being thoroughly cleansed with
-turpentine, and laid away in a moist place.
-
-As a general thing it is better to buy putty already made at a regular
-paint store, where you may depend upon its being made of good whiting
-and linseed oil than to make it. Putty should not be used until the
-work has been primed, for new paint holds the putty very firmly.
-
-White lead is to be judged of by being well ground and possessing the
-mellowness given to it by age.
-
-It is well known amongst painters that the best article is the most
-economical, as it works out with more ease, and repays the difference
-of cost in its better appearance and extra durability. Linseed oil is
-also better for having due age, for the same reasons as the white
-lead, working with softness and advantage after parting with the water,
-which is generally combined with new oil.
-
-In most cases _driers_ are added to paints to cause them to dry more
-quickly, and a _solvent_ is sometimes required to make the paints
-work more freely. When the color required differs from that of the
-main paint used, the desired tint is obtained by adding a staining
-or coloring pigment. The materials generally employed may, for
-convenience, be classed as follows:
-
-=Bases.=--White lead, red lead, zinc white, oxide of iron.
-_Vehicles._--Oils, spirits of turpentine. _Solvents._--Spirits of
-turpentine. _Driers._--Litharge, acetate of lead, sulphate of zinc and
-binoxide of manganese, red lead, etc. _Coloring Pigments._--Ochres,
-lampblack, umber, sienna, and many metallic salts that will be
-hereinafter mentioned.
-
-White lead may be obtained either pure or mixed with various
-substances, such as sulphate of baryta, sulphate of lead, whiting,
-chalk, zinc white, etc. These substances do not combine with oil as
-well as does white lead, nor do they so well protect any surface to
-which they are applied. Sulphate of baryta, the most common adulterant,
-is a dense, heavy, white substance, very like white lead in appearance.
-It absorbs very little oil, and may frequently be detected by the
-gritty feeling it produces when the paint is rubbed between the finger
-and thumb.
-
-=White Lead= is sold either dry, in powder or lump, or else ground
-in oil in a paste containing from 7 to 9 per cent. of linseed oil,
-and more or less adulterated, unless specially marked “genuine.” When
-slightly adulterated with a very white sulphate of baryta, like that
-of the Tyrol, the mixture is considered preferable for certain kinds
-of work, as the barytes communicates opacity to the color and protects
-the lead from being speedily darkened by sulphurous smoke or vapors.
-White lead improves by keeping, and when of good quality, will go much
-further and last much better than when employed fresh; moreover, paint
-made with new lead has a tendency to become yellow. It should not be
-exposed to the air or it will turn grey.
-
-Of all the bases used for paints, white lead is the most commonly used,
-and for surfaces of wood it affords in most cases the best protection,
-being dense, of good body, and permanent. It has the disadvantage,
-however, of blazening when exposed to sulphur acids, and of being
-injurious to those who handle it.
-
-Red lead is produced by raising _massicot_ (the commercial name for
-oxide of lead) to a high temperature, short of fusion, during which
-it absorbs oxygen from the air and is converted into red lead or
-_minium_, an oxide of lead. The color is lasting, and is unaffected by
-light when it is pure and used alone, but any preparation containing
-lead or acids mixed with it deprive it of color, and impure air makes
-it black. It may be used for a drier, as it possesses many of the
-properties of litharge; it is also often employed in painting wrought
-iron work, to which it adheres with a tenacity not equalled by any
-other paints; it is sometimes objected to for this purpose, on the
-ground that galvanic action is set up between the lead and the iron.
-It is also frequently used for priming on wood work, and is especially
-adapted for hard woods. It is frequently adulterated with brick dust;
-this may be detected by heating the powder in a crucible, and treating
-it with dilute nitric acid; the lead will be dissolved but the brick
-dust will remain. It is also adulterated with colcother, a sesquioxide
-of iron. Sulphide of antimony, or antimony vermilion, is sometimes
-used as a substitute for red lead. It is sold in a very fine powder,
-without taste or smell, and which is insoluble in water, alcohol, or
-essential oils. It is but little acted upon by acids, and is said to be
-unaffected by air or light. It is adapted for mixing with white lead,
-and affords an intensely bright color when ground in oil.
-
-Oxide of zinc, or zinc white, is durable in water or oil; it
-dissolves in hydrochloric acid; it does not blacken in the presence
-of sulphuretted hydrogen; and it is not injurious to the men who make
-it, or to the painters who use it; but on the other hand, it does not
-combine with oil well, and is wanting in body and covering power, and
-is difficult to work. It is easily acted upon by the carbonic acid
-in rain water, which dissolves the oxide, and it therefore is unfit
-for outside work. The acids contained in unseasoned wood also have a
-great effect upon it. When pure and used for inside work, it retains
-its color well, and will stand washing for many years without losing
-any of its freshness. When dry it becomes very hard, and will take a
-fine polish. This paint is suitable for any place that is subjected
-to vapors containing sulphur, or in places where foul air is emanated
-from decaying animal matter. In such positions, of course, zinc paints
-should not be mixed with “patent” or other driers which contain lead.
-The best driers to employ with it are sulphate of manganese and
-sulphate of zinc. This white is recommended as being preferable to
-white lead for painting on a dark ground. The reason of this is that
-the soap formed by the combination of the lead and oil in lead paints
-is semi-transparent, and the dark ground shows through it. The want of
-density, however, in zinc paints, is a great drawback to their use,
-and the purest zinc oxide is not always the best for paint on account
-of its low specific gravity; and in this respect, the American zinc
-whites, which are frequently very pure, do not generally give as good
-satisfaction as the zinc whites made in Belgium.
-
-=Vehicles.=--Oils are divided into two classes--fixed oils and volatile
-oils. Fixed oils are extracted by pressure from vegetable substances,
-they are of a fatty nature, do not evaporate in drying, and will bear
-a temperature short of 500° Fahr., without decomposing. They are
-subdivided into drying oils, which become thick upon exposure to air.
-Of these, linseed oil is most commonly used as an ingredient for paint.
-Its qualities when pure are excellent, and it may be considered the
-best of all oils for use in paint, putty, and other similar substances.
-It oxidizes and becomes thick upon exposure to the air. This property
-is very much increased by adding other substances to it and boiling
-them together. It is superior in drying powers, tenacity, and body to
-any other fixed oil. The best oil comes from the Black Sea and the
-Baltic; that from the East Indian seed is inferior, as the seed is less
-carefully cleaned, and contains too much stearine. Raw linseed oil is
-clear and light in color, works smoothly, and is used for internal
-works, for delicate tints, and for grinding up colors. Boiled oil is
-much thicker, darker, and more apt to clog. It is used for outside
-work, as its greater body and rapidity in drying make it a quicker and
-more efficient protection.
-
-=Volatile Oils= are generally obtained by distillation, and have an
-odor resembling that of the plant from which they are obtained. They
-are, as a rule, colorless at first, but upon exposure to air and light
-they become darker, thicker, and eventually are converted into a kind
-of resin. Spirits of turpentine is the best variety of this class for
-mixing with ordinary paints. Naptha and benzine are sometimes used
-instead of turpentine, but not often, and their use is not recommended
-when the latter can be obtained. Good spirits of turpentine is lighter
-in weight and more inflammable than bad. It is colorless and has a
-pleasant pungent smell, whereas the smell of inferior qualities is
-disagreeable. It is used as a solvent for resins and other substances
-in making varnishes; also in paint to make it work more smoothly. It
-is useful also in flatting coats, but will not stand exposure to the
-weather.
-
-=Driers.=--Driers are substances added to paint in order to cause
-the oils to thicken and solidify more rapidly. The action of these
-substances is not thoroughly understood. Chevreuil has shown that the
-drying of linseed oil is caused by the absorption of oxygen; and there
-can be no doubt that for the most part driers act as carriers of oxygen
-to the oil, a very small quantity producing considerable effects.
-
-The best driers are those which contain a large proportion of oxygen,
-such as litharge, acetate of lead, red lead, sulphate of zinc,
-verdigris, etc. They are sometimes used to improve the drying qualities
-of the oil with which the paint is mixed, or they may themselves be
-ground up with a small quantity of oil, and added to the paint just
-before it is used.
-
-Litharge or oxide of lead is the drier most commonly used, and is
-produced in extracting lead from its ores. It can be produced on a
-small scale by scraping off the dross which forms on molten lead
-exposed to a current of air. _Massicot_ is a superior kind of litharge,
-being produced by heating lead to an extent insufficient to fuse the
-oxide. Sugar of lead, or, as it is more frequently called, acetate of
-lead, ground in oil, and copperas and white vitriol (sulphate of zinc),
-are also used as driers, especially for light tints. Oxide of manganese
-is quicker in its effects, but is of a very dark color, and seldom used
-except for deep tints. Japanners’ gold size and verdigris (acetate of
-copper) are also much used for dark colors. Care must be taken not to
-apply too much of the size, or it will make the paint brittle. Red
-lead (oxide of lead) is often used as a drier when its color will not
-interfere with the tint required. It is not so rapid in its action as
-litharge or massicot. Sulphate of manganese is the best drier for zinc
-white, about 6 or 8 ounces only being used for 100 lbs., of ground zinc
-white paint. The manganese should be mixed with a small quantity of the
-paint first, and then added to the bulk. If great care be not taken in
-mixing the drier the work will be spotted. Sulphate of zinc is also a
-good drier for zinc paint.
-
-Patent driers contain oxidizing agents, such as litharge or acetate of
-lead ground and mixed in oil, and therefore in a convenient form for
-immediate use. There is great danger, however, in using such driers,
-unless they are of the best quality from a reliable maker. Some of the
-inferior descriptions depend for their drying qualities upon lime.
-
-The following points should be observed in using driers:--
-
-1st. Not to use them unnecessarily with pigments which dry well in oil
-color.
-
-2d. Not to employ them in excess, which would only retard the drying.
-
-3d. Not to add them to the color until about to be used.
-
-4th. Not to use more than one drier to the same color.
-
-5th. To avoid the use of patent driers, unless known to be of good
-quality.
-
-6th. To avoid the use of driers in the finishing coat of light colors,
-as they are liable to injure the color.
-
-=Coloring Pigments.=--It will be impossible in a small work of this
-sort to give anything like a complete list of the pigments used to
-produce the colors and tints used by the house painter and decorator. A
-few of the most useful may, however, be mentioned. It is not proposed
-to give a detailed description of them, but merely to distinguish those
-that are injurious from the others. Many of these, such as the ochres,
-umbers, etc., are from natural earths; others are artificially made.
-They may generally be purchased either in the form of dry powder or
-ground in oil.
-
-=Blacks.=--Lampblack is the soot produced by burning oil, resin, small
-coal, resinous woods, coal tar or tallow. It is in the state of very
-fine powder; works smoothly; is of a dense black color and durable, but
-dries very slowly in oil.
-
-Vegetable black is a better kind of lampblack made from oil. It is very
-light, free from grit, and of a good color. It should be used with
-boiled oil, driers, and a little varnish. Raw linseed oil or spirits of
-turpentine keeps it from drying.
-
-Ivory-black is obtained by calcining waste ivory in close vessels and
-then grinding. It is intensely black when properly burned. Bone-black
-is inferior to ivory-black, and prepared in a similar manner from
-bones. Blue-black and Frankfort black of the best quality are made from
-vine twigs; inferior qualities from other woods charred and reduced to
-powder. In Europe some other blacks are used, but we seldom meet with
-them in this country.
-
-=Blues.=--Prussian blue is made by mixing prussiate of potash with
-a salt of iron. The prussiate of potash is obtained by calcining
-and digesting old leather, blood, hoofs, or other animal matter
-with carbonate of potash and iron filings. This color is much used,
-especially for dark blues, making purples, and intensifying black.
-It dries well with oil. Slight differences in the manufacture cause
-considerable variation in tint and color, which leads to the material
-being known by different names--such as Antwerp blue, Berlin blue,
-Hærlem blue, Chinese blue, etc. Indigo is produced by steeping certain
-plants in water, and allowing them to ferment. It is a transparent
-color; works well in oil or water, but is not durable, especially when
-mixed with white lead.
-
-Ultramarine was originally made by grinding the valuable mineral _Lapis
-lazuli_. Genuine ultramarine so made is very expensive, but artificial
-French and German ultramarines are made of better color, and cheaply,
-by fusing and washing and reheating a mixture of soda, silica, alum,
-and sulphur. This blue is chiefly used for coloring wall papers.
-
-Cobalt blue is an oxide of cobalt made by roasting cobalt ore. It makes
-a beautiful color, and works well in water or oil.
-
-Smalt, Saxon blue and Royal blue are colored by oxides of cobalt.
-
-There are a few other blues, such as Celestial or Brunswick blue, damp
-blue and verditer, that are chemical compounds, compounds of alum,
-copper, lime, and other substances; but they are so seldom used in this
-country that it is unnecessary to describe them in detail.
-
-=Yellows.=--Chrome yellows are chromates of lead, produced by mixing
-dilute solutions of acetate or nitrate of lead and bichromate of
-potash. This makes a medium tint known as “middle chrome.” The addition
-of sulphate of lead makes this paler, when it is known as “lemon
-chrome,” whereas the addition of caustic lime makes it “orange chrome”
-of a darker color. The chromes mix well with oil and with white lead
-either in oil or water. They stand the sun well, but like other lead
-salts, become dark in bad air. Chrome yellow is frequently adulterated
-with gypsum.
-
-Naples yellow is a salt of lead and antimony, supposed to have been
-originally made from a natural volcanic product at Naples. It is not so
-brilliant as chrome, but has the same characteristics. King’s yellow is
-made from arsenic, and is therefore a dangerous color to handle, or
-use for internal work. It is not durable, and it injures several other
-colors when mixed with them. Chinese yellow, arsenic yellow, and yellow
-orpiment are other names for this yellow.
-
-Yellow ochre is a natural clay colored by oxide of iron, and found
-abundantly in many parts of the world. It is not very brilliant, but is
-well suited for distemper work, as it is not affected by light or air.
-It does not lose its color when mixed with lime washes as many other
-colors do. There are several varieties of ochres, all having the same
-characteristics differing only in color which varies from a golden to a
-dark brown.
-
-=Terra De Sienna=, or raw Sienna, is a clay, stained with oxides of
-iron and manganese, and of a dull yellow color. It is durable both in
-oil and water, and is useful in all work, especially in graining.
-
-=Browns.=--Browns generally owe their color to oxide of iron. Raw umber
-is a clay similar to ochre colored by oxide of iron. The best comes
-from Turkey; it is very durable both in water and in oil; does not
-injure other colors when mixed with them.
-
-=Burnt Umber= is the last mentioned material burnt to give it a darker
-color. It is useful as a drier, and in mixing with white lead to make a
-stone color.
-
-=Vandyke Brown.=--This color is an earthy dark brown mineral; it is
-durable both in oil and water, and is frequently employed in graining.
-
-=Purple Brown= is of a reddish-brown color. It should be used with
-boiled oil--and a little varnish and driers for outside work.
-
-=Burnt Sienna= is produced by burning raw sienna. It is the best color
-for shading gold.
-
-=Brown Pink= is a vegetable color often of a greenish hue. It works
-well in water and oil, but dries badly, and will not keep its color
-when mixed with white lead. Spanish brown and brown ochre are clays
-colored naturally by various oxides.
-
-=Reds.=--Carmine, made from the cochineal insect, is the most
-brilliant red color known. It is, however, too expensive for ordinary
-house painting, and is not durable. It is sometimes used for inside
-decoration.
-
-=Red Lead.=--This color has already been described on page 11.
-
-=Vermilion.=--This is a sulphide of mercury in a natural state as
-cinnabar. The best comes from China. Artificial vermilion is also
-made both in China and in this country from a mixture of sulphur
-and mercury. Genuine vermilion is very durable, but when mixed with
-red lead, as it is sometimes, it will not stand the weather. It can
-be tested by heating in a test tube; if genuine it will entirely
-volatilize. German vermilion is the tersulphide of antimony, and is of
-an orange-red color.
-
-=Indian Red.=--This color is a ground hematite ore brought from Bengal;
-it is sometimes made artificially by calcining sulphate of iron. The
-tints vary, but a rosy hue is considered the best. It may be used with
-turpentine and a little varnish to produce a dull surface, drying
-rapidly, or with boiled oil and a little driers, in which case a glossy
-surface will be produced, drying more slowly.
-
-=Chinese Red= and Persian red are chromates of lead, produced by
-boiling white lead with a solution of bichromate of potash. The tint of
-Persian red is obtained by the employment of sulphuric acid.
-
-=Venetian Red= is obtained by heating sulphate of iron produced as a
-waste product at tin and copper works. It is often adulterated by
-mixing sulphate of lime with it during the manufacture. When pure, it
-is often called “bright red.” Special tints of purple and brown are
-frequently required, which greatly enhance the value of the material.
-These tints should be obtained in the process of manufacture, and not
-produced by mixing together a variety of different shades of color.
-When the tint desired is attempted to be obtained by this latter course
-it is never so good, and the materials produced are known in the trade
-as ‘faced colors,’ and are of inferior value.
-
-=Rose Pink.=--This is made of a sort of chalk or whiting stained with
-a tincture of Brazil wood. It fades very quickly, but it is used for
-paperhangings, common distemper, and for staining cheap furniture.
-
-=Lakes.=--These are made by precipitating colored vegetable tinctures
-by means of alum and carbonate of potash. The alumina combines with
-the organic coloring matter and separates it from the solution. The
-tincture used varies in the different descriptions of lake. The best,
-made from cochineal or madder, is used for internal work. Drop lake
-is made by dropping a mixture of Brazil wood through a funnel on to
-a slab. The drops are dried and mixed into a paste with gum water.
-It is sometimes called “Brazil wood lake.” Scarlet lake is made from
-cochineal; so also are Florentine lake, Hamburg lake, Chinese lake,
-Roman lake, Venetian lake and Carminated lake.
-
-=Orange.=--Chrome orange is a chromate of lead, brighter than
-vermillion, but less durable. Orange ochre is a bright yellow ochre
-burnt to give it warmth of tint; it dries and works well in water or
-oil, and is very durable. It is known also as Spanish ochre. Orange red
-is produced by a further oxidation than is required for red lead. It is
-a brighter and better color.
-
-=Greens.=--These, of course, may be made by mixing blue and yellow
-together, but such mixtures are less durable than those produced direct
-from copper, arsenic, etc. The latter are, however, objectionable
-for use in distemper or on wall papers, as they are very injurious
-to health. Brunswick green of the best kind is made by treating
-copper with sal-ammoniac. Chalk, lead and alum are sometimes added.
-It has rather a bluish tinge; dries well in oil, is durable, and not
-poisonous. Common Brunswick green is made by mixing chromate of lead
-and Prussian blue with sulphate of baryta. It is not as durable as
-real Brunswick green. Mineral green is made from bi-basic carbonate of
-copper; it weathers well. Verdigris is acetate of copper. It furnishes
-a bluish-green color, durable in oil or varnish, but not in water; it
-dries rapidly, but requires great care in using owing to its poisonous
-qualities. Green verditer is a carbonate of copper and lime; is not
-very durable. Prussian green is made by mixing different substances
-with Prussian blue. There are a number of other greens made from
-copper, but they all possess in a greater or lesser degree, the same
-qualities as the foregoing. Emerald or Paris green is made of verdigris
-mixed with a solution of arsenious acid. It is of a very brilliant
-color, but is very poisonous; is difficult to grind, and dries badly in
-oil. It should be purchased ready ground in oil, as in that case the
-poisonous particles do not fly about, and the difficulty of grinding
-is avoided. Scheele’s green and Vienna green are also arseniates of
-copper, and highly poisonous. Chrome green should be made from the
-oxide of chromium, and is very durable. An inferior chrome green is
-made, however, by mixing chromate of lead and Prussian blue, as above
-mentioned, and is called Brunswick green. The chrome should be free
-from acid or the color will fade; it may be tested by placing it for
-several days in strong sunlight.
-
-=Proportions of Ingredients in Mixed Paint.=--The composition of paints
-should be governed by the nature of the material to be painted. Thus
-the paints respectively best adapted for painting wood and iron differ
-considerably. The kind of surface to be covered, _i. e._, a porous
-surface requires more oil than one that is impervious. The nature and
-appearance of the work to be done. Delicate tints require colorless
-oil; a flatted surface must be painted without oil, which gives gloss
-to a shining surface. Again, paint used for surfaces intended to be
-varnished must contain a minimum of oil. The climate and the degree of
-exposure to which the work will be subjected; thus, for outside work
-boiled oil is used, because it weathers better than raw oil. Turps is
-avoided as much as possible, because it evaporates and does not last;
-if, however, the work is to be exposed to the sun, turps are necessary
-to prevent the paint from blistering. The skill of the painter also
-affects the composition; a good workman can lay on even coats with a
-smaller quantity of oil and turps than a man who is unskilful; extra
-turps, especially, are often added to save labor. The quality of the
-materials makes an important difference in the proportions used. Thus
-more oil and turps will combine with pure than with impure white lead;
-thick oil must be used in greater quantity than thin oil. When paint
-is purchased ready ground in oil, a soft paste will require less turps
-and oil for thinning than a thick paste. Lastly, the different coats
-of paint vary in their composition; the first coat laid on to new work
-requires a good deal of oil to soak into the material; on old work the
-first coat requires turpentine to make it adhere; the intermediate
-coats contain a proportion of turpentine to make them work smoothly,
-and to the final coats the coloring materials are added, the remainder
-of the ingredients being varied as already described, according as the
-surface is to be glossy or flatted.
-
-The exact proportion of the ingredients best to be used in mixing
-paints varies according to their quality, the nature of the work
-required, the climate, and other considerations. The composition of the
-paint for the different coats also varies considerably. The proportions
-given in the following table, must, therefore, only be taken as an
-approximate guide when the materials are of good quality.
-
- _Table showing the composition of the different coats of white paint,
- and the quantities required to cover 100 yards of newly worked pine._
-
- --------------+-------+--------+---------+---------+--------+---------+
-               |  RED  | WHITE  |   RAW   |  BOILED | TURPE- | DRIERS. |
-               | LEAD. | LEAD.  | LINSEED | LINSEED | NTINE. |         |
-               |       |        |   OIL.  |   OIL.  |        |         |
- --------------+-------+--------+---------+---------+--------+---------+
-               |       |        |         |         |        |         |
- _Inside work, |       |        |         |         |        |         |
- 4 coats       |  lbs. |   lbs. |    pts. |         |        |   lbs.  |
- not flatted._ |       |        |         |         |        |         |
-               |       |        |         |         |        |         |
- Priming**     |  ¹⁄₂  |    16  |     6   |     --  |    --  |   ¹⁄₄   |
-               |       |        |         |         |        |         |
- 2d Coat       |   *   |    15  |   3¹⁄₂  |     --  |   1¹⁄₂ |   ¹⁄₄   |
-               |       |        |         |         |        |         |
- 3d Coat       |   --  |    13  |   2¹⁄₂  |     --  |   1¹⁄₂ |   ¹⁄₄   |
-               |       |        |         |         |        |         |
- 4th Coat      |   --  |    13  |   2¹⁄₂  |     --  |   1¹⁄₂ |   ¹⁄₄   |
-               |       |        |         |         |        |         |
- _Inside work, |       |        |         |         |        |         |
- 4 coats and   |       |        |         |         |        |         |
- flatting._    |       |        |         |         |        |         |
-               |       |        |         |         |        |         |
- Priming       | 1¹⁄₂  |    16  |     6   |     --  |   ¹⁄₂  |   1-8   |
-               |       |        |         |         |        |         |
- 2d Coat       |   --  |    12  |     4   |     --  |   1¹⁄₂ |   1-10  |
-               |       |        |         |         |        |         |
- 3d Coat       |   --  |    12  |     4   |     --  |    0   |   1-10  |
-               |       |        |         |         |        |         |
- 4th Coat      |   --  |    12  |     4   |     --  |    0   |   1-10  |
-               |       |        |         |         |        |         |
- Flatting      |   --  |     9  |     0   |     --  |   3¹⁄₂ |   1-10  |
-               |       |        |         |         |        |         |
- _Outside work,|       |        |         |         |        |         |
- 4 coats       |       |        |         |         |        |         |
- not flatted._ |       |        |         |         |        |         |
-               |       |        |         |         |        |         |
- Priming***    |   2   |  18¹⁄₂ |     2   |    2    |    --  |   1-8   |
-               |       |        |         |         |        |         |
- 2d Coat       |   --  |    15  |     2   |    2    |    ¹⁄₂ |   1-10  |
-               |       |        |         |         |        |         |
- 3d Coat       |   --  |    15  |     2   |    2    |    ¹⁄₂ |   1-10  |
-               |       |        |         |         |        |         |
- 4th Coat      |   --  |    15  |     3   |   2¹⁄₂  |    0   |   1-10  |
-               |       |        |         |         |        |         |
- --------------+-------+--------+---------+---------+--------+---------+
-
-* Sometimes just enough red lead is used to give a flesh-colored tint.
-
-** Sometimes more red lead is used and less drier.
-
-*** When the finished color is not to be pure white, it is better to
-have nearly all the oil boiled oil. All boiled oil does not work well.
-For pure white a larger proportion of raw oil is necessary, because
-boiled oil is too dark.
-
-
-For every 100 square yards, besides the materials enumerated in the
-foregoing, 2¹⁄₂ lbs. of white lead and 5 lbs. of putty will be required
-for stopping.
-
-The area which a given quantity of paint will cover depends upon the
-nature of the surface to which it is applied, the proportion of the
-ingredients and the state of the weather. When the work is required to
-dry quickly, more turpentine is added to all the coats.
-
-In repainting old work, two coats are generally required, the old
-painting being considered as priming. Sometimes another coat may be
-deemed necessary.
-
-For outside old work exposed to the sun, both coats should contain
-one pint of turpentine and four pints of boiled oil, the remaining
-ingredients being as stated in the foregoing table. The extra
-turpentine is used to prevent blistering.
-
-In cold weather more turpentine should be used to make the paint flow
-freely.
-
-=Operations.=--All priming should be rubbed out as far as possible,
-for if it is flowed out loosely or laid on thick it will be apt to
-blister and run. In priming over spots, however, where _patching_ is
-being done, it may sometimes be necessary to leave the coat thick or
-heavy, for new work can never be re-touched and look well, after the
-work is second coated or finished; for such re-touching would show and
-spoil the whole work. In priming the paint should flow easily, and the
-brush should be pressed on to the wood so that the paint will be forced
-into the pores. In all cases it is a great saving of time to cover as
-large a surface as convenient before smoothing or finishing off. All
-work on the same surface should be finished at the one application,
-if possible, for “laps”--which form the junctions of work done at
-different times--should be avoided wherever they can, as they are sure
-to disfigure the work where they exist. Of course, it is sometimes
-impossible to avoid laps, but where they must occur, care should be
-taken to make the connection with as little “lap” as possible or it
-will be certain to show through the work when finished. The defect, if
-occurring during the second coating, will show much worse than in the
-priming coat.
-
-In painting, like everything else, a system must be followed to make
-much headway. Experience, perhaps, is the only effective teacher in
-this matter; and any rules laid down by us will have but little effect,
-if the operator does not, or can not systematize. The workman who
-follows a system will do nearly twice as much work with less labor,
-than the man who works only by the rule of thumb. In painting blinds,
-lattices, railings, cut brackets or other similar work, some method of
-operation should be adopted. A little observation on the part of the
-operator, will soon teach him the best methods to adopt in doing any
-particular kind of work.
-
-=Preparing the Work.=--In preparing work for painting, too much care
-cannot be exercised, as succeeding coats and the final result depend
-very much on the proper condition of the work when the priming coat is
-applied. First, all the rough places in the wood should be rubbed down
-with a block covered with sandpaper; and the mouldings and beads should
-be well cleaned out with sandpaper. Then (and this is a matter of prime
-importance) every knot, however small, every indication of sap on the
-wood, or discoloration of any kind, and every appearance of pitch or
-gum, should be carefully varnished over with white shellac varnish, if
-the work is to be finished in white or light tints--or with varnish
-made from unbleached or common shellac, if the work is to be finished
-in dark shades. The common shellac, in the latter case, answers
-equally well with the bleached article, and at less cost. This should
-not, under any circumstances, be neglected, as it is impossible, in the
-nature of things, otherwise to make good work.
-
-When work is to be finished with two coats, the putty used for
-stopping the nail-heads and other indentations should be made of white
-lead, worked up with common whiting to the proper consistency, and
-the filling should be done after the first coat shall have become
-well dried. When more than two coats are to be applied, the filling
-should be done between the first and second coats, with ordinary pure
-linseed-oil putty.
-
-It should be adopted as a rule, never to apply pure white as a priming
-coat; no matter whether the work is to be finished with one or four
-coats, the result will always be more satisfactory if the first coat be
-stained. A little finely-ground lampblack answers as well for this as
-anything.
-
-The only way to produce solid, uniform work, is by making every
-succeeding coat lighter in tint than the one which preceded it. This
-is especially the case with walls, and other extended flat surfaces.
-No matter what the finish is to be, the first coat should always be
-darker than the one which succeeds it; and the darker the shade of
-the finishing coat, the more important it is that this rule should be
-observed. If the work is to be finished with black, prime with black.
-If with green, let that be the color of all the preceding coats. If
-with blue, let that color be the ground work. What can be more stupid
-than applying to work which is to be finished in imitation of black
-walnut a priming coat of white? All work should be primed especially
-with regard to the finishing color.
-
-There is not half enough of dark colors used in priming applications.
-Venetian red, finely ground in boiled oil, deeply stained with
-black--and used very thin, in order to stain the wood as much as
-possible--is the best first coat for work which is to be finished
-in imitation of black walnut or other dark wood. The succeeding
-coats should be as dark as may be with a view to the proper shade of
-ground-work for the graining. In such case, if (as must happen in the
-ordinary course of events) the work becomes bruised or “chipped”--by
-an accidental knock from a chair leg or other article of house
-furniture--the general appearance of it is little impaired thereby.
-Quite the contrary, however, is the case if the underneath coats are
-white. Then, an accident of the kind before mentioned, shows a white
-spot, which staringly proclaims the work to be a delusion and a sham.
-Dark colors, too, as the Venetian red before mentioned, make better
-foundations than white lead or zinc. They dry harder and “rub” better,
-and, what is most important, cost less.
-
-This matter having been duly considered, let us now proceed to the
-coats succeeding the first. Before applying a second coat, the
-first should be carefully rubbed, and all the nail-heads and other
-indentations carefully stopped with pure linseed-oil putty--using
-for flat surfaces a square-bladed putty-knife. Puttying with the
-fingers should never be tolerated (good work is now the subject under
-consideration). This done, the whole should be carefully examined
-to ascertain if the oil in the former coat shall have revealed any
-resinous or pitchy spots, not previously covered with the shellac.
-These preliminaries being attended to, the work may be considered
-ready for a second coat. The directions as to rubbing with sandpaper
-are to be observed in all the succeeding coats. As a rule, on interior
-work, paint should never be applied to a surface which has not been
-previously rubbed.
-
-Sandpaper for fresh work and pumice-stone for old work. Always distrust
-the education of a painter in his trade who goes to work without a lump
-of pumice-stone, a sheet of sandpaper, a putty-knife, and a rag to wipe
-off the spatters--sparks, as the Irish not inaptly call them. Apropos
-of spatters! Every painter has seen (the result too of unpardonable
-negligence) plates of glass so covered with spatters, that to remove
-them would require more time than would serve to paint the woodwork of
-a “full-trimmed” window.
-
-In priming work which is to be finished in oak, finely-ground French
-ochre is recommended. The objection to this pigment, that it does
-not work smoothly and easily under the brush, has arisen from its
-coarseness. Finely ground in boiled oil, it works as smoothly as white
-lead, and makes an excellent foundation for the succeeding coats.
-
-For walls the first coat should be as dark in shade and as thin as
-practicable, the object being to stain the plaster as much as possible.
-Indeed, if the whole mass of plaster could be stained through and
-through, it would be desirable to so stain it.
-
-The use of glue in wall painting is of doubtful propriety. It should
-never, under any circumstance, be put on until after the second coat,
-and then rubbed on with a rag, very lightly. In first-class work,
-however, its use is not recommended.
-
-Plaster mixed with weak glue-size--which prevents its setting too
-rapidly--is the best material for stopping walls preparatory to
-painting, and each coat of paint should be carefully rubbed with worn
-sand-paper, before the succeeding coat is put on. For preparing walls
-a small pocket-trowel will be found a most serviceable tool, or a
-trowel-shaped putty-knife, which article has come into general use.
-
-The preparation of ceilings for whitewashing (or kalsomining as this
-operation is sometimes pretentiously called) is an operation requiring
-some skill and knowledge of “how to do it.” A dirty ceiling, which has
-been subjected to successive coats of whitewash, whether of lime, or
-of whiting and glue-size, cannot be made solidly and smoothly white by
-additional whitewashing. The mass has become spongy, and sucks up the
-water so quickly that the material cannot be evenly distributed. In
-such case the only way is to begin anew, to go at once “down to hard
-pan” by removing all the previous applications by washing and scraping.
-This is best effected with a broad-bladed square-pointed putty-knife,
-keeping the ceiling wet meanwhile. Plaster (hard-finish) is not of
-uniform density, and some spots are much more absorbent than others. To
-remedy this a mixture of soft soap and alum, dissolved in water, should
-be applied with a broad kalsomine brush.
-
-It is not assumed that mere verbal instructions can teach the art of
-whitening or tinting walls and ceilings in water-colors. To produce
-good results, great skill in preparing the materials and dexterity in
-manipulation are required; and such work should be intrusted only to
-competent hands. A mass of unsuitable material may be cheaply put upon
-a ceiling; but when the same shall require repainting, the cost of
-labor will be greater in removing the previous coating, than will be
-the whole cost of repainting. These remarks, too, apply equally to all
-kinds of painting; and reference is made to the whitening and tinting
-of ceilings only, because of the general impression that this kind of
-work may be performed by anybody.
-
-The materials and tools used in painting are too costly to wasted and
-worn by incompetent handling. “Painting just to keep the gardener or
-hostler out of idleness,” will prove in most cases a left-handed
-economy. Such experiments are prudent only when the services of skilled
-workman cannot be obtained.
-
-=Taste in Color.=--In rooms to be lived in, simple white for color
-of walls and paint, as well as any extremely dark treatment, should
-be avoided. The walls of rooms should be such backgrounds as will
-best suit the complexions and dresses of the larger number of people.
-Delicate white intensifies by contrast any unpleasantness or want of
-perfection; extreme dark would make people look white and ghastly.
-Neutral colors will be found the best--generally some grey or cool
-color that will contrast with warmth of complexions. On no account let
-an absolutely pure color be used for general surfaces. Nature provides
-no such color in pigments. Her yellows are greenish or reddish, and
-so on. Nor does she use it to any extent in inanimate nature. So much
-so that you will find that if you have much difficulty in describing
-a color, you may be certain it is good; the more difficulty the more
-beauty. Nature trusts mainly to gradations of tone, using vivid color
-in small quantities only, as in the touches on bright flowers and
-butterflies. This teaching of nature will be found seconded in the
-pictures of the greatest artists, and in following such teaching, it is
-necessary to consider the object to which (in domestic work, say) the
-rooms are to be devoted. A drawing-room, it is agreed, should be light,
-festive and gay; dining-room at once more sober, and with more depth
-and warmth, as befits its uses. You must also consider the light and
-shade; openings, and the positions of them; for these may (or may not)
-effect for you contrast of tone, and may even touch the question of the
-good sense of your whole scheme of decoration.
-
-In a lecture delivered before the British Architectural Association,
-on this subject, the lecturer suggested that in the treatment of a
-drawing-room the walls should be a light neutral grey, fawn color,
-or pale green (not dark, but not white). Dados are suitable for all
-rooms, even drawing-rooms. They may be made of wood, painted as the
-room doors, or of stamped leather, or of the French paper imitations
-of stamped leather. A frieze does not interfere with the heads of
-sitters, and adds much interest if it has its sentiment or story. If
-flowers form part of your decorations, have no relief, no imitation
-of nature’s light and shade. A wall must be a wall; if, neglecting
-this, you introduce illusions to the eye, the sense of solidity will
-not be suggested. The Japanese decorate on correct principles, with
-truth to the idea derived from nature, and truth in art, adaptation of
-representation to materials and method. As regards the woodwork there
-should be no graining anywhere; its aspect, however well executed,
-is repulsive. Real woods are always beautiful. Plain painting may be
-darker or lighter than the general wall surfaces; both will look well.
-The doors may have stencilled decorations in angles of panels; birds or
-butterflies, or plants, or any beautiful natural objects will supply
-motives. The ceilings should rarely be wholly white, except of halls or
-where the light is defective. Papered ceilings look well. The use of
-gold is generally satisfactory; it reflects a warm tone on everything
-below. Put a good amount of color on a ceiling--not, however, making it
-so dark as to bring it too close to the eye. The carpet must be either
-lighter or darker than the walls. This is following out the artist’s
-rule, to make either background or foreground run into the figure. If
-this is not done in painting, a woman in white satin, for instance,
-against a dark floor and dark walls, will look like a cut-out figure
-stuck on, and the same sort of result would occur in rooms. As in
-ordinary life dresses are dark in color, where a light wall tone has
-been recommended, the carpet will have to be darker than the walls. Not
-too vivid in color, however, and of course, no flowers, ferns, birds’
-nests, and such like fearful things. _Furniture and hangings_ should
-not be too much alike in color; have, say, the carpet one tone, the
-coverings of the furniture another, and the curtains and other hangings
-a third. Have summer and winter hangings and furniture coverings; those
-for the former light and cheerful, the others with more warmth, and
-suggestive of comfort and home life. A table-cloth, occasional chair,
-or a rug, may supply a bit of effective contrast with prevailing hues
-of hangings, etc., and a spot of vivid color in a vase or some small
-hanging will complete the formal decoration of the room.
-
-=Graining.=--The art of imitating the grain of the more expensive
-woods has been brought to a great degree of perfection, but of late
-years so many unskilled workmen have undertaken to imitate the natural
-grain of wood with such imperfect results, that this beautiful branch
-of painting has fallen into partial disuse. A few remarks, therefore,
-to the uninitiated may not be inappropriate in this work. Mahogany,
-satinwood, rosewood, mottled and walnut roots, maple, and some
-others, are frequently imitated; and it is seldom that a house is
-finished without some graining being introduced. The imitation of the
-above-mentioned woods are best performed in ground distemper (water
-colors) which are always preferable and more economical purchased
-ready prepared. Oak, chestnut, ash and similar long-grained woods, are
-best executed in oil-color, particularly for outdoor work. For drawing
-rooms, delicate party colors are preferable, as they harmonize better
-with the neutral tints on the walls or delicate tinted papers. The
-process of graining is very simple. To be an accomplished grainer,
-practice and an artistic taste is very necessary. Too frequently
-the imitation is overdone, the shading too deep and obtrusive, and
-the work made too glaring with figure and varnish, has an unnatural
-appearance; a grainer should always avoid attempting to over-do nature.
-The following is an approved method:--The surface on new wood should
-be prepared with three coats of oil paints for the ground color, and
-regulated in shade by the color of the wood to be imitated, making due
-allowance for the graining tint that is to cover it. The ground colors
-should always be perfectly dry before the graining is commenced. The
-painter then preparing small quantities of the colors he requires,
-applies it thinly and evenly over the surface and proceeds to wipe
-out with his thumb and a piece of white cotton cloth the figure of
-the grain. Some grainers use rubber instead. We cannot here explain
-all the different processes for the imitation of the grain of wood.
-Many painters have a method of their own, which from long practice
-produce excellent results. In some cases, graining in distemper may
-be adopted with great success for indoor work, and if the colors are
-put on thin, so that the varnish will penetrate through into the
-ground color, this kind of graining is as durable as oil-color, and is
-susceptible of being made far more beautiful, and soft looking in the
-imitation of mottled woods. For blending distemper colors, a badger’s
-hair blender should be frequently used to soften down and blend the
-tints where necessary; but for blending oil-color, in order to produce
-an elongation of the grain, we have found a flat varnish brush, kept
-moderately damp and clean, preferable to the badger’s hair. When the
-work is dry, the shades necessary for some woods should be laid on
-in distemper-color (some use thin oil-colors) and then covered with
-two coats of good oil varnish. Common varnish should never be used on
-outside work.
-
-=Oak Graining.=--In oak graining the color is made in the following
-manner:--Procure some finely-ground burnt umber and raw sienna (or
-Vandyke brown and raw sienna if a dark oak be required), and thin
-with equal parts of linseed oil and turpentine. Add a large quantity
-of patent dryer to make it stand the comb. The color is now ready
-for use. The graining color is brushed over the work in the ordinary
-way with a pound brush, care being taken not to put too much color
-on, else it is liable to look dirty. A dry dusting brush is now used
-to stipple with, which, if properly done, will distribute the color
-evenly. It is now ready for combing. First take a medium or coarse-cut
-gutta-percha comb, and draw it down one side of the panel, then use a
-finer one to complete it. This comb will leave the marks of the grain
-in clear unbroken lines from top to bottom of the panel. We now take
-a fine steel comb and go over the whole of the previous combing; but
-in drawing this comb down, we either move it in a slanting or diagonal
-direction across the previous combing, or draw it down with a quick and
-short wavy motion and curl. Both the former and latter motions will
-break up the long lines left by the gutta-percha comb into short bits,
-which, of course, represent the pores or grains of the real wood. Next
-take out the lights of figuring or veining. This is effected by means
-of a piece of washleather, held tightly over the thumb nail. Every time
-a few lights are wiped out the leather should be moved slightly, so
-that the same part of the leather will not be used twice, thus ensuring
-clean work. There are various methods of doing this, but they require
-much more practice. When the figures are all wiped out they will
-require to be softened. By softening we mean the imitation of those
-half shades seen upon and about the figures in the real wood. These
-are imitated by doubling a piece of washleather into a small roll,
-and with the side of this the grain is partly wiped away or softened.
-Care should be taken not to wipe off the whole of the grain. If the
-operator has a piece of the real wood to look at occasionally he will
-be materially assisted. As soon as the oil color is dry it should be
-over-grained. This is effected in water color. Next go over the work
-with a bit of sponge and soap to prevent it “cissing.” Before laying
-on the over-graining, wash out the sponge and wipe the work. It is now
-ready to receive the color. Grind up finely a little vandyke brown in
-water, and dilute it with table-beer and water. It is then ready. Take
-a flat hog-hair brush, 3 in. to 4 in. wide, dip it in the color and
-draw it over the work, in most cases in the direction of the combing,
-but occasionally crossing. The hair of the brush, being thinly placed,
-will separate into patches, and hence the color will be deposited in
-streaks, resembling the natural gradations which the wood presents. If
-you have not a brush of this kind a sponge may be used to put in the
-streak and to soften off. Then dry varnish in the usual way.
-
-=Spirit Graining for Oak.=--2 lbs. whiting, ¹⁄₄ lb. gold size, thinned
-down with spirits of turpentine, then tinge your whiting with vandyke
-brown and raw sienna ground fine. Strike out your light with a pitch
-or piece of rubber dipped in turpentine, tinged with a little color
-to show the lights. If your lights do not appear clear, add a little
-more turpentine. Turpentine varnish is a good substitute for the above
-mentioned. This kind of graining must be brushed over with beer with a
-clean brush before varnishing. Strong beer must be used for glazing up
-top graining and shading.
-
-=Old Oak in Distemper.=--To make an exceedingly rich color for the
-imitation of old oak, the ground is a composition of stone ochre or
-orange chrome and burnt sienna; the graining is burnt umber or vandyke
-brown, to darken it a little. The above colors may be used for oil as
-well.
-
-=Pollard Oak.=--Ground color, a mixture of chrome yellow, vermilion
-and white lead, to bring it to a rich light buff. The graining colors
-are vandyke brown and small portions of raw and burnt sienna and lake,
-ground in beer or vinegar. Fill a large brush with color and spread it
-over the surface to be grained, and soften with a badger hair brush.
-Take a moistened sponge and dapple round and round in kind of knobs,
-then soften very lightly, after which draw a softener from one set of
-knobs to the other while wet, to form a multiplicity of grain, and
-finish the knobs with a hair pencil, in some places in thicker clusters
-than others. When dry, put the top grain on in a variety of directions,
-and varnish with turpentine and gold size; then glaze up with vandyke
-and strong beer. Finish with copal varnish. This is for distemper only.
-
-=Mottled Mahogany.=--The ground is prepared with the best Venetian red,
-red lead, and a small proportion of white lead. The graining colors are
-burnt sienna, ground in beer, with a small portion of vandyke brown.
-Cover the surface to be grained, soften with a badger hair brush, and
-while wet take a damp sponge and go over the lights a second time, in
-order to give a variety of shade; then blend the whole of the work with
-the badger softener. Put the top grain on with the same color. When
-dry, varnish. For distemper only.
-
-=Rosewood.=--Mix vermilion and a small quantity of white lead for the
-ground. Take rose-pink, tinged with a little lamp-black or vandyke
-brown, and grind very fine in oil, then take a flat graining brush,
-with the hairs cut away at unequal distances, and cut down the grain as
-if wending round a knob. When nearly dry, take a graining comb that is
-used for oak, and draw down the grain. This will give it the appearance
-of nature. Then varnish. This makes an excellent and durable imitation.
-
-=Another for Rosewood.=--This ground is prepared with vermilion and
-small quantities of white lead and crimson lake. When the ground is
-dry, and made very smooth, take vandyke brown, ground in oil, and
-with a very soft tool spread the color over the surface in different
-directions, forming a kind of knots. Before the work is dry take a
-piece of leather, and with great freedom strike out the light veins;
-having previously prepared the darkest tint of vandyke brown or gum
-asphaltum, immediately take the flat graining brush with few hairs in
-it, called a top grainer, and draw the grain over the work and soften.
-When varnished, the imitation will be excellent.
-
-=Curled Maple in Oil.=--Prepare a rich ground by mixing chrome yellow,
-white lead and burnt sienna. For the graining color, grind equal parts
-of raw sienna and umber with a little burnt copperas and turpentine,
-and mix it with a small quantity of grainer’s cream, thin the color
-with oil; then fill a tool and spread the surface even and rub out the
-lights with sharp edge of a piece of buff leather, wiping it frequently
-to keep it clean; soften the edges of the work very lightly, and when
-dry, put on the top grain with burnt umber and raw sienna ground in
-beer with the white of an egg beat into it. Varnish.
-
-=Curled Maple in Distemper.=--Prepare a light yellow for the ground,
-by mixing chrome yellow and white lead, tinged with Venetian red. The
-graining color is a mixture of equal portions of raw sienna and vandyke
-brown, ground in beer. Spread the surface to be grained in an even
-manner; then with a piece of cork rub across the work to and fro, to
-form the grains which run across the wood; soften, and when dry lightly
-top grain with the same color. Varnish.
-
-=Bird’s Eye Maple in Oil.=--The ground is a light buff, prepared with
-white lead, chrome yellow and a little vermilion or English Venetian,
-to take off the rawness of the yellow. The graining color is equal
-parts of raw umber and sienna, ground in oil to the proper consistency.
-Spread the surface of the work with this color, and having some of the
-same prepared a little thicker, immediately take a sash tool or sponge
-and put on the dark shades, and soften with a badger hair brush; before
-the color is dry put on the eyes by dabbing the dotting machine on the
-work, or by striking the colors short and sharp with the tips of the
-fingers, then blend slightly the eyes in one direction only. When dry,
-put on the grain with the camels hair pencil on the prominent parts to
-imitate the small hearts of the wood. The same graining colors to be
-ground in here for distemper.
-
-=Walnut in Oil.=--The ground is formed with ochre, Indian red, umber,
-and white. The graining coat is similar to that described under the oak
-heading, and is prepared with vandyke brown; and for the darker shades,
-fine ivory-black; the wiping out and blending to resemble that in
-mahogany; the fine dark veins of ivory-black to be lightly and wavily
-drawn over the work after it is blended. It is then ready for the
-varnish.
-
-=Satin-wood in Distemper.=--This ground is prepared with white lead,
-stone ochre and small quantities of chrome yellow and burnt sienna. The
-graining color is one-third of raw sienna and whiting, ground in pale
-ale, very thin; then spread the color over the surface to be grained.
-While wet soften, and have ready a wet roller or mottling brush, in
-order to take out the lights; blend the whole with the badger hair
-brush, and with the same color put on the top grain. Varnish.
-
-=To Imitate Granite in Oil.=--For the ground color, stain your white
-lead to a light lead color, with lamp-black and a little rose-pink.
-Throw on black spots with a coarse brush or graniting machine. A pale
-red also, and fill up with white before the ground is dry.
-
-=Another for the Same.=--A black ground; when half dry throw in
-vermilion, a deep yellow, and white spots.
-
-=Marble.=--For _White Marble_, get up a pure white ground, then hold
-a lighted tallow candle near the surface, and allow the smoke to form
-the shades and various tints desired. This will make a very handsome
-imitation. _Black Marble._--Imitation is made by streaking a black
-surface with colors, using a feather and pencil. Another plan is to
-get up a smooth black surface; then take the colors, green, yellow,
-red, white, etc., ground thick in gold size, and streak the surface
-with a stick or hair pencil. Allow it to dry, and apply a heavy coat
-of lamp-black and yellow ochre mixed, mixed rough stuff. When all is
-hard, rub down to a level surface with lump pumice-stone, varnish and a
-beautiful variegated marble will be the result.
-
-=Red Marble.=--For the ground put on a white tinged with lake or
-vermilion; then apply deep red patches, filling up the intermediate
-spaces with brown and white mixed in oil; then blend them together; if
-in quick drying colors, use about half turpentine and gold size. When
-dry, varnish, and while the varnish is wet, put in a multitude of fine
-white threads, crossing the whole work in all directions, as the wet
-varnish brings the pencil to a fine point.
-
-=Jasper Marble.=--Put on a white ground lightly tinged with blue; then
-put on patches of rich reds or rose-pink, leaving spaces of the white
-ground; then partly cover these spaces with various browns to form
-fossils, in places running veins; then put in a few spots of white in
-the centre of some of the red patches, and leaving, in places, masses
-nearly white. When dry use the clearest varnish.
-
-=Blue and Gold Marble.=--For the ground color put on a light blue;
-then take blue, with a small piece of white lead and some dark common
-blue, and dab on the ground in patches, leaving portions of the ground
-to shine between; then blend the edges together with a duster or a
-softener; afterwards draw on some white veins in every direction,
-leaving large open spaces to be filled up with a pale yellow or gold
-paint; finish with some fine white running threads, and a coat of
-varnish at last.
-
-=Black and Gold Marble.=--This description of marble is very chaste,
-and is in great demand. The ground is a deep black, or a dead color,
-in gold size, drop black and turpentine; second coat, black japan.
-Commence veining; mix white and yellow ochre with a small quantity of
-vermilion to give a gold tinge; dip the pencil in this color, and dab
-on the ground with great freedom some large patches, from which small
-threads must be drawn in several directions.
-
-In the deepest part of the black a white vein is sometimes seen running
-with a number of small veins attached to it, but care must be taken
-that these threads are connected with and run, in some degree, in the
-same direction with the thicker veins. If durability is not an object,
-and the work required in a short time, it may be executed very quickly
-in distemper colors, and when varnished, it will look well.
-
-=Compound Colors.=--The following tints can be formed by mixing the
-colors as below. The shades can be made to suit any taste by the
-exercise of a little judgment in proportioning the colors:
-
-_Cream._--White lead, yellow and red.
-
-_Drab._--White, Prussian blue and vermilion.
-
-_Fawn._--White, stone ochre and vermilion.
-
-_Flesh._--Lake, white lead, and a little vermilion.
-
-_Grey_, Pearl--White lead, Prussian blue, and a very little black.
-
-_Grey_, Flaxseed.--White lead, Prussian blue, and a little lake.
-
-_Gold._--Massicot, or Naples yellow, with a small quantity of Realgar
-and Spanish white.
-
-_Green_, Light willow.--White, mixed with verdigris.
-
-_Green_, Grass.--Yellow pink with verdigris.
-
-_Green_, Pea.--White lead and chrome or Paris green.
-
-_Green_, Dark.--Black and chrome green.
-
-_Green_, Olive.--Prussian blue and French yellow; mix to the tints
-required. This is a cheap and handsome color for outside work, such as
-doors, carts, wagons, railway cars, etc.
-
-_Jonquil._--Yellow, pink and white lead. This color is only for
-distemper.
-
-_Lead._--Prussian blue and white, with a light shade of white.
-
-_Olive._--For distemper, use indigo and yellow pink mixed with whiting
-or white lead powder.
-
-_Olive._--Red, green, or black and yellow.
-
-_Pearl._--White lead, Prussian blue and red.
-
-_Purple._--Dark red mixed with violet.
-
-_Purple._--White, Prussian blue and vermilion.
-
-_Red_, Dark.--English Venetian, red lead and litharge.
-
-_Red_, Light.--Venetian red, and red lead in equal parts.
-
-_Red_, Deep.--Vermilion, with a very small quantity of red lead.
-
-_Stone._--White, with a little spruce ochre.
-
-_Straw._--White lead and yellow.
-
-_Snuff._--Yellow, sienna and red.
-
-_Slate._--White lead, black, red and blue.
-
-_Steel._--Ceruse, Prussian blue, fine lac and vermilion.
-
-_Salmon._--White lead, yellow and red.
-
-_Walnut._--Tree color; two-thirds white lead and one-third red ochre,
-yellow ochre and umber, mixed according to the shade sought. If veining
-is required, use different shades of the same mixture. (See article on
-graining).
-
-_Yellow_, Light.--French yellow and white lead. A little red lead may
-be used.
-
-_Another._--French yellow, white and red lead.
-
-_Another._--A mixture of a small portion of Prussian blue, French
-yellow, white lead and Turkey umber and burnt vitriol, or litharge,
-will produce different shades of yellow, according to the preponderance
-of one of the above colors.
-
-_Yellow._--Bright for floors, white lead, French yellow, chrome yellow
-a little, some red lead and litharge; mix with equal parts of boiled
-oil and turpentine and use it thin.
-
-_Yellow_, Dark.--French yellow and a little red.
-
-_Yellow_, Lemon.--Yellow pink, with Naples yellow. For distemper only.
-
-
-
-
-MISCELLANEOUS RECEIPTS.
-
-
-=For Iron.=--A good paint for preserving iron exposed to the weather,
-is made as follows:
-
-Pulverized oxides of iron, such as yellow and red iron ochres, or brown
-hematite iron ores, finely ground, and simply mixed with linseed oil
-and a dryer.
-
-White lead applied directly to iron is thought to have a corrosive
-effect. It may be applied over more durable colors.
-
-Red lead, when pure, is very durable. An instance is recorded of iron
-painted with it having been under water for nearly 50 years, and had
-not been affected by rust.
-
-Sheet iron, before being used for roofs or other outside purposes,
-should be heated and dipped into hot linseed oil, which will penetrate
-into it. Tinned iron in roofs has been found to corrode quicker than in
-former years, owing to the more general use of coal.
-
-=Paint for Rusty Iron.=--Black Japan varnish, mixed with turpentine,
-to make it thinner if necessary, is one of the best preventatives; but
-the iron must be dry when you put it on. If you can warm the iron when
-painting it, so much the better. If not sufficiently opaque, you may
-put in dry finely pulverized paint, such as lamp-black. Red lead, with
-linseed oil is also a good paint for rusted iron; so are the mineral
-reddish-browns which consist of oxide of iron; they become very hard,
-and are used for the iron-work of the elevated railroads in this city.
-
-=To Paint on Stucco.=--Great care is required in painting upon
-stucco, for the work must not only be thoroughly dry, but free from
-any liability of dampness; that is to say, the walls themselves must
-be dry. It is, consequently, usual to allow the stucco to remain for
-several months before it is painted; and this is especially necessary
-when it covers over a large surface, as in the walls of churches,
-chapels and theatres. If the paint be applied too soon, the work will
-have a blotched appearance, and be probably filled with small vesicles,
-formed during the evaporation of the water. When the work is dry, it
-may be prepared by covering it with a coat of linseed oil, boiled
-with dryer. This must be laid on very carefully, or the face will be
-irregular. The color may then be applied, and four coats will not be
-too much, the work being new. Persons are generally so anxious to have
-their buildings finished, that they disregard the future appearance of
-the work, and within a few weeks after the application of the stucco,
-cover it with paint. But it would, in all cases, be sufficient to wash
-the surface with distemper, as it would give a finished appearance to
-the building, and make it less necessary to hurry the work. When the
-work is sufficiently dry to receive the oil-colors the distemper color
-should be removed by washing, and when the stucco is dry apply the
-oil-color. The tints may be regulated by mingling different colors, as
-in all other kinds of painting.
-
-Plastered walls should not be painted until they are thoroughly dry,
-and all settling in a new house has taken place. If painted too soon
-they will blister.
-
-Unseasoned wood should never be painted, as it stops the pores of the
-wood and the sap acidulates, causing dry rot. Greasy surfaces must be
-washed with water mixed with lime or soda, otherwise the paint will not
-adhere to it.
-
-=Mixing Quick Drying Paint.=--Venetian blinds should be painted to dry
-dead, then varnish; but few take this trouble. Mix the paint as under:
-White lead, boiled oil, and the least drop of turps; mix sufficient
-of each to form a creamy mixture; then add about 1 oz. patent drier
-to each 1 lb. of paint. If you want the paint darker use enough burnt
-umber to give the required tint. If you want to varnish, omit the oil
-and use turps.
-
-=Transparent Paint for Glass.=--Take for blue pigment, Prussian blue;
-for red, crimson lake; for yellow, Indian yellow; and for other shades,
-a mixture of the appropriate primary colors. Rub them in a size made
-as follows: Venice turpentine, 2 parts; spirits of turpentine, 1 part,
-and apply with a brush. The colors are moderately fast unless exposed
-too long to direct sunlight. A solution of the various aniline dyes in
-shellac varnish has also been recommended.
-
-=Gilding.=--Gold leaf is the only successful application. First put
-on a coat of Japan gold size, and when that is “tacky,” and nearly
-dry, lay on the gold-leaf and dab it with a small tuft of cotton-wool.
-Where you buy the gold-leaf you can buy a gilder’s tool for applying
-it; but in order to get a smooth surface it must (when perfectly dry)
-be burnished with an agate burnisher, which you will also get at the
-color-shop, but you will not be able to burnish gold-leaf on the bare
-wood. You can, if you like, varnish with pale copal varnish.
-
-=Gilding on Glass.=--Glass letters are gilt the same way as you would
-a name on a glass door. You can easily get a good burnish if you take
-a little trouble. Get some of the best cotton wool at a chemist’s, and
-well polish the gold with it; the gold must be thoroughly dry. Then go
-over it with your size boiling hot; do not touch the same place twice
-with the brush, or you will bring the gold up; repeat the process three
-or four times, being sure to have your gold dry each time, the hotter
-the size the brighter will be the burnish; be careful, however, and not
-break the glass with the heat.
-
-=Gilding Fretwork, etc.=--The first thing to be done is to whiten the
-work. To do this scrape some whitening very fine, place it in a pipkin
-with a lump of gilder’s size, and water sufficient to make it of the
-consistency of thick cream, when heated over a fire; then, with a
-camel-hair pencil, paint it on the object several times, allowing
-each coat to dry before applying the next. When the several coatings
-have raised it to the thickness of ¹⁄₁₆ in., set it aside for twelve
-or more hours, to harden; when hardened, smooth the surface with very
-fine sandpaper first, and finally with a piece of cork; when using
-the cork frequently dip it in water, and, when practicable, use it in
-a circular motion. Thus far successful, the next thing is to lay on
-the gold. To gild, then, dissolve some gilder’s--not common size--in
-water, and heat, and with a full brush lay it on the surface of the
-object. Cut the gold leaf, on a pad of buff leather, with a clean
-cut of the knife (much easier said than done; perseverance, however,
-with the cost of a book or two of gold mutilated, and a large amount
-of patience exhausted, will overcome the difficulty), to the size
-required; take these up on a tip (a row of long hairs placed between
-two bits of cardboard)--the professional way to do this is to strike
-the hair of the tip against the gilder’s own whiskers or hair--and
-gently lay them on the surface of the object, taking care that each
-succeeding piece slightly overlaps the preceding. When dry, a small
-piece of fine sponge, dipped in a weak solution of size water, should
-be gently passed over it to give a uniform appearance. If the bright
-gold requires to be deadened, deep ormolu should be used in a similar
-way after sizing. The yellow used for the ungilt portions consists of
-gilder’s yellow, dissolved in size water, and is put on with a brush.
-
-=Painting on Gilded Panels.=--There is no preparation needed to paint
-in oils on a gilded panel. No mediums are required, the ordinary oil
-colors being used unmixed. If required to dry flat and to remain so,
-they are mixed with turpentine and left unvarnished. If the shiny look
-of oils is to be retained, they are slightly diluted with boiled oil,
-and varnish with white hard varnish when dry.
-
-=Gilding on Wood.=--To gild in oil, the wood, after being properly
-smoothed, is covered with a coat of _gold size_, made of drying linseed
-oil mixed with yellow ochre; when this has become so dry as to adhere
-to the fingers without soiling them, the gold leaf is laid on with
-great care and dexterity, and pressed down with cotton wool; places
-that have been missed are covered with small pieces of gold leaf, and
-when the whole is dry, the ragged bits are rubbed off with cotton. This
-is by far the easiest mode of gilding; any other metallic leaves may
-be applied in a similar manner. _Pale leaf gold_ has a greenish yellow
-color, and is an alloy of gold with silver. Dutch gold leaf is only
-copper colored with the fumes of zinc; being much cheaper than gold
-leaf, is very useful when large quantities of gilding are required in
-places where it can be defended by the weather, as it changes color if
-exposed to moisture, and it should be covered with varnish. _Silver
-leaf_ is prepared every way the same as gold leaf; but when applied,
-should be kept well with varnish, otherwise it is liable to tarnish; a
-transparent yellow varnish will give it the appearance of gold.
-
-Whenever gold is fixed by means of linseed oil, it will bear washing
-off, which burnished gold will not.
-
-=To Gild Letters.=--When the sign is prepared as smooth as possible, go
-over it with a sizing made by white of an egg dissolved in about four
-times its weight of cold water; adding a small quantity of fuller’s
-earth, this to prevent the gold sticking to any part but letters. When
-dry, set out the letters and commence writing, laying on the size as
-thinly as possible, with a sable pencil. Let it stand until you can
-hardly feel a slight stickiness, then go to work with your gold leaf
-knife and cushion, and gild the letters. Take a leaf upon the point of
-your knife, after giving it a slight puff into the back part of your
-cushion, and spread it on the front part of it as straight as possible,
-give it another slight puff with your mouth to flatten it out. Now cut
-it to the proper size, cutting with the heel of your knife forwards.
-Now rub the tip of the knife lightly on your hair; take up the gold
-on the point, and place it neatly on the letters; when they are all
-covered, get some very fine cotton wool, and gently rub the gold until
-it is smooth and bright. Then wash the sign with clean water to take
-off the egg size.
-
-=Sign Writing in Colors, Etc.=--On an oak ground ornamental letters, in
-ultra-marine blue, filled in with gold and silver leaf, blocked up and
-shaded with burnt sienna. _Another._--Gold letters on a white marble
-ground, blocked up and shaded with a transparent brown or burnt sienna.
-_On glass._--Gold letters shaded with burnt sienna. _Another._--Gold
-letters shaded with black on a _scarlet_ or _chocolate ground_. On a
-rich _blue ground_ shaded with black, look very well. _On a purple_
-ground, pink letters shaded with white. Mix ultra-marine and vermilion
-for a ground color, white letters shaded with grey. _Vermilion
-ground_, chrome yellow stained and vermilion and lake, for the letters
-shaded with black.
-
-A substitute for the above colors: Rose-pink and red lead; and for the
-letters stone yellow, white lead and Venetian red. Mix your colors for
-writing in boiled oil, and use for dryer gold size. Other good grounds
-for gold letters are, blues, vermilion, lake and Saxon. When your sign
-is ready for gilding, follow the directions under the head “_To Gild
-Letters on Wood_.”
-
-=Gilder’s Size.=--Drying or boiled linseed oil, thickened with yellow
-ochre, or calcined red ochre, and carefully reduced to the utmost
-smoothness by grinding. It is thinned with oil of turpentine.
-
-=Staining Wood a Dull Black.=--The work required to be stained should
-be colored with drop-black and size. When this is thoroughly set it
-should be papered off and colored again, and then be papered off again.
-The polish should also be stained with drop black and a little indigo.
-Next polish to a perfect surface, and let it set. After the wood has
-absorbed all the polish possible, polish again, and dull it with the
-finger dipped in fine emery; a fine metallic surface will thus be
-obtained.
-
-=Staining Floors.=--The best and cheapest and only permanent stain
-for floors is permanganate of potash. Buy it by the ¹⁄₄ lb., and at
-a wholesale chemist’s; mix about ¹⁄₄ oz. in a quart of water. Apply
-freely and quickly to a dry floor with either cloth or brush, the
-latter if you care for staining your hand. Repeat the process for
-a very dark oak color; when dry, oil with burnt oil or beeswax and
-turpentine; you cannot wash this color out. Benson’s stain is only
-permanganate of potash. At first for a few moments the color is bright
-magenta, but this at once changes to a dark permanent brown. For fifty
-cents a whole house may be stained.
-
-=Varnishing Wood.=--After smoothing wood with veneer scraper, brush on
-thick coat of shellac varnish; then use fine sandpaper, No. 0. Do this
-three times for close grained woods, such as black cherry, and four
-times for porous wood, such as chestnut. Have two dishes. Into one put
-finely ground pumice; into the other raw or boiled oil. Apply a mixture
-of these with a piece of hair-cloth or broad-cloth. Don’t rub too hard.
-Finish up with rotten stone, which will remove pumice and oil. Above is
-a good dead varnish. _Another._--Take encaustic wax, heat, and apply
-with a cork; rub in well, brush on thin coat shellac varnish, finish
-with pumice and oil.
-
-=Solvent for Old Putty and Paint.=--Soft soap mixed with a solution
-of potash or caustic soda, or pearlash and slaked lime mixed with
-sufficient water to form a paste. Either of these laid on with an old
-brush or rag, and left for some hours, will render the putty or paint
-easily removable. _Another._--Slack three pounds of stone quicklime in
-water, then add one pound of pearlash, and make the whole about the
-consistence of paint. Apply it 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 easily taken out of the frame. _Another._--Break the putty
-up in lumps the size of a hen’s egg, add a small portion of raw linseed
-oil, and water sufficient to cover the putty, boil this in an iron
-vessel for about ten minutes and stir it when hot. The oil will mix
-with the putty, then pour the water off and it will be like fresh made.
-For removing hard putty from a window sash take a piece of square iron,
-make the same red hot, and run it along the putty till it gets soft.
-The putty will peel off without injuring the wood work.
-
-=Wash for Outside Work.=--For woodwork slake half a bushel of fresh
-lime, by pouring over it boiling water sufficient to cover it 4 or 5
-inches deep, stirring it until slacked; add 2 lbs. of sulphate of zinc
-(white vitrol) dissolved in water. Add water enough to bring all to the
-consistency of thick whitewash; it may be colored by adding powdered
-ether, Indian red, umber, etc. If lampblack is added to colors, it
-should first be thoroughly dissolved in alcohol. The sulphate of zinc
-causes the wash to become hard in a few weeks.
-
-=Another for Brick, Masonry, and Rough-cast.= Slake half a bushel
-of lime as before; then fill a barrel ²⁄₃ full of water, and add a
-bushel of hydraulic cement. Add 3 lbs. of sulphate of zinc previously
-dissolved in water. The whole should be of the thickness of paint. The
-wash is improved by stirring in a peck of white sand, just before using
-it. It can be colored as before described.
-
-=French Polish.=--Coat with one or more coats of shellac and rub down
-smooth; make a rubber by rolling up a piece of flannel about 3 or 4
-inches wide until it is about 1¹⁄₂ inches in diameter, and tie it round
-with cord. Lay the end of the rubber on the mouth of a thin necked
-bottle and apply the varnish to it, having previously shaken up the
-contents in the bottle; then enclose the end of the rubber with a piece
-of soft linen doubled, and moisten the face of the linen with a little
-raw linseed oil.
-
-Pass the rubber with a quick, light and circular motion over the
-surface until the varnish becomes dry, or nearly so, and charge the
-rubber again with varnish until 3 coats have been laid on, when a
-little oil may be applied to the rubber and two more coats laid on. In
-the finishing coat wet the inside of the cloth with a little alcohol,
-and rub quickly and lightly over the whole surface. Lastly wet the
-linen cloth with a little oil and alcohol without varnish, and rub as
-before until dry.
-
-The varnish is the usual preparation of shellac. See cabinet maker’s
-varnish.
-
-=Wood Filling Composition.=--Boiled linseed oil, 1 qt.; turpentine,
-3 qts.; corn starch, 5 lbs.; Japan, 1 qt.; calcined magnesia, 2 oz.;
-mix thoroughly. _Another._--Whitening, 6 oz.; Japan, ¹⁄₂ pt.; boiled
-linseed oil, ¹⁄₂ pt.; turpentine, ¹⁄₂ pt.; corn starch, 1 oz.;
-mix well together and apply to the wood. Add coloring if required.
-_Another._--Linseed oil, 1 qt.; spirits of turpentine, ¹⁄₂ pt.; lime,
-the size of a base-ball, broken fine. Let the mixture simmer on a
-stove, covered over, for two or three hours, then strain through a
-coarse cloth. It is to remain on 24 hours, then rub off with a woolen
-cloth and polish.
-
-=German Filling.=--Fill the pores with raw tallow and plaster of Paris
-well amalgamated before a fire in cold weather. Darken, if required,
-with any coloring to suit. When well rubbed in give a coat of shellac
-and French polish or varnish.
-
-=Polish for Walnut Wood.=--Mix with two parts of good alcoholic shellac
-varnish, one part of boiled linseed oil, shake well, and apply with a
-pad formed of woolen cloth. Rub the furniture briskly with a little of
-the mixture until the polish appears.
-
-=Rules the Painter Should Observe.=--Never eat or sleep without washing
-the hands and face and rinsing the mouth. Keep the buckets, brushes,
-etc., clean, so that they may be handled without smearing the hands.
-Never sleep in a paint shop nor in a newly painted room. Never allow
-paint to accumulate on the clothing or finger nails. Never wash the
-hands in turpentine, as it relaxes the muscles and injures the joints;
-any animal oil or even linseed oil is better. Never drink water that
-has stood any length of time in a paint shop or newly painted room.
-Never use spirituous liquors as it unites with the mineral salts and
-tends to harden them and causes inflammation of the parts where they
-concrete. Milk, sweet oil and the like should be used freely, as they
-tend to soften the accumulated poisons and carry them off. Vinegar and
-acid fruits used constantly, unite.
-
-
-
-
-PAPER-HANGING.
-
-
-The art of putting on, or “Hanging” paper is very simple, and is easily
-learned; but to make a tasteful choice of paper for various situations,
-is not so easy, hence the following remarks, which may be of service to
-the workman or others on whom the selection of paper may devolve.
-
-Walls to a room should be regarded only in the light of a frame-work
-to what the room contains, and should be decorated so as to bring into
-prominence and not eclipse the other parts of the chamber. Nothing
-destroys the effect of a room so much as a handsome but staring wall
-paper, or a wall so profusely ornamented as to strike upon the eye to
-the exclusion of the rest of the decorations, thus bringing forward
-what should be the background into the most conspicuous place. A
-modern drawing room is always difficult to decorate artistically,
-because of the taste of its builders for heavy cornices, prominent
-mantelpieces, and rooms too lofty for their size; and as all these
-misnamed “embellishments” are too costly to remove by tenants, the only
-plan to pursue is to destroy their effect by exercising both taste and
-ingenuity. First, with regard to the ceiling, the ornamental plaster
-boss in its center should be removed, and the ceiling tinted a color
-that harmonizes with the wall paper, as no harmonies can be hoped for
-when what produces them is surmounted with the glaring white of an
-ordinary ceiling. The tint used must be one that softens into the wall
-paper, not one that contrasts; thus, if the tone of the room is that of
-a soft grey blue, the ceiling should be a clear flesh pink; or should a
-grey gre picked out with black be the chosen color, then it should be
-colored a subdued lemon.
-
-Some people cover their ceilings with a whole colored paper, and border
-it with a stencilled pattern representing the thin garlands so familiar
-upon Queen Anne decorations, but this is a more troublesome plan than
-the simple coloring, which answers all the purpose. The walls, if they
-are lofty, require a high dado. These high dados give a look of comfort
-and “home” that is absent from the modern high pitched room papered
-with one uniform pattern. The dado is divided 3 feet to 4 feet from the
-ceiling, and the coloring of the lower portion must always be heavier
-than that used on the upper or a top heavy look will be given to the
-room. When many pictures are to be hung up the lower part of the dado
-should be of a whole color, either a whole colored paper or a painted
-wall, as pictures are only shown off upon such a background. Where a
-whole tint is used for the lower part of the dado, the upper portion
-should be decorated with a frieze paper of a good bold pattern, but
-of subdued coloring and of tint that harmonizes with the lower. Thus,
-the color used about the frieze should be the same as that on the
-lower part, but of a lighter shade, intermixed with some other colors
-that form a harmonious link between the two shades. Contrasts must
-be carefully avoided, but pale pinks, blue and ambers can be blended
-together above a subdued grey blue ground. The two portions of the dado
-should be joined together with a light wooden (black or brown) railing,
-or with a line of paint.
-
-The dado decoration can be altered by placing the pattern paper upon
-the lower part and leaving the upper plain-colored with or without
-a stencilled pattern upon it. This will suit a room where not many
-pictures are required, or that is already rather dark. Some part of the
-wall should always be in plain color, as the eye requires rest; and no
-pattern, however subdued in hue, can give the relief to the mind that
-a bit of plain coloring affords, and this scarcity of ornament in one
-part of a room is amply repaid by the effect it gives to such parts as
-are bright and should be bright. The true theory of effect is to use
-but one or two bright colors in a room, and to surround them by soft
-and subdued tints that throw up and do not destroy their brilliancy; a
-number of bright colors placed together destroy each other, and leave
-no impression upon the mind but glare and vulgarity. Having settled
-upon your paper and ceiling, have the woodwork and cornice of the room
-painted either a shade lighter or darker than the walls, and shroud up
-the mantelpiece with curtains, etc., of satin sheeting embroidered with
-crewels, and instead of the usual looking glass over the fire-place,
-have a mirror surrounded with brackets holding china; or have a black
-wooden mantelpiece made with squares of looking glass set in. The
-back-ground of your room being thus completed in a manner really to be
-a back-ground, your furniture will look twice as well as if it were
-stared out of countenance by the walls, and one need hardly add that
-all your friends will delight in a room that throws up and brings out
-their dresses and faces, instead of killing them by its glaring tints.
-
-=Operations.=--To prepare the walls, make a size of glue and water,
-then give the walls a coat of a very weak solution of the same. To
-make a paste, take two pounds of fine flour, put in a pail; add cold
-water, and stir it up together in a thick paste. Take a piece of alum
-about the size of a small chestnut, pound it fine and throw it into the
-paste; mix well. Then provide about six quarts of boiling water and
-mix while hot with the paste until the whole is brought to a proper
-consistency. This makes an excellent paste, and fit for use when cold.
-
-=Cleaning Paper-Hangings.=--A very good method to clean paper-hangings
-is that used oftentimes in cleaning the margins of prints. Cut into
-eight pieces a quartern loaf two days old, and after having swept all
-the dust from the paper-hangings, commence from the ceiling downward,
-and somewhat lightly rub the paper with a downward stroke with one of
-the pieces of bread. Continue this round the room, and then commence
-lower down in the same way till the whole of the surface of the paper
-has been gone over. The bread will from time to time get dirty, and
-it should be cut off as often as required. Care should be exercised
-not to rub the paper with a cross or horizontal stroke, only with the
-perpendicular movement of the hand or the paper may peel off the walls
-from the joints. With careful manipulation, paper will look almost as
-good as new.
-
-=Varnishing Paper-hangings.=--When papers are hung in places where
-there is much passing, they are subject to greater wear than in an
-ordinary room, and varnishing is resorted to, to make them more
-durable, as it prevents soiling; they may also be cleaned with a damp
-cloth, and are not in wear so likely to be damaged by rubbing off the
-wall. Halls, lobbies, staircases, and offices are sometimes varnished
-for durability, but as a rule the appearance is not improved. The paper
-must be sized twice, the first being dry before the next is applied,
-when the varnish is laid evenly on. It is necessary to size the paper
-twice, as the first time may not effectually cover it, when the varnish
-would stain the paper as badly as if oil had been applied. The size
-necessary for sizing the paper before varnishing should be clean and
-transparent. Parchment cuttings boiled down in water and strained will
-make excellent size for this purpose. Before it is cold it should be
-either strained through calico, or poured off, leaving the bits at the
-bottom. A patent size is sold for this purpose, but parchment size is
-the most reliable. Use clean brushes for size and varnish.
-
-=A Paste that will Keep Well.=--A correspondent writes to a journal
-this formula for a non-poisonous paste that will keep well in hot
-weather: Wheat flour, 1 ounce; powdered alum, ¹⁄₂ drachm; water,
-sufficient, or 8 ounces; oil of clove, or wintergreen, 3 or 4 drops.
-Rub the flour and the alum with the water to the consistency of milk;
-place this over a moderate fire, and stir constantly, until the
-paste drops from the wooden paddle in jelly-like flakes, and has the
-appearance of glycerite of starch. While the mass is still hot, add the
-essential oil, and pour the paste into an earthenware pot or open jar.
-In the course of about an hour a crust forms on the top; pour gently on
-this an inch of water, more or less. When some paste is wanted, decant
-the water, take out the quantity needed, and put some water again on
-the remainder, repeating the operation each time. Paste may be kept in
-this way for months, and will never be troubled with flies.
-
-
-
-
-USEFUL HINTS FOR ESTIMATING COST OF WORK AND MATERIALS.
-
-
-All surface painting is measured by the superficial yard, girting every
-part of the work covered, always making allowance for the deep cuttings
-in mouldings, carved work, railings or other work that is difficult to
-get at.
-
-Where work is very high and scaffolding or ladders have to be employed,
-allowances must be made.
-
-The following rules are generally adopted in this country in the
-measurement of work. Surfaces under six inches in width or girt are
-called 6 inches; from six to 12 inches, 12 inches; over 12 inches
-measured superficial. Openings are deducted, but all jambs, reveals or
-casings are measured girt.
-
-Sashes are measured solid if more than two lights. Doors, shutters and
-paneling are measured by the girt, running the tape in all quirks,
-angles or corners. Sash doors measure solid. Glazing in both windows
-and doors is always extra. The tape should be run close in over the
-battens, on batten doors, and if the stuff is beaded, add one inch in
-width for each bead.
-
-Venetian blinds are measured double. Dentels, brackets, medallions,
-ornamented iron work, balusters, lattice work, palings or turned work
-should all be measured double. Changing colors on base boards, panels,
-cornices, or other work, one-fourth extra measurement should be allowed
-for each tint.
-
-Add five per cent. to regular price for knotting, puttying, cleaning
-and sand-papering.
-
-For work done above the ground floor charge as follows: Add five per
-cent. for each story of 12 feet or less, if interior work; if exterior
-work, add one per cent. for each foot of height above the first 12 feet.
-
-It is impossible to give prices for painting that will be reliable in
-any one section of this country for more than a month, as the cost of
-materials and labor is continually varying, but we offer the following
-hints, which may assist the workman to make a fairly just estimate of
-work:
-
-For plain colors on wood--
-
-  First coat, per yard,    $--
-  2 coats, add   ”          4-5
-  3 coats,  ”    ”          1¹⁄₂
-
-Now, by this rule, if the first coat was 10 cents, two coats would be
-18 cents, and three coats would be 25 cents. This is a simple method
-and easily understood, and is adapted to any sort of plain painting or
-graining.
-
-Graining, with one or two coats of good varnish, is worth, at this
-writing, from 65 cents to $2.00 per yard, and marbling from $1.50 to
-$2.75 per yard.
-
-Marbling mantels is worth from $5.00 to $20.00, according to style of
-marble and beauty of finish. All of the above prices are based on the
-understanding that the workman furnishes all tools and materials.
-
-
-
-
-Transcriber’s Notes
-
-Missing and incorrect punctuation has been fixed.
-
-Due to space restrictions, the data originally in a remarks column in
-the table has been restructured into footnotes in the text version.
-
-Page 8: “in cold whether” changed to “in cold weather”
-
-Page 29: The 2 sentences beginning with “The materials and tools used”
-are missing words in this and later editions and have been left as per
-the original.
-
-Page 52: “wollen cloth” changed to “woolen cloth”
-
-Page 54: The sentence beginning with “The tint used” has an incomplete
-word in this and later editions and has been left as per the original.
-
-*** END OF THE PROJECT GUTENBERG EBOOK HINTS FOR PAINTERS, DECORATORS,
-AND PAPER-HANGERS. ***
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-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. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
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