. • , I A ■ f - • % * THE COACH PAINTER’S HANDBOOK AND GUIDE. THE COACH PAINTER’S HANDBOOK AND GUIDE BY A COACH PAINTER OF THIRTY YEARS ' 1 EXPERIENCE. LONDON HENRY J. DRANE, SALISBURY HOUSE, SALISBURY SQUARE, FLEET STREET, E.C. Co A IS T 5 9 OSO (96 I8?$~ s \ THE GETTY CENTER CONTENTS. PAGE. INTRODUCTORY REMARKS . PRIMING. PRIMING-SECOND COAT. FILLING UP. RUBBING. FIRST COAT OF PAINT. STOPPING-LEAD. FACING. GROUND COLOUR. VARNISHING-FIRST COAT. FLATTING. VARNISHING-SECOND COAT. VARNISHING-THIRD COAT. CARRIAGE, WHEELS, SHAFTS, ETC. JAPAN AND HOW TO USE IT. LEATHER-COVERED CARRIAGES—HOW TO TREAT THEM. COLOURS . LINING. 7 12 14 15 17 18 19 20 21 22 23 24 24 28 31 35 37 53 VI CONTENTS. CHOICE OF COLOURS MIXING COLOURS TOUCHING UP AND REVARNISHING • • • • . matching colours. leather heads or tops-how to touch up and REVARNISH . PAINTING IRON WORK VARNISHED WORK BASKET CARRIAGES OR WICKER WORK TRADEMEN’S CARTS AND VANS . crushes their selection and care. why VARNISH GOES BAD, AND HOW TO PREVENT IT ! BLISTERING and cracking , v PAGE. 56 60 63 70 71 75 79 85 87 9 i 95 100 RAILWAY CARRIAGE PAINTING LOCOMOTIVE ENGINE PAINTING WRITING SCROLLING, ETC SCROLLING, ORNAMENT, ETC. TABLE TO ASSIST THE WRITER IN THE OF COLOURS FOR BLOCKING WORK-TIME TABLES. TABLE FOR BEST PAINTED WORK TABLE FOR VARNISHED WORK TABLE FOR JAPANNED WORK . TABLE FOR TRADEMEN’S CARTS AND VANS CONCLUSION . . 102 • • . 106 • • • 107 . 122 CHOICE • * -125 • • . 12 / • . . 127 • • - 129 ■ 129 • • 131 . . 132 THE COACH PAINTER’S HANDBOOK AND GUIDE. INTRODUCTORY REMARKS. The need of an instructive and trustworthy work of this description has long been felt by thousands of Coach Painters in all paits of the world. There have been many attempts to pro¬ duce one, bringitig with them as many failures. Whether the task has been undertaken by those who have not been practically acquainted with the subject, I know not j but the fact remains that, so far, there never has been published a really reliable book suitable alike for beginners and those more advanced. The object, then, of this work is to lay before the Coach Painter, the easiest, safest, and best method of producing work which can at once 8 The Coach Painter’s Handbook. be pronounced perfect, as far as paint and varnish can make it. Having been for a great number of years a practical working Coach Painter myself, and having had every opportunity of noting the wonderful strides that have been made in the improvement of every description of vehicle, it is my desire that the work of the Coach Painter shall not be behind the times, more especially when we consider the great aid we receive from the Varnish Manufacturers and Colour Makers of to-day. There can be nothing so annoying to the coach builder, as to see a>n artistically constructed carriage spoilt in appearance through bad or indifferent painting, which may be caused in various ways, and not always through the want of care on the part of the coach painter, but frequently through ignorance of little trade secrets. This shows the necessity for a complete work on the subject; not one to minimise the difficulties, but one to abolish them, so that it may be as easy for the painter to do his work without the slightest hitch, as perfect in every respect as the work of other branches of the trade, from the draughtsman downward. How to obtain a good, solid, even ground and a brilliant surface with the utmost dispatch involving the least labour, and having due Introductory Remarks. 9 care to its durability, must be our first consi¬ deration. Next in importance is the choice and blending of colours, not only as concerns the ground col¬ ours, but also the decorative part, (z. e., the lin¬ ing). Let us, then, for a moment, see to what extent varnishes and colours have been improv¬ ed during the last thirty or forty years. There can be but one opinion on this point from the following facts. Thirty or forty years ago car¬ riage and other varnished work w r as greatly im¬ proved in appearance by a system known as, or cal¬ led, “polishing.” It was done by means of rotten stone and oil, involving a considerable amount of time and labour. This system was generally resorted to, but to-day, thanks to the Varnish Maker, “polishing” is almost obsolete, for we can now be supplied with a varnish so brilliant, hard, and permanent, that it would be absolutely impossible to add to its lustre by any known method of polishing. But the natural question is, “Does it contain as much body or substance?” Emphatically Yes! For in years gone by it was necessary in order to obtain a good even surface, to apply five or six coats, whereas to-day a better surface can be produced with one. half that number of coats, without the expensive method of polishing ; IO The Coach Painter's Handbook. thus showing the vast improvement in the modern makes of varnishes. The same also may be said of colours, inasmuch as years ago the painter was forced to call into use the muller and the slab. To¬ day, however, an enormous saving of time is effected by the use of machinery for the purpose of paint grinding. It is only in this instance, perhaps, that there has been any con¬ siderable improvement as regards coach colours of the best description. The various tints and shades have undergone but little change, though many attempts have been made to introduce new colours, only to be condemned almost as soon as they were brought before the trade. Here let me take the opportunity of explain¬ ing the reason why the varnish and colour trades have become almost inseparable, when but a few years ago they were entirely distinct. It is a well-known fact among our leading Coach Builders that a vast amount of trash is put upon the market under the name of Coach Paints, which is fit only for the waste tub; and many different makes of varnishes are condemned through the use of such rubbish. This alone has been sufficient ground to induce the Varnish Manufacturers to interest themselves in the colour trade, and thus ensure a fair trial Introductory Remarks. 1 1 for their goods. I therefore counsel all Coach Builders and Painters to be exceedingly careful to purchase their colours and varnishes from well-known firms who have their reputations to maintain. * Before concluding these remarks, let me say in order that no misunderstanding may arise, I can only guarantee complete success where the instructions herein contained are faithfully car¬ ried out. * The Varnishes and Colours supplied by Conrad Win. Schmidt (F. A. Glaeser) of Stratford, London, E, I have always found uniform in quality, and they never fail to give a good result. PRIMING. Let us take a piece of work in the bare wood, direct from the hands of the wood-worker or coach builder, ready for priming, or the first coat of colour, which should be commenced without delay, in order to prevent warping or splitting. First remove every particle of dust with a dust-brush. This done, it should be knotted with patent knotting: use a small sash tool, run well into every pin-hole, joint, or aperture, taking great care to wipe off with clean rag or cloth, any superfluous liquid which may have run on the panel or moulding. When dry this is a sure means of preventing the pin-heads rising or sink¬ ing, which they often do. This may be caused through the wood not being thoroughly season¬ ed, or through the pin-heads not being properly stopped with lead. Priming. 13 Knotting forms a film over the pores or grain of the wood, stopping all escape through this channel, of the damp or resinous matter contained more or less in all woods. If good knotting be used it will be thoroughly dry and hard in an hour or so, and the work of priming may then be proceeded with. Get your priming, which must be made with ground white-lead only, gold size, linseed oil, and turpentine in equal quantities. Here let it be noted that only white-lead of the best quality should be used, or it will be impossible that your work can wear for any length of time. (Coach and carriage priming can be obtained in paste form, mixed ready for use, with the addition of a little turps to thin it to the proper consistency). With hog-hair brush or tool spread it evenly all over the work in hand, taking care to run well into the pin-holes and crevices. Lay off the way of the grain of the wood. This will be dry in from seven to nine hours, but it is advisable to allow it to stand at least twenty-four before applying the second coat. This priming may be used for all classes of work,—Railway Carriages, Tram Cars, ’Buses or Broughams, whether the top of the vehicle is to be covered with leather or not; Body, Car¬ riage, or Wheels. Iron-work, before being 14 The Coach Painter's Handbook. primed, should be freed from all rust by means of sand-paper, and any grease should be removed with turps. Then a thin coat of knotting should be applied. All brass-work should be knotted before being primed, to prevent chipping after the work is completed. All woods of a resinous or greasy nature, such as pitch-pine, teak, wal¬ nut, or, oak, should be coated with gold size thinned with turps prior to priming. PRIMING—SECOND COAT. The second coat of priming for body-work should be put on precisely the same as the first, due care being taken that the first coat is thoroughly hardened. Should it, however, be in¬ clined to skin or peel off, use a little turps and gold size to insure hardening. The first coat will not require sand-papering before the second is put on, so far as the body is concerned. But for carriage-wheels, etc., the first coat must be allowed to stand three or four days, then it should be well papered. Be careful to remove any fat edges or superfluous colour, dust thor- oughly, then stop any apertures around the rims or tyres of the wheels, or any joints in the carriage or any part of the underwork, with mixed oil putty and ground white-lead. In no Filling up. 15 case should hard or white-lead stopping be used in the joints where oscillation is likely to occur, as stopping made with white-lead and gold size when thoroughly hard, is very apt to crack and fall out. After having applied your second coat of priming on the carriage and wheels, they can be placed on one side for sev¬ eral days, whilst the filling-in of the body is proceeded with. FILLING UP. The two coats of priming being perfectly dry and hard, we can turn our attention to the filling-up. In the first place, care should be taken to use only good dry white-lead. This must be spread out on the slab or mixing stone. Crush well with a muller any lumps, mix to a very thick paste with gold size only, and beat the whole well with a wooden mallet (or an old spoke will answer the purpose quite as well) until the lead is mixed thoroughly with the size, adding lead until it is about the same con¬ sistency as oil putty : this is known as hard stop¬ ping. Go over the body with a putty-knife and stop every pin-hole or crevice you can find, forcing the stopping well in. The next important thing is the filling. Where 1(3 The Coach Painter's Handbook. the filling-up is bought in powder, the firm supplying it usually gives directions for mixing; but it must be distinctly understood that for first-class work, not more than one coat, either in winter or summer, should be put on in one day. Notwithstanding the fact that patent filling is invariably, made for fast drying, it is used in such a thick form that it is impossible for more than one coat to harden in a day. I have never yet met with a patent filling but what can be improved by adding a small quantity of ground white-lead. The leason for adding it is that no pigment has yet been dis¬ covered with half the durability of white-lead, therefore a small proportion (say one-seventh) should be added. It will be as well to remember it retards to a slight degree the drying of the filling, but certainly not sufficient to condemn its use. Patent filling may be procured ready for use, or it should be mixed in the following manner:—To ;lbs. of filling-up powder add lib. of best ground white-lead, thin and beat up well with five parts gold size, two parts turps, and one part of carriage or Hard Body varnish. When possible, run the whole through a paint mill to ensure its being thoroughly mixed. This must be used fairly thick, and brushed on quickly and evenly all over every part to be filled up. After Rubbing. 17 standing twenty-four hours, or more if possible, apply the second, third, and fourth coats in the same manner; by which time the work will be ready for the staining or guiding coat. [Where the roof, back and quarters are covered with leather it may be found advisable to use a fifth coat of filling ]. Add a little common (or vegetable) black, or Indian red, with a por¬ tion of the filling, and thin out with turps; this staining will then be ready for use. Go over the whole of the work with a thin coat of this preparation, allow it to stand ten or twelve hours, when the work under treatment will be in a fit state for rubbing down. o RUBBING. Rubbing is usually done by the painter’s la¬ bourer, but nevertheless requires a deal of care to prevent scratching. First procure some good . picked pumice-stone, and by means of a piece of sandstone, say nine or twelve inches square, face or flatten your pumice-stone by rubbing on the sandstone after wetting it well with water. Be careful to have your pumice-stone perfectly flat before attempting to rub any part of the work. In many shops (chiefly Railway Companies) 18 The Coach Painter’s Handbook. a patent rubbing brick is used, but it is not nearly so good as pumice-stone. Have by your side a bucket of clean water, a sponge and a good water tool, number 6. Well saturate with water the part to be rubbed, then rub carefully in a circular motion, over the filling, keeping the pumice-stone perfectly flat. Be¬ tween every few strokes clean your pumice- stone, which will soon become clogged by the filling, by rubbing on the sandstone, and with your sponge remove the loose filling from the part being rubbed; proceed again as before, and in a very short time the staining on examina¬ tion will have disappeared. 1 reat the mouldings the same as the panels. For rubbing the mould¬ ings a piece of pumice-stone must be shaped to them by means of a half-round file. When the whole of the work has been treated in this man¬ ner, dry with a wash or chamois leather, after having washed well with clean water. The body should be allowed to stand for thirty-six hours to give time for evaporation, after which it will be ready for the first coat of paint. PAINTING—FIRST COAT. The first coat of paint on filling should con¬ sist of white-lead or lead colour (*.*., white- Stopping — Lead. 19 lead and vegetable black), according to the col¬ our the work is to be ultimately finished in. If for a light colour, such as yellow, white, cream, or straw, use ground white-lead only; for a dark colour, such as green, blue, brown, etc., a medium lead colour. But where the work is to be finished with vermilion, use a little Venetian or Indian red with the lead; the same also for carmine, lake, etc. The colour should be finely ground, and thinned out with turps and a little gold size; before, however, coating the work over, remove any fat edges or super¬ fluous filling with sand-paper, or it will have a rough appearance when finished. Dust well and brush the colour on evenly all over, laying it off lightly and carefully so as not to leave any brush marks behind. This finished, allow eight or ten hours to dry, and the work will be ready for stopping. STOPPING—LEAD. The stopping for this purpose must be made with dry white-lead and gold size, and a few drops of turps beaten up as before, with a mallet or spoke. Search out every small hole, scratch, or indentation, and with putty knife plaster the stopping over the hole, force it well in, and 20 The Coach Painter's Handbook. allow from four to six hours, when the stopping will be perfectly hard and ready for facing. Where it is necessary to stain the stopping, use a little vegetable black or Indian red, accor¬ ding to the next coat of colour to be used. o FACING. Facing is a very similar process to the rubbing down, but must be done with care. Go over the whole of the work with pumice-stone and water very lightly, always in a circular manner, until you have removed the whole of the stopping and have again laid the filling bare. Nothing should now be seen of the holes, and the filling will have a perfectly smooth, even surface. Dry well with the leather, sand-paper lightly (with very fine paper), dust, and proceed with the next coat or extra coat of lead or other colour, as set forth in the foregoing chapter. This may be used rather stouter than the previous coat, containing a few drops of Linseed or Boiled Oil, and must be rubbed on evenly all over, laid on very finely, leaving no brush marks behind; allow 24 hours to dry, after which sand-paper lightly with fine paper and dust well, when we are perfectly prepared for the next coat or Ground Colour. 21 GROUND COLOUR. This coat is of more importance than any the work has yet received, it is obvious then that too much attention cannot be paid to it. Thin your colour with turps and a little linseed oil, then having lightly sand-papered the whole of the previous coat, dust, and lay your colour on thin and even, crossing it from left to right once or twice, and finally lay off from top to bottom very lightly. See that you leave no brush marks behind, or superfluous colour under the mouldings or on the edges. The next coat must be applied in precisely the same way, when the first is thoroughly dry. This brings us to the last coat of colour, unless the work is to be finished with a special or transparent colour, which will be dealt with more fully later on. For the last coat add a little hard drying body, or flatting varnish, to the paint, and give a full coat. The previous coat must not be sand-papered, neither should the varnish colour be flatted, or the marks left by the flatting-pad will be traceable when the work is completed, giving it a cloudy or uneven appearance. • The work of colouring now being complete and appearing a perfect opaque, and the lining 22 The Coach Painter's Handbook. having been finished (see chapter on Lining ), the varnishing must be got on with as quickly as possible, not only for the purpose of getting the work out of hand, but also to protect the colour. It is known to all good coach painters, that all colours—whites included—fade or die out rapidly (this fact must be borne in mind) and can only be preserved by varnishing. It must at once occur to the painter that in summer¬ time sun-blinds are indispensable in the paint- shop. VARNISHING-FIRST COAT. The first coat of varnish (Best Hard Body Varnish or Flatting Varnish) on colour should be thinner than the finishing coat, in order to set it on evenly all over. As it will be found by experience, there is considerably more absorption with colours than with varnish, notwithstanding we have already added a portion of varnish to our last coat of paint. This first coat must not be flowed on too full, but as evenly as possible all over. Allow the work to stand for twenty-four hotus at least, when it should be ready for Flatting. 23 FLATTING. After each coat of varnish it is necessary to flat the work, by which means a very even, smooth surface is produced. Take a piece of cloth (old cushion-cloth may be used), fold it three or four times double, then get some fine powder¬ ed pumice-stone, damp the work with a wet sponge, and rub it all over with the cloth pad and pumice-stone, keeping the panel well satu¬ rated with water during the process. Be caretul not to scratch the work by using coarse pumice- stone or by using the powder dry. The first coat of varnish does not require much flatting or rubbing, a tolerably large panel may be done in a few minutes. When finished rinse the portion flatted with clear water, using a water tool for the corners or crevices (it is next to impos¬ sible to remove the pumice-stone dust from the corners with a sponge), then thoroughly dry the work with a leather. To remove any scratches that may have been caused in flatting, rub over smartly with pulverized rotten-stone, this will cause the varnish to bear out with greater brilliancy. 24 The Coach Painter s Handbook. VARNISHING—2nd COAT. The work must be thoroughly dusted over with a clean varnish duster, when it will be ready for the second coat, which should be used a little fuller than the first one. After standing a day or two the work will again be ready for flatting, of course providing that Flatting, or Undercoating Body Varnish has been used. This, of course, only applies to best work and not to tradesmen’s carts or vans, which will be specially dealt with later on. VARNISHING—3rd OR FINISHING COAT. This being the finishing coat before the ve¬ hicle is dispatched to its owner, or the show¬ room, it must of necessity require much more care, not only in preparing the work for the varnish, but also in laying on the varnish full and clean, without a blemish. Attention may well be drawn here to the selection of varnishes. One cannot be too careful in seeing that only the best kinds are used; for my part, I have worked those made by nearly all the leading manu¬ facturers, but none have given me the same general satisfaction and good results as the Best Finishing Body and Best Wearing Body Varnish made by Varnishing. 25 Conrad Wm. Schmidt (F. A. Glaeser), Stratford, London, E. In the finishing coat the flatting should be done by an experienced hand; I always prefer doing it myself; invariably in a good shop the Coach Painter will not leave this important part of the work to his labourer be he ever so experienced. It is essential that the water, sponge and leather be perfectly clean; too often one sees a good piece of work spoilt through a dirty sponge or leather, and sometimes through the person em¬ ployed to do the flatting having dirty hands, and thus through the medium of the sponge or leather, the dirt gets deposited on the work. A great error common among the uninitiated, is worthy of a passing note—namely, the using of soap to remove a run or overflow of varnish. In the first place, it is impossible to remove such runs effectu¬ ally by this means. When the varnish appears hard, you will discover on removing the hard surface of the run, that the varnish underneath is quite soft, and will all be washed away by the soap, which is a great irritant to varnish, and can only result in your leaving a torn ragged patch, looking a deal more unsightly than a run. “Prevention is better than cure,’’ it is therefore best to tell how to prevent, or overcome this difficulty. 26 The Coach Painter's Handbook. But first let me say, a run or fat edge is too frequently caused through carelessness or neglect. A good coach painter takes as much care of his work as an artist does of his canvas, and will carefully watch each panel until the varnish is set; hardening having taken place, all anxiety is at an end, because it is impossible for the varnish to run then. Should you, however, have the misfortune to be troubled by such a circumstance, the mo¬ ment you discover it, dry your varnish brush by scraping it with a palette or putty knife, and then dub or stipple the run with the point of your brush, by this means you will remove the super¬ fluous varnish. Then procure a piece of flat iron, well heat it, and hold it near the defective part, not too close or your work will blister, but sufficiently near to warm the varnish, in a few seconds the varnish will begin to flow, leave it then and no more will be seen of the run. Another good plan is to varnish the whole of the panel on which the run has occurred over again, allow a few minutes for the new varnish to absorb the old, cross and lay the panel off again with a dry brush. A run may be removed in this way though the first coat has been on a couple of hours, providing a good wearing body varnish has been used. Having, 1 trust, made plain these remedies, let me return to applying the finishing coat. Varnishing. 27 Being satisfied that the work is thoroughly flatted, washed clean and well dusted, the floor of the room should be sprinkled all around with water that no dust may rise (due care being taken that the water is not thrown down too freely or it may cause the varnish to go wrong) and all doors or windows made fast to shut out the dust. Put your varnish (Best Finishing or Best Wearing Body) in a clean pot, and with a thoroughly clean brush flow it all over the panel as full and even as possible, not too briskly, as body varnish being brushed about too much, or too briskly, becomes full of air bubbles, which on bursting give a very bad appearance, resembling so many small runs. Allow your varnish to lay a few minutes, then cross slowly with a partly dried brush (dried by scraping), then just as slowly lay off from top to bottom. Should any specks appear on the sur¬ face, take a small writer’s pencil or a single bristle from your brush, and carefully lift them off with the point; any hairs that may have become detached from your brush and left on the panel, take them off in the same manner; be sure you take up the stray hair by one of its two ends and not in the middle, as this will sometimes cause a run. Having gone over all your work in this manner, place the screen around your coach, look in 28 The Coach Painter's Handbook. occasionally to see that all is well. It is olten the case that during the summer months a fly or moth attracted by the reflection, will settle on your panel, this should be treated in the same manner as the specks. In many shops, a heated or drying room is provided and the coach is run into it im¬ mediately the varnishing is completed, this is a great mistake, heat having a tendency to soften varnish and cause it to run. At least three or four hours should be allowed to elapse before it is so treated, when the varnish will be set and less likely to move. Having now so far completed the coach, with the exception of the touching up, let us turn our attention to the underwork or CARRIAGE , WHEELS , SHAFTS , Etc. It was formerly the custom to give these parts two or three coats of filling up, the same as the body parts, and rubbing as already described; or again by means of a sand-paper filling. This manner of treatment is now very rarely resorted to, as in the majority of cases (more especially with best work) the wheels are machine made and, generally speaking, much better finished than years ago, when every part was got out by hand, and was consequently much coarser or rougher. Thus Carriage, Wheels , Shafts , etc. 29 we are able to dispense with this part of the business without the slightest drawback to the work of the painter. As regards the carriages, they are (with the exception of the bed itself) wholly constructed of iron, which is filed and ground to such per¬ fection that leaves nothing to be desired, so that a very little remains to be done to them in the shape of stopping. These parts then must be brought along precisely as the body, leaving out the filling up and rubbing; like the body they are- prepared for the lining when the last coat of varnish colour is dry. In most cases two coats of varnish will suffice to bring these up to perfection, viz., first coat of hard flatting varnish, flatted down with pumice- dust and water, and a good flowing coat of elastic carriage varnish; place under cover away from all dust, and allow as long as possible to harden. I he whole will then be ready for fitting together and sending to its destination. A notion prevalent among many coach builders compels me to protest against the use of water for the supposed purpose of hardening the varnish a day or so after the work is finished; let me state emphatically, water will not harden varnish, but will rather soften it. If it is necessary to wash the vehicle over a few days after its completion, 30 The Coach Painter s Handbook. it should be done carefully with clean water and a sponge, going gently over the work, a panel or so at a time (do not immerse the whole at once). Dry well with a clean leather as soon as pos¬ sible or you will be certain to leave water marks behind you; where practicable two men should rinse it down, one with the sponge, the other fol¬ lowing immediately after with a soft clean leather. In concluding this chapter, let me urge the necessity of keeping all varnish brushes in a pot especially kept for the purpose, half filled with turps; the brushes should be suspended in the pot and not allowed to come within an inch of the bottom, and the turps not to be above the stock of the brush. The best method is to bore a hole through the brush handle and pass a piece of wire through, the wire to rest on the edges of the pot,—cover the whole over and keep in a cupboard. (See chapter on Brushes). Before going into the matter of colours we will first deal with the black or Japan paits. JAPAN AND HO W TO USE IT. There are not many Japan manufacturers at present in the market, who can boast of an article which may be pronounced as perfect. We will, however, proceed to show how japan should be applied. In the first place, japan being transparent it must have a good solid ground of the best black procurable. But even the very best black that can be pur¬ chased has not the dense lustre of a good japan. An Ivory or ‘ Drop’d ’ black placed side by side with japan appears almost shabby. Of all the varnishes or colours used by the coach painter there is not one so treacherous as japan. There is but one way of using it to ensure its wearing without cracking, fading, or perishing, that has proved at all satisfactory to the writer, who for years has made it a special study, not with one make, but almost every known brand 32 The Coach Painter's Handbook. in the market; there are some of a very beautiful black, but nearly all fade very quickly, and after being in wear a few months will resemble a deep quaker green more than a black; others, rich in colour, will crack almost as soon as ex¬ posed to the sun; another will die out or fade into a brown, and feed upon the varnish until it has the appearance of never having been var¬ nished over at all. However, I feel it is my duty to say here again that 1 have had less trouble with the Japan supplied by Conrad Wm. Schmidt (F. A. Glaeser) of Stratford, London, than any other. Having bought the right make, then comes the question of the best and safest way to use it. Obtain some good drop’d black ground in gold size and thinned out with turps, not vice versa , this must be used over a dark lead colour (vege¬ table black alone will not do). When thoroughly dry, sand-paper lightly, apply the second coat, with a small drop of linseed oil and sugar of lead (ground finely) added. When thoroughly dry and hard, give it a medium coat of Hard Body Varnish or Flatting Varnish, fiat evenly and apply the first coat of Japan thinned out with turps and a few drops of Gold Size. When dry, flat again very lightly, and give another coat of Japan with a little Wearing Body Varnish added. Allow it to thorough¬ ly harden, flat lightly and varnish (a medium coat) Japan and how to use it. 33 with Hard Body.—You have now the Japan sand¬ wiched, as it were, between the varnishes. And it must be born in mind that the longer you allow the second coat of japan to stand before varnishing, the better. Nearly all japans have the appearance of being dry in eight or ten hours, but this is so only as regards the surface. Even after the japan has stood a day or two and then varnished, whilst the varnish is wet if you were to take a piece of white calico or linen and attempt to wipe it off, the japan would come away with it, this shows that the varnish has softened the japan, and the japan in return, or rather the chemicals it contains, is feeding on the varnish. Again, take two panels that were japanned at the same time, vai nish one after standing twenty-four hours and the other after forty-eight hours, place them side by side, when a vast difference in the colours will be observable. Then remember the longer you allow a japan to harden (within reason), the better will be its colour and durability. One must not forget, that being too hasty in varnishing over japan is veiy tiequently the cause of the varnish becom¬ ing silky, sleepy, or full of small pin-holes. It is ob\ ious then, that the parts to be japanned should be pushed on as fast as possible in order that your work may not be delayed; your lining, 34 The Coach Painter s Handbook. etc., may be done whilst your japan is standing. In every case where two coats of japan have been used, two coats of body varnish, i. e., one coat of Hard Body Varnish, and finished with Finishing or with Best Wearing Body Varnish will be sufficient on the japan, and quite equal to three coats on the colour. Japan being sus¬ ceptible to the cold, in winter months or cold climates it should be placed near a fire to warm before being used. LEA THER- CO VERED CARR I A GES (HOW TO TREAT THEM). Whenever leather has been used for covering tops or roofs of carriages, they will require a different treatment to that of wood, but only in the matter of priming. This has no reference to the two coats of Priming on the bare wood. See that the leather is perfectly dry before applying the priming. The leather having been sleeked on by the currier whilst wet, it will require to stand from 6 to io days to dry thoroughly, under no circum¬ stances should any paint be applied until the painter is quite satisfied that such is the case. We have next to proceed with the priming of the leather. For this purpose take one pint of Japan, to which add one pound of good ground white lead, half a gill of gold size and one gill of good hard Carriage Varnish ; mix the whole 36 The Coach Painter's Handbook. thoroughly and brush on a full coat as evenly and quickly as possible; leave this to dry until the following day, then give the 'work another coat in a similar manner, and after allowing this to stand for 24 hours, the filling may be got on with as in the case of wood-work. Where canvas is used as a substitute for leather the ordinary priming as used on wood¬ work will be found sufficient, and must be put on as soon as possible after the canvas has been fixed and before the bedding coats of lead underneath are dry. In this case again the work should be allowed to stand for quite a week in order that the whole may be perfectly dry before applying the patent filling. COLOURS. It will be necessary for the coach painter to make himself thoroughly acquainted with the quality and power of endurance of the colours more generally used in the coach trade, a knowledge of which is indispensable, especially the mixing and grinding. Therefore for the information of those work¬ men who have their colours supplied them in a dry state, I give instructions how best to mix and grind their colours that the tone and bril¬ liancy may be preserved as much as possible. In the first instance we will take BLACKS. Vegetable orCommonBlack andDrop’d or BestBlack being more generally used, let us deal first with VEGETABLE BLACK, which should be used in all cases for mixing with lead or colours where a good solid ground is required, though not of the deep tone of Drop’d Black, it contains more 38 The Coach Painter's Handbook. body or covering power, is permanent, and easily ground ; but for all purposes it must be run through the paint mill or difficulty will arise in mixing it thoroughly, especially where used in connection with other colours. Being of a greasy nature it will fatten if left exposed to the air; it is safer ground in oil, adding gold size as a dryer and thinning out with turps; made in this manner one coat will cover on any ground. DROP’D BLACK is principally used for best work, such as a ground for japan, lining, and painting mouldings. It is a good wearing, reliable pigment, and should be ground in gold size or turps and a small quantity of boiled oil; for lining purposes, add a little hard carriage varnish when it will be found to run almost as easy as Vegetable Black; it should not be ground in terebene or it will crack. JET IVORY BLACK is a very rich dense Black of good body and wears well. It may be used with advantage over a ground of Vege¬ table Black. It works very freely and agreeably, and is sometimes used in the absence of Japan. REDS. INDIAN RED is more often called into requisi¬ tion than any other, and is of a good body, easily ground, and very reliable and permanent. Colours. 39 It is very much used in making shades, such as Flesh Colour (or ground for Vermilion) Salmon, Chocolate, and many others which we will deal with later on; this colour behaves well ground in oil, gold size or turps. * TUSCAN and VENETIAN REDS and PURPLE BROWN are made from precisely the same pigments as Indian Red, and may all be used to advantage in a similar manner when Indian Red is not at hand. Next comes VERMILION, which being brighter and richer, will require more attention, especially seeing it is much more expensive than any of the fore¬ going. Vermilion may be procured in several shades, all of which contain a good body and cov¬ ering properties; when properly mixed it will work as free as most colours and requires but very little grinding. It will retain its colour for a considerable time when ground in hatting var¬ nish and turps; for lining purposes a small quan¬ tity of linseed oil will greatly aid the workman in obtaining a more uniform or regular line. Under no circumstance should Vermilion be ground in a dark gold size, or terebene, as they de¬ tract from its lustre to a considerable extent. Ground in varnish and turps only it is fit to use for any purpose, and will dry hard in six or seven hours without the slightest fear of cracking or 40 The Coach Painter’s Handbook. dying out. For coating body, carriage, or wheels, it should be used over flesh colour, when two coats will be found to be perfectly solid. A MOCK VERMILION or VERMILIONETTE is very largely in use, as a substitute for the genuine article, for cheaper or temporary work; it is bright and of a fairly good body, but it soon fades. LAKES. CARMINE or CARMINE LAKE, one of the most expensive and beautiful colours in use for best work, requires very carefully handling; it cannot be recommended for its durability, as it rapidly dies out, as is the case more or less with all j Lakes. But nevertheless they are extensively used, and will continue to be, whatever may be urged against them, and consequently must be dealt with. In the first place, if a panel be painted either with Carmine or MADDER LAKE, and exposed Imi to the sun for a day or so, with one half the panel covered up with paper or wood, it will be seen that the portion of the panel which was exposed has nearly faded out, whilst the part covered up will appear as bright as before, thus giving the coach painter an idea of what he must expect. Very few coach builders care to run the risk of painting a vehicle with any of these colours to Colotirs. 4i stand in the show-room, unless it be covered up with sheets away from the sun. In any case where it is to be used let the follow¬ ing instructions [be noted. P'or Carmine or any Lake, a good solid ground must be prepared for its reception, as near the shade of the Lake as possible, made with Vermilion and Indian Red or Purple Brown, according to the shade required, as it must be remembered Lakes are very trans¬ parent. The" best method of grinding lake is with boiled oil, a small quantity of carriage varnish, and turps ; it is highly essential that the latter should be used or your colour will become thick, very much resembling a piece of raw liver, and will require a deal of stirring^ before it can be broken up. A small quantity (about one-tenth) of ground sugar of lead should be added. Sugar of lead is a colourless drier and, in this instance, preferable to gold size or terebene. Grind slowly or your mill will become hot and spoil the colour. Before using it on your carriage, an old spoke or panel should be coated as a test, in order that you may judge if its consistency is correct. You should give the body parts at least three coats of this colour, using a little hard drying varnish with the last coat; each coat must be put on with a good soft brush as evenly as possible, crossing and 42 The Coach Painter's Handbook. laying off very lightly until the brush marks have disappeared; this colour does not require any sand-papering, or flatting, but each coat should be damped with a sponge before the next is applied, simply to prevent cessing. Like the genuine lake it is transparent and requires a solid ground of Purple Brown, or Indian Red. Many beautiful shades may be obtained by mixing with it Vermilion or Vermilionette, ac¬ cording to the shade required. CARRIAGE! PART LAKE, as its name im¬ plies, is very extensively used for the under Carriages, Wheels, etc. It is procurable in several shades, and may also be used as a ground for genuine Lake. It must be superposed upon a ground of Purple Brown, Indian or Venetian Red, according to the lake it is intended to substitute. Where Crimson or Scarlet Lakes are used it will be found requisite to tint it up with Vermil¬ ion or good Vermilionette; and is perfectly safe in conjunction with these colours. IMITATION-CARMINE is a capital substitute, having a rich appearance, and also wears fairly well; its qualities are best preserved by grinding in varnish, gold size, and turps, this also requires a good ground. There are but very few varnishes that will ColoiLrs. 43 lay well on Lakes without becoming stripy or silky, this may be remedied in many cases by adding a very small quantity of pale terebene with your varnish colour, and also a little turps with your first coat of varnish. There is also a mock or imitation lake in the form of ROSE PINK, it is not nearly so expens¬ ive as pure Lake, and is well adapted for carriage and wheels. It is very easily ground in varnish, gold size, and turps. GREENS. We will now notice the Greens, of which there are a great number. First in importance comes EMERALD GREEN, which is very difficult to use with success; it is a rich brilliant colour when properly treated, but is not permanent, only moderately so. Being a transparent colour, it needs a thoroughly solid ground ; light Brunswick green is particularly suitable for the purpose, which should be kept as near the shade of emerald as possible. Emerald green must be ground in varnish, good boiled oil, and turps, adding sugar of lead to dry, mix well on the slab before putting it into the mill; grind slowly to prevent your mill heating, thin with turps and boiled oil, use quickly, spread¬ ing equally all over your panel. Where a large surface is to be covered, two or more hands 44 The Coach Painter's Handbook. should be employed as it settles so quickly, and will show the joints when finished. It will be found wise to give at least three coats in order to make it solid ; neither the ground colour or emerald should be sand-papered, or flatted. Each coat must be thoroughly dry before the next is applied; as soon as your last coat is dry and you are perfectly satisfied of its solidity, varnish to keep it clean and prevent the colour flying. It is not a bad plan to keep a spare panel for the purpose of -trying the colour, until the painter is thoroughly acquainted with its peculiarities. The following Greens are very much used and can be recommended as permanent, and of good body, two coats being quite sufficient to give a solid appearance. BRUNSWICKS, CHROMES, ROYALS, COACH PAINTERS and QUAKER GREENS are all procurable in several shades. Chrome greens of any shade are extremely good for lining, as they run very smoothly and evenly. They may all be ground in the same manner, in gold size, oil, and turps ; they are easily ground and work very freely. There is yet another green, of very rich appearance though not so fast or permanent as those already enumerated, but which has many good Colours. 45 qualities to recommend its use, this is known in the trade as DUTCH PINK GREEN, and is composed chiefly of Dutch pink mixed and ground with good Prussian blue, to the shade required. It must be used over a ground made by Chrome, or Brunswick green, on either of which two coats will be suf¬ ficient to produce a perfect opaque. This can be ground in gold size alone, or by adding a small quantity of linseed oil (which of course slows the drying) thinned out with turps ; it works very agreeably. Many painters will add a little Brunswick green, this should not be done as they do not mix well together. Mix a small portion of hard carriage varnish with the second coat which will add greatly to its effect. BLUES. Next in order come the Blues, like the greens they are many in number, but two or three will be sufficient for our consideration. PRUSSIAN BLUE is the chief among them for general use, it is largely employed for making greens and preparation grounds for ultramarine. It is a particularly strong colour with a good body, and will stain other colours more so than any other pigment. It is indispensable in t the 46 The Coach Painter’s Handbook. paint shop, though in itself not reliable, as it rapidly fades, when it has a very disagreeable and harsh appearance, returning as it does to a shabby or rusty-looking green. Purchased in a dry state the Prussian blue comes to us in lumps, and requires to be crush¬ ed and powdered before being mixed for grind¬ ing, for this purpose it is best made up with gold size, linseed oil, and turps. Ground in terebene it becomes clotted and will crack. To use as a ground for ultramarine add to it a little ground white-lead, to tint to the requisite shade; it is very easy to use if ground in this manner. CHINESE BLUE is of the same character as Prussian Blue and used in a similar way. ULTRAMARINE can only be used with effect over a ground of Prussian, as already pointed out, owing to its transparency. This is a very rich colour in itself, procurable in many shades, it is fine and requires very little grinding, and is best when ground in gold size, hard carriage varnish, and linseed oil, thinned out with turps. It will be found easy and pleasant to use, but like all blues it cannot be pronounced permanent and is not at all well adapted for warm climates. Ground as directed it will wear for a good time. Three coats will be necessary over Prussian Blue to ensure a substantial body; it must not be sand-papered, Colours. 47 or flatted ; extra varnish with the last coat heightens its brilliancy. We have a richer colour still in COBALT BLUE; it is seldom used, but when it is, it must be ground in gold size, varnish, and oil, and used as a glaze over ultramarine. YELLOWS. Yellows also are very numerous, but a few are all that is required for our use. CHROMES, of which pale, middle, and deep are the three principle shades, are delicate colours and require clean, careful handling, more especially in the case of the first named. They are easy to grind and work when mixed in oil, using sugar of lead as a dryer, and thinned out with turps; the ground colour should be of pure white-lead. They may be considered fairly durable, and being semi-transparent it will be found needful to give the work three coats, using a small quantity of body varnish with the last; but in no case should dark size or terebene bemused in grinding, and only pale varnishes used over it, or its colour will be materially affected. PERFECT YELLOW. This is a very clear,, rich colour, for best work, and^ should be used as a glaze over a ground of Palest Chrome. When ground in Hard Body Varnish and Boiled Oil, and thinned out with Turps, it will 4 48 The Coach Painter’s Handbook. wear well, and work very freely and agreeably. DUTCH PINK. This is extensively used, (as already pointed out), in conjunction with Greens, and is likewise useful for matching faded Chromes and Emeralds. OCHRES, though not rich or bright colours in appearance, are nevertheless of very great service for making and tinting Common Greens. When mixed with White Lead and Burnt Sienna Ochre gives us Stones, Buffs, etc., for the insides of Carts, Vans, etc. It is of a very hard nature, and very hard to grind under any conditions. In use it should be constantly stirred to prevent settling ; being of a dark nature it may be ground in Oil, Gold Size or Terebene, as best suits the workman. It will not be out of place to notice hei e that many Railway Companies, as well as Coach Build¬ ers, make use of Ochre and Sienna in equal parts, ground in Boiled Oil only, for the purpose of staining Mahogany Panels, and giving the vehicle a more uniform appearance. The best and more generally adopted method is as follows : Brush the composition (ground as above) all over the panels, giving a full coat, allow it to stand for an hour or so. Then take some clean rag or cloth, and wipe off as much as possible: this done, give an even coat of Gold Size, and Colours. 49 allow io or 12 hours to dry, when we find in place of a number of different shades, every panel appears alike. It can also be justly claimed for this system that it helps to fill the pores of the wood, and does as much in this direction as a coat of Gold Size. BROWNS (with one or two exceptions), such as Vandyke, Umber, or Sienna, are used only for tinting or matching faded colours, and will be dealt with elsewhere. PURPLE BROWN, a colour very familiar to the painter, of a darker nature than Indian Red, is procurable in several shades. It has a purple or blue tint, as its name implies. It is a thoroughly reliable pigment when properly treated, containing an exceptionally good body, and best ground in Gold Size or Terebene and Boiled Oil, thinned out with Turps. It must be borne in mind this colour allows of no liberties in the matter of drying. When used, as it should be, over Lead colour, it should be put on the fol¬ lowing day; should any length of time be allow¬ ed to elapse between the two coats it is most certain to give the workman trouble. UMBERS. Here again we have two shades in Raw and Burnt, the Raw somewhat resembling 50 The Coach Painter's Handbook. Ochre when ground, but of a darker shade; on the other hand Burnt has a much warmer tint, though not so dark it is easy to mistake it for Vandyke Brown. They are both extensively used for making Stone Colours, Drabs, etc. Burnt Umber and Ochre mixed and ground in Boiled Oil forms a good stain for teakwood, and should be used precisely as directed in the case of Ochre and Sienna. CHOCOLATE, a good one, can be .made with pale Chrome, Indian Red, and Vegetable Black ground in gold size and oil, is thoroughly reliable, of good body and easy to use, two coats being sufficient for any purpose on a dark ground. TAN or SNUFFcolour browns can be made from the above-named pigments, and are also reliable. ROYAL BROWNS, the same may be said of these: a mixture of Indian or Tuscan red and best black (in no case should japan be used). A better quality still in appearance can be made by the ad¬ dition of “ Carriage part lake again another shade composed of “Carriage part lake” Vermilion and best black, but of these the former only can be recommended as reliable. Any of them may be ground in gold size, oil, and turps ; two coats will suffice to give a good body. Before concluding this portion of my book it will be as well to give the Colours. 5i WHITES a moment’s consideration. There can be but one opinion in the matter of the quality of leads, i. e., the lead colours, that the Dutch system of production is by far the best known. That there always will be markets for the many and various qualities of lead and colours goes without saying, at the same time where a really first-class piece of work is desired, it is by far the cheapest in the end to obtain the very best colours, otherwise it is impossible to get the best results. WHITE LEADS are invariably ground sufficiently for any purpose, and only require mixing thoroughly and straining before they are fit for use. Where a good white ground is required, it will be advis¬ able to get some very pale gold size (which must be used sparingly), adding a very little ultramarine blue, just sufficient to destroy the yellow caste traceable in all leads. The palest varnish obtainable suitable for carriage-work must be used, even this will destroy your white to an extent. A white surface can be improved by the use of FLAKE WHITE or of CHREMNITZ WHITE over the lead, both being semi-transparent will require a perfectly solid ground, and are best made up in linseed oil, pale gold size, and varnish, in this way we have as pure a white 52 The Coach Painter's Handbook. as we can obtain, but which soon becomes tarnished when exposed; there is no method known by which we can make white perma¬ nent. If we compare our raw white-lead with the white of a recently finished oil-painting it will at once be seen that the white in the painting has deteriorated, and will continue to do so whether in or out of doors, this is caused by contact with the impurities the air always carries with it. ZINC WHITE, though not containing as much body or covering properties as White Lead, it has many good qualities to recommend it. When ground, as in the case of Flake White, or Chrem- nitz White, it has a richer and purer appearance than Lead; lighter and also easier to use in pencil or brush. It is invaluable where it is necessary to tint o? lighten colours. Mixed with Ultramarine or Chromes, either for writing, lining or painting, it lends a very rich hue. It will also wear well. LINING. There is no hard or fast rule laid down for this branch of the work, but a few hints to be¬ ginners will not be out of place. An old maxim tells us, “Not wise men, or yet fools can work without the proper tools,’ this applies especially to the young learner or apprentice, who generally comes in for the journeyman’s old or left-off pencils, which, as a matter of fact, are quite as useless to the apprentice as they are to the journeyman - , pencils used with care, and propeily treated afterwards will last a considerable time. The best pencils we can procure for lining are brown sable, next in importance being the red sable, and for light colours, such as yellow or black, camel-hair will answer, but for all-round work the former is by far the best, especially where heavy colours are being used, for instance, lead or vermilion. The orthodox manner of 54 The Coach Painter's Handbook. proceeding is to take an old spoke with a good surface, then have your colour thinned out to the proper consistency, charge your pencil by working it in the colour, spread out on a palette or piece of glass, not too full at first, then holding the pencil between the thumb and first finger of the right hand firmly, but without constraint, place it at the end of the spoke furthest from you, as near the -centre as possible, at the same time resting the 2nd, 3rd and 4th fingers lightly on the edge or front of the spoke, the quill of the pencil must be held directly over the centre of the spoke. The spoke should be held fast by the left hand, with one end resting on a table or bench to steady it, then draw your hand towards your body without pressing on the pencil, but simply draw it along the surface steadily at first; when you find the line getting narrower, charge your pencil again with colour. After a few attempts you will find it necessary to rub your spoke clean a number of times before you succeed in drawing a straight or even line; remember that though the hand works with the eye, it is not the eye that gives you a straight or uniform line, but rather the touch which in all cases should be light. You will find likewise that a deal of patience and perseverance will be re¬ quired before you become a competent liner; 55 Lining. do not at first overtax yourself, but as soon as you Ifeel your stock of patience becoming ex¬ hausted leave the lining for a future occasion. Before putting away your pencils remove every particle of colour from them by washing in turps, and grease them well to keep them from becom¬ ing hard or deformed (for this purpose a lump of tallow melted down in neatsfoot oil is a first- rate agent), lay them out on a smooth piece of tin or glass to keep them quite straight. CHOICE OF COLOURS. As already stated, many coach painters are often puzzled in the choice of their colours toi lining, if they have no piece of work at hand from which to copy. In nearly every paint shop, and more frequently in the show-room, are to be seen a number of short spokes or patterns, a great portion of which as regards the colours, are devoid of any attempt at blending, the lines being out of all harmony with the ground colour. Whilst recognising the fact that the coach painter has frequently no alternative, inasmuch as owners themselves are responsible for these blunders, by ordering the work to be executed in a manner to suit themselves, nevertheless, it should be the duty of the coach painter to point out as far as lay in his power the correct colours one should blend. It is immaterial what size or form the lines take as long as their colours be in accord with the ground, Choice of Colours. 57 thus affording the workman plenty of scope for originality. Therefore the following table should be strictly adhered to; it will show at a glance colours that blend well for lining: Ground. Broad Line. Fine Line. \ Purple Lake. Vermilion. Vermilion. 55 55 5 5 55 Another style, Vermilion. Another, Black. Vermilion (Edged). Blue. Vermilion. Vermilion. 55 Another style , Black. Vermilion (Edged). ” Another, Black. White (Edged). 5) Another, White. White. Yellow. Black. Black. 55 Another style, Brown (Chocolate) Brown (Chocolate). 55 Another , Vermilion. Vermilion (Edged). 55 Another, Black. Vermilion. 58 The Coach Painter’s Handbook. Ground. Broad Line. Fine Line. Green (dark). Black Another style, Light Green. 55 55 Black Another, „ „ (Edged). 5 5 5 ) Light Green Another, 5 5 5 5 5 5 5 5 Chrome Another, Chrome. 55 55 Black Chrome (Edged). White. Black Another style, Black. 55 Brown (Chocolate or Tan). Another, 55 Brown Split with White (Chocolate or Tan) Fine Line. Black. White Another style, White. 55 Blue (Light) Another, Blue (Light). 55 Blue Split with White Fine Line. Brown. Black Black. (Chocolate or Tan). Another style, Yellow (pale). Yellow (pale). Choice oj Colours. 59 Ground. Broad Line. Fine Line. Lakes, (Crimson Scarlet or Carmine) >5 Black Another stjle, Blue dark). Black. Blue (dark). EDGING. What I would convey by this (a trade term) is that the fine line should adjoin the broad line; it is a quiet unassuming style. In every other case where a fine line is mentioned, a portion of the ground colour is seen between the lines to suit the taste, but the closer they are together without touching, the prettier or neater the effect. As a rule the width of the lines is regulated according to the build of the vehicle being heavy or light. MIXING COLOURS. A few recipes are appended by which the coach painter will be enabled to mix any shade or tint he may require. COMMON FLESH COLOUR. Stain your white-lead with Venetian red, adding a little Chrome. FINE FLESH COLOUR. Is composed of White-lead, Lake and Vermilion, adding a little good Chrome (pale). CREAM COLOUR. White-lead, Chrome (pale) and Venetian red to tint. PEARL GREY. White-lead, equal portions of Prussian blue and Vegetable black ; Prussian blue being a power¬ ful colour must be used sparingly. FAWN. White-lead, Ochre and Burnt sienna. Mixing Colours. 61 BUFF. White-lead, Yellow ochre and Venetian red. STRAW. White-lead and Ochre. DRAB. White-lead, Umber and Venetian red or White- lead, Prussian blue and Ochre; another mixture may be made with White-lead, Ochre and Van¬ dyke brown ; and still another, as follows : White- lead, Vegetable black and Ochre. PURPLE. White-lead, Prussian blue and Vermilion, or Prussian blue, Vermilion and rose Madder or Crimson lake. VIOLET. White-lead used sparingly, Ultramarine blue and Vermilion. FRENCH GREY. White-lead, Prussian blue tinged with Vermilion. SILVER GREY. White-lead, Prussian blue and small portion of Vegetable black. SALMON. White-lead, Venetian red tinged with Pale chrome. 62 The Coach Painter's Handbook. PEACH BLOSSOM. White-lead tinged, with Crimson Lake and Ultramarine Blue. CHOCOLATE. Indian red, Vegetable black and Pale chrome, these in proper proportions will give also tan 01 snuff colour. STONE COLOURS. White-lead, Ochre and Umber; and another White-lead, raw Sienna and Umber; or still another with White-lead, Ochre, Umber and a little Vene¬ tian red. OLIVE GREEN. Prussian blue, Pale or middle chrome and Umber (burnt); and another, Vegetable black, Pale chrome and Umber (burnt), these in proper proportions will give also Sage green. GRASS GREEN. Several shades may be obtained from Prussian blue and Pale chrome. CARNATION. White-lead and Lake. GOLD (IMITATION). White-lead, Middle chrome and Burnt sienna. TOUCHING UP AND REVARNISHING. This branch of the business is only requisite where the colours have worn so consistently, that it would be considered absolute waste of time and material to repaint the vehicle where it is thought that, on being revarnished all the colours will be restored to their former state or nearly so. We should not overlook the fact, that though the colours may be greatly improved by the pro¬ cess, they can never be thoroughly restored. The first thing to do is to block the body up upon trestles, as though it were again going- through the ordinary routine of painting; remove carriage, wheels, seats, etc., and place them on one side. Then thoroughly flat with pumice-dust on a cloth-pad the whole of the work; get well into every crevice or corner by means of a pointed piece of wood ; rinse well with clean water, and dry with a leather. 5 64 The Coach Fainter's Handbook. The chief feature and one that should most command our attention in this branch is the matching of colours, a most difficult task at any time. You are certain to find bare parts, such as the felloes of the wheels, and also occasionally through an accident or other causes, a new panel, mouldings, or other parts which will require to be painted thoroughly as in the case of a new carriage. It is urgent that we get all new wood¬ work filled up, rubbed down, and prepared for the ground colour, or what we must now term match¬ ing colour; also stop with hard stopping (dry white-lead and gold size) any holes that you may find in any part of the body. When dry and hard face down lightly and with care, that you do not cause a large patch in the panel, and touch this over with a little colour mixed with gold size and turps only. It would be next to impossible to adequately describe here any principle by which faded colours may be matched. Colour-matching can only be acquired by caie- ful and patient attention. You must have athoi- ough knowledge of colours generally, of what colours will mix together, also which colours daik- en by wear and which becomejighter. Take for instance a colour made to dry with several pig¬ ments, and laid on a portion of an old panel, at the time of putting it on the panel let us sup- Touching up and Revarnishing. 65 pose it was perfectly matched, allow it to stand twenty-four hours, then varnish over the whole of the panel, and only too often you will discover your labour has been in vain, inasmuch as the colour is shades lighter or darker as the case may be, than the colour on the old panel which you had intended to match. The cause of this is chiefly to be found in the colours themselves, for we find that though they have been drying they have been at work at the same time, feeding upon each other. Bear in mind some colours are considerably heavier than others; for instance, a Vermilion will sink or settle almost as soon as left undisturbed, whilst a Lake or Chrome or in fact any light colour will float for a length of time in the liquid in which it has been ground. To overcome these difficulties is our next business and to enquire into the best method of colour-matching. Having well flatted the work in hand, and the colours being made to appear as clean as pumice-dust and water will make them, your panels at this stage should appear dull and a very little of the colour be seen. If we take a piece of rag saturated with linseed oil and rub over the panel it will at once assume a bright appearance, giving a more favourable op¬ portunity of judging to what extent the colours have perished or faded. 66 The Coach Painter's Handbook. Supposing the panel on which we have rubbed the oil to have formerly been painted in Indian red but is now looking considerably darker and more shabby, we take a little Indian red or Purple brown (light) beaten up in oil, the one which most resembles the colour on the panel. If Indian red should be the nearest approach to the required shade, the panel having become darker and con¬ siderably more yellow than when new, often a small quantity of Vandyke brown, or Umber, both of which contain the necessary elements to give almost the exact shade of a faded Indian red will do; or we may possibly require a small quantity of White, or of Ochre, but this must be entirely left to the judgment of the coach painter, as it is impossible for anyone to say to what extent a colour has faded without ocular demonstration. Without this privilege we can only assume; but, as a matter of fact, Vandyke brown, or Umber, are two pigments which will approach nearer a faded Indian red than any other two we could mention. Japan mixed with good Indian red will give it a faded appearance, but, I must caution my readers against using this for the purpose of matching any colour, as it darkens so rapidly, even after the colour which you have associated it wit a is dry; and more than this it will continue to do so 'until it becomes a dirty-looking patch. Touching up and Revarnishing. 6 y Having matched your Indian red to the best of your ability, lay a portion of it on your panel with a clean swan’s-quill pencil, allow it to dry, then varnish the panel all over, and if you have any idea or taste for colours, you will at once see what pigment your matching colour is lacking, or wherein you have failed to match it perfectly. One other caution here and the remainder is easy; go all round your body and compare your matching colour, as it very often occurs that the back part has suffered from exposure more than the sides, or vice versa , and is naturally a different shade. In this case it will be essential that you match the body all round, and keep the colours separate. Having your colour ready for use, we will suppose you have a patch in the middle of a panel requiring to be painted, this must be cut in clean, leaving no thick edges, but brushed off as dry as possible, or your patch will show when varnished. Having gone over the whole of the work and touched up where required, carriage, wheels, and every other part, in order to let it have a good uniform appearance, give the body parts a coat of varnish colour all over, wiping the varnish colour off the lines while wet. Where there is a quan¬ tity of lining on the carriage and wheels it will not be advisable to treat these parts in the same 68 The Coach Painter's Handbook. manner, but carefully touch up with your colour. Repair your lines where they have been broken or damaged. Then damp or flat the body off lightly, using but a very little pumice-dust, wash the whole off with clean water, and float a good full coat of Best Hard Body Varnish on, and your work is complete. I must here take the opportunity of explaining why Best Finishing or Wearing Body Varnishes are not recommended to be used. In the first place unless the panels have received a coat of Varnish Colour all over, there is a risk of a slow-drying Varnish not drying at all. Unless the Coach Painter is satisfied the same make of Varnish was used on the work before, the effect of these Best Varnishes should be tried on one panel beforehand; then, if in the opinion of the workman it will not dry in a reasonable time, it should be wiped off, and Best Hard Body Varnish substituted. There is a very old custom prevailing at the present day of sponging the work over with stale beer before Varnishing; this does certainly assist the Varnish drying, but at the same time it cannot be recommended, as it must gather dust, which should under any circum¬ stances be avoided. Where any black or japan parts occur touch up with best black where needed, and give a Touching up and Revarnishing. 69 coat of japan and Drop’d or Ivory, Black mixed; but here the coach painter must use his own discretion as to whether black is required with the japan, or whether the japan on the body has faded to such an extent that new japan will not cover by itself. MATCHING COLOURS. For the purpose of matching; the following colours used in the proper proportion, will give the required tint in the majority of cases. For a faded f YELLOW. ^ For a faded I GREEN. For a faded ( VERMILION. ^ For a faded ( LAKE. j For a faded ( INDIAN RED. \ For a faded / PURPLE BROWN, j For a faded ) VENETIAN RED. ^ Yellow, Ochre and Vandyke brown. Green, common black, Ochre or Chrome. Vermilion, Indian or Venetian red. ! Lake, Rose pink and best Black, or Vandyke brown. Indian red, Vandyke brown or Umber. Purple brown, Vandyke brown or Umber and common Black. Venetian Red, same as Indian Red. Any of the above for touching up should be ground in linseed oil and turps, adding gold size accordingly as they may be required to dry. LEATHER HEADS OR TORS—HOW TO TOUCH UP AND RE VARNISH When a carriage comes into the shop for repaint¬ ing, touching up and varnishing, with the top parts, or what is generally termed, the hood, dash, and wings, consisting of leather, it should be the coach painter’s aim, not only to give these parts a good appearance comparable with a newly finished job, but the refinish upon the leather should be done with the object of preserving it, so that it will retain as good an appearance as the other- parts, as long as possible. Almost all of the so-called leather dressings that I know in the market, give to the leather a fresh and good appearance for a short time, but they do not wear nearly as long as good substantial varnish. In consequence these parts soon begin to look shabby or rusty, and long before the wood and iron-work of the carriage are in need of being revarnished, they become dull and unsightly. There seems to be no one who is willing to assume responsibility for 72 The Coach Painter's Handbook. the shortcomings of the leather parts. The trim¬ mer repudiates the care of them. The patent nos¬ trum man appears periodically puffing his wares above everything yet tried, but practical use shows precisely what they are worth. The gi eater majority of leather-dressings in the market are only a kind or quality of Asphaltum varnish. They lend a nice appearance, but do not keep out water, they thicken the leather, and what is still worse, they are not durable. When a top is very old and nearly done with, leather-varnish is ' as good, if not better, than anything else you can use, because the leather is past being spoiled. For heads of carriages, wings, dashes or aprons, in fact all leather-work, the following treatment can be recommended as thoroughly reliable for any climate. The leather should be thor¬ oughly cleaned with soap and water, then take some boiled oil and Drop d black, coat the leather all over, brushing it well in. When this has stood for an hour the places where the leather has been folded and which are more or less ciacked or bare, will have absorbed the oil. Go over these places again with your black, allowing it to stand again for an hour ;then take some soft rag and rub all the oil and black off as clean as possible. Such a treatment thoroughly cleans and polishes the leather, and fills all the cracks, making them Leather Heads or Tops, etc. 73 water-proof. This does not dry as hard in a year as the enamel on the leather. It freshens the enamel and gives it a new lease of life. This mixture also keeps the straps soft better than neat’s-foot oil does. Sometimes a hood which has been abused, will take in the oil and look dead at the badly folded places in a day or so. These places should be re-oiled and rubbed dry. This method will not thicken the leather, nor does it take dirt whilst drying, and it may be repeated year after year. Dashes can be treated with a coat of Drop’d black ground in gold size, and oil rubbed on thinly and wiped off clean with a rag; this cleans the leather, touches up the scratches, and blackens the seams. Then apply a good coat of durable body varnish, and your leather parts will look almost like new. I may here state I have recently tried two samples, one of “Black Enamel Lea¬ ther Varnish,” and one of “Black Spirit Leather Varnish,” manufactured by Conrad Wm. Schmidt, (F. A. Glaeser), of Stratford, London, E., and¬ ean confidently recommend them (the former more especially) as the best of their kind that in any way approach what the Coach Painter has a right to expect. They are perfect Blacks, work very freely, have a (good body and gloss, and what is of the greatest importance, they wear well in all weathers. They should be used in a fairly warm 74 The Coach Painter's Handbook. shop to bring out all their best qualities. I have no doubt ere this work reaches many of my readers, they will have tried them for themselves, and be in a position to confirm my opinion. The Spirit Leather Varnish also suits well the purpose for which it is intended, viz., quick, or jobbing work. It must come as a boon to every Painter, seeing there are so many odd jobs to be done at the last moment. It has a good gloss and colour, and dries very rapidly. PAINTING IRON-WORK. Painting Iron-work, calls for but little comment, as far as applies to the carriage parts, seeing that at the present day they are more highly finished, or left with a much better surface than formerly. As a matter of fact, in the majority of cases they are ground, after being forged, as smooth as one could wish: such being the case, they require no patent filling, but simply priming, and after a thorough search for any small holes, which must be stopped up with hard or sand¬ paper stopping, and after being levelled with sand-paper and made perfectly smooth and even, they are ready for painting proper It must, however, be borne in mind that any Iron-work having been laid aside for any length of time, even a few days, will be found to have become rusty. Under no circumstances must these parts be painted until they have been scraped clean from every particle of rust and polished with emery- cloth ; unless this be done the effect of painting over it will soon be seen, as the paint will 76 The Coach Painter s Handbook. blister and chip off.. It should be the duty of the Painter to colour all Iron-work as soon as the Smith or Viceman has finished it. In the case of Hand-rails, Guard-rails, Lamp- irons, Steps, etc., which are to be finished in colour, the usual routine as already set toith must be followed; but where they are finished black, as is invariably the case, after the Stopping a thin coat of Lead Colour must be put on, then a coat of Quick-drying Black, made with Vegetable or Drop’d Black, ground in Gold Size or Terebene and thin’d out with Turps. Next apply a good coat of “Best Black Lacquer” over this, which gives the work a good and finished appearance. Let us for a moment turn our attention to this famous acquisition to the Paint Shop. Best Black Lacquer very much resembles Japan at first sight, though not quite so rich or dense. It works very freely, dries hard in a few hours with a first-rate gloss, and further, it will take Varnish where necessary. It wears well, and also it can be painted over. It claims this advantage over Shining or Varnish Black, (a compound well known to the Coach Painter), it can always be kept at hand ready for use; two coats will cover on any ground. Let us next turn our attention once more to Painting Iron-work. o 77 painting (Sheet) Iron-work. Iron and Copper was formerly very much used by Coach Builders for the round or bent panels of vehicles. We seldom find this style of work to-day in private carriages ; still many Railway Companies adhere to this system at the present time. We are all aware that Iron can be bent and twisted to any shape required; but in the case of Wood-Bending for panels, there is always the risk of splitting, not only in the actual pro¬ cess, but at any time after it is fixed in its position and painted. With Iron we have no fear from this quarter, but still it has its disadvantages. Do all we can it is impossible to prevent Sheet- iron from buckling, and all the filling up and painting we can do to it does not totally hide it, so as to give the panel a perfectly even ap¬ pearance all over. So should it fall to the lot of any of my readers at any time to be called upon to exercise their skill on this material, they must not expect to bring it to such a state of perfection as in the case of wood. First then, having removed all rust and grease from the Iron in the manner already described, give two coats of priming of good Tub Lead in the usual custom; stop up with hard stopping, and apply 7 or 8 coats of Filling up; stain and rub down, using as large a piece of pumice-stone as it is 78 The Coach Painter's Handbook. possible to hold in the hand conveniently. By passing the palm of the hand over the panel it will be possible for the workman to locate the uneven parts, and so obtain an idea how best to rub the work, and avoid as much rubbing as possible. Wherever a hollow occurs, after the staining has been removed from every part, lay a straight edge on the panel; it will then be seen to what extent we have succeeded in ob¬ taining a level surface. Should any part be still raised or standing out, continue rubbing these parts, even though you remove the filling and priming to the bare Iron, which is of little con¬ sequence, seeing we are not attempting, as in the case of Wood, to fill the grain, there being no grain to fill, but rather to get as even a sur¬ face as possible. Having finished the rubbing, allow the usual time (36 hours) to dry ; the work of painting should then be proceeded with as with Wood-work. It is next to impossible to say to what extent we have succeeded in the levelling process until the part is varnished. At any rate, we can do no more in this direction, unless by giving an extra coat or two of Hard Body or ol Flatting Varnish, thoroughly flatting each suc¬ ceeding coat up to the finishing, which must in every case be Best Finishing Body. VARNISHED WORK. By this we understand a carriage to be got up without the use of paint of any description, except for lining purposes, or for the iron parts. As a matter of course, the first thing to attend to will be the filling in of the pores of the wood. Seeing that some woods used in the construction of carriages of every description are a deal more coarse or open-grained than others, they must in consequence involve more labour and expense in bringing them up to per¬ fection. A few of the coarse or open-grained woods used are as follow: Teak, Walnut, Ash, or Oak, whilst those of a closer grain, such as Mahogany, Birch, Satin, or Maple, can be brought up to a very high standard of excellence, much easier and quicker. From time to time various patent com¬ pounds for this purpose, bearing high-sounding 6 8o The Coach Painter's Handbook. titles, have been brought before the notice of the trade, but after a good fair trial they have been condemned as unsatisfactory. With the patent compounds 1 have no intention to deal, but simply to lay before my readers a system for getting up a carriage which is simple, reliable, and at the same time expeditious, attain¬ ing the maximum of excellence without the slightest risk. Further, be it understood, the instructions herein contained apply to all woods. I may add in sup¬ port of the following method, that for many years past it has been adopted by most of the leading coach builders and railway companies, and is firmly adhered to in England, up to the present time. For the purpose of illustration, we will suppose the carriage in hand to be of Teak as regards the panels, while the stiles or frame-work con¬ sist of Oak, or Ash; I have purposely selected teak as being the one wood above all others most difficult to fill up and finish in a satisfac¬ tory manner. First, it is the duty of the coach painter to see that the wood-man, as the coach builder is generally termed, has done his part of the work thoroughly well, leaving behind him no plane marks or scratches from the sand-paper, every part being smooth and clean as it should be. Varnished Work. 81 Dust the woik thoroughly and prepare your first coating, consisting of three parts gold size and one part turps. With this go over the whole of the work, brushing well in, and running into the pin-holes and crevices; this will be quite dry in twelve hours, when we proceed with the next coat, which must be of gold size only. After sand¬ papering lightly and well dusting, spread a good even coat on and allow it to stand until the next day, by which time it will be ready for stopping. It will be necessary to match your stopping with the colour of the wood, so that it will not be seen when finished. For stopping take ground. white-lead and oil putty, mix them well together, adding a little size to harden it, staining it with Ochre, Umber, or Vandyke brown to the required shade. Force this well into the pin-holes with a stopping or putty knife, and level in as well as you can to the surface of the panel or moulding; wipe oft'clean with rag any stopping you might have left about the holes. Having searched out every hole large or small and treated them in this manner, we are ready for the first coat of varnish, which must be of a hard drying nature, a good Hard Body or Flatting Varnish is best for this; sand-paper over the gold size to prevent cessing, dust and give the whole a good substantial coat of varnish. Repeat this 82 The Coach Painters Handbook. treatment the two following days, and the body has now received two coats of gold size and three of varnish. When the last coat is dry your work will be ready for the rubbing in, which must be done as follows. Take a mixture of hard body, or flatting varnish, gold size and turps—that is to say, one pint ot varnish, one pint of gold size, and one gill of turps- stir them well together and brush a medium coat on a panel, this will be set in half an hour, then get a lump of pumice-stone large enough to hold firmly with both hands—your stone must be perfectly flat and dry. Next, rub the panel which is still wet with the varnish, pressing heavily on your stone. By this means you rub the varnish into the pores of the wood; continue this until the varnish has become nearly dry or you cannot move it any longei. That you may get an idea how long you should keep rubbing ; a panel three feet square may easily be rubbed in by a labourer in thirty minutes. Rub in the whole of the work, panels, mould¬ ings, etc., (for rubbing the Mouldings shape a piece of pumice-stone with a half-round file,) and when dry face or rub it down with a clean piece of pumice-stone and water in the same manner that you would Patent Filling, until you have procured a perfectly smooth flat surface. 1 7 amis he d Work. 83 Vk'hen the whole is faced in this manner, wash down with clean water and dry with a leather, and again varnish it over with an even coat of Hard Body or Flatting Varnish. Allow twenty-four hours to dry, then subject it to a good flatting with pumice-dust and cloth; then give it yet another coat of varnish, using “Best Hard Body,’’ which should be allowed to stand as long as possible. For the finishing coat of varnish, flat or treat the work as in the case of a painted job. You will then find that with nine coats in all, including the gold size, you have accomplished what some few years ago seemed an impossibility, that is, filled up the pores of one of the coarsest grained woods in use in the coach-building trade, and finished with a perfectly even, smooth, and brilliant sur¬ face that will last for a number of years, pro¬ viding it is revarnished, say, every twelve months. Let it be understood this method of rubbing the varnish in does not apply to wheels, or any of the underwork, which are invariably constructed of woods of a closer grain. Oak and Ash being more generally used are not so difficult to fill up, being less porous. One coat of gold size, two coats of hard flatting varnish, each coat being well sand-papered; then a lull coat of hard carriage, and finally a coat of best elastic carriage is suf- 8 4 The Coach Painter s Handbook. ficient for these parts, and will give a splendid finish. Where closer grained woods are em¬ ployed for the body panels, such as birch or mahogany, a coat of varnish may be saved with¬ out any detriment to the finish. That is, instead of three coats before rubbing in, two only will be sufficient and the work should look equally well. Compare for a moment the number of coats of paint and varnish required for a thor¬ oughly painted carriage with the foregoing, and it will at once be apparent how inexpensive and expeditious the work may be turned out. This in itself should be ample evidence of the excel¬ lency of this, the best and most reliable method known to the trade. BASKET CARRIAGES, OR WICKER-WORK This branch of the Coach Painters’ work has very much revived during the last few years. Colouring or staining the wicker-work before being varnished must be considered of the first importance in this department. Any shade or tint may be produced by the use of Spirit Var¬ nish Stains, which can be procured ready for use from most large varnish manufacturers.* The stain must be applied after the painter has removed any finger or other marks by means of a piece of very fine sand-paper. In addition to the above stains, any ordinary wood can be imitated by the use of Vandyke Brown, Burnt Sienna, Ochre, or Umber, used in their proper proportions according to the wood to be imitated. These * Conrad Wm. Schmidt (F. A. Glaeser), Stratford, London, E., supplies these , and you can depend upon the quality. 86 The Coach Fainter s Handbook. pigments must be ground very finely in gold size and hard Carriage Varnish, in sufficient quan¬ tities to form only a glaze or stain. Thin out the colour with turps and lay over the wicker¬ work evenly and sparingly. When thoroughly dry varnish over the whole with Hard Body or Flatting Varnish, and finish with Best Hard Body Varnish. The withies or twigs of which the work is composed, being of a very close grain, it will be found that the glaze or stain will be sufficient in itself to fill the pores. Japan thinned out with turps only, and brushed on evenly, has a good effect, and when varnished as above will last and keep its colour for years, provided the work is revarnished, say, every twelve months. TRADESMEN’S CARTS AND VANS. A very great number of Coach Painters ignore this branch of the trade as scarcely worthy of notice; but whatever may have been the state of affairs in years past, it is certain that at the present time many splendid specimens of work ot this class are to be seen running in all parts of the world, creditable alike to the Painters as also the Builders. For be it remembered the bet¬ ter class are profusely and lavishly decorated with Gold and Colours of the very best work, and consequently should receive the same treatment in the matter of filling up, painting, and finishing, and only the very best materials should be used. The rules for regulating the choice of colours and method of using, already fully dealt with in these pages, should be strictly adhered to. It may be also as well to remind readers with reference to the Writing, Gilding, etc., the method as herein described is equally applicable all round, whether for Railway Carriages, Tram Cars, Busses, or Tradesmen’s Vehicles. 88 The Coach Painter s Handbook. In addition to the' routine already described for painting the better class of these vehicles, it will be as well to notice the less expensive description, or those generally used for heavy work. It is very seldom they get any filling up, but as a rule are primed with a good stiff coat of White Lead or Lead Colour, and the following day are well sand-papered, and every hole, joint, or aperture stopped up with a mixture of Ground White Lead, Whiting and Gold Size, mixed to the consistence of ordinary oil Putty; after this they should again receive a good round coat of Lead as before, which must also stand till the following day, when they are ready for the ground colour proper. Having received no filling, it natural¬ ly follows that the best or more expensive colours are not used. The colours most frequently re¬ quisitioned being Greens, Browns, and Blues; for the former I would recommend a good“Coach Painter s Green,” which can be had in several shades, con¬ taining a good body and substance they are specially adapted for this work. Two coats of clear colour followed by a third coat mixed with •‘Hard Van Varnish,” and your work is ready for lining. This part of the work being finished, together with any writing that may be required, flow on a good full coat of “Hard Drying Van Varnish,” and your work is complete, unless, as ■~Mt I *• « ft «• - •» Tradesmen’s Carts and Vans 89 it frequently occurs, this kind of work is more or less decorated with gold in the place of colours for lettering. Should this be the case, it must at once occur that a second coat of Varnish is indis¬ pensable for its protection. It must be known that Gold after one coat of Varnish must never be flatted over, for fear of scratching the metal and thus detracting from its lustre, but simply rinsed with clean water and dried with a chamois leather. For Brown work, Indian Red or Purple Brown, according to the shade required, can be recom¬ mended; in either case the third coat should be used as with the greens. For a Blue ground, one coat of Prussian Blue followed by a coat of Ultramarine and a third coat containing Ul¬ tramarine Blue and “Hard Drying Van Varnish,’’ should be given. Where necessary to heighten the colour a little, -White Lead mixed with the Ultramarine will have the desired effect. Blues not being as permanent as Greens or Browns, a second coat of Varnish should be administered in every case where these colours are used. The carriage parts may here claim our attention in connection with this work. These must receive two coats of Lead Colour, or White Lead, each coat being well papered. After the first coat the work must be thoroughly stopped before the second coat is put on. 90 The Coach Painter's Handbook. In most cases the Carriages, Wheels, Springs, and Shafts are finished red, and must be treated as follows: After the second coat of priming is dry and hard, which under ordinary cii cumstances would take 24 hours, give a coat of flesh colour (made by mixing good Venetian Red and White Lead to the required tint); allow this to stand till next day, then follow with a coat of best Vermilionette, and lastly, as far as concerns the colours, a coat of Vermilion mixed with “Hard Van Varnish.” Allow another day to intervene: line out, and apply a fairly good coat of Van Varnish. This may be subjected to a slight flat¬ ting the following day, when give a good full coat of Van Varnish. I may here be permitted to say thatVanVarnishes are specially manufactured for this class of Work, and procured from a good firm they may with con¬ fidence be recommended as brilliant and durable. For White carriage parts three coats of best ground White Lead will be requisite, adding a little Varnish with the third coat; allow 24 hours between each coat. By adding a very small portion of Ultramarine Blue to the Lead, the Yellow Caste to be seen in all Leads will be removed, and the work will look much whiter and better when finished. BRUSHES- THEIR SELECTION AND CARE. It is well known among coach painters that a really good varnish-brush or tool is a luxury. In England, as elsewhere, there are many first- class firms of paint- and varnish-brush manufac¬ turers. Yet the workman has considerable diffi¬ culty in obtaining a first-rate tool, notwithstanding that the price paid has been only a secondary consideration. I will endeavour to assist the painter as far as possible in the selection of really good brushes, after which the care of them must fall upon the shoulders of the painter. First then, a good varnish-brush or tool in shape should be round or oval. Do not let me be under¬ stood as condemning the modern or flat brush, as I have seen and used many good specimens of this description, but for general use I think the round or oval are preferable; they should be wire 92 The Coach Painters Handbook. bound, as string-bound brushes have not the dura¬ bility to recommend them, once the string gives way the brush is absolutely worthless. Further they should consist of stout white hogs’-hair bristles (not a mixture of black and white) as long in the hair or bristle as possible. They may be obtained ground or bevelled at the ends, indeed they are often advertised as ready for use, this may be true in the case of colour brushes, but not so with varnish-brushes; for it will eventually be found that a good and serviceable brush for varnishing, must be worn down to a very thin and uniform edge at the end, in order to get well under the mouldings to remove the varnish which will have accumulated there. A hair brush after being properly bound with string above the stock, if intended foi var¬ nish, should be first used in colour; not only will' this tend to wear it to the required edge quickly, but it will also split the bristles at the extreme ends. If this is not done a very great number of the bristles will be found very blunt, and would leave deep grooves in the varnish which will not flow out. The condition of the bristles will be consider¬ ably improved and strengthened by being used in japan, after a little wear in colour, and before being used in varnish. Brushes—their Selection and Care. 93 The painter should be careful to observe in first using a brush in japan or varnish, that if any deep grooves or brush marks are left on the panel after being laid off, there are still some stout or unsplit bristles left in the tool which must be removed, not by pulling out by the roots, that would loosen the remainder, but by cutting them out as close to the stock of the brush as possible, and when every thick or unsplit bristle is detached you will have a perfect varnish-brush. See in selecting your brushes that they are full of bristles and not hollow in the centre, or built round a circular piece of wood, or they will weai hollow and become useless. Varnish- brushes differ from paint-brushes only to the extent that the former are made from care¬ fully selected hogs’-hair. d hey range in sizes as follow's: 4.0s, 6.0s, and 8.0s, the latter are somewhat large and very rarely used by coach painters. Tools, on the other hand, are distinguished by numbers ranging from 1 to 12, the most useful sizes being Nos. 8 and 9. String-bound brushes for colours, before being used, should be sub¬ jected to one or two coats of patent knotting over the string, so that when placed in water it prevents the glue becoming dissolved and thus loosening the bristles. 94 The Coach Painter’s Handbook. One word as to the best manner to preserve our brushes in good order and fit for use at any time. All colour-brushes should be kept in a tub or bucket (solely for this purpose) partly filled with clean water, and changed at least once a week. Suspend them in the water by means of a stout wire passed through them and resting on the sides of the tub or bucket. See also that your brushes do not touch the bottom of the tub, or they will become crippled at the points and consequently unfit for best work. As I have already stated, varnish-brushes should be suspended in a like manner in turps, and kept perfectly free from dust; the same also with japan- brushes, and brushes kept purposely for lakes. Some painters advocate keeping Finishing brushes in finishing varnish, First-coating brushes in First-coating varnish and so on, but I do not advocate this. Every paint shop should be well equipped with a good stock of brushes, one or two for ' each colour, as a deal of time (saying nothing of the quantity of turps used) is lost by cleansing a brush from one colour to put it into another, which is a dirty and careless habit and cannot be too strongly condemned. WHY VARNISHES GO BAD , AND HOW TO PREVENT IT. Theie are many reasons why varnishes, if not tieated properly, will go bad, and it will not be out of place here to refer to -a few of the most impor¬ tant, so that the painter may be enabled to guard against them In the first place, varnish should not be kept in a damp or cold place and brought out direct and used in a warm or heated shop, as this will have the effect not only of chilling and destioying its gloss, but also cause it to be¬ come more susceptible to running; or again, if kept in a warm store or shop, and used in a damp or cold atmosphere, it will invariably gather and have a milky appearance, to say nothing of the brush marks (which is of the utmost impor¬ tance) not flowing out. This applies equally to japan or gold size. Therefore to guard against this the varnish must 7 96 The Coach Painters Handbook. be allowed to stand ten or twelve hours, or longet if possible (corked up of course), m the shop in which it is to be used. I cannot help once again reminding the painter that under no circumstances must soap or soda of any description be used either for flatting or cleaning off stains. For the latter purpose use with care a little turps and clean rag, or pumice- dust and cloth. Soap has the effect of causing the varnish to flake and curl, as though a sponge had been dabbed upon it whilst wet. Another and perhaps the most important of all reasons of varnishes ooing bad, is to be found through mixing or lisin'i two manufacturers’ varnishes, japan, or go size, one over the other. To better illustrate this’ important feature, let us assume that a colour has been ground in gold size supplied by one firm, and the work subsequently gone over with varnish supplied by another: it is often the case that the varnish will not dry and bear out as we would wish; it will appear silky, stripy or full of very fine pin-holes. If this is the first coat of varnish, the painter is consoled for the time being with the idea that the fault will be hidden when the next coat of varnish is applied, and after the work has re¬ ceived a good flat. A more serious error could Why Varnishes go bad , etc. 97 not be committed. In the first place, you cannot flat the first coat of varnish sufficiently to obliterate the pin-holes, or you will find you have got through the varnish on to the colour. Having satisfied ourselves that the size and varnish do not agree, being of two different makes, they should not be used. This in many cases will account for your work cracking and perishing before it has been run¬ ning many weeks. A similar error is also committed in the mat¬ ter of japan and varnish of two different manu¬ factures being used one over the other, which should never occur, or sooner or later the coach painter must come to grief. At all times it is most essential that the varnishes, japan, and gold size of one firm, and one firm only, should be used from the commencement to the finish of the work, if durability is one of the leading features looked for. Yet another reason for work cracking or perishing is to be found where the work has been too hurried, especially so in the case of varnishes. As has already been pointed out, one coat of varnish must be thoroughly dry and hard before another is laid over it. Where colours mixed with turps are used on varnish, such as for lining, or writing, we frequently see the colours crack, whilst other portions of the work are intact: this 9 8 The Coach Painter s Handbook. is at once put down to the fault of the colours or Xhe dryers it contains (and for once m a way the varnish escapes condemnation). This is not the true cause of the cracking, the fault lies in the colours being laid on before the varnish is thoroughly hard. Though deprecating the using of colours on varnish, I am fully aware at times it is unavoidable, but it should only be attempted where the varnish has stood for two or three days. In a precisely similar manner will a gold line or letter crack and perish where the gilding size is run on the varnish too soon. Another reason for bad work is discovered in the use of hot water for flatting purposes. No painter would think of employing hot water on his work during the summer months. It is only in winter time, I would anticipate its use; just at the time of year when varnish m the process of drying is at its slowest, will a painter resort to the comforting method of warming the watei for use. I am fully aware of the disagreeable effect of diving one’s hand to the bottom of a pail of ice-cold water in search of a sponge in mid-winter, never¬ theless it must be endured unless the work is to suffer. .• A thoroughly good undercoating body varnish Why Varnishes go bad, etc. 99 will take from thirty to forty hours to harden through so as to be ready to receive the finishing coat in summer, and unless some artificial heat is brought into requisition, must as a consequence be considerably longer in the process of hardening during cold or damp weather. And though your under coat of varnish has been on a week or moi e, hot water will soften it to such an extent that in nine cases out of ten when the finishing coat is applied, it will shrivel or become full of pin-holes or pock marks, and worse still, your finishing coat will not flow as it otherwise would do. Therefore let it be understood, next to soap and soda, hot water is one of the greatest enemies to varnish, japan, or gold size. Again, cold or damp air admitted to a heated shop, during the process of varnishing or drying, will cause your varnish to become sleepy and dull, and must be guarded against. Being brushed too much will cause your varnish to appear poor and stripy. I have elsewhere dwelt upon the necessity of keeping all varnish- and japan-brushes in turps, but it is worth repeating that doing so will clean as well as strengthen the bristles. Many varnish manufacturers advocate oil in place of turps, but where oil is not kept perfectly air-tight, in a very few days it becomes rank and fat, and if your brush is not thoroughly freed from it IOO The Coach Painter's Handbook. when about to be used, it will effect your varnis to a considerable degree. Whereas it can be claimed that turps [will clean your tools, oil, on the other hand, in conjunction with the varnish left in your brush after using, will corrode and take from it the spring which is a very great essential to a good varnish-brush and the com¬ fort of the painter. BLISTERING AND CRACKING. Blistering and Cracking, generally speaking, are traceable to the following causes, in addition to those already enumerated. Through painting over a wet ground, through using inferior mate¬ rials, through the oil or other liquids not being properly distributed in the colour; for example, if we leave a pot of paint standing from day to day we find the liquids floating on the top; the pigments after separating themselves are found deposited at the bottom of the pot, the lightest of which will be found uppermost or immedi¬ ately below the liquids. Before being again used the whole should be thoroughly stirred until mixed. A practice prevailing in many shops of making (say, for instance, Lead Colour) sufficient to last Blistering and Cracking. IOI the week cannot be too strongly condemned, inasmuch as the liquids may become rancid, stale and fat, and consequently totally unfit for use. Where it is requisite to save a colour it should be kept perfectly air-tight. Blistering and Cracking are also caused through putting one coat of Varnish or Paint over another before it is thoroughly dry. A newly painted coach being brought suddenly into the sun, or any excessive heat, will cause blistering. Again, under no circumstances should a newly painted coach be washed while the sun is playing upon it; this also will cause the work to crack and blister. Ammonia from horses or a manure heap coming into contact with varnish will crack and perish the work, no matter how long it has been done. RAILWAY-CARRIAGE PAINTING. Many and various are the styles of this branch of the trade adopted by the numerous Railway Companies, ranging from the very highest to the lowest standard. Undoubtedly some few of the leading Compa¬ nies vie with each other not only in the con¬ struction of their coaches, but more especially in the painting and decorating. It would be extremely difficult, if not an act of presumption, for the most competent Coach Painter to attempt to suggest the slightest im¬ provement either in the style of the work or the methods adopted by many of the larger Companies to attain such an high standard of excellence. In some instances we see carriages painted with Crimson Lake relieved by Gold and Vermilion, and in others we get splendid Railway Carriage Fainting. shades of Purple Lake relieved also by Gold and Flake \\ hite , whilst again in others they are finished in the natural wood without the aid of colours, and appear equally attractive; each style affording a study for the workman. There remains but a very little to be said as to the best method of attaining the very best results in this class ol work, as the system already set toith in these pages should be followed to the letter, with these two additions,—an extra coat of filling up is advisable, as also an extra coat ol Body V arnish. It should be borne in mind that a railway carriage gets considerably more hard wear than a road or private carriage j the steam and grease from the engine, coupled with the harsh treatment they receive in wash- ing, makes it absolutely necessary to give them extra varnish in order to protect the colours. Touching up and revarnishing is almost unknown in a railway shop, the coaches as a rule being run until nearly every particle of varnish has disappeared, making it incumbent to repaint them once they come back to the paint shop. So under the circumstances we will turn our attention to repainting. The first thing to be done in this instance, (or after the vehicle has been overhauled by the Wood-man), will be for the Painter to have all CO 104 The Coach Painter's Handbook. new wood-work primed and filled up, ready for the rubbing with the other parts. The rubbing will necessitate a deal more labour, seeing it is old paint, than was the case with the new filling. It must be borne in mind that an old painted panel will take four or five times the amount of rubbing unless we resort to artificial means. Such means must take the shape of an old plane- iron with the edge turned over by rubbing on a piece of sandstone. This must be used as a scraper in the following manner: keep the edge of the iron perfectly level on the panel or mould¬ ing, using care that the corners are not allowed to plough into the work, or it will bear evil con¬ sequences. Commencing at the top of the panel, using but little pressure, draw it to the bottom, when we observe we have taken off a very thin layer or shaving of the old paint or varnish, repeat this operation a few times until the Lead or other Colour underneath appears. Providing no scratches have been left by the scraper, this treatment will have helped us considerably and it will not take nearly so long to remove the remainder, which must be done in the usual manner, by rubbing with pumice-stone as in the case of filling up; to assist the rubbing a little powdered pumice-stone may be sprinkled on Railway Carriage Painting. 105 the work. As soon as the original filling is laid bare, then only is this part of the work complete. It is customary to allow old work to stand 10 or 12 hours in order to get perfectly dry; this is ample, as it does not take up so much water as would new. The work can now be proceeded with just in the same manner as a new job, (after rubbing). Where there are any cracks or blisters to be seen, these panels or mouldings should be burnt off, and reprimed and filled like new wood. For burning' off old o paint most shops are equipped with a spirit-lamp for the purpose; it is always advisable to use only sufficient^ heat to soften the paint through, so that it may be removed by a chisel-knife, as an excess of heat will often cause a split in the panel. Before priming the work scour it thoroughly with coarse sand-paper and dust well. Before concluding this article it will be as well to say the decorative part, i. > Rubbing. Drying after Rubbing, Priming after Rubbing, ,, Stopping and Facing, Priming (extra coat), Ground Colour, (1st coat), ,, „ „ (2nd „ ), » „ (3rd „ ), „ 36 } 5 10 >> 12 n 6 n 10 n 12 >> 12 n 24 n 12 24 ** 12 n 24 n Lining. Varnish, (1st coat), Flatting. Varnish, (2nd coat). 12 ,, 24 ,, 24 „ 48 » Flatting. Varnish, (3rd coat), „ 48 „ 96 „ It will thus be seen from the foregoing, m using ordinary colours a piece of work may be begun from the bare wood and finished fit to leave the paint shop in from 13 to 24 days. It can also be seen it will take from 8 to 14 days to prepare a vehicle for the ground colour. Where Lakes or any transparent colours are used it will take from 12 to 24 hours longer, to allow for the extra coat. Railway or any work Work-time Tables. 129 getting an extra coat of filling and Varnish, will take from 3 to 4 days longer. 2. TABLE FOR VARNISHED WORK. Gold Size, (1st coat), from 12 to 24 hours. « » ( 2 nd ,, ), 5 5 12 » 24 n Stopping. Varnishing, (1st coat), n 24 n „ (2nd „ ), 55 24 n » (3rd „ ), n 24 5 ) Varnishing or rubbing-in coat ,, 24 „ 7<5 55 Facing or Rubbing. Varnishing, (1st coat), n 24 n after facing. Varnishing, (2nd coat), 48 „ 96 after facing. Varnishing, (3rd or finishing coat), n 48 „ 9<5 n It is here shown that a Varnished body may be completed fit for any show-room in from 10 to 17 days. 3. TABLE FOR JAPANNED WORK. Knotting, from 1 to 2 hours. Priming, (1st coat), m 9 n 24 n » (2nd „ ), Stopping. n 9 > j 24 n Filling, (1st „ ), )) 24 ), 48 n The Coach Painter’s Handbook. Filling, (2nd coat), „ (3rd „ ), (4th coat), ” (5* „ ), when covered with Leather) Staining Coat, Rubbing. Drying after Rubbing, from 24 to 48 hours. ,. 24 n 48 „ 24 48 n „ 24 48 j y » IO 5 1 12 )> 3 d Priming after Rubbing, (1st coat), Stopping, Facing. Priming, (2nd or extra coat ), Drop Black, (1st coat), „ „ ( 2nd » Varnish on Black, 6 IO „ 12 n 12 „ 24 24 24 )> Flatting. Japan, (1st coat), „ (2nd „ ), Flatting. Varnish, (1st coat), (2nd or finishing coat) ,, 24 » 48 48 » 72 48 „ 72 72 „ 9 6 From 19 to 3 ° days. In addition to the above, where the tops are covered with Leather it will be necessary to allow the usual 6 days for the leather to dry after being sleek’d on. Work-time Tables. 1 3 1 4. TABLE FOR TRADESMEN'S CARTS AND VANS. (Where no filling up is used). Priming, (1st coat), from 24 to 48 hours. » ( 2nd „ ), Stopping. 24 n Ground Colour (1st coat), 24 n »» » (2nd „ ), 24 M » >> (3rd „, ), 24 >> Varnish, (1st coat), ,, (2nd or finishing 24 n coat), » 48 to 72 > j By the above we observe it should take from 8 to 10 days to begin and finish a Tradesman's Cart or Van, and under no circumstances should it be made less. I feel it is my imperative duty once more to caution the workman against the practice of ap¬ plying more than one coat of Paint or Varnish the same day on this or any work, or it will be sure, sooner or later, to bear evil consequences. Never apply a coat of Paint or Varnish before the underlaying coat is perfectly dry; Hard and quick drying Varnish must never follow a slow Elastic Varnish, but always precede it; and the same rule applies to Paints. Masters, as well as Workmen, will profit by remembering this. CONCLUSION. In concluding the Coach Painter’s Handboo , let me say that I have endeavoured to remove every difficulty, and make every little matter o detail as plain and intelligible as possible. Before, however, taking a farewell, I would impress upon every reader the importance of never taking or permitting to be taken, any liberties with either Colours or Varnishes. In departing from the rules herein detailed a workman may for a brief period be successful, but eventually he must come to grief. It should be the duty of every Workman whether Journeyman or Learner, to practise and enforce, as far as lay in his power. Cleanliness, Economy and Industry; and by using solely the Varnishes and Colours manufactured by Conrad Wm. Schmidt (F. A. Glaeser), Stratford, London, E., he may be sure of general success. A Bird’s-eye view of Conrad Wm. Schmidt’s (F. A. Glaeser’s) Factory in 1895. A LIST OF GLAESER’S SUPERFINE RELIABLE COACH ■V made from thefinest selected materials only, and carefully matured and practically tried before being sent out. Best Finishing- Body Varnish. 1 he finest, palest and most durable finishing varnish. Best Durable Body Varnish. Very pale and brilliant; suitable for railway work. Best Wearing- Body Varnish . . .'. For finishing. Can confidently be recommended. Best Hard Body Varnish. Quick and hard drying. For under-coating, or finishing quick work. Best Elastic Cab Varnish. Quick drying, brilliant and hard wearing. Specially for cabs. Best Elastic Carriag-e Varnish. Pale and durable. For finishing ordinary work, etc. Best Hard Carriage Varnish. Hard drying varnish for first-coating. Best Quick Carriage Varnish.• For jobbing and touching up. Pale Wagon Varnish A good reliable Varnish, quick drying, for buggies, wagons, etc. Hard Drying Van Varnish. A lull-bodied, quick drying and good wearing varnish of great brilliancy. Specially for vans, etc. Engine Copal Varnish for Locomotives, etc. Best Flatting Varnish. Pale, quick and hard drying. For flatting bodies, etc. Superior Black Japan. For getting up the black groundwork of carriages. Best Black Lacquer. Quick black varnish for ironwork, etc. Best Pale Gold Size for mixing delicate colours. Best Quick and Hard Gold Size. For mixing with filling-up colours, etc. Best Dark Terebene. The quickest liquid dryer known. Finest Pale Terebene.' . .. Almost colourless. Will not injure white or delicate colours. Black Enamel Leather Varnish. For renewing leather work. Does not dry in damp atmosphere. Black Spirit Leather Varnish. A perfect and very brilliant black. Dries hard in a few minutes. Patent Knotting for Priming, etc. Filling-up Powder. For getting up a hard and level surface. Rubs very easily. Unrivalled for Paleness, Drying, Hardening, Brilliancy and Durability; and (Quality always the same. CONRAD Wm. SCHMIDT (F. A. GLAESER), MANUFACTURER OF COACH VARNISHES AND COLOURS, Stratford, LONDON, E. SUPERFINE COACH COLOURS blacks Drop Black. Jet Ivory Black. Vegetable Black. WHITES Cremnitz White. Flake White. Zinc White. greens. Brilliant Green. Bruns. Green, Light. Bruns. Green, Medium. Bruns. Green, Deep. Chrome Green, Light. Chrome Green, Deep C. P. Green, Light. C. P. Green, Medium. C. P. Green, Deep C. P. Green, Ex. Deep Emerald Green, Light. Emerald Green, Deep. Quaker Green, Light. Quaker Green, Medium. Quaker Green, Deep. Quaker Green, Ex. Deep Royal Green, Light. Royal Green, Deep. Saxon Green. Light Saxon Green, Deep. Dutch Pink Green YELLOWS. Car Body Colour. Chrome Yellow, Light. Chrome Yellow, Medium. Chrome Yellow, Deep. Chrome Orange. Dutch Pink. French Ochre. Golden Ochre. Perfect Yellow, Light. Perfect Yellow, Medium. Perfect Yellow, Deep. Naples Yellow, Light. Naples Yellow, Deep. BEDS. C. P. Red, Light. C P. Red, Deep. C. P. Carmine, Light. C. P. Carmine, Deep Indian Red. Rose Pink. Tuscan Red. Venetian Red. Vermilion. Light. Vermilion, Deep blues. Azure Blue. Chinese Blue. Cobalt Blue. Perfect Blue. Prussian Blue. Ultra. Blue, Light. Ultra. Blue, Deep. browns. Brown Ochre. Terra Sienna, Raw. Terra Sienna, Burnt. Portland Amber. Purple Brown, Light. Purple Brown, Deep. Tur. Umber, Raw. Tur. Umber, Burnt. Vandyke Brown. LAKES Carmine Lake, Light. Carmine Lake. Deep. Imitation Carmine. Crimson Lake A. Crimson Lake B. Purple Lake, Deep. Purple Lake, Ex. Deep Purple Lake A. Scarlet Lake A. Scarlet Lake B. Red Lake A. Red Lake B. Rose Lake A. Rose Lake B. Yellow Lake A. Yellow Lake B Perfect Purple. Magenta Lake. Munich Lake. Carr. Part Lake. uch Pink Green. I uura - -----“- 'Any colour not rnN R A D Wm. SCHMIDT (F. A. GLAESER), MANUFACTURER of COACH VARNIEHES^AND COLOUR ^ nd q N , £ CONRAD Wm. SCHMIDT (F. A. GLAESER) is Contractor to the following important Public and Private Institutions, Offices, and Companies. The Admiralty. The War Office. The Government of India. The London County Council. The Indian Royal Dock Yard. The Royal Italian Admiralty. Her Majesty’s Estate at Osborne. The Italian, French, German, Belgian, Turkish and Roumenian Government and Private Railways. The Great Eastern, the Great Western, London, Chatham and Dover, South Eastern and many other English Railways, and nearly All the great Waggon, Tram, and Omnibus Companies. CONRAD Wm. SCHMIDT (F. A. GLAESER), VARNISH, ENAMEL, PAINT AND COLOUR WORKS, Stratford, LONDON, E. THIS FACSIMILE OF CONRAD Wm. SCHMIDT S (F. A. GLAESER S) TRADE MARK appears upon every tin of Varnish sup¬ plied by him. The above Trade Mark is a guarantee of the genuineness of the VARNISH supplied. CONRAD Wm. SCHMIDT (F. A. GLAESER) has just pre¬ pared a very neat Album of new Monograms, Crests, Corner-pieces, Scrolls, dec., printed in suitable colours for putting on all classes of carriages. He will be pleased to forward a copy of same, post free, to any Coach-builder or Painter on application. .. • .