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 ^ I LIBRARY OF CONGRESS. I 
 
THE 
 
 COMPLETE 
 
 CABBIAGE AND WAGON PAfflEE. 
 
 ▲ OONCISB OOMPKNSnnC OF THK ABT OS* PJUNTINa 
 
 CARRIA&ES, WAGONS AND SLEIUHS, 
 
 XMBBACIKQ rULL DIRECTIONS Gf AIX THS TABIOIM 
 BRANCHES. INCLUDINO 
 
 UMn, ScroUing. Oraamentini, Striping, 
 VarnisMng anil Coloring, 
 
 -WRH Kxncssous REciPKs FOB Hmxa coLoma. 
 
 ILLUSTRATED. 
 
 BY FRITZ SCHRIBER. 
 
 NEW YORK: 
 M. T. RICHARDSON CO., Publishers. 
 
 1907 
 
t^^".-^ 
 
 -a^. 
 
 ■;^t 
 
 IubraryTToongress 
 OneOoof nec«ive<J 
 MAY a 1908 
 
 iS53 
 38* No. 
 
 COPY A. 
 
 COFTBIOHTED BT 
 
 M. T. RICHARDSON CO. 
 1902. 
 
 r^T- 
 
PREFACE 
 
 In placing the manuscript of this book in the hands of 
 the publisher, I was impressed with the belief that I had 
 thoroughly carried out the original design, which was to 
 write a full and comprehensive treatise on tne methods 
 employed by experienced workmen in painting a carriage, 
 wagon, sleigh or railwray car, and since the work of my 
 pen has leturned to me in printed form, I see no cause to 
 change that belief or to erase one word therein. 
 
 The painting of vehicles, although differing in many 
 respects, according to their quality or value, is virtually 
 the same, and I have departed from the beaten track of 
 writers in magazines, and chosen for my text a wagon, 
 from the fact that the field was a larger one, and in de- 
 scribing how that vehicle could be painted, lettered, 
 striped and ornamented, I could at the same time give all 
 the information necessary for the painting of a first-class 
 carriage or sleigh. My object, too, was to condense in one 
 handbook not only the method of executing plain painting 
 on vehicles, but to give all the instruction necessary for the 
 practice of striping, lettering, scrolling, varnishing, polish- 
 ing and many minor accomplishments, which would bo 
 out of place in a work on carriage painting alone. 
 
 The Author. 
 
CONTENTS. 
 
 Page. 
 Preface, ----------5 
 
 CHAPTER I. 
 
 THE SHOP AND HOW IT SHOUI*D BS CONSTRUCTED. 
 
 The Furniture of the Paint and Varnish Eooms, 
 Brushes, etc.— To ** Bridle" a Brush— The Sash 
 Tool— The Camels' Hair Brush, or *' Blender"— The 
 Badg«r Hair Brush — The Oval Brush — Cleaning-up 
 Brush— Bench and Boxes for Colors— list of Colors 
 Required in Wagon Painting, ----- 11 
 
 CHAPTER II. 
 
 MIXING COLORS. 
 
 Combining Pigments to Form Colors — Glazing- 
 Putty, White, Quick, Black, etc., - - - - 19 
 
 CHAPTER III. 
 
 PRIMING. 
 
 Lead Color Method— The First Coat of Lead— Rough 
 Stuffing the Panels— Leading the Gears— Rubbing 
 Out Rough "Stuff— Putting Final Foundation Coat 
 on the Gears — Painting the Body — The Second 
 Coat on the Body— Painting the Gears — The Rub- 
 bing Process, --------28 
 
 CHAPTER IV. 
 
 THE PUTTY-KNIFE METHOD. 
 
 Another Way — The Wood-filling Method — ^Varnishing 
 — ^Varnishing of Wagons and Sleighs — Sweating — 
 Cleaning new Brushes, - • - . - • 38 
 
8 CONTENTS. 
 
 CHAPTER V. 
 The Care of Materials— Failures in Varnishing^ 
 Troubles of the Painter— Specky Varnishes — Crawl- 
 ing of Paint or Varnish— Blistering-HIJracking of 
 Paint and Varnish— To Paint Canvas-top Sides- 
 Glazing with Carmine, 45 
 
 CHAPTER VI. 
 Wagon Striping— The Striper's Kit of Tools— Stripinr; 
 Pencils— Zinc Palettes— Care of Pencils— Pencils 
 for Ornamental Striping— Colors for Striping, - 50 
 CHAPTER Vn. 
 Wagon Striping— Breaking Lines— A Pounce Bag- 
 Gold Striping— Gilding Size— Applj^ing Gold Leaf 
 
 —Gold Striping, 56 
 
 CHAPTER Vm. 
 
 Colors Employed on Wagons— Painting a White Job - 68 
 
 CHAPTER IX= 
 
 WAGON LETTERING. 
 
 The Full Block, round and octagon— Half Block, round 
 and octagon— Solid Block and Italic Letters- 
 Outline Letters — Printers' Black Letter or German 
 Text— Ornamental and Tuscan Full Block Letters 
 — Three Styles of Letters used by the Abbot 
 Downing Co., --------70 
 
 CHAPTER X. 
 
 WAGON LETTERING CONTINUED. 
 
 The Roman Letter— The Modem Old Style Letter— The 
 New York Roman Letter— The New York Roman 
 Italic Letter (Upper and Lower Case) — The Boston 
 Roman, ---------80 
 
 CHAPTER XI. ~ 
 
 LAYING OUT WORK. 
 
 Designing Half Block Letters— Using the Ellipse in 
 Making Round Letters— The Alphabet in Gothic 
 —Half Block Lower Case Letters— Making an 
 Ellipse— Properly Balancing Letters and Figures,- 96 
 
CONTENTS. 9 
 
 CHAPTER XII. 
 
 SHADING. 
 
 Single Shade Block Letters— Double Shade Blocked 
 Letters — Shading Qold Letters — Shading Painted 
 Letters — Tools used in Lettering — Illustrations of 
 Various Methods of Shading, - - - - 104 
 
 CHAPTER XHI. 
 
 WAGON SCROLLING. 
 
 Making Circles and Curves — Making and Shading 
 Scrolls — Materials and Tools used in Making and 
 Shading Scrolls— Designing and Laying Out Scroll 
 Patterns— Flat Scrolls, Ill 
 
 CHAPTER XrV. 
 
 STENCILING. 
 
 Making a Stencil — Brushes for Stencils, - - - 121 
 
 SUPPLEHEHT-CIRBU&E PAINTIN& AHD YiRJISHIIG. 
 CHAPTER I. 
 
 A GOOD FOUNDATION. 
 
 Putting on the First Coat — Chipping— The Second Coat 
 — Puttying — Sand Papering — The Last Coat — 
 Ready for Ground Color— Drying Dead— The Var- 
 nish Coats— The Finishing Coat — Rubbing, - - 127 
 
 CHAPTER II. 
 Dusting and Cleaning Work — Puttying up Joints — 
 Cleaning Cears, ------ - 137 
 
 CHAPTER ni. 
 Painting Lumber Wagons — Striping— A Good Color — 
 Ready to Varnish, -.---- 143 
 
 CHAPTER IV. 
 Touching Up Repair Work, - • • - - 145 
 
10 CONTENTS. 
 
 CHAPTER V. 
 How to Paint a Cheap Job— Painting an Express Wa- 
 gon—The Gear Coat— Paint for Body— Painting 
 
 the Body, 148 
 
 CHAPTER VI. 
 How to Revarnish a Carriage — Washing — Touching 
 
 Up, 152 
 
 CHAPTER VII. 
 Forms and Colors in the Painting of Vehicles— One 
 Color for Wood and Another for Iron — Another 
 View— All Parts should be of the Same Color— 
 TheHarmonyof Analogy— The Harmony of Con- 
 trasts, 155 
 
 CHAPTER Vni. 
 
 Transfer Ornaments— How Made, 163 
 
 Monograms— Florentine— Modern — Louis XV. — En- 
 glish, - - - 166 
 
 Index, 171 
 
THE 
 
 COMPLETE CARRIAGE pD WAGON PAINTER. 
 
 CHAPTER I. 
 
 THE SHOP AND HOW IT SHOULD BE CONSTRUCTED. 
 
 Wagon painting, though in some respects inferior to 
 coach painting, is no less an art, and he who would acquire 
 it must give heed to the most minute details, for therein 
 lies his success in finish, and iinish is the principal point in 
 selling the job or in making a reputation and an extensive 
 business. I do not believe it worth the time to enter into 
 a long explanation of what the paint shop should be, for 
 t is to be supposed that my readers already have their 
 shops built and in use ; but it will not be amiss to note a 
 few of the important features which should be and can be 
 made in any shop. Wagon paint shops should be roomy, not 
 cut up into small rooms, but large and with high ceilings. 
 A large room in which to do the general work and a smaller 
 room for varnishing is all that is necessary. The var- 
 nish room, being almost a sacred place, should be provided 
 with smooth walls and ceiling either of wood or plaster, 
 plenty of light, a water-tight floor, and, of most impor- 
 tance, a ventilator in centre of ceiling, running through 
 the roof to the outer air. This feature of a room where 
 varnishing is done is one not fully appreciated by the 
 
13 THE COMPLETE CARRIAGE AND WAOON PAINTER. 
 
 general class of carriage and wagon builders. There are 
 many, however, who have adopted it, and, once knowing 
 its value, would not be without it. The expense of a ven- 
 tilator is trifling, and any tinsmith can make one. It 
 consists of a pipe of sheet iron, say fifteen inches in dia- 
 meter, having upon its outer end — which is run up two 
 feet from the roof — a revolving cap or grating, which, 
 turned by the wind, creates a draught, and that sucks up 
 the dust of the room, and allows the escape of air, deprived 
 of its oxygen, whereby the varnish has an opportunity to 
 harden better. 
 
 "Varnish dries not so much by the evaporation of its 
 parts as it does by absorbing oxygen from the atmosphere 
 and oxidizing, the oil becoming a sort of resin, and where 
 a goodly supply of fresh air is admitted the quicker and 
 harder the varnish becomes. Windows should be provided 
 with thick curtains — enameled cloth will be found excel- 
 ent— to enable one to darken the room when the work of 
 the day is complete, to prevent flies from getting upon the 
 work. With these features added to the ready-made paint 
 shop, the painter will be prepared to do his varnishing with 
 no fear of many of the troubles which beset the varnisher, 
 such as "enameling," "pitting," ''crawling," etc. 
 
 THE FURNITURE OP THE PAINT AND VARNISH ROOMS, 
 BRUSHES, ETC. 
 
 The conveniences of the paint and varnish rooms, which 
 include trestles, benches, jacks, etc., next demand atten- 
 tion, for these tend to hasten the work, as well as give 
 comfort to the workman. The coach painter requires 
 wheeled trucks on which to move his coach body from 
 place to place, but this is not generally considered jieces- 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER, 13 
 
 sary in the wagon shop, a body being set up on benches, 
 and allowed to remaia so during the painting, then lifted 
 and carried to the varnish room for finishing. Trestles are 
 used for light bodies, or for resting platform gears upon. 
 Benches for placing paint or varnish cups upon when at 
 work and low stools or boxes are necessary for use while 
 siriping or lettering. The conventional scone and mullei, 
 and perhaps a paint mill, need not be dilated upon, but 
 the brushes deserve special mention. Illustrations are pre- 
 sented of those best suited to the wants of the wagon 
 painter. The first to demand attention is the round paint 
 brush, Fig.' 1, which is best adapted for laying priming 
 or rough stuff on bodies. The size is that known as 0000 
 (four naughts). 
 
 Fig. 1. — A Round Paint Brush. 
 
 TO " BRIDLE " A BRUSH. 
 
 As the bristles are too long when first purchased , the brush 
 must be " bridled," that is, have an extra binding added. 
 This may be done in several ways : 1. By winding a strong 
 cord around the bristles up to about the middle of the same, 
 or as far from the original binding as desired. 2. By 
 covering one-half the length of the bristles with leather 
 stii/ched on tightly. 3. By wrapping a piece of muslin or 
 enameled cloth^ around the bristles, then tying a strong 
 
14 THE COMPLETE CARRIAQIS AND WAGON PAtNTER. 
 
 cord around as high as the extra binding should come, turn- 
 ing back the muslin toward the handle, and fastening by 
 tacking to the original binding. 4. There are several 
 patent binders or bridles made of metal in market, and one 
 has an opportunity to choose from these whichever he ap- 
 proves. When the bristles are worn down the bridle 
 may be removed,and a new brush is again in hand. 
 
 THE SASH TOOL. 
 
 The companion of the round brush is the sash tool, Fig. 2, 
 which is used to "clean up" around moldings and for 
 
 Fig. 2.— Sash Tool. 
 painting small panels. The illustration is so perfect that 
 I refrain from further remark, save to say that the No. 8 
 tool is about the proper size to purchase. These brushes 
 may be used for painting gears, although we prefer aflat 
 bristle brush on such work. 
 
 THE camel's hair BRUSH, OR "BLENDER." 
 
 For laying colors no better tool can be found than the 
 camel's hair brush, or * ' blender, " as some call them. Fig. 3. 
 
 Fig. 3. — Carrier s Hair Brush. 
 I illustrate the proper kind of such a tool and it will 
 be noticed that the hairs are fastened not only by cement, 
 
THE COMPLETE CARRlAaE AND WAGON PAINTER. 15 
 
 but by riveting through the binding, while those brushes 
 not riveted, shown in Fig. 4, are entirely unfit for any 
 
 Fig. 4. — A Very Poor Brush. 
 purpose in the paint shop, and should never be purchased. 
 
 THE BADGER HAIR BRUSH. 
 
 For laying color and varnish coats the Badger hair brush 
 Fig. 5, is considered best for small panels or any delicate 
 work. It is also used for laying varnish. 
 
 Fig. 5. — Badger Hair Flowing Brush. 
 The fitch hair brush is now almost obsolete, owing to 
 the many imitations which prove worthless. 
 
 THE OVAL BRUSH. 
 
 For varnishing the large panels of a body or for gears the 
 oval brush. Fig. 6, is best as it will carry a good supply of 
 varnish. These are made of French white bristles entirely , 
 and with care will last a long time. A partly worn brush 
 always has the preference over a new one, but the biaish- 
 
16 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 maker now forms the end as if partly worn, which gives it 
 the desired shape and softness. 
 
 Fig, ^.-^Oval Varnish Brush, Chiseled, 
 
 CLEANINGhUP BRUSH. 
 
 A flattened roimd tool, Fig. 7, is used to " clean up" 
 around moldings, between the spokes, etc. Care should 
 
 Fig. 7.~Flattened Mound Tool, Chiseled. 
 
 be taken to select brushes having the bristles or hair set 
 in glue, which is insoluble in varnish. Such brushes 
 are far superior to those having the bristles fastened 
 with cement. 
 
 With those mentioned and a reasonable supply of flat 
 bristle brushes the shop will be well stocked in the brush 
 line, and we will next look to the pigments or colors to be 
 
THE COMPLETE CARltlAdE AND WaCJOIC PAINTER. 17 
 
 employed, leaving stripiog and ornamental pencils for our 
 chapter on such work. 
 
 BENCH AND BOXES FOR COLORS. 
 
 Having a substantial paint-bench on which to place the 
 ** stone" or "flag" and "muUer," and upon the end of 
 which a paint mill is secured, we place above it — to be 
 handy — a few shelves, and on these are boxes — cigar boxes 
 will answer — with covers to exclude dust, in which the dry 
 pigments are kept. Upon the front of each box the name 
 of the color contained therein is painted, and the follow- 
 ing list comprises all that is required in a wagon paint 
 shop : 
 
 LIST OP COLORS REQUIRED IN WAGON PAINTING. 
 
 White lead in oil, 
 the best quality ; 
 none other is fit to 
 use. 
 
 Ultramarine blue. 
 
 Dutch pink. 
 
 Dry white lead. 
 
 Munich lake. 
 
 Chrome yellow. 
 Lemon chrome. 
 Oiange chrome. 
 Yellow ochre. 
 Raw sienna. 
 Milori green, L. M. 
 
 and D. 
 Chrome green. 
 Yellow lake. 
 Whiting. 
 Lamp black. 
 
 Burnt sienna. 
 Raw umber. 
 Burnt umber. 
 Indian red. 
 Venetian red. 
 Prussian blue. 
 Ivory black. 
 Carmine, No. 40. 
 Vermilion, English, 
 
 L. and D. 
 American vermiUon. 
 
 and perhaps several others, but as these would form a good 
 beginning, we start from here to mix colors, making men- 
 tion, first, that the vehicles used are turpentine, brown 
 japan, raw linseed oil (boiled oil is unfit for wagon or 
 carriage work), and the regular list of varnishes, i.e., rub- 
 bing and finishing. Prepared paints are perhaps to some a 
 blessing, but he who would use economy in his work must 
 surely mix and grind his own colors. Ready-mixed colois 
 
18 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 are too expensive for the wagon painter, as, for example, 
 in purchasing French carmine at $10 per lb. he pays at 
 the rate of $10 per lb. for the japan in which the pig- 
 ment is ground, for the average mixture is one pound of 
 dry color and one pound of japan or varnish. Ultramarine 
 blue (dry) can be bought for 25 cents per pound, the 
 japan necessary to make a pound of dry color into paint 
 is worth, say 25 cents, but the price of a pound of ready- 
 prepared ultramarine blue is $1. You can make ttoQ 
 pounds of paint for 50 cents. 
 
CHAPTER n. 
 
 MTXTNQ COLORS. 
 
 The simplest mixtures or combination of ingredients are 
 to some the most difficult, and we will first attend to these. 
 Most colors may be mixed with japan and turpentine, add- 
 ing a very little linseed oil (raw) to give elasticity, and to 
 Know exactly what quantity of liquids to use, jou may 
 follow these directions : 
 
 Lay out on the stone a small quantity of dry pigment 
 and wet it to a mush-like consistency with brown japan ; 
 work it well over with the pallette knife and then put it 
 in the mill to grind. Add to the mass in the mill just 
 enough turpentine to liquify it, or make the stiff mass a 
 medium thick liquid, so that it will grind out nicely — if 
 too thin the paint will not readily run through a tight 
 mill, and the mill should be tightened as tight as it is pos- 
 sible to turn it. 
 
 When the paint is ground out, add one tablespoonful of 
 raw linseed oil to a pint of paint, stir it well, then test its 
 drying quality by spreading a little upon the thumb nail. 
 Blow the breath upon it to hasten drying, and in a few 
 seconds it will have the same appearance it would have 
 when dry upon the work. If it appear " dead " or " flat," 
 add a little more oil : if glossy add a little turpentine, and 
 so temper it until it appears to dry upon the nail with an 
 egg-shell gloss, that is, not too dead, nor yet glossy. 
 
 The reason why definite amounts of japan, oil or turpen. 
 tine cannot be stated is owing to the difference in pigments 
 
80 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 as for example, umber is a natural dryer and it will neu- 
 tralize oil to such an extent that more oil may be used 
 than in most any other paint. 
 
 Lampblack is of a greasy or anti-drying nature, and 
 consequently requires less oil to form an egg-shell glos_. 
 This plan of mixing may be safely carried on with most 
 pigments. 
 
 Vermilion, however, is best mixed with a quick rubbing 
 varnish in the place of japan and no oil whatever should 
 be added to vermilion paint, as it tends to darken it. The 
 quicker you can get vermilion to dry, the better it will 
 hold its color. 
 
 Yellow lake and Dutch pink are generally used as 
 glazing colors over green or yellow grounds and therefore 
 should be mixed in varnish instead of oil and japan. 
 
 It is quite in keeping with our design to call particular 
 attention to the use of oil. The house-painter places his de- 
 pendence on oil either raw or boiled, or both, but the wagon 
 or carriage painter would make sorry work if he followed 
 the house-painter in his ideas of durability etc. : — Boiled 
 oil may answer the house-painter's purpose, but it finds no 
 friend in the wagon shop. Japan too, requires looking 
 after; to test it, pour a little on a shallow dish and add a 
 similar quantity of raw linseed oil ; if the two amalgamate, 
 the japan may be favorably received, but if the mixture 
 curdles or becomes thick and livery, drop the japan as 
 you would a hot iron. 
 
 COMBINING PIGMENTS TO FORM COLORS. 
 
 Having explained the manner of mixing paint, let us 
 now look at the combination of pigments to form certain 
 colors. The exact proportions of ingredients cannot be 
 
THE COMPLETE CARMAOE AND WAGON PAINTER. 2! 
 
 correctly stated, for some pigments vary greatly in their 
 strength or covering power, and again, a shade of color as 
 described, might not suit the eye of all, therefore, we 
 simply tell what pigments to use in making a color, leaving 
 it for the painter to change the proportions to suit his case. 
 In making tints white-lead forms the base and the colors 
 must be added with care, as some pigments are very strong 
 and a drop will entirely change the tint, while others will 
 hardly be perceptible. To make 
 
 1. LEAD COLOR— Take 8 parts white, 1 of blue and 1 
 of black. 
 
 2. MEDIUM GRAY— 8 parts white and 2 of black 
 (lampblack). 
 
 3. FRENCH GRAY— White tinted with ivory black. 
 
 4. LIGHT BUFF— White and yellow ochre. 
 
 5. DEEP BUFF— The same with a little Indian red 
 added. 
 
 6. GOLD COLOR— White and orange chrome, tinted 
 with red and blue. 
 
 7. PEARL COLOR— White, black and red, or white, blue 
 and red. 
 
 8. CANARY COLOR— White and lemon yellow. 
 
 9. OAK COLOR — White and yellow ochre or raw sienna. 
 
 10. OLIVE COLOR— Yellow, blue, black and vermihon. 
 
 11. SNUFF COLOR— Yellow and vandyke brown or 
 burnt umber. 
 
 12. ROSE COLOR— White and carmine. 
 
 13. BOTTLE GREEN— Dutch pink and Prussian blue 
 for ground, glaze with yellow lake. 
 
 14. SALMON COLOR— 5 parts white, 1 yellow, 1 umber, 
 and 1 red. 
 
23 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 15. BROWN— 3 parts red, 3 black arid 1 yellow. 
 
 16. COPPER COLOR— 1 part red, 3 yellow and 1 black. 
 
 17. LEMON COLOR— 5 parts white and 3 lemon yellow. 
 
 18. STRAW COLOR— Same, with a drop or two of ver- 
 milion. 
 
 19. FAWN COLOR— 8 parts white, 1 red, 3 yellow and 1 
 burnt umber. 
 
 SO. FLESH COLOR— 8 parts white, 3 vermilion, 3 
 chrome yellow. 
 
 31. CHESTNUT COLOR— 3 parts red, 3 chrome yeUow, 
 i black. 
 
 33. WINE COLOR— 3 parts ultramarine blue, 3 carmine. 
 
 28. MAROON YELLOW— 3 parls carmine, 3 yellow. 
 24. TAN COLOR— 5 parts burnt sienna, 3 yellow, 1 
 
 raw umber. 
 
 35. PEA GREEN— 5 parts white and 1 chrome green. 
 
 36. CITRON COLOR— 3 parts red, 3 yellow and 1 blue. 
 
 37. STONE COLOR— 5 parts white, 3 yellow and 1 
 burnt umber. 
 
 38. DRAB COLOR— 9 parts white and 1 burnt umber. 
 
 29. LILAC COLOR— 4 parts red, 3 white and 1 blue. 
 
 30. PURPLE COLOR— Same, with more blue. 
 
 31. VIOLET COLOR— Same, with more red. 
 
 33. LONDON SMOKE— 3 parts umber, 1 white and 1 red. 
 
 33. CREAM COLOR— 5 parts white, 3 yellow and 1 red. 
 
 34. CLARET COLOR— Red and black or carmine and 
 blue. 
 
 35. DOVE COLOR— Red, white, blue and yellow. 
 
 36. LIGHT GRAY— 9 parts white, 1 blue and 1 black. 
 
 37. WILLOW GREEN— 5 parts white and 1 verdigrig 
 (tube color). 
 
THE COMPLETE CABRIAGE AND WAGON PAINTER. 23 
 
 38. PEACH BLOSSOM— 8 parta white, 1 blue, 1 red and 
 1 yellow. 
 
 39. BRONZE GREEN— 5 parts chrome green, 1 black 
 and lumber. 
 
 40. CARNATION RED— Carmine and white, or Munich 
 lake and white. 
 
 41. GRASS GREEN— 3 parts yellow and 1 Prussian blue. 
 43. BRICK COLOR— 2 parts yellow ochre, 1 red and 1 
 
 white. 
 
 43. PORTLAND STONE— 3 parts raw umber, 3 yellow 
 ochre and 1 white. 
 
 4i. PLUM COLOR— 2 parts white, 1 blue and 1 red. 
 
 45. FRENCH RED— Indian red and vermilion— glazed 
 with carmire. 
 
 46. CHOCOLATE COLOR— Indian red, black and 
 yellow. 
 
 47. YELLOW LAKE— Umber and white, equal parts; 
 add yellow and lake. 
 
 48. OLIVE BROWN— 1 part lemon yellow and 3 burnt 
 umber. 
 
 49. CLAY DRAB — Raw sienna, raw umber and white. 
 
 50. BISMARCK BROWN— 1 oz. carmine, 3^ oz. crimson 
 lake, 1 oz. best gold bronz3. If desired lighter, use ver- 
 milion in place of the carmine. 
 
 51. JONQUIL YELLOW— Flake white (tube color), 
 chrome yellow and a very little vermilion or carmine. 
 
 52. CHAMOLINE — A new color, so named because it 
 resembles in color that of a chamois skin when wet. Mix 
 lemon chrome, 1 part; raw sienna, 3 parts; and white 
 about 5 parts, until the approximate shade is reached. 
 
 53. DARK MILORI GREEN is specially adapted for 
 
H THE COMPLETE CABBIAGE AND WAGON PAINTER. 
 
 wagon bodies. It makes a very rich panel color, superior 
 to Prussian blue, green, or chrome green, or mixtures of 
 blue and yellow. 
 
 54. TE.V GREEN is made by mixing raw umber, blue 
 and chrome green. It makes a rich panel-color, and, with 
 a sample of tea before him, the painter can easily get the 
 proper shade. 
 
 55. WILLOW-LEAF GREEN-A very light yellowish 
 t'la le of olive, yellow, blue, black and red. 
 
 53. PRIMROSE YELLOW— White and King's yellow, a 
 noted English color, but not much used in this country. 
 
 57. LE CUIR OR LEATHER COLOR— One part burnt 
 umber and two parts burnt sienna, then tone with white. 
 
 58. JAPAN BROWN— Black japan mixed with ver- 
 milion. 
 
 59. DARK RICH BROWNS -Take Indian red, five parts, 
 and Prussian blue, one part; grind, and mix in brown 
 Japan and turpentine and add a very little oil. By chang- 
 ing the proportions of ingredients the color can be made 
 light or dark as desired. Vermilion and black will make a 
 very nice brown, but we believe that all red-and-black 
 browns are softened and improved in tone by the addition 
 of yellow. Umber brown without the addition of red is a 
 cold, raw color, unless placed beside a red grounder stripe. 
 
 GLAZING. 
 
 GLAZING is the term given to a transparent coating put 
 over a similar colored ground, as (;armine over reds, or yel- 
 low lake over yellow or green, or verdigris over green. 
 Many shades of lake may be made by glazing with car- 
 mine, and there are many who never employ lakepigments 
 i 1 t'leir work, owing to its tendency to fade or to flake 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 25 
 
 off The ground being made with Indian red and black, 
 according as the shade of lake is to be light or dark, a glaze 
 of carmine will produce a beautiful color and one that will 
 be durable. Rich blues are made by glazing Prussian blu© 
 lightened with white with ultramarine. Glazing is simply 
 the dry pigment ground in rubbing varnish, no oil, no japan 
 nor turpe itine being used, and it is put on in a similar man- 
 ner to varnish, care being taken not to have clouds or runs in 
 the work. 
 
 In mixing colors, it is the custom of some painters to lay 
 out upon the stone the requisite quantity of various pig- 
 ments, and then mix and grind the mass in the mill, but 
 by this means dull or *' lifeless " colors are produced. To 
 do this properly the required pigments for a given coloi 
 should be mixed and ground separately, then the proper 
 proportions may be put together and thoroughly mixed. By 
 this means all the freshness of the color will be retained, a 
 more perfect commingling of the particles will be insured, 
 and there will be less liability of separation in the cup, or 
 settling of one heavy pigment from the others, which is 
 sure to destroy the uniformity of coloring. 
 
 VERMILION should not be ground fine in the mill, for 
 not only does the iron surfaces with which it comes in 
 contact injure the color, but the crushing of the grains 
 brings about an orange tinge which is decidedly objection- 
 able. 
 
 LIGHT ENGLISH VERMILION has the greatest body 
 or covering power, and is used for striping and lettering, 
 while the Deep English vermilion is better suited for 
 coloring gears or panels. 
 
 American vermilion and white lead forms a peach bios- 
 
26 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 som pink which makes an excellent ground for English 
 vermilion. 
 
 IVORY BLACK— Many purchase prepared black with the 
 expectation of getting an article ready for spreading with 
 the brush, and when they find that the paint is too thick 
 and requii'es thinning to a proper consistency for the work 
 in hand, they are at a loss what to do with it — whether to 
 add oil, turpentine, varnish or Japan — and in some cases 
 the paint is spoiled by the vehicle used to dilute it. To such 
 we would say: take from the can the required amount of 
 black, and add just sufficient turpentine to soften it or 
 thin it to a cream-like consistency, stirring it meanwhile 
 with a flattened stick. Next add a very small quantity 
 of raw oil and test it on the thumb nail until it dries not 
 too dead. Be careful not to use too much oil, for too much 
 is worse than none at all, while the proper quantity gives 
 ease in spreading and durability to the work. 
 
 PUTTY. 
 
 The next in order is Putty, and as there are several 
 kinds for the several purposes we will give recipes for each. 
 Put':y should be tempered with either oil, varnish, or japan, 
 according to the purposes to which it is put. These 
 are: 
 
 First. — White Pdtty, composed of keg lead and dry lead 
 and whltiag. The dry pigments are beaten and worked 
 into the keg lead until of a putty consistency, then a little 
 brown japan is added to cause it to dry well, and a little 
 more whiting is worked in to bring about a stiff putty for 
 filling holes, leaving it softer for filling the grain of ash, 
 etc. 
 
 Second.— Quick Putty— Take dry lead and whiting, 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 27 
 
 equal parts, and mix to putty with equal parts brown 
 japan and rubbing varnish. 
 
 Third.- -BIjACK Putty— For hurried work mix the same 
 as quick putty, using lampblack in place of whiting. 
 
 i^bwr^Ti.— Black Putty FOR Irons— To be used where 
 the iron work does not fit the wood. Mix three-fourths 
 lampblack with one-fourth dry lead or whiting, with 
 japan. 
 
 Fi/^7i.— Black Bedding Putty— For glass frames mix 
 lampblack and whiting in equal parts (bulk) with equal 
 parts of rubbing varnish and japan to a soft putty consist- 
 ency. Then having some black velvet or plush at hand, 
 unravel it so as to secure the short fibres of the material, 
 which, when mixed with the putty in the same manner as 
 hair is mixed with plaster, vrill bind it firmly together and 
 no jar of the vehicle will cause it to crack and fly out. 
 This putty is excellent for bedding the glasses of hearses 
 and is used by most hearse builders in preference to any 
 other. 
 
 The ordinary putty of the glazier finds no place in a 
 wagon paint shop. 
 
 It is a good plan to color putty to a color similar to the 
 job; as, for exa nple, if the job is to be red, add a little red 
 to the putty; if green, add green, and so on. 
 
CHAPTER III. 
 
 PRIMING. 
 
 Having our shop tools and paints ready for use and 
 being somewhat acquainted with the mixing of paints of 
 rarious colors, we will take for the first lesson in painting 
 a platform geared business wagon with ribbed body and 
 panel top. 
 
 There are several methods of reaching a final finish, and 
 it will be well to glance at each. Then he who chooses 
 to follow one path may do so, while his neighbor can take 
 another. 
 
 LEAD COLOR METHOD. 
 
 First comes the old or lead color method. As soon as 
 the body, wheels and bars are completed by the wood- 
 worker, a coat of priming should be put on to prevent the 
 raising of the grain of the wood. This priming is made of 
 pure linseed oil, slightly colored with white lead. A small 
 quantity of brown japan may be added to hasten the dry- 
 ing, though some prefer to omit the drier when time is of 
 no account. The oil of the priming is the main depend- 
 ence. It is soaked into the pores of the wood and partly 
 seals them against the entrance of moisture whDe the 
 small grains of lead partially close up the largest 
 pores. 
 
 The tread of the wheel should be coated, as that prevents 
 the swelling of the rim or felloe, while the tire is being 
 put on. Just here let me remark that a tiie should never 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 29 
 
 bb <so hot as to scorch or char the wood. There is no nft. 
 cessity for it, and a carefiil workman will not permit it. 
 
 The spring bars or blocks should be coated all over. The 
 coating now put on acts as a preventive coat, as shown 
 above. When it is dry the work is ready for the smith. 
 
 The body will not be wante 1 at once, so we can prime it 
 with some kind of paint, all over, excepting the floor. 
 Some simply prime the outside, leaving the inside un- 
 painted for the time. That is an error, for the bare wood 
 is apt to absorb dampness and the broad side panels are 
 liable to check. The priming being allowed from 36 to 48 
 hours for drying, it may then receive a good sandpapering 
 with No. 2 sandpaper. The largest nail holes may then be 
 puttied with putty made as per formula No. 1, previously 
 spoken of, leaving the small holes to be partly filled with 
 paint. Dust off clean and apply, 
 
 THE FIRST COAT OF LEAD. 
 
 This paint may be mixed as follows : Take from the keg 
 the required amount of white lead, say, two pounds, and 
 make into a paste-like consistency with raw oil ; then add 
 one-half as much brown japan, and finally, thin to a work- 
 ing consistency with turpentine. Lay this paint on as 
 evenly and sparingly as possible to cover the ground, for a 
 thick coating is not desirable. Rub it into the wood as well 
 \s you can with the brush and stand the job aside to dry. 
 
 When this coat is dry, it will be best to go over every 
 part of the frame, seat raisers, etc., which are of hard 
 wood, and plaster the grain full of soft putty as per form- 
 ula No. 2. This being quick drying, may be sandpapered 
 in an hour or so. The sandpaper used in scouring the 
 priming coat will be good enough for this work, as it is 
 
30 THE COMPLETE CARRIAaE AND WAOON PAINTER. 
 
 not our desire to cut through the paint, but to simply 
 smooth it Many err in this ; they apply a coat of paint, 
 an 1 then sandpaper it nearly all off again, which is just so 
 much time and material wasted. The rule should be to 
 first make the job smooth, and then apply the paint in as 
 neat and clean a manner as possible, avoiding all necessity 
 for hard sandpapering. 
 
 ROUGH-STUFFING THE PANELS. 
 
 On extra fine wagon work the body panels are coated 
 with rough-stuff and rubbed with pumice stone ; but for 
 ordinary work this is not necessary. But the large side 
 panels may be rough-stuffed, and we will now look for the 
 best mixture for the purpose. 
 
 Fire proof paint, Grafton paint, Ohio paint, and English 
 filling are all one and the same thing ; the latter being sim- 
 ply Grafton paint exported to England, there colored, and 
 returned to this country as "English filling," and the 
 price quadrupled. 
 
 Procure either of these, with an equal quantity, by 
 weight, of keg lead, and mix with equal parts of brown 
 japan and rubbing varnish. Run it through the mill 
 loosely and thin it to work nicely, with turpentine. No 
 better rough-stuff can be had. The only advantage gained 
 in using prepared rough-stuff is that by being mixed in 
 large quantities it is apt to be more uniform than that 
 mixed by the painter. Rough-stuff should not be applied 
 thick, like mud, but should receive as much care in its 
 appUcation as any other paint. If it be put on thick, and 
 with biiish-marks showing, the finish will show the marks 
 just as plainly. 
 
 The purpose in using rough-stuff is to produce a surface 
 
THE COMPLETE CARRIAGE AND WAOON PAINTER. 81 
 
 having sufficient grit to cause it to level down nicely by 
 rubbing it with lump pumice stone. For wagon work, 
 two coats are generally sufficient, but on carriage work 
 as many as five are sometimes applied. The coat of rough- 
 stuff having been put on as directed, give it from 24 to 48 
 hours to dry; then apply the second coat. No prepara- 
 tions, such as sandpapering, etc., need be made; simply 
 aust off the job and apply the paint. 
 
 It is the best plan, to let the smith have the body while 
 in rough-stuff, for then if he burns or bruises any part, it 
 can be readily repaired before the " rubbing down " is 
 begun. 
 
 The ironing of the gears and body being now completed, 
 we will take in hand the gears, which, up to the present, 
 have received the priming or preventive coat only. 
 
 LEADING THE GEARS. 
 
 Slipping out the king-bolt, we run the front platfoim 
 from under the body, and then, resting the front on the 
 barrel, and the hind axle on benches, we remove the hind 
 wheels, leaving the body in a position to be worked at 
 conveniently. The gears now receive a good '' cutting 
 down " with coarse sandpaper, until but little of the prim- 
 ing coat is discerned, and, after a good dusting, these parts 
 are ready for the lead. As we are about to paint the gears 
 with English vermilion, it will be well to apply a pink or 
 peach-blossom paint to serve for a ground work ; there- 
 fore, we mix keg lead with oil to a thick mass, and stir in 
 enough Venetian red, or American vermilion, to form a 
 clean pink color ; then, add one-half as much brown 
 Japan as you used of the oil. stir well, and run through 
 the mill. Next, thin with turpentine and apply as evenly 
 
-T'^ 
 
 /^^ THE COTtfPLfitE CAIlMAGlE AM) WACK>N fAINTfill. 
 
 as possible to every part of the gears, the under side as 
 well as other parts. Clean up nicely around the butts of 
 spokes, nuts, bolt-heads, etc., and stand aside for dry- 
 ing. 
 
 The body having been looked over, and all bruided 
 places repaired with putty, is in condition for rubbing, so 
 selecting several pieces of pumice stone, and preparing a 
 pail of clean water, a sponge, chamois skin and a water 
 tool, begin the 
 
 RUBBING OUT OF ROUGH-STUFF. 
 
 There seems to be nothing so well adapted for nibbing 
 the surface of paint, preparatory to laying on the finer 
 coats of color, etc., as pumice-stone (the lava thrown 
 from volcanoes). It is porous, inexpensive, and possesses 
 admirable frictional properties. The first of these quali- 
 ties renders it excellent as a rubber; its porosity allows it to 
 cleanse itself, or, in other words, the refuse rubbed from 
 the surface of the paint lodges in the pores, while the pro- 
 jecting portions continue to cut, and the application of 
 water removes from the pores the refuse. If, of good 
 quality, it cuts down the paint rapidly, and a clean cutting 
 surface is exposed to the paint at all times. Pumice stone, 
 however, lacks uniformity; some lumps being heavy, with 
 closed pores, presenting a stone-like appearance, while 
 others are light and open-grained. The latter is the best. 
 The stone, when selected, should first be dipped in water, 
 that its grain may easily be seen, and then cut with an old 
 saw across the grain, so that the pores may retain as fully 
 as possible their clearing and cutting qualities. Large 
 pieces should be used when practicable, so as not to rub 
 the surface into hollow 3. 
 
THE COMPLETE CARRIAGE ANI WAGON pAllTrER. S3 
 
 There is another species of stone much used for rubbing 
 rough-stuff, and known as " English rubbing stone." It 
 is a sort of sandstone of fine quality, and is a greater ab- 
 sorbent of water than pumice or other qualities of sand 
 stone. It must be kept, in a damp place, otherwise it be- 
 comes hard and flinty. For rough work this stone may 
 answer a good purpose, but it is almost too coarse for fine 
 work. There is also in the market a prepared brick or 
 stone, of German origin, branded with the name of 
 SchumacJiersche Fabrik. (It may have been originally in- 
 tended as a whetstone for shoemakers.) It is used by 
 many first-class builders, and has superseded lump pumice 
 in a measure, although it will never entirely take its place. 
 
 The stone having been chosen according to the conditions 
 explained above, or as nearly as circumstances will permit, 
 the pieces should be cut and smoothed by rubbing them 
 upon a flat stone. The stone should set nicely to the 
 surface and be moved either in circles as in polishing, or 
 lengthwise of the panel, pressing firmly upon it, but not 
 too hard, for it would then rag or tear up the paint. 
 Plenty of water must be used to prevent heating. It is the 
 practice of many to apply a "guide coat" or " stain" 
 over the rough stuff (this is simply a mixture of dry 
 pigment and jap in and turpentine, put on very thin) 
 to enable the rubber to see when he has rubbed the sur- 
 face level, as when all the " stain " is rubbed off the sur- 
 face should be perfect. As the work continues, the stone 
 should be pressed more and more lightly, and more water 
 should be used, in order that all fine scratches may be re- 
 moved. When the '* rubbing out " is completed, wash the 
 job well, using the water tool (a. common sash-tool) to 
 
34 THE COMPLETE CARRIAGE AND WAGON PAINl-ER. 
 
 clean out comers, etc., then dry off with a chamois skin, 
 and stand the job aside for the evaporation of any mois- 
 ture which may remain in the pores of the paint. 
 
 PUTTING THE FINAL FOUNDATION COAT ON THE GEARS. 
 
 The gears we left in pink colored lead to dry, and these 
 must now receive attention. Putty for this job should be 
 made as follows : Take equal parts (bulk) of keg lead and 
 whiting, and beat the whiting into the lead with a wooden 
 mallet, until the mass is of a putty consistency; add a little 
 red, and a very little brown japan and knead all together 
 nicely. Next go over every part and putty up all holes or 
 imperfections, and plaster the fronts of spokes and any 
 other open-grained places. When this is dry, which will 
 be perhaps in an hour or two, smooth down all parts, par- 
 ticularly the putty, with partly worn sandpaper, dust off, 
 and apply a coat of the following mixture: Take keg lead 
 and mix it to a soft paste with turpentine, add one gill of 
 brown japan to every pint of paint, then color it by the 
 addition of American vermilion. It will do no harm, and 
 add greatly to the durability of the work to add say, a 
 tablespoonful of raw oil, but if the job must be hurried 
 this may be omitted. This being the final coat of the foun- 
 dation, it should be applied as smoothly as possible, and th« 
 under parts need not receive this coating. 
 
 PAINTING THE BODY. 
 
 The body now being dry, take the finest sandpaper and 
 gently rub over the rubbed portion, and nicely prepare the 
 ribs, etc. , for color. It is customary with some painters to lay 
 on a ground coat of some color corresponding with the hue 
 of the color the job is to be painted, but this is not positive- 
 ly necessary, for its purpose is merely to economize time 
 
THE COMPLETE CARRIAGR AND WAGON PAINTER. if) 
 
 and expensive color. With the exception of a few extra 
 fine or transparent colors, which are intensified or made 
 more brilliant by application over particular grounds, the 
 color may just as well be laid directly on the rough-stuff or 
 lead surface. This job we will paint green panels, black ribs, 
 and black top sides, with name panel in vermilion, glazed 
 with carmine. The color for the panels will be best per- 
 haps, if we use deep Milori green, or we may use chrome 
 green deepened with Prussian blue, whichever is at hand. 
 
 Milori green, however, makes the richest color, and it 
 may be mixed as we have before directed, i.e., mix and 
 grind in brown japan, thin with turpentine ; then add one 
 tablespoonful of raw linseed oil to every pint of paint. 
 The name panel or belt may be coated with light English 
 vermilion this time, as that covers better than the deep, 
 and the top, sides, etc., may have a coat of lampblack. 
 These colors must be laid on with camel's hair brushes to 
 have them as thin and smooth as can be, and in painting 
 the body panels the ribs should receive as much attention 
 as the panel, no matter if they are ultimately to be in 
 black. The inside of the body may at this time be painted 
 with a light pea green. 
 
 While the bo'^y is drying we will lightly sandpaper the 
 gears, and apply a coat of American vermilion, using a flat 
 bristle brush and sash tool. This forms a good ground for 
 the English vermilion, which will be the next in order. 
 The ends of the hubs, and the ends of the pole or shafts 
 need not be painted with the vermilion, for those parta 
 will be "blacked off." 
 
 THE SECOND COAT ON THE BODY. 
 
 A second coat of color is now in order on the body, hav- 
 
36 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 iDg allowed several hours for drying. A good "mossing 
 off " that is rubbing over the surface of paint with a bunch 
 of moss or curled hair, prepares it for color. Milori green 
 on body panels. Deep English vermilion on name panel 
 or belt, and ivory black on top. Give at least five hours 
 for drying, then apply color and varnish, which is made 
 by adding to rubbing varnish a sufficient amount of the 
 color to slightly stain it. This preserves the freshness of 
 the color. The green, the red, and the black must all be 
 done alike, and varnish brushes should be used for this 
 work. It is as necessary to use care in applying color and 
 varnish to have it clean, and without runs, as if applying 
 a finishing coat of varnish, for if it be well done there wilj 
 be less rubbing to do in finishing, and a better job will 
 result. Some slap on color and varnish with the thought 
 *'it has to be rubbed smooth," but that is not the proper 
 way and the thought and aim should be to see "how nicely 
 I can put on this coat." 
 
 PAINTING THE GEARS. 
 
 The color and varnish on the body, let us now color the 
 gears. Rubbing over every part with fine sandpaper or 
 curled hair, we mix English vermilion (deep), as before di- 
 rected, and apply a nice, even coat over all, bottom of 
 axles, springs, etc., as well as the top; stand the work 
 aside to dry, which will be perhaps two hours ; then put 
 on a heavy coat of color and varnish — made by adding a 
 little of the vermilion color to rubbing varnish. 
 
 The whole job is now in color and varnish, and, when 
 dry (say after 48 hours, if not hurried), the rubbing of 
 the body with pulverized pumice stone is in order. Th* 
 
THE COMPLETE CARRIAGl] AND WAGON PAINTER. 37 
 
 gears do not require rubbing with pumice ; they may be 
 " haired off " preparatory to striping. 
 
 Procuring some pulverized pumice stone — the grade best 
 suited is known as No. 12, No. 14 being finer— some pieces 
 of woolen cloth for "rub-rags," clean water, sponge, cham- 
 ois skin and water-tool we are ready for 
 
 THE RUBBING PROOCSS. 
 
 To do this nicely, begin on the upper part of the body 
 and work downward. First fold the rub-rag into several 
 folds or thicknesses, and saturate it well with water , dip 
 it into the ground pumice and then begin the work of 
 rubbing. Bear on quite hard, and keep the rag weU wet 
 and also well supplied with the pumice powder. Pass your 
 finger over the parts rubbed, occasionally, to f-ee whether " 
 you have yet made the surface smooth ; if so wash off the 
 panel and dry it with the chamois. Proceed in like manner 
 over all until the body has a clean egg-shell gloss, and ap- 
 pears perfectly free from pits or specks. "W hen this is 
 done the job is ready for lettering, excepting the name 
 panel, which 13 yet to be glazed with carmine. This we will 
 do at once. Grind a smaU quantity of carmine No. 40 in 
 rubbing varnish, then dilute it with more of the same 
 varnish, and apply a flowing coat in the same manner as 
 clear varnish, being careful not to have runs, clouds, or 
 heavy flows. 
 
 This done, and the inside having been second-coated 
 with pea green, we can say the painting is complete. 
 
 The gears being rubbed with curled hair or moss, are 
 ready for striping, and we will leave them for the present 
 to give directions for bringing up a job to this point by 
 another process. 
 
CHAPTER rV. 
 
 THE PUTTY KNIFE METHOD. 
 
 When the priming and first coat of lead, as previously 
 described are dry, mix some keg-lead with turpentine and 
 japan, equal parts, add a very little lampblack, or red, 
 or green, according to the color the job is to be painted, 
 making the paint a stiff paste or soft putty consistency. 
 With a stiff brush spread this on to a small portion of the 
 body, say : four panels. It will then be noticed that as fast 
 as the turpentine evaporates, the paint will become 
 
 'dead "in appearance, and when quite dead or "flat," 
 take a broad bladed putty-knife and plaster over, the same 
 as if it were putty ; pressing the paint into the pores and 
 inequalities of the wood, and scraping off all that is not re- 
 quired to so fill up. Go on in this manner until the body 
 ias all been passed over, and set the job aside to dry. The 
 gears may be done in a similar manner, using a stout piece 
 of harness leather for rubbing the paint on spokes and 
 other round places. When this plaster coat is dry, cut it 
 iown nicely with sandpaper, and apply the color direct ; 
 then color and varnish. This is a much cheaper plan than 
 tough-stuffing, and when well done, the job will look near- 
 fy as well. 
 
 ANOTHER WAY. 
 
 An improved plan is to mix with the plastering paint, 
 one-half the bul • of Wheeler's Patent Wood Filler, a mixt- 
 ure of silica or flint, which, when ground fine, forms small 
 angular grains or needle-like pieces, which adhere to wood 
 
THE CX)MPLETE CARRIAGE AND WAGON PAINTER. 39 
 
 very firmly, and being impervious to any liquid, com- 
 pletely seal up the pores of wood against the admission of 
 moisture, or the oil from subsequent coats. 
 
 THE WOOD FILLING METHOD. 
 
 The body having been completed, no further than the 
 frame-work, it receives a priming of wood fiUing. The 
 chamfers and faces of the rails or ribs are then plastered 
 with hard-drying putty and sandpapered, being then ready 
 for color. The panels are got out and smoothed by the 
 body maker, being left from i to f of an inch wider than 
 necessary to fit the body, to allow for shrinkage. These 
 then receive wood filKng, which is applied freely and im- 
 mediately wiped over with rags, until no surface coating 
 is left, nearly all the filling having penetrated the wood. 
 Give two days for drying, and then apply, rough-stuff made 
 as follows : Grafton paint or Eng. filling 3 parts, white 
 lead (keg) 2 parts, oil japan 2 parts, rubbing varnish 1 part : 
 dilute with turpentine. For the first coat add a table- 
 spoonful of oil to a pint of paint, because that which 
 comes next to the elastic priming must be more elastic 
 than the subsequent coats. A period of 48 hours must 
 now be allowed for the first coat of roughstuff to dry, 
 Bf ter which two coats without oil in the mixture may be 
 applied each day. Give one day for the stain or guide 
 coat to dry, and then rub down as before described. The 
 panels may now be fitted to their places, screwing them 
 fast from the inside, thus leaving the outside of the body 
 in good order for color. 
 
 We specially recommend this method of rough-stuffing 
 the panels before they are fitted, inasmuch as that part 
 between the panel and rib is thus well painted, allowing^ 
 
40 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 no chance of injury by water entering at those places ; and 
 besides, it allows of msiking a smooth job with less labor. 
 
 The gears having been similarly primed with wood 
 filling, and the smith having completed his work upon 
 them, the first operation is a good cutting down with No. 
 3 sandpaper, which prepares the work for a coat of lead — 
 pure keg lead, mixed with oil, japan and turpentine. 
 When this is dry, the puttying up of all open-grained 
 places and holes are in order. The second coat of lead paint, 
 containing a little chrome yellow and a trifling amount of 
 vermiUon to form a rich cream color, is next applied. 
 Two coats of this will suffice for the color, when color and 
 varnish should be put on. When this is dry, moss off for 
 striping. 
 
 Having brought the wagon up to the striping, lettering, 
 and ornamenting we will now take a retrospective view 
 and note the particular points not so fully explained here- 
 tofore. 
 
 V^^HNISHING. 
 
 The varnishing of a carriage body is a very delicate 
 operation, and requires a considerable amount of practical 
 knowledge on the part of the workman, if he would pro- 
 duce satisfactory results. But it is not so difficult to var- 
 nish a wagon body, notwithstanding. To those not ac- 
 customed to this class of work, it seems a big job to var- 
 nish the sides ^of a large furniture van, for instance, which 
 spreads over a surface of 120 square feet, or an animal cage 
 of a little less surface, but it is quite easily done with 
 proper facilities. The brushes used for such work are flat 
 ones, "double thick " 4 inches wide, of French bristles. 
 The workman begins at one end, laying on the varnish up 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 41 
 
 and down, and *' finishing up" as he proceeds lap after lap 
 the width of the brush. With quick setting varmsh two 
 men are put to work, one laying on the varnish, the other 
 finishing up. 
 
 On ordinary business wagons, trucks, etc., much more 
 care is given to the final finish than was the case a few years 
 ago, and in some shops expert carriage vamishers have been 
 employed in order to turn out extra jobs. So to carry out 
 our plan of making a first-class job we will go into minute 
 details regarding the 
 
 VARNISHING OF WAGONS AND SLEIGHS. 
 
 So far as the room is concerned, we will say but little, as 
 we have already touched on that subject. In the first 
 place the room should be provided with a heating arrange- 
 ment by which a uniform degree of heat may be main- 
 tained, and where no other means can be resorted to, a 
 large self -feeding stove should be put up, although it is 
 best to have the stove in the paint room and close to the 
 partition of the varnish room, the partition at that place 
 being made of sheet iron. This will generally suflfice to 
 heat both rooms. The room should be free from every- 
 thing not necessary for the job in hand, for dust will 
 accumulate on pictures or other wall hangings to the det- 
 riment of the work. The rubbing with pumice-stone, and 
 the cleaning of the body should be done in the paint rooms, 
 for we do not want the floor of the varnish room soaked 
 with water— not even sprinkled— for the evaporation of 
 moisture from the floor is very apt to cause "pitting," 
 "enameling," and other difficulties. The nibbing coats 
 of varnish, that is the color-and-vamish, and the clear 
 rubbing varnish, over the lettering, and striping,— having 
 
42 THE COMPLETE CARRIAGE AND "WAGON PAINTER. 
 
 been applied with as much care as if a finishing coat, the 
 final rubbing is now in order. The rubbing or leveling of 
 varnish with pulverized pumice stone and water bears an 
 important part in the work of making a fine finish. 
 
 Finish each part as you proceed, leaving a nice clean 
 surface, well washed and shammied. The work of rubbing 
 done, carry the body to the varnish room and set it upon 
 barrels or boxes as before ; then with a large round duster 
 — one kept for the varnish room — give the body a thorough 
 dusting. It is a good plan to moisten the palm of the 
 hand with finishing varnish, and then to pass the end of 
 the duster over it to slightly moisten the bristles, which 
 enables it to pick up any lint left by the shammy. 
 
 Fig. 8. — Standard Varnish Brushes. 
 
 For most jobs the flat bristle brush is considered best. 
 They are furnished in sets, and the bristles should be 
 set in glue. 
 
 The varnisher, now having everything ready, the work 
 of laying on the varnish is begun. The pumice stone 
 should be well examined to discover if any grains of grit 
 or sand are in it, for sometimes one scratch across a panel 
 will disfigure the whole job. The rub-rag, sponge, 
 shammy, water, etc., should all be as clean as possible— 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 43 
 
 and by all means see to it that neither the pail, sponge nor 
 shammy have been used for washing the hands. In rub- 
 bing, the pumice powder must not be allowed to dry on 
 the work, but must be kept wet, or washed off frequently. 
 In beginning a panel, first pass the wet sponge over it to 
 take off any dust there may be upon it, then seek the 
 roughest portions and give particular attention to them : 
 the smoother parts will be passed over often enough to 
 level them withou t that especial care. All sharp edges and 
 moldings should be slighted, or they may be cut through, 
 which would necessitate touching up, and that requires 
 time, while the job is not improved thereby. It 
 would b 3 a useless task for us to direct the manner of var- 
 nishing — suffice it to say, go at the work with confidence 
 in your ability to do it properly. Flow on the varnish 
 plentifully, — a sparse coat will not make a good job — 
 lay off the large panels with up and down strokes of the 
 brush, let it set a moment, then with a sharpened whale- 
 bone go over and pick out any specks that are seen, and then 
 immediately run the brush from bottom to top very Hght- 
 ly to finish. Go all over the job in this manner and you 
 may rest assured that your work will come out all right. 
 
 The gears may be varnished in the paint room, provid- 
 ing there is not room enough in the varnish room, for 
 these do not require so much care. However, they should 
 receive a goodly share of varnish, and this brings us to the 
 finish of the work. We will now look at some of the ills 
 that beset the painter. 
 
 SWEATING. 
 
 Sweating of varnish is liable to occur after it has been 
 rubbed and allowed to stand a while. This is caused by 
 
44 THE COMPLETE CARRIAGE AND "WAOON PAINTER. 
 
 the varnish not having had proper time for drying. Proper 
 care is not taken, at times, to lay the rubbing coats as they 
 should be : they are applied too heavy or with specks and 
 brush marks showing, and to get the surface smooth too 
 much rubbing has to be done ; then the varnish will 
 probably sweat. To overcome this, nib the job lightly with 
 pumice stone and apply the varnish immediately before 
 the surface has time to sweat. But when time can con- 
 veniently be given for the varnish to become hard it is 
 certainly best. 
 
 Varnish that has ** sweated out " if varnished over with- 
 out first rubbing the sweaty gloss off is liable to cause 
 pitting, or pinholing, and enameling, three of the worst 
 evils that the paint shop is heir to. 
 
 CLEANING NEW BRUSHES. 
 
 To clean a new varnish brush, hold it over a piece of 
 enameled cloth or patent leather, and work the dry bristles 
 in the hands so long as there is seen any Uttle white specks 
 coming from it, then dip it in rubbing varnish and use on 
 common work until you are sure the dirt is all out. Never 
 wash a brush in turpentine if it can be avoided. If a brush 
 gets dirty by a fall to the floor, hold it up with the bristles 
 pointing downward, and pour turpentine over it, allowing 
 it to run off carrying the dirt with it. Keep your varnish 
 brushes suspended in varnish — or, what is better, get from 
 the varnish-maker some finishing varnish made with no 
 driers in it. This wijl keep your brushes in good condi- 
 tion for years, and never give trouble in varnishing. 
 
CHAPTER V. 
 
 THE CARi. OF MATERIALS. 
 
 Keep paint brushes suspended in water, allowing th 
 water to come just over the lower part of the binding. In 
 winter throw a handful of salt into the water to keep it 
 from freezing. A shop should be supplied with a sufficient 
 number of brushes, so that it will not be necessary to 
 change one from one color to another, except in rare 
 
 Pumice-stone should be kept in a covered box to exclude 
 dust, for a job may be ruined by a single scratch caused 
 by some foreign subtance in the pumice, 
 
 FAILURES IN VARNISHING. 
 
 Failure to make a good job of varnishing may some- 
 times be traced to one of the following causes, viz. : When 
 the pail or bucket is used for holding the water with 
 which the hands are washed from oil and dirt. 
 
 When the chamois (shammy) has been rinsed in greasy 
 and dirty water, or been used as a towel. 
 
 When the sponge has been used in a similar manner. 
 
 When the water is not perfectly clean and free from 
 grease or soap. 
 
 When the duster has been used for dusting paint, and is 
 not in a clean condition. 
 
 When the cups are besmeared with dried or gummy 
 varnish, or not otherwise clean. 
 
 When the brushes are not kept in a covered brush* 
 
46 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 keeper, or are suspended in liquid other than varnish, oi 
 are dirty around the binding and handle, or lousy. 
 
 When the varnish room is used for all sorts of work, 
 is not clean, the floor wet, the room not kept at a uni- 
 form degree of heat, and is not free from everything not 
 necessary in varnishing the job. 
 
 When the painter has undertaken a job that he is not 
 competent to carry through. 
 
 When the varnish is not perfect, either in age or 
 manufacture, or of the quality required to do a first-class 
 job. 
 
 TROUBLES OF THE PAINTER. 
 
 Many are greatly troubled at times with their paint or 
 varnish, and it is now our duty to enumerate some of these 
 annoyances, and to explain why they occur and how to 
 cure them. 
 
 SPECKY VARNISHES. 
 
 We sometimes have a job that looks as if a salt sprinkler 
 had been shaken over it before the varnish was dry. It is 
 full of little specks. Assured that there was no dust in the 
 room, none in the brushes and no pumice-stone on the 
 work, where shall we look ? Why, at your varnish ! It 
 has been in a cold or damp place ; the can was kept on the 
 the floor (the coldest part of the room), and the varnish 
 has become chilled, which has caused a separation of the 
 driers from the oil, and the result is ''specks." To cure 
 the evil, set the can of varnish on two bricks upon the 
 stove and warm it gradually ; don't overheat it ; then,' 
 always keep your varnish cans on a shelf up over the 
 beater, where it is warm. 
 
 CRAWLING OF PAINT OR VARNISH. 
 
 When the paint or varnish draws up, and won't staj 
 
THE C50MPLETE CARRIAGE AND WAGON PAINTER. 4? 
 
 where it is put, it is called ''crawling." This may occur if 
 the under coat or surface is too glossy, or if the paint has 
 grown fat by being nin through a heated mill ; or if the 
 surface be chilled, or when there is grease or soap on the 
 surface. 
 
 Varnish is liable to crawl when put over an old though 
 well rubbed surface of English varnish, and to remedy the 
 evil, first apply a very thin coat of japan and turpentine 
 equal parts, then apply the varnish over that, and it will 
 not crawl. 
 
 To prevent paint from crawling, wipe the surface with 
 a damp shammy, or better wash the whole job and shammy 
 it dry. Crawling on lake stripes is often seen, but the 
 damp shammy rubbed over it will generally stop it. 
 
 BLISTEKENG. 
 
 The bhstering of a varnished surface after the varnish 
 has had ample time to dry thoroughly, is we believe, due 
 entirely to the evaporation of moisture which lies con- 
 fined under the varnish. We never see blisters occur un- 
 less there is excessive heat upon the surface, and heat 
 causes the evaporation of the confined moisture, which in 
 turn raises the varnish, which has become soft by the heat, 
 into puff-balls and blisters. Much of this is due to un- 
 seasoned wood, and much more to moisture sealed up in 
 the rough-stuff coats. The water used in rubbing pene- 
 trates the porous paint, and many times, the job being in 
 a hurry, a coat of paint is put over it before the moisture 
 has dried out, and blistering follows. Boiled oil is fre- 
 quently the cause of blisters, for that, drying, as it does, 
 on the outside, and remaining soft underneath, deceives 
 the painter, and other coats go over it, drying hard, and 
 when a hot sun strikes the job, blisters follow. 
 
48 THE COMPLETE CARRIAGE AND WAGK)N PAINTER. 
 CRACKma OP PAINT AND VARNISH. 
 
 A coat of paint which dries quickly and hard, put over 
 an oily paint not quite hard, will cause cracking. It may 
 not be seen until long after the job is finished, and it may 
 be that large cracks will appear, or there may be " fire- 
 checks " that is, thousands of exceedingly fine cracks run- 
 ning in every direction. Almost all cracking of paint or 
 varnish arises from this carelessness in putting one coat 
 over another as above mentioned. Again, cracking may 
 follow where a ready prepared paint was used, which, in 
 order to cheapen it, was well dosed by the paint factor with 
 chemicals, which act when coming in contact with oil, 
 and form soap, which will never dry hard, and then the 
 subsequent coats will open out into cracks. 
 
 TO PAINT CANVAS-TOP SIDES. 
 
 The standing sides of a business wagon top and the roof 
 may be painted in an excellent manner as follows: First, 
 mix some rye flour paste, the same as that used for paper- 
 hanging, and give the canvas a good coat of it inside and 
 out. Allow plenty of time for drying; then with new, clean 
 sandpaper gently rub over to take off any nibs, etc. Next, 
 mix white lead with japan and a little oil, say one-third as 
 much oil as japan, thin with turpentine and give three 
 coats, lightly sandpapering between each coat. Finish 
 with white color and varnish, rub off with pumice, letter, 
 etc., and finish with body finishing varnish. The curtains 
 should not be prepared with paste, but may be tacked up to 
 the wall and receive the same paint as is put on the sides 
 and roof. They require to be flexible, and the paste would 
 stiffen them. This plan saves paint, makes a smooth job, 
 and a durable one as well 
 
THE COMPLETE uaRMAGE AND WAGON PAINTER. 49 
 GLAZING WITH CARMINE. 
 
 Carmine gears and panels have frequently to be made in 
 the wagon shop, and it is no easy task even for the ex- 
 perienced painter to finish such work without clouds or 
 streaks; therefore we believe the inexperienced may need 
 some explanation of the way to do this work. 
 
 First get the ground solid and well-rubbed out of color, 
 and varnish (glazing on dead color seldom makes a good 
 job), vermilion, Indian red, or whatever the shade of red, 
 no matter. Then crush the lumps of carmine on the stone, 
 mix in rubbing varnish and grind through the mill the 
 same as any other color, being sure to have it just as fine 
 as the mill can make it. Next, add more varnish until the 
 color or glaze is not too strong. Slow-drying, rubbing or fin- 
 ishing gear varnish is best. Now dust oflf the gear or the 
 panel nicely, and flow on a good heavy coat; if a wheel, 
 io only two or three spokes at a time, and be careful not 
 to get any glazing on hub or rim; continue thus, finishing 
 the rim last. Any lap you make will be seen, so don't 
 make any. If it be a panel that you are working on, act 
 with the glazing the same as if it was a finishing coat of 
 clear varnish. 
 
 Some attempt to flow a wheel all over, and then " lay it 
 off," but in nine cases out of ten they "get stuck ;" the 
 safe way is the best. Do not take any risks with carmine, 
 for it is an expensive color, and washing off a clouded job 
 is not a pleasant task. 
 
 On cheap work, Munich lake may be substituted for 
 carmine, anc' but few can tell the difference when the 
 glazing is done properly. Glazing should be saved, i. e, 
 kept in a weU-stoppered bottle, and it may be used for 
 •striping or for the next job. Don't throw it away. 
 
CHAPTER VL 
 
 WAGON STRIPING. 
 
 •* That appears easy enough ! " exclaimed a visitor to oui 
 paint shop one day, while looking at one of the work- 
 men engaged in striping a gear. And so it is — with the 
 proviso — if you know how. 
 
 Striping is an art acquired only by long practice ; one 
 may look on for years, and then not be able to draw a 
 straight line. Again, many suppose that to stripe well 
 the workman must have a very steady hand, which is 
 true only in part ; a steady hand or quiet nerve is certain- 
 ly desirable, but it is not that only ; the eye must do its 
 share of work, and the larger portion falls upon it. The 
 eye must be quicker than the hand, to detect any varia- 
 tion from the true path, and then, the brain telegraphs to 
 the fingers to change the movement before a mark has 
 been made. 
 
 The mechanical work of striping may be easily acquired; 
 but the artistic and inventive part must emanate from an 
 inborn taste, or in short, from the brain of a * natural 
 genius." We might go on indefinitely and illustrate fancy 
 striping for the benefit of those who will not try to make 
 their own designs ; but we do not care to do so, and our 
 aim is simply to show the general style of wagon striping, 
 with explanations regarding the tools and materials used, 
 leaving our readers to take their cue from these and 
 then invent and put on their own ideas of a stripe. We 
 will begin with 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 51 
 THE striper's KIT OP TOOLS. 
 
 Striping pencils are made of hair fastened into var- 
 ious sized quills, or to wood, and there are a few made 
 with a tin ferrule, but these are apt to cut the hair, and 
 consequently they soon go to pieces and are of no ac- 
 count. Sable-hair pencils are the most expensive, ranging 
 in price from 50 cts. to $8 each ; they are made from the 
 hair on the tip of the tail of the sable martin (an animal 
 of the weasel family) and it is the scarcity of the hair 
 which creates the high price. 
 
 A sable pencil for fine lines, where heavy color like 
 white lead is used, is excellent, as it is sufficiently elas- 
 tic to hold up the color and yet make a clear, full ptripe. 
 There are two kinds of sable hair, the red and the black, 
 either of which will make j^ood stripes : but the red hair 
 is more extensively used for artists' pencils, owing to its 
 shortness, being seldom over three-quarters of an inch in 
 length. 
 
 Camel's-hair pencils are made in the same manner, i. e,, 
 in quills and fastened to wood. The hair is much softer 
 than sable, and for this reason, as well as their low price, 
 they are universally preferred. 
 
 STRIPING PENCILS. 
 
 Striping pencils are made m many sizes and designated 
 by numbers by the manufacturers, from No. 1 up to No. 12. 
 The broad pencil in size from }^ of an inch upward is used 
 for stripes of any size above % of an inch in width ; but 
 the round fine lining pencils have been generally super- 
 seded by what is known as the "sword pencil," or "dag- 
 ger pencil." These are not generally for sale in the stores. 
 
52 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 and the paiDter must make them to suit his wants. To do 
 this, take a piece of hickory or other strong wood and cut the 
 handle as shown in the accompanying engraving, Fig. 9. 
 The flattened part is that held between the thumb and finger. 
 Next split the end, and put a pin across the split to keep it 
 open ; then take from a large pencil a small bunch of hair, 
 say fifty hairs, and dipping the butt end in melted glue, lay 
 them carefully in the split, draw out the pin, when the parts 
 will close together, and then a piece of thread may be tied 
 around over the spJit to secure it. The ends of the hairs 
 should not be cut if it can by any means be avoided, as the 
 
 Fig, Q.— "Dagger'^ Pencils. 
 
 cutting tends to destroy the softness of the point. In our 
 illustration ^ is a " dagger pencil " when dry, and B is the 
 same when wet with paint. 
 
 These pencils are held edgeivise to the work, and but 
 one-half the length of hair is allowed to touch the surface. 
 A stripe from five to six feet in length may be drjiwn 
 without refiUiug the pencil, the large quantity of hair 
 acting as a reservoir for the paint ; and several sizes of 
 lines may be made with the same pencil by simply regu- 
 lating the pressure upon it, a heavy pressure making a 
 heavy stripe and a light one a finer stripe. The painter 
 may easily learn to do this by practice, although beginners 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 53 
 
 may find it diflScult to maintain a uniform pressure, and 
 consequently a uniform stripe over all parts of the work. 
 
 The hair for striping pencils should be at least two and 
 a quarter inches long — if too long the hairs will droop or 
 sag down, and if too short, a straight line cannot be made. 
 
 Ox-hair pencils, also used in striping, are made from the 
 hair which grows in the ear of the animal, and these are 
 considered excellent for striping wagon gears, particularly 
 where heavy color is used. 
 
 Fig. 10 represents the striping pencils used by New York 
 painters. 
 
 Fig. 10.— Striping Pencils. 
 The proper position of the hand while striping the rim 
 of a wheel is shown in Fig. 11. The pencil is held between 
 the thumb and fore-finger and the other fingers act as a 
 gauge or guide. During the striping, the wheel is kept 
 revolving by the left hand, while the pencil is held sta- 
 tionary in the right hand. The pencil will require refilling 
 frequently, and care should be taken that this is done uni- 
 formly. 
 
 ZmC PALETTES. 
 
 A zinc palette is said to be the best for working or thin- 
 ning the paint upon, as it is so easily cleaned after its use. 
 Procure a piece of smooth zinc say three inches wide and 
 nine inches long, cut the ends round, and make a hole in 
 one end by which to hang it up when not in use. The 
 
54 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 pencil is first dipped into the paint and then worked out 
 to make it uniform upon the zinc palette. To extend a 
 stripe where the paint has been insufficient in the first 
 movement, the line should be retraced for several inches, 
 or the connecting stripe will be smaller or not so well cov- 
 ered as other parts. 
 
 Small tin cups are best for holding the striping paint — 
 blacking boxes or lids to tin boxes may be used to advan- 
 
 Fig. 11,— Showing the Position of the Hand in Striping 
 the Rim of a Wheel. 
 
 tage — many use large clam-shells, and we believe it a good 
 plan, as when they are gummed up with old paint they can 
 be thrown away with no loss. 
 
 CARE OF PENCILS. 
 
 Pencils should be well cared for after use. It is a good 
 plan to keep them in a small wooden box with a lid to ex- 
 clude dust, and supplied with a pi^ce of glass upon the 
 bottom on which to spread the pencils. They should be 
 well rinsed in turpentine after use, thien greased with a 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 55 
 
 mixture of tallow and sweet oil — which does not harden 
 in cold weather — and nicely straightened out and stuck 
 fast to the glass, the broad ones on one side and grading 
 the sizes down to the hair liners, so that in case one is mis- 
 sing from its place it can readily be discovered, and so that 
 any particular size can be taken up without disturbing the 
 others. When a pencil gets bent or crooked, grease it and 
 draw the hairs between the finger and a warm iron, 
 
 PENCILS FOR ORNAMENTAL STRIPING. 
 
 The pencils for ornamental striping are similar to those 
 spoken of, but the hairs are shorter, and a long wooden 
 handle is necessary. The hair should be about half an inch 
 in length, and we have always given preference to red 
 sable hair. In case these pencils cannot be easily procured, 
 a camel's-hair striper may be cut down and drawn through 
 a fine quill. 
 
 COLORS FOR STRIPING. 
 
 The paint or " stripmg color " maybe mixed as for color 
 on bodies, but it may be found best with some colors to 
 add a little more oil. Tube colors are preferred by some, 
 but we do not agree with the plan of using them for 
 striping, from the fact thai they are all '*too short." i. e., 
 do not flow as nicely from the pencil as home-made colors 
 do. A smart rub with the stone and muller will render 
 any of the ordinary pigments fine enough. 
 
CHAPTER VII. 
 
 WAGON STRIPING. 
 
 Carriage striping and wagon striping are two distinct 
 branches of trade, and yet he who can do the one well will 
 be equally successful in the other, by which we mean, it 
 is not the manipulation of the tools which distinguishes 
 one from the other, but the style, the position of the 
 stripes, and the colors. Therefore, when once the carriage 
 striper learns where and how to place his stripes on a 
 
 Fig. 12. Showing a Striping generally used on Business 
 Wagon Gears. 
 
 wagon he becomes a wagon striper, and vice versa. The 
 carriage striper has certain arbitrary combinations of 
 striping, each having a name, as for example the fol- 
 lowing: 
 
 " Hair line." 
 
 " Fine line." 
 " Medium." 
 
fHE COMPLETE CARRIAGE AND WAGON PAINTER. 57 
 
 m^m^mmm^ ' ' stout line. " 
 
 "Round line." 
 " Heavy round line." 
 "Light stripe." 
 *' Narrow stripe." 
 ** Medium stripe." 
 
 "Heavy stripe." 
 " Broad stripe." 
 
 "Double fine line." 
 
 Double medium line." 
 
 * Double stout line.' 
 
58 THE COMPLETE- CA-RRIAGE AND WAOON PAINTETl. 
 
 " Double round line." 
 
 " Double light stripe.' 
 
 But these are ignored by the wagon striper, most of his 
 work being that known as " panel striping " on gears and 
 fine lining on bodies. 
 
 The stripes generally put upon business- wagon gears are 
 a three-sixteenth of an inch stripe and a fine line, as shown 
 in fig. 12. 
 
 These stripes are sometimes put on plain and sometimes 
 twisted in various forms to give variety or to ''fill up" 
 certain parts as shown in Figs. 13 and 14. 
 
 All such work is done off-hand — that is, no pattern is 
 used, the eye alone guiding the hand, and it is surprising, 
 sometimes, to see the uniformity given to wagon stripes, 
 when it is remembered that not even a mark was 
 made to insure it. There is as much necessity for prac- 
 tice in laying out the striping as there is in making the 
 stripe, and we frequently see apprentice boys devoting 
 all their spare time in practice at such work. 
 
 In Fig. 15 is shown a panel stripe for spring bar and 
 like pieces, the fine line being generally "put in" in two 
 colors, as for example, if the fine line be white on a dark 
 ground, *he feathering and dots may be *'put in "with 
 light blue or red. A few light touches with the striping 
 pencil will often add to the appearance of a job, and these 
 should never be begrudged. 
 
 Fig. 16 shows the manner of striping the top of a spring, 
 the broad stripe being run on the edge of the leaves, and 
 
THE COMPLETE CARKIAGE AiVD WAGON PAINTER. 59 
 
 a simple straight fine line finishing it. This part of the 
 gear is not so easily seen as the other parts, and it would 
 
 Fig. 13. 
 
 Fig. 14. 
 
 Fig, 13. Striping for Business Wagon Gears, Fig, 14. 
 Another Method of Striping Gears, 
 
60 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 be a waste of time to elaborate the striping; however, if 
 other parts are profusely covered with fine lines, these 
 places should at least approximate thereto. 
 
 Fig. 15. 
 
 Fig. 16. 
 
 FiQ' 15. Panel Striping for Spring-bars. Fig. 16. Strip- 
 ing the Top of a Spring, 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 61 
 
 Fig. 17 shows the back end of the shafts, and a portion 
 of the cross-bar, giving an idea how a stripe may be 
 put on such places. 
 
 Fig, 17. Shcmnng a method of Striping the Cross-bar 
 and back end of the Shaft, 
 
62 THE COMPLETE CARRIAGE AND WAG0N PAINTER. 
 
 BREAKING LINES. 
 
 Fig. 18 illustrates what is known as a "break" in a 
 double fine line," and is used to break the monotony of a 
 continuous stripe. It is useful on 
 body bolts or name panels as well 
 as on gears. 
 
 A *' POUNCE BAG." 
 
 Fig. 19 gives a general idea of 
 the finish at the end of a panel 
 stripe. Such designs require pat- 
 terns, and to make them, take a 
 piece of thin tissue paper and copy 
 the illustration, or draw a new de- 
 sign, then perforate the paper with 
 a needle into small holes, thus : 
 
 following every outline of the de- 
 sign ; then tie up in a piece of thin 
 muslin some whiting to form a 
 "pounce-bag." Lay the paper pat- 
 tern upon the desired spot, holding 
 it firmly, or fasten it with tacks, 
 and rub or pounce the whiting 
 from the bag over it. The whiting 
 will penetrate the holes and leave 
 a well-defined outline on the work, 
 which may be followed with the 
 pencil and paint. 
 
 Fig. 20 is a similar design. These 
 
 Fiq. 18, Showing 
 ** Break " in Strip- come under the head of flat scroU- 
 ing, ing, of which more anon. 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 63 
 
 *t is the usual plan with ribbed bodies to '* black off " the 
 ribs on all work painted in dark colors, such as green, blue, 
 brown, etc., but where the job is light, as vermilion, 
 Paris green, cream or yellow, the contrast would be too 
 great, and therefore the ribs are strioed on the chamfers 
 
 Fig. 19.— Showing a Fig. 20.—Showing an^ 
 Finish for the End of other Style of Finish 
 a Panel Stripe, for the end of a Panel 
 
 Stripe. 
 
 with a jVinch stripe of black, thus "lightening up" th«. 
 appearance of the job. 
 Ornamental cornere are frequently added, and particu- 
 
64 THE COMPLETE CARRIAaE AND WAOON PAINTER. 
 
 larly where the panels are striped; bat striping on the 
 panels of a ribbed job is very seldom seen, and then on 
 cheap work only. 
 
 GOLD STRIPING. 
 
 Grold striping is done in the following manner: First, 
 having the body well rubbed out of color-and-vamish with 
 pulverized pumice stone and washed clean, it is necessary 
 to pounce over the entire panel on which the stripin;^ i to 
 go, with the whiting pounce-bag. This leaves a thin fi m 
 of the i)Owder on the surface and prevents the gold leaf 
 from sticking to any part not covered with gilding size.* 
 
 GILDING SIZE. 
 
 The size used for this work may be a mixture of one 
 part finishing varnish and two parts good brown japan. 
 
 The proportions may be changed to suit the time at 
 disposal, but the formula given will make a size which 
 will set "tacky" in an hour, in good weather. Avery 
 little turpentine may be used to thin the size upon the 
 palette, and care must be taken that the size is not •* fat," 
 leaving heavy edges to the stripe. 
 
 The size should flow down smooth and even in all parts, 
 and the gold leaf should not be laid on until the hand can 
 be gently passed over it without sticking — ^but when placed 
 directly upon it the size appears *' tacky" or '* sticky." 
 
 When the gilding size is too "wet," the gilding will be 
 rough ; and when too " dry," the gold leaf will not adhere 
 
 * We use the word '■ gildi)ig size "to distinguish it from a dr.er or 
 sort of japan found in the market under th j name of " gold-size," which 
 is not intended, nor can it be used for laying gold upon. Many are led 
 astray by the name, and the anathemas heaped upon it when put to 
 use as a gilding size are often heavy enough to sink it to oblivion— 
 where it ought to be. 
 
THK COMPLETE CARRIAGE AND WAGON PAINTER. C." 
 
 to it, so it is of the utmost importance that the size be in 
 proper condition. Gold leaf is purchased in small books 
 of 25 leaves, 33^ inches square, the price ranging from 
 30 to 50 cents per book. There are three grades, viz. : light, 
 medium and deep ; the latter generally receiving the 
 preference. 
 
 APPLYING GOLD LEAP. 
 
 There are several ways of applying (he leaf to the stripe, 
 but the tools used by the frame gilder such as "tip " 
 ** cushion," "gold knife," etc., should find no resting place 
 in the wagon shop; there is no need of them except when 
 working on glass or in gilding scrolls and figures carved 
 in wood for circus or band chariots, then those tools may 
 be employed. When about to lay a gold leaf on striping 
 first cut the back of the book with a sharp knife, or with a 
 pair of shears, so that each leaf is separate, then lift the 
 first leaf and laying it on a flat surface rub it gently with a 
 piece of white wax or better still, a piece of paraffine candle. 
 This slightly greases the paper and if it be replaced upon the 
 gold the leaf will adhere very closely to it. Next lift and 
 grease the second, and so on until the whole 25 leaves are 
 done ; then with a sharp knife, guided by a straight-edge, 
 cut through the book, making strips a triflf^ wider than the 
 stripe ; the gold will then adhere nicely to the paper and 
 no great care need be taken in handling it. 
 
 Now, the gilding size being " tacky," lift one of the strips 
 of paper and gold and carefully place the gold upon the 
 size ; gently rub the finger over the back or paper, then 
 take the paper away and the gold will be found nicely 
 fastened upon the gilding size ; go on with the next until 
 the size is covered, take up any loose gold with the tip of 
 
t6 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 the fibger, and repair any broken or missed places ; then 
 wipe over gently with a bunch of soft cotton. 
 
 Another plan is to dampen the paper with turpentine 
 instead of using wax or paraflSne, but we do not believe 
 it so good a plan as the one just described, 
 
 GOLD STRIPING. 
 
 A gilding machine, invented by George W. Langdon, of 
 Baraboo, Wis., answers a very good purpose where much 
 gold striping is done. It consists of various sized wheels, 
 having rubber rims, fitted to an adjustable handle, and so 
 arranged that the wheels may be readily changed for any 
 width of stripe. To use it, the leaf is laid upon a leather 
 cushion and cut, as when using a "tip" in frame gilding. 
 The wheel is now rolled over the cut piece, which ad- 
 heres to the rubber tire, and then, if the wheel be rolled in 
 like manner over the size, the gold will leave the rubber 
 and adhere to the size. One single straightforward mo- 
 tion will distribute the leaf upon a tacky surface or stripe, 
 leaving nine inches of gold stripe perfectly laid. Many 
 lay the leaf directly from the book, rolling it over the 
 gilding size as desired ; but this must be left for experts, 
 as an amateur would waste a large share of gold thereby. 
 
 When the striping is finished and quite dry, the job 
 should be washed with soap and water to remove any 
 greasiness or paraffine, which would cause trouble with the 
 varnish; then it will generally be found best to run a fine 
 line of white, blue, red or green on the edge of the gold 
 to straighten out any defects. A red fine line on one edge 
 and a cream-colored fine line on the other wiU look well 
 on green grounds. 
 
THE COMPLETE CARRIAGE AlO) WAOON PAINTER. 67 
 
 Gold bronze is used extensively for gilding wagon work, 
 and if a good quality of bronze be purchased some excel- 
 lent work may be done with it. The preparation of the 
 surface, and the size used, are the same as for gold leaf, 
 the only difference being that bronze is a fine powder in- 
 stead of leaf. To apply the bronze take a piece of shammy, 
 velvet or plush and tie it up into a small pad, then dipping 
 it into the bronze gently rub it over the work. It is a good 
 plan to coat the stripe of bronze over with French shellac 
 varnish before laying on copal varnish, for there is some- 
 thing like an acid in ordinary varnish, particularly English 
 varnish, which acts on the bronze and bringing a sort of 
 verdigris to the surface causes the gold to darken. The 
 shellac prevents this. 
 
 " GOLD PAINT." 
 
 There is what is called '* gold paint" in market, which is 
 extensively used for striping, but it is simply gold bronze 
 mixed with a thin japan, and, as any one can make it for 
 himself, it should be left to school-boys and artistically 
 inclined females. Silver leaf and silver bronze are seldom 
 used, owing to their liability to change color and become 
 almost dark ; but a substitute can now be found in deal- 
 ers' stores which does not turn color, and it is extensively 
 used on street cars. Nickel leaf is the name of this sub- 
 stitute ; it comes in tissue paper book, 4^^ inches square. 
 "Dutch metal" is only fit for scene-painters' use. There 
 are also various colored bronzes, but as they are seldom 
 feaed on wagon work, we will pass them by. 
 
CHAPTER Vm. 
 
 COLORS iaiPLOYED ON WAGONS. 
 
 No. 1. Rib Body Business Wagon. — Body, chrome 
 green or milori green; ribs and frame, black, striped with 
 fine lines of white, cream color, or vermilion; gears, cream 
 color, striped with broad linos, from j\ to }^ inch wide, of 
 blue, dark green, or black, and fine lines of vermilion or 
 blue. 
 
 No. 2. Same Style of Wagon. — ^Body, Indian red glazed 
 with carmine; black frame, striped with vermilion or 
 cream color; gears, light English vermilion, striped as 
 above with black, and white fine lines. 
 
 No. 3. Same. — Body, medium chrome yellow; ribs 
 striped as before directed (not '* blacked off"), fine lines of 
 red or black; gears, light English vermilion, striped ^ in. 
 black, and fine lines of white. 
 
 No. 4. — Body, deep English vermilion; ribs striped 
 black, and fine lines of white; gears, light vermilion, 
 striped black and white. 
 
 No. 5. Delivery Wagon. — ^Body panels, deep carmine; 
 belt panel, dark green; top, black; gears, dark green, striped 
 with double fine line of gold, either leaf or bronze. 
 
 No. 6. Sams. — Body panels, deep olive green; belt panel, 
 carmine; top, black; lettering, gold; gears, light vermil- 
 ion glazed with carmine, striped with black and fine line 
 oi gold. 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 69 
 
 No. 7. Same. — Body panels, black; moldings, carmine; 
 belt, light olive green; top sides, deep carmine; all the rest 
 black; gears, dark olive green, with black and cream fine 
 lines. 
 
 PAINTING A WHITE JOB. 
 
 It IS a well known fact that white jobs, such as circus 
 wagons, sleighs, hearses, etc., will remain white and wear 
 better if the surface be polished or rubbed to an egg-shell 
 gloss instead of receiving a coat of clear varnish. To do 
 such work, bring up the foundation as before directed, ex- 
 cept that in using lead color, pure white lead be substi- 
 tuted, and white rough-stuff also takes the place of the 
 slate-colored or dark variety. To make such rough-stuff, 
 take dry white lead, one part; pulverized soapstone, two 
 parts; ground pumice stone, one part; and mix with 
 brown japan and turpentine; then add a gill of oil to each 
 pint of paint. 
 
 When the job is rubbed out of rough-stuff apply two 
 coats of pure white lead as color, follow this with color 
 and varnish made of keg lead one part, zinc white one 
 pajt and grind in rubbing varnish. When that is dry and 
 has been nicely rubbed with pulverized pumice stone, 
 apply a second coat of color and varnish made in the same 
 manner, but substituting wearing body varnish for the 
 rubbing. When this coat is dry give the work a gentle 
 rub with pumice stone and water until a nice egg-shell 
 appearance is obtained, wash off, and put on the striping, 
 lettering or whatever it is, and then pencil-varnish the 
 stripes or letters, leaving the white ground untouched. 
 This will give a beautiful white, and a better job than 
 any other method we have yet discovered. 
 
CHAPTER IX. 
 
 WAGON LETTERING. 
 
 In these days of great inventions, when we can puiw 
 chase "lettering ready made," in pasteboard patterns 
 nicely cut out, templets of metal, whereby the whole 
 alphabet may be marked out, and finally ingeniously 
 contrived tjransfers or decalcomania, it seems almost a 
 waste of time to lay out directions for painting letters 
 with a pencil. But our plan would be incomplete without 
 a chapter on the laying out and painting of letters for 
 wagons and cars. It was at one time the wagon letterers* 
 good fortune to possess '*an occupation and a name" above 
 that of the sign writer. His work could be readily dis- 
 tinguished from the ordinary letterer or sign painter by 
 its boldness and the care given to details, particularly in 
 shading, where glazings of carmine or other transparent pig- 
 ments gave a richness and finish which could not emanate 
 from the hands of those not intimately connected with 
 the trade. These days have gone by, and we find the well 
 known and approved style of the wagon letterer prostituted 
 to the idiosyncrasies of house and sign painters, who have 
 migrated, some from foreign shores, others from their 
 regular trade, to swell the ranks as professionals (?) in 
 wagon shops. The consequence is, that instead of having 
 a few standard styles of letters to write about, w© might, 
 
TfiCA COMPLETE CARRIAGE AND WAGON PAINTER. 7J 
 
 to cover the subject, take our text from a printer's speci- 
 men book, so varied and multitudinous are the letters no"W 
 in vogue. 
 
 The aim of the wagon letterer should be to make his 
 work plain, yet bold and attractive, for the words he puts 
 upon a wagon are to be read as the vehicle is in motion, 
 while he who wishes to decipher a sign may pause in his walk 
 to do so. Therefore, fine lines, as in some of the Roman 
 letters, and all fancifully-twisted arabesques, called 
 letters, are out of place on the sides of a wagon. 
 
 The standard styles of the wagon letterer are the Full 
 Block, round and octagon ; Half Block, round and oc- 
 tagon ; Soled Block and Italic ; and these, extended or 
 condensed. 
 
 £^g, 21.— Octagon Full Block Letters. 
 The Full Block letter partakes much of the character of 
 the Roman letter. It is bold, or "heavy on the face," and 
 when well made is by far the handsomest one on the list. 
 This style of letter never looks well condensed, but it may 
 be extended to an almost unlimited extent, without the 
 loss of any of its characteristics. In its normal condition 
 t,h% Full Block occupies nearly a square space (see Fig, 
 
72 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 21), the measurement always being taken from the outel 
 edge of the main bars, the ''spurs" being allowed to run 
 over at will. There are but few letters of the alphabet 
 which fill the same space, and when an attempt is made 
 
 Fig. 22.— The Full Block Round Letter, 
 
 to form the letters geometrically, a mechanical rather than 
 an artistic appearance is given. 
 
 An octagon Full Block letter possesses a gc ometrical equi- 
 librium superior to the Round Letter, but the latter (Fig. 22) 
 
 Fig. 23. — Showing the Method of Cutting off the Comers 
 of Round Letters. 
 
 is frequently used on good work to give variety. These 
 letters are generally made with the lower spurs a trifle 
 heavier than the upper ones, and this is done to give a 
 more solid foundation, although the difference is almost 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 73 
 
 imperceptible — ^and the eye is deceived as it is when look- 
 ing at the letter S, which is much larger in its lower circle 
 
 than the upper one — (see fright, and ^ wrong side up). 
 
 The corners are cut off at an angle a very little less than 
 the width of the bars of the letter, (see Fig. 23), although 
 in the extended letter. (Fig. 24) the corners may be cut off 
 from line to line. 
 The Bound Full Block, as before said, may be used to 
 
 -<:rC 
 
 
 ^ 
 
 
 
 
 X 
 
 1^1 
 
 Fig, t^.— Showing how the Comers are Cut off Extended 
 Letters, 
 
 give variety, but it is not so neat a letter as the octagon. 
 In all respects this letter is the same as the octagon except 
 in the formation of the comers. 
 
 The Half Block letter is next in order. This letter ia sim- 
 ply the '* gothic" of the printer, with a few alterations. We 
 show in Fig. 25 the octagon half block, which is one of the 
 most useful letters of the wagon painter. It may be con- 
 densed, but its extension is not advised beyond a small limit. 
 Fig. 26 shows the half block roimd letter. There are some 
 peculiarities about the half block style of letter that we wish 
 to call particular attention to. First, the formation of the 
 
74 THE COMPLETE CABRIAaE AND WAGON PAINTER. 
 
 letter M. We show in Figs. 27, 28 and 29 the difference 
 made by letterers, Fig. 27 being the recognized or correct 
 
 Fig, 25.— Octagon Half Block Letters. 
 
 Fig, ZQ.'-Half Block Hound Letters. 
 one. Again in Figs. 80, 31 and 33 the letter R, round half 
 
THE COMPLETE CABBIAOE AND WAGON PAINTER. 71 
 
 block, is shown in three styles, some preferring 30, others 
 81, while 33 is a showcard writer's letter. 
 
 Fig, 27,^Shoimng the Correct Method of forming the Half 
 Block Letter M, 
 
 Fig. 28. Fig. 20. 
 
 Showing two Incorrect Methods of forming the Half Block 
 
 Letter M, 
 
 The letter G has its crossbar carried across as shown in 
 
 Fig. 30. Fig. 31. Fig. 3S 
 
 Showing the Letter R in Three Styles, 
 
76 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 Fig. 33, which is a sign writer's style, the true wa^on let- 
 ter G being formed as shown in Fig. 34. The outline letter 
 
 Fig. dS.—A Show Card Let- 
 ter G. 
 
 Fig. U.^The Letter G as 
 Correctly Formed by 
 Wagon Letterers 
 
 is simply a letter outlined and not filled in. It is exten- 
 sively used on the sunk bottoms of street cars and omni- 
 
 Fig, B5,—The Outline Letter, 
 
 buses, but seldom seen in other places. 
 Fig. 35 is an illustration of this style of letter. 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 77 
 
 The square block letter is made with all its parts alike in 
 width, or nearly so. "We show in Fig. 36 the solid block 
 
 LACOUE 
 
 Fig. SQ.—Solid Block Letters, 
 letter, and this may be made either octagon or round. It 
 is a very bold letter, borrowed from the type-founder who 
 
 Fig. dl.— Italic Letters. 
 calls it "Antique." When nicely shaded it is very hand- 
 some, and is extensively used in New York. Italic letters 
 
 Fig. 38.— Another Style of Italic Letters. 
 are simply letters set at an angle, as shown in Figs. 37 and 
 38. 
 The printer's black letter, generally called by the letterer 
 
 Fig. d9.— Printer's Black Letter or German Text. 
 
'is THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 tOHOOH 
 
 Fig, 40.— Ornamental Letters. 
 
 *^ German text,'' we show in Fig. 39. This letter makes a 
 very tasteful hne, if well put on, and may often be seei* 
 
 PICKED 
 
 Fig. 41.— Another Style of Ornamental Letters, 
 
 on the delivery wagons of bon ton storekeepers. 
 
 Ornamental letters, as shown in Figs. 40 and 41, look 
 well on some jobs; being bold, they are much better 
 
 LEVERS 
 
 Fig, 43.— r/ie Tuscan Full Block Letter, 
 
 adapted for wagons than the Roman and many others now 
 used. 
 
 The Tuscan full-block letter, shown in Fig. 42, may be 
 «sed in place of the ordinary full-block, and particularly 
 where a condensed letter is desired. 
 
THE COMPLETE CARRIAGE AND WAGON PAINTEB. 79 
 
 It is a singular fact that almost every particular city has 
 a local style of lettering, both for wagons and signs, Bos- 
 
 Fig, 43. 
 
 IPiVI^X 
 
 Fig. 44. 
 
 Fig. 45. 
 Three Styles of Letters used by the Abbot Downing Co, 
 
 ton has a very peculiar style ; Philadelphia another ; 
 yet they all appear well when one gets accustomed to 
 them. 
 
 The Abbot Downing Co., of Concord, N. H., introduced 
 a new and tasteful style of lettering for express wagons, 
 which we show in Figs. 43, 44, 45. 
 
CHAPTER X. 
 
 "Wagon Lettering Continued. 
 
 THE ROMAN LETTER. 
 
 The Roman letter may be taken as the standard or base for 
 all other alphabets. It is used more extensively now than 
 in former years on every description of work, but it is 
 seldom we see a perfectly formed letter, owing in a great 
 degree to carelessness on the part of the student when learn- 
 ing its peculiarities. The graceful turn of the letter S, the 
 
 Fig. 4Q.—The Modem Old Style Letter, 
 
 lower limb of the letter R, or the short and (&) seem to be 
 something that few can master, and for that reason a sort 
 of hybrid letter has of late been introduced, in which the 
 difficult parts may be said to be avoided. We show in Fig. 46 
 the letters R and E, to illustrate the points spokeL 
 of. As will be seen, the letter R is provided with a straight 
 limb or tail, and the E possesses features which take away 
 the uniformity or squareness of the letter, and thus the 
 
•ffiE COMPLETE CARRIAGE AND WAtlON PAtNTER. 81 
 
 necessity of reaching a high standard of Roman lettering 
 is obviated, and the workman is enabled to palm off an 
 abortion and call it perfection. This style of letter is 
 called **^ modem old style," and its introduction may be 
 laid directly to the influx of second-rate workmen. 
 
 There is a marked difference in the formation of the 
 Roman letter in different cities. To cjearly show this, we 
 present the New York Roman letter in comparison with 
 the Boston Roman, the former being considered by the 
 general public as the most graceful in outline and correct 
 in principles. These letters were painted in black and then 
 photo-engraved to the size here shown (Fig. 47) for this work. 
 
 Fig, 4:7, —The New York Roman Letter, 
 
THE COMPLETE CABRIAOB AND WAGON PAINTBR. 
 
 GH 
 
 Fig, 47. — Continued, 
 
THE CX)MPLKTE CARRIAGE AND WAGON PAINTER. 
 
 K 
 
 MN 
 
 P 
 
 Fig, 47, ^Continued, 
 
84 THE COMPLETE CARRIAOE AND WAGON PAINTER. 
 
 R 
 
 IT V 
 
 Fig, 4:7,^Continti€d» 
 
TfiE COMPLETE CARRIAGE AND WAGON PAINTER. 86 
 
 WX 
 
 Y 
 
 & 
 
 Fig, 4!7.— Continued, 
 
on THE COMPLETE CABRIAGE AND WAGON PAINTER. 
 THE NEW YORK ROMAN ITALIC. 
 
 This letter is one quite easily made, after a thorough 
 knowledge of the Roman letter has been gained, for it is 
 very similar in construction. It is extensively used on 
 wagon sides to give variety to the work, and it certainly 
 looks well, if care is taken to make the slants of each letter 
 correctly. In Fig. 48 we present the alphabet 
 
 ABC 
 DEF 
 GUI 
 
 Fig, ^.—TTie New York Roman Italic Letter, 
 
THE COMPLETE CARRIAQE AND WAGON PAINTER. 87 
 
 J KL 
 MNO 
 
 PQR 
 S TU 
 
 Fig. 4S.— Continued, 
 
88 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 VWJT 
 
 Y Z & 
 
 Fig* 48,^Continued, 
 The "Lcnver Case" letters are shown in Fig. 49. 
 
 ahcde 
 fghijk 
 
 Fig. 49. — ^«>« York Roman Italic^ Lower Case. 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 89 
 
 Imnop 
 qrstuv 
 
 WXfZ 
 
 Fig. 49. — Continued, 
 
 THE BOSTON ROMAN 
 
 This style, as shown in Fig. 50, is the outgrowth of the 
 work of artists of this country and of Europe from cen- 
 tury to century. The crude characters at the beginning, 
 no doubt, would not for a moment bear comparison with 
 those used at the present time. The letters combine the 
 boldness of the block with the grace and symmetry of the 
 script, and are preferred by the business men of Boston 
 to any other style of letter made, although the Queen 
 Anne revivalists h^-ve played sad havoc with their pet 
 hobby* 
 
90 THE COMPLETE CABRIAQE AlfD WAQOM PAlimB* 
 
 AB 
 
 CD 
 
 EF 
 
 Fig, 50.^The Boston Bomctn Letter^ 
 
tBE OOMPLBTE CARRIAGE AND WAGON PAINTER. 91 
 
 GH 
 
 KL 
 
 Fig* SO^—Continued. 
 
:^'S? 
 
 92 THE COMPLETE CARRIAQE AND WAOON PAINTER. 
 
 MN 
 
 P 
 
 OR 
 
 Fig, 50»— Continued, 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 93 
 
 uv 
 
 Fig. SO,^Continue(J[, 
 
94 THE COMPLETE CARRIAGE AND WAOON PAINTER. 
 
 Y 
 
 Fig. 50. — Continued, 
 
 Among a dozen first-Cxass sign writers there is con- 
 siderable difference in opinion and custom as to minor 
 points in the construction and spacing in this alphabet, 
 especially the letters B, C, P, R and S, and letters involv- 
 ing like curves and principles. When used on wagon, car 
 or sign work, it looks best in gold on a black smalt 
 ground. 
 
 In this letter, each, with a few exceptions, occupies a 
 square. The letters C, G, O and Q are described within 
 ^ perfect circle, although the minor curves must be drawn 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 95 
 
 free-hand, observing to keep the proper thickness, which 
 is a trifle more in these letters than in the heavy perpendi- 
 culars of most other letters. The thickness, according to 
 the best authorities should be two-ninths of the height, 
 although the appearance is good when made one-fifth. 
 The hair lines extend right and left from the grace lines 
 two-thirds of the two-ninths, and the grace equal in width 
 to the hair line. 
 
 Observe, however, that the hair and grace lines are a 
 trifle shorter above the centie of the letter, and should be 
 made one-sixteenth of two-ninths the thickness. Also notice 
 that the lower arms of the B, E, S and Z are a trifle longer 
 and heavier than the upper ones, which serves to balance 
 the letters, otherwise they would appear top-heavy. Avoid 
 spacing this letter too openly, as that gives a scattered ap- 
 pearance. 
 
SP 
 
 CHAPTER XI. 
 
 LAYING OUT WORK. 
 
 In laying out work first prepare the surface, if for gold 
 letters, by pouncing the panel with whiting, dust off 
 nicely, then draw the lines which form the boundary of 
 the letter with chalk. 
 
 Taking the most useful letter for either wagons or cars, 
 and one quite easily made, for a criterion, i. e., the half- 
 
 ^1 
 
 Fig, 51. — Showing how a Half Block Letter is Designed, 
 
 BLOCK LETTER, we proceed as shown in Fig. 51, by first 
 laying out the top and bottom lines, then divide the space 
 between them into five spaces, for a perfectly formed 
 letter is one-fifth higher than wide. By this plan you will 
 make six horizontal lines. The bars of a letter of this kind 
 should be equal to one-fifth its height, consequently, we 
 now have the lines for the top bar, the bottom bar, and 
 
THE COMPLETE CARWAaE AND WAGON PAINTER. 
 
 9t 
 
 the middle bar of the letter. We next divide the horizon- 
 tal lines by perpendicular ones, forming three and a half 
 squares, and this gives us the extreme dimensions of the oc- 
 tagon block B, C, D, G, H, O, P, Q, R, S, T, U, V, Z, &. The 
 
 • ? ! I 
 1 /\ \\ \ 
 
 I/...I i-Ai... 
 
 j/ I • 1 
 
 I' * * *l 
 
 r * ■ '1 
 
 I \ • ! / ' 
 
 J \ • ' y * 
 
 * ^*'*^ .^^ • 
 
 ! 1 ! ' 
 
 : • • ■ 
 
 \ i • • 
 
 Fig, 
 
 52. — Showing how an Ellipse is Used in Making 
 Round Letters. 
 
 round block letters occupy a very little more space, say, 
 one-quarter of a square, the letters E, F, J, N and L be- 
 ing one-quarter of a square less than the extreme 
 boundary. The letter I is simply the width of one square. 
 The letter W extends over one square, making it occupy 
 four and one-half squares. 
 
 In Fig. 52 we show how the ellipse is used in making 
 round letters. All round letters are governed in their cir- 
 cular parts by the ellipse, or oval as it is more frequently 
 called, and to illustrate this fact we present here in Fig. 
 53 the alphabet in lower case letters of the Gothic Half 
 Block style. 
 
- jW^-: 
 
 98 THE COMPLBTB CARRIAOE AND WAOON PAINTEB. 
 
 de 
 
 ghi 
 
 Fig, 5Z,—Oothie Half Block Letter, Lower Case, 
 
COMPLETE CARRIAaE AND WAGON PAINTER. 99 
 
 mno 
 
 Fig. 53. — Continued, 
 
100 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 vwx 
 
 Fig. 5H.— Continued. 
 
THE COMPLETE CARRIAGE AND WAaON PAINTER. 101 
 
 To make an ellipse will now occupy our attention. 
 Supposing the line of letters we are about to form are 
 five inches high, we must, in order to have the line appear 
 perfectly straight, or the letters of one height, make all 
 the round letters, i. e., C, G, O, S, Q, to extend a trifle 
 above and below the lines, say one-eighth of an inch, as 
 illustrated in Fig. 52, otherwise these letters would appear 
 smaller than the others in the line. To lay out such 
 
 Fig. 54. — Showing the Manner of Drawing the Ellipse. 
 letters then, using an ellipse, we cut from a card a pattern 
 after it has been drawn in the following manner : The oval 
 or ellipse must be a very little over five inches long, and a 
 very little over three and a half inches wide. First draw a 
 horizontal line through the centre, which will be seen in 
 the engraving, Fig. 54, marked N N. Then across its 
 centre draw a vertical line H H. Next measure from 
 the centre one-half the desired length of the ellipse, 
 i, e.y two and three-quarter inches each way or 
 
102 THE COMPLETE CARRIAQB AND WAGON PAINTBR. 
 
 line JV, and one and three-quarter inches on line 
 Hy which gives the space that the oval or ellipse must 
 fill. Now take the compasses (or dividers) aud put" 
 ting one leg on the centre M place the other leg at the 
 point, two and three-quarter inches off on. line JV, lift the 
 compasses, being careful not to displace them, and set one 
 leg on spot H, one and three-quarter inches from centre, 
 and turn the other leg down to line Ny which it will strike 
 a short distance inside of the spot Ny and that spot is 
 marked in the engraving. Then turn it to the other 
 side of centre M, and mark the other spot O on line N» 
 Now stick a pin or tack into the spots O O and Hy and tie 
 a piece of thread around the three pins. Next, remove 
 the pin at Hy and put in its place a pencil, as shown in the 
 engraving, and, keeping the thread taut, move the pencil 
 along. You will find that the string directs the course of 
 the pencil point, and the result will be a perfectly-drawn 
 ellipse. 
 
 The ellipse may be made any size or shape, i, c, long 
 and narrow, or broad and short, by simply laying out the 
 measurements on the lines ^and N. For instance, if we 
 measure twenty inches on the line iVand four inches on the 
 line H the ellipse will be long and slim, but nevertheless a 
 a perfect ellipse. Having drawn the ellipse, lay the card 
 upon a piece of glass, and with a sharp knife, cut out the 
 pattern, which may then be used for marking out the round 
 letters C, G, D, O, Q, S, and the lower part of the letters U 
 and J. 
 
 The card-board ellipse is laid upon the proper place, and 
 the pencil is passed around it, then the points as in C and 
 
THE COMPLETB CARRIAGE AND WAGON PAINTER. 103 
 
 G are formed. The lower end of the letter G, i. e., its 
 cross-bar, is made a very little lower than the middle bar 
 lines. 
 
 A small ellipse pattern for laying out the lower case of 
 the alphabet, shown in Fig. 53, will be found excellent, 
 for nearly all of these letters are based upon the oval. The 
 lowercase letters are made 33^ squares of the capitals in 
 
 5320 
 
 Fig. 55.^Showing Four Properly Balanced Figures, 
 
 height, and the long letters such as b, d, f , h, k and 1, run 
 up to the full five squares, while g j, p, q, and y run below 
 an equal distance, making either letter five squares in 
 height. 
 
 All letters should have a perfect balance, that is, if they 
 were cut out of a block they could be set upon their bases. 
 We here illustrate a few figures to show this feature (see Fig. 
 55) as well as to illustrate three of the most difficult fig- 
 ures to make, so that they will be evenly balanced, name* 
 ly, 5, 8 and 2. 
 
CHAPTER XII. 
 
 SHADING. 
 
 Again we are called upon to deplore the inroads made 
 by sign and show card letterers. It was formerly the 
 custom to shade all letters on the right side and bottorriy 
 except in the case of the sunk-bottom of cars, when the shade 
 was thrown on the top and right side. But now we see 
 the shade frequently put upon the left of the letter (it is 
 easier to do, they say), which entirely breaks the charac- 
 
 Mg. 56. — Showing an Octagon Half Block with a Single 
 Shade Blocked. 
 
 teristic of the wagon letterer. There may be a few sign 
 writers who can letter a wagon according to rule, but, as a 
 general thing, their work falls below the standard. 
 
 We show in Fig. 56 an octagon half -block with a single 
 ■shade, blocked, i, e., made darker on the bottom than on 
 the sides. This may be done by shading with vermilion 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 105 
 
 on the sides and ends, then glazing the bottom with car- 
 mine. Fig. 57 shows a double shade blocked. This may 
 be done by shading the sides vermilion, the bottom Indian 
 red, and then running on the second shade over each, 
 covering one-half the width with carmine. It should be 
 remembered that the darkest shade always comes nearest 
 the letter. On gold lettering the shade always touches the 
 edge of th? gold, but in paint letters a space is left between 
 the letter and shade, see Fig. 58. The shade never looks 
 well if made wider than the bars of the letter, and the 
 angles formed by the end of the shade should be uniform, 
 and should be determined by the angle of the square — 
 generally forty-five degrees. However, the shade is some- 
 times made wider on the bottom than on the sides, and then 
 the angle will be inclined more nearly to a perpendicular. 
 
 Fig, ^1.— Showing a Dovble Shade Blocked, 
 
 Shading should be done in the same manner through- 
 out a piece of work ; that is, if one line be shaded on the 
 right side, all lines on the job must be done so. On red 
 grounds, gold letters are generally shaded with black, and 
 then the double shade is made by extending the width of 
 
106 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 the shade, by running a carmine glaze outside of the black. 
 The colors employed in shading sbould harmonize with 
 the colors of the letter and of the groundwork. Here the 
 taste of the painter is called into play, for if the colors are 
 not harmonious— no matter how well formed the lett-ers 
 may be — ^the result will not be satisfactory. 
 
 Gold letters on a white ground may be shaded with any 
 colors excepting those of a yellow hue — blue, red and 
 green being the colors most frequently used. 
 
 Red letters look well shaded with lead color or gray; a 
 
 Fig. 58.— Showing the Method of Shading ''Painted'* 
 Letters, 
 
 light green will also be a complementary shade for red, on 
 a white ground. Black letters look well shaded with any 
 of the primary colors. One thing should ever be taken 
 into consideration, the most intense or prominent color 
 should he put on the letter, and not the shade. When a 
 shade has been put on a letter, and a disagreeable result is 
 produced, it may often be improved by adding a fine line 
 of white or black (according to the ground) between the 
 shade and letter. All gold lettering should be edged— 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 107 
 
 called " the lights'' — on the opposite edge from the shade, 
 or in some cases al\ around the letter. The cast shadow 
 of a letter is in reality the shade, and what is generally 
 called the shade is the "thickness" or "blocking." This 
 cast shadow is seldom added except on white grounds, 
 when a faint lead color or French gray is used. 
 
 The position of lines should receive attention. It will 
 not look well to have two circular lines follow one another. 
 Curved lines — as the line of beauty — are often thrown in 
 to relieve the appearance of sameness. All short or unim- 
 portant words, such as " and, ' "dealer in, " " in," "manu- 
 facturer of," etc., should be placed alone, or worked into 
 a ribbon or scroll, and never attached to the end of a long 
 line of greater importance. 
 
 The same style of letter should not be employed in two 
 adjacent lines, except it be in the enumeration of a list of 
 articles, or several addresses. Letters belonging to differ- 
 ent classes or styles should not be used in the same line, 
 except it be for ornamental purposes, and then they should 
 be used sparingly. 
 
 The tools used by the letterer may be counted upon the 
 fingers. The pallette and rest-stick are so well known 
 they need no description, and then there are the straight- 
 edge, rule, compasses, chalk and a piece of string. The 
 pencils should be of black sable-hair, either in quills or 
 tin. The hair should be about one inch long. The pencil, 
 when dipped in turpentine or paint, should present a fine 
 point, and when spread upon the work should assume a 
 square or flat end, that corners may be easily formed. 
 
 Camel's hair pencils answer a very good purpose, but are 
 
108 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 pot SO good as a well * broke in" sable. Fine liners may be 
 made by cutting the hair from a large pencil and fasten- 
 ing it in a small quill. 
 
 The point used for lettering is generally oil-color, that is 
 color mixed with just enough oil to render it easy- work- 
 ing. Tube colors are not suitable for lettering, as before 
 explained in striping. Quick color may be used when a 
 job is hurried, but it is apt to show laps and brush marks. 
 
 We present here, in Fig. 59, some illustrations of various 
 methods of shading. 
 
 Fig, ^9.— Showing Various Methods of Shading Letters, 
 
THE COMPLETE CABRIAGE AND WAGON PAINTER. 109 
 
 Fig. 59. — Continued, 
 
110 THE COMPLETE CARRIAGE AND WAGK)N PAINTER. 
 
 Fi^. 59.^Contimied, 
 
 The operation of gilding is fully explained in our 
 chapter on scrolling, and needs no further allusion here, 
 save that the gold is generally laid on directly from the 
 book. The painter takes the book in the left hand and 
 holding it near the job lifts the paper leaf, then with the 
 point of the book pointing downward, rolls the leaf upon 
 the size, a very easy method when once the knack is ac- 
 quired. 
 
 This brings us to the close of our observations on letter- 
 ing. 
 
CHAPTER Xin. 
 
 WAOON SCROLLING. 
 
 Scrolling is an art acquired by but a few. In all the 
 great city of New York those who can design and paint a 
 Roman scroll for wagons, cars, etc., may be counted on th« 
 fingers of one hand. Scrolls in relief, or Roman scrolls, 
 require close study, continued practice, and, more than all, 
 an aptitude for such work, natural or inborn, and none 
 may know whether they possess this faculty until they 
 have tried and tried again, following perchance such direc- 
 tions as are here given, or those found in other works of 
 the kind. 
 
 The student need not expect to produce at first an 
 elaborate piece of work; he must be content to begin with 
 the rudiments— as in learning music. A blackboard will be 
 found the best for practice, for each line must be drawn 
 with & free hand. No means for measuring, other than 
 the eye, should be employed, and he must not be dis- 
 couraged if he is forced to rub out and try again a hundred 
 times in so simple a task as the drawing of a circle. This 
 drawing of a circle is in fact the key to the whole art of 
 scrolling, for he who can, with a free hand, draw a 
 nearly perfect circle, will be able to form any " sweep" 
 with comparative ease. We illustrate here, in Fig. 60, the 
 first lesson. The line of beauty comes next. This is as shown 
 in Fig. 61, simply a curved line, but unless the curve ia 
 
115 THE eOMPLKTK CABBIaOS AXD WaQOS PAISTKR. 
 
 made vrith a graceful turn it does DOt possess much beauty, 
 and, therefore, it should receive extended practice, until 
 it can be drawn correctly the first time in every case. 
 The next in order is the formation of leafing, giving the 
 
 The First Lesson in Scrolling, 
 
 appearance of a "bend" or "twist" etc. Arabesque or 
 engraved pictures not expressly designed for wagon 
 acaoOs should not be copied for this work, for they will in- 
 
 Fig. ei.—The Line of Beauty. 
 
 variably be found too fine or too delicately shaded to sup 
 jdy the want of a wagon painter. 
 
THE OOMn-BTE CJL&BIAGE AXD WaGOX PAIStKR. 11$ 
 
 Fig. 62 shows the leafing of a scroll, and the maiww of 
 ghflHing to give the appearance of a bend or twist, and in 
 this lesson the stadent will find employment for a long 
 period, for he shoild memorize the form, and erery line 
 ci shade so that withoat a copy he can make a jdmilar 
 pattern. Originalitj of design is of importance, and it is 
 
 Fig. f&.—Shounng the Leafing of a ScroU and manner 
 of Shading to give the appearance of a Bend or 
 Turi^. 
 
 that which gives confidence and a free movement of the 
 pencil, for while the copvist panses to examine the copj 
 to know what mark to make, he loses the ease and free- 
 dom possessed bv the original artist, and a certain cmdity 
 characterizes his production. Hie tine and form of the 
 panel on which the scroll is to be pot at once suggests the 
 form of the scroll, and thus a certain amount of originalitr 
 will always be demanded from the scroller. 
 
114 THE COMPLETE CAJtRIAaE AND WAGON PAINTEB. 
 
 Fig. 63.—^ Shaded Roman Scroll 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 115 
 
 The flat outline of a Roman scroll presents no pleasing 
 form, it is the shade, as shown in Fig. 63, which gives it 
 eflfect. The shading must be done in an off-hand manner, 
 as it is not well to retouch the shading color when once 
 applied. Some work done in color may be an exception 
 to this rule, but in shading gold a retouch of the shad© 
 would be plainly seen, and would mar the beauty of the 
 work. Asphaltum is used as the shading on gold and 
 
 Fig, 64. — Scroll or Lettering Pencils. 
 
 it "sets" very quickly. To put on a scroll in gold: 
 First, lightly sketch the design with chalk upon the 
 pounced panel, then, with size as mixed for striping (see 
 Striping) using a sable lettering pencil as shown in Fig. 
 64, lay on the size, covering the entire surface within 
 the outlines. When the gilding size is " tacky," lay the 
 gold leaf directly from the book — no waxing, greasing, or 
 tip is necessary; lightly rub over with a bunch of soft cot- 
 ton. Allow suflSicient time for the size to become hard, 
 then apply a coat of rubbing varnish over the gold before 
 shading. This gives the painter a chance to wipe off a 
 shade or misplaced line in shading, and it also prevents the 
 asphaltumfrom striking through or into the gold to giv« 
 a muddy appearance. 
 
116 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 In shading mix a very little burnt sienna with the 
 asphaltum, and thin with brown japan and turpentine, 
 then begin on the tip of a leaf, moving the pencil at right 
 angles with the centre line of the leaf and in a circular 
 manner ; continue thus until the broadest part of the leaf 
 is reached, then a few light touches will blend the shade 
 off to the gold. Go all over the design in this manner, 
 then return to that part first done and apply a second coat 
 of shading to those parts requiring to be dark, and some- 
 times it is well to add a third coat to very dark spots. 
 When the shades are in, the lights (which cannot be shown 
 in the engraving) may be added. The lights consist of fine 
 white or cream colored lines, put on to show where the 
 strongest light strikes the scroll. It will be well for the 
 beginner to study the work of some known professional 
 and learn where the lights are put, as it is impossible for 
 us to show them by engravings, or to explain in words 
 their location. 
 
 Heraldic devices, such as spear-heads, quiver and bow, 
 lances, or the heads of animals, are frequently thrown in 
 to improve the appearance of the design, and we often see 
 Scotch-plaid striping used to fill open spaces. But judg- 
 ment must be exercised, or a gingerbread style will be the 
 result. 
 
 We might add just here a few additional suggestions 
 upon designing and laying out scroll patterns, viz. : All 
 curves should be made with an easy, graceful sweep, and 
 harmony must be carefully attended to ; for instance, if 
 the design be intended for a centre-piece, circles of the 
 largest diameter should form the centre, and a gradual 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 117 
 
 diminution of curves in their various forms be made to ex- 
 tend therefrom until the end or apex is reached on either 
 side. A corner pattern should have the largest circle in 
 the extreme corner. Those who pay particular atten- 
 tion to scrolling, wherever seen, will readily comprehend 
 the ideas we wish to convey. 
 
 Again, there should be a similarity between the leaves 
 of a scroll. It would mar the appearance of the work if 
 leaves of various kinds were jumbled together, for, not- 
 withstanding variety breaks monotony, the variety in a 
 scroll design should be made by the various positions of 
 the same kind of leaf. The parts which make up a scroll 
 pattern should be connected, or at least touch each other, 
 and not appear, as they frequently do, as if flying off into 
 space. This is applicable to Roman or relief scrolling more 
 particularly, for it is a common custom in flat scrolling 
 (our next subject) to make many unconnected parts, and 
 in stenciling all parts have to be disconnected in order to 
 form bars or connecting links to hold the parts of the sten- 
 cil together. 
 
 Flat Scrolls next demand attention. These are simi- 
 lar to those commonly employed by fresco painters, and 
 do not require the study which Roman or relief scrolls 
 call for. However, there is a certain amount of skill re- 
 quired in order to form pleasing designs. There are three 
 ways of putting on flat scrolls, the first and simplest being 
 in plain gold, with no shades or lights; the second, in 
 various colors, and the third, in colors and gold, but still 
 with no shading. Flat scrolls are never shaded, while a 
 scroll in relief always has that peculiarity. The striping 
 
118 THE COMPLETE CARRIAGE AND WAGON PAINTBR. 
 
 pencil is often called into requisition in putting on flat 
 scrolls, and he who can execute ornamental striping well, 
 will be equally proficient in this line of scrolling, as it is 
 simply ornamental striping enlarged upon. We present 
 here in Figs. 65, 66, 67 and 68 four designs for flat scrolls, 
 without further remark, referring the reader for additional 
 
 Fig. 65. — Design for a Flat Scroll, 
 
» THE COMPLETE CARRIAaE AND "VTAOON PAINTER. 119 
 
 Fig, QQ.— Design for a Flat Scroll 
 
120 THE COMPLETE CARRIAGE AND WAGON PAINTER, 
 
 comments on this subject to our chapters on Ornamental 
 Striping and on Stenciling. Of the latter class of work 
 
 Fig. 67. 
 
 Fig. 68. 
 Two Designs for Flat Scrolls, 
 
 many parts of flat scrolls may be made, as our remarks 
 under that head will show. 
 
CHAPTER XrV. 
 
 STENCIUNa. 
 
 There are many parts of the ornamental work on wagons 
 that can be done with stencils, and much of the ornamental 
 striping and flat scrolling is put on with them. We show 
 in Figs. 69, 70, 71 and 72 the general idea of a stencil. To 
 make them proceed as follows : 
 
 Take a sheet of well-calendered writing paper and fold it 
 across the centre, then, with the crease thus formed for a 
 centre of the design, draw on one side of the fold one-half 
 of the pattern with a soft lead pencil, then fold the sheet 
 with the marks inside and laying it on a smooth surface 
 rub over the penciled portion with any smooth, hard sub- 
 stance and the pencil marks will be transferred, making 
 
 Fig, 69.--u4. Stencil Design, 
 
123 TBE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 Fig. 70. 
 
 Fig. 71. 
 
 Fig. 72. 
 Three Stencil Designs, 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 123 
 
 the whole pattern. Next, lay the paper on a piece of glass 
 and with a very sharp knife cut out the different parts, be- 
 ing particular to leave bars sufficient to hold the parts to- 
 gether. 
 
 The brushes best suited for small stencils of this kind may 
 be purchased at the paint stores, but in case they are not 
 easily procured, take a good-sized camel's hair pencil and 
 cut it square across in the middle. The color should 
 be mixed very stiff in japan, with but little turpentine 
 
 Fig, '7d.— Brush used in Stenciling, 
 
 added, then, dipping the pencil into the paint, rub it out 
 well on a board or piece of paste-board to even the color in 
 the brush. Then, laying the stencil on the desired place, 
 rub the brush over it gently so as not to tear the pattern. 
 The fronts of the spokes are frequently ornamented by 
 the stencil plan, and in Fig. 73 we show a design for that 
 work. Transfer ornaments are extensively used on wagon 
 work, and in some cases are far more economical than 
 hand-work, particularly on spoke faces, and on beds, bars, 
 head-block, etc., of the gears. 
 
SUPPLEMENT 
 
 CARRIAGE PAINTING AND VARNISHING. 
 
 [The seven following chapters are from the pen of Mr. C. 
 E, Vader, a practical carriage painter of extended experi- 
 ence, and originally appeared in the columns of the Black- 
 smith AND Wheelwright. The matter has been carefully 
 revised by Mr. Vader and will form a valuable supplement 
 to Mr. Schriber's experience]: 
 
CHAPTER I. 
 
 A GOOD FOUNDATION. 
 
 In treating the subject of carriage painting, it is better 
 to begin at the foundation, and consider the first coats that 
 go on a carriage. Of course, this is an old story, and one 
 that has been talked and written about a good deal; but 
 there are many painters who do not think it worth while 
 to bestow much attention on this portion of their work, 
 while I regard it as very important to have the foundation 
 coats well laid on. 
 
 In the first place, to make paint stick to wood or iron, it 
 must be elastic, so as to form, as it were, a part of the 
 article to which it is to be applied; and to be elastic it 
 must contain a sufficiency of oil. 
 
 Now, I propose to give you my method of painting car- 
 riages and wagons, so that paint will not peel or chip off. 
 
 When a new set of wheels are to be painted, I first mix 
 the paint with oil, and then add a little japan, the propor- 
 tion of japan being greater with raw than with boiled oil. 
 Raw oil, I may say right here, is always purer than boiled. 
 I don't always use lead, as, in my opinion, other pigments 
 are just as good, or better. In fact I can never see much 
 difference, if you use oil enough to hold it. 
 
 If the wheels or carriage are to be ironed within five 
 days, I put in a few drops of turpentine, but this is not 
 necessary if they are to stand ten days, as in that time they 
 
138 THE COMPLETE CARRIAOE AND WAOON PAINTER. 
 
 will be m pretty fair condition to sand-paper. It doesn't make 
 so much diflFerence in sand-papering this coat, as we usually 
 take it neariy all off, though this is really not necessary, 
 and your job won't be much better for it. In sand-paper- 
 ing, you should be careful of the comers of spokes, and all 
 other comers. Don't touch a corner if you can help it, 
 and to avoid this, use a very narrow piece of sand-paper 
 around small places. 
 
 CHIPPINa. 
 
 If the paint is going to chip at all, you will notice it first 
 at the corners of the spokes ; and when this occurs, there 
 will be nothing to hold the turpentine coats to the bare 
 places on the wood, and unless the difficulty is remedied 
 on the start, the water will get on the wood and cause it 
 to swell. The exposure will start the paint over the ex- 
 posed parts, and when, on drying, the spokes shrink, the 
 difficulty will be increased. The process of expansion and 
 contraction, if repeated a few times, will cause most of the 
 paint to peel off, leaving spokes and hub nearly bare. If 
 the carriage is much in use, paint so imperfectly applied 
 will not last six months. 
 
 THE SECOND COAT. 
 
 The second coat should be looked after not less carefully 
 than the first. 
 
 I grind my paint in oil, and afterward put in about two 
 tablespoonf uls of good japan (not japan that will curdle) to 
 enough paint to go over a gear and wheels. Then I pour 
 in a little turpentine and mix it very nearly thin enough 
 for working I commence on this coat with the thumb- 
 
THE COMPLETE CARRIAGB AND WAGON PAINTER. 12^ 
 
 nail process, i. e., spread a little paint on the thumb nail, 
 and blow the breath on it for a moment to hasten its dry- 
 ing. If it dries glossy, I add a little more tm-pentine, so 
 that it will dry with little more than an egg-shell gloss. 
 When there is plenty of time for drying, say six or eight 
 days, I put in all the oil I possibly can, for this coat goes 
 on the bare iron usually, and that, as well as wood, needs 
 all the oil it can get. With this coat I use a 1^ or 2 inch 
 camel's hair brush. 
 
 For the first eight or ten hours, this coat will look pretty 
 glossy, the evaporation being very slow, but it will dry 
 out nicely in four or five days if the weather is favorable. 
 It needs at least four days to dry properly. If the job has 
 to be got out in a hurry, I put in more turpentine and less 
 oil. I hardly know which looks the worst, a job that is 
 full of cracks or one that is badly chipped ; and one or the 
 other of these evils is sure to be the result if you don't give 
 each coat its proper time to dry. 
 
 As there are more coats to go on the body of a carriage 
 than on the gearing, you can easily arrange it so that 
 the gear coats wiU have more time to dry, and this will 
 enable you to use more oil, which wiU make your paint 
 tougher and more elastic just where you want it, and, as 
 a consequence, not likely to chip. Such a job will, of 
 course, please a customer ; and when a customer is 
 pleased the builder is also pleased, and it is a source of 
 satisfaction to yourself. Nothing is more annoying than 
 to have a job turn up in a year or so with the paint crack- 
 ing and chipping off, and the customer grumbUag about 
 poor work. It doesn't help you much in such cases to try 
 
180 THE COMPLETE CARRIAGE AND WAGON PAINTKR. 
 
 to lay the fault to the paint. He has paid you for good 
 paint and good work, and he wants them; and if you wish 
 to keep your customer, there is no way out of the diffi- 
 culty but to do the job over again. When such things 
 occur, you often wish you had never learned anything 
 about painting, but had turned your attention to farming 
 or almost any other occupation. I have been through all 
 this, and know just what it is, and have learned by 
 experience how such things can be avoided. I worked at 
 the trade with a man who called himself both a house and 
 carriage painter, but he knew very little about carriage 
 painting. I first turned my attention to carriage painting 
 some years ago, when I had nothing else to do. I did not 
 succeed very well on the start, and to try and find ways 
 to overcome the difficulties I met with, I began to study 
 books on painting. The information thus obtained helped 
 me greatly. 
 
 PUTTYING. 
 
 While my second coat of paint is drying, say two days 
 after being put on, I putty up all open-grained places and 
 imperfections on gear and wheels. Putty for this purpose 
 I make as follows ; 
 
 Two parts keg lead, one part dry lead, one part umber 
 (the object of which is to color the putty) or two parts dry 
 lead, one part dry whiting, and part keg lead. These I mix 
 with japan and varnish, equal parts, with the addition of 
 a few drops of oil. The oil binds the putty the same as it 
 does paint. Putty should be put on so it will stay, or you 
 can't have good work. If in preparing putty for open- 
 grained spokes you mix it as many do, with japan and 
 
THE COMPLETE CARRIAGE AND WAGON PAINTEE. 131 
 
 turpentine, it soon becomes chalky and flakes off, taking 
 the outside coat of paint with it. 
 
 In putting on putty I always plaster it on smooth, so as 
 to avoid the necessity of sand-papering after it is dry. 
 
 SAND-PAPERINQ. 
 
 When the second coat has stood as long as possible, say 
 four days at least, I sand-paper it slightly with No. 2 paper, 
 that has been used on other work, and has been worn down 
 nicely. This works better than fine new sand-paper, I 
 think. The object is to scratch the surface of this coat so 
 as to give the one that follows a better chance to take hold 
 firmly. 
 
 LAST COAT, 
 
 In mixing the third and last coat of paint, I place the 
 pigments in the mill about half an hour before grinding, 
 and pour on turpentine and let them stand. When ready, 
 I add japan, and nin the whole through in a stiff mass, 
 screwing the mill pretty tight, so as to grind very fine. 
 By allowing the pigments to stand a little while after 
 pouring on the turpentine, it soaks into and softens them, 
 and the mass can be ground finer. 
 
 After grinding, I add a little raw oil, then thin to the 
 proper consistency with turpentine, and go through again 
 with the thumb-nail process described in my last, so as to 
 get the paint into the condition required to have it dry 
 with an egg-shell gloss. 
 
 Tliis coat should be laid on very nice and smooth with a 
 bair brush and permitted to dry two or three days. Then 
 I moss it off so as to remove all specks, keeping the comers 
 
132 THE COMPLETE CAERIAGE JlSD WAGON PAINTEB. 
 
 constantly in mind. Curled hair or moss will take a 
 comer off in a hurry if you rub too hard. 
 
 READY FOR GROUND COLOR. 
 
 The job is now ready for the ground color, and if it is to 
 be black I use lamp black. It covers the best and is a non- 
 absorbent. This should also be mixed so as to produce th© 
 egg-shell gloss, and allow two days for drying. 
 
 The next coat is the color proper. I use the ground 
 ivory black, best quaUty. Take out the required amount 
 of black in a clean cup and mix it carefully with a stick. 
 The sticks I prepare on purpose for mixing. I think I can 
 mix paint better with one of these prepared sticks than 
 with a putty knife, as they fit up to the side of the cup and 
 mash the colors better. 
 
 Turpentine should be added little by little (not poured all 
 in at once) till you have obtained the right consistency. 
 Then add raw oil, and_test the paint on your thimab nail in 
 order to be sure you are going to have the egg-shell gloss 
 when dry. 
 
 DRYING DEAD. 
 
 Many painters have an idea that these coats of black 
 should contain no oil, so that they may dry dead. I was 
 taught to put on color in this way, and supposed it must be 
 put on so, but reading up on the subject gave me some new 
 ideas. I commenced experimenting and watching not only 
 my own work but the work of others, and found a great 
 many cases of color chipjong off from the last coat of lead, 
 I soon discovered the reason of this and wUl explain it. 
 Take some color mixed with turpentine and japan, and lay 
 
THE COMPLETE CAERIAGE AND WAGON PAINTER. 133 
 
 it on a piece of tin or anything that will spring. Let it dry, 
 and then bend the tin or other article a little, and the paint 
 will crack in every direction, and in most cases will fly 
 nearly all off. Now add some oil, and paint your piece of 
 tin and you can scarcely make it crack by bending. The 
 oil toughens the paint and imparts elasticity to it. This 
 illustration makes it plain why paint not properly mixed 
 will peel off a carriage. Very many parts of a carriage 
 will spring and vibrate sufficiently to destroy paint that is 
 hard and unyielding. 
 With this last coat dry, the job is ready for the varnish 
 
 THE VARNISH COATS. 
 
 I take rubbing varnish and add drop black to make the 
 varnish black. This keeps the varnish from " greening" 
 the paint when the job is done. I take the black from the 
 can as it is ground, and do not put any turpentine in to 
 thin it. The best way is to grind dry black in varnish. If 
 drop black is ground in good Japan, it will mix with var- 
 nish and stand better without cracking than if ground in 
 poor Japan. Japan or turpentine never works with var- 
 nish very well any way. I always use a badger hair brush 
 in varnishing, but some prefer bristle and fitch to wipe 
 up with. I flow on a medium heavy coat, dress it, and lay 
 it on as smoothly as if it were the last or finishing coat. 
 This coat should stand at least two days, and three or four 
 will be much better, if possible, it will rub so much nicer. 
 I rub this a little with pulverized pumice stone and water, 
 to remove gloss and specks. These specks should be few 
 
^m 
 
 134 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 and scattering, and they will be if the job is clean and the 
 room kept clean. In my estimation, there is more dirt on 
 a job when the varnishing is done than gets on afterward. 
 If the job is not a very particular one, I simply rub it 
 with curled hair. After being rubbed with pumice stone 
 it should be washed very clean, and the next coat of clear 
 rubbing varnish laid on. This should also be put on very 
 nicely and smoothly, and should stand three or four days, 
 if possible, before rubbing it with pumice stone and water, 
 (I should have said that if the job has to be striped it 
 should be put on over color varnish.) 
 
 THE FINISHING COAT. 
 
 Now we are ready for the finishing coat. I use a good, 
 first-class grade of varnish all through, and always of one 
 company's make. Then I know how long it takes to dry 
 out of the way of dust, and how long before it can be run 
 out. 
 
 The job should have a good cleaning and dusting before 
 attempting to varnish. This should be laid on quite heavy, 
 and dressed so there will be no runs or sags when dry, and 
 then our job will be completed. 
 
 A great many might say the method I have attempted to 
 describe makes a job too long, and differ with me in the 
 time I allow for drying. Of course we cannot gi /e so much 
 time for every job, but I am trying to give my plan of lay- 
 ing out a job, instead of letting one coat stand three weeks 
 and then putting on the five or six coats in a week. 
 
 PAINTING BODIES. 
 
 When the body is received from the body shop it should 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER 135 
 
 be well dusted off and a coat of lead or other pigment 
 mixed with raw oil and japan (one part japan and three 
 parts raw oil) applied to it. Leave the inside two 
 or three days. After the body is hung up (as it 
 should be before it is rough-stuffed) it should be 
 sand-papered down smooth, and a second coat of lead 
 laid on, mixed with the pigment ground in oil, and two 
 tablespoonfuls of japan added, and thinned with turpen- 
 tine. Give this two days to dry, and then apply a coat 
 with less oil in it. In twenty-four hours it will be ready 
 for the rough-stuff. Nearly every painter has a recipe of 
 his own for this paint, but mine is : To three parts filler 
 add one part keg lead, two parts of japan, two parts rub- 
 bing varnish, the whole run through the mill in a stiff 
 mass, and afterwards thinned with turpentine. This 
 should be laid on thin, and about six coats altogether, one 
 each day, with two days to dry and rub down. 
 
 RUBBING. 
 
 The fine finish of a body depends a great deal on the 
 rubbing, and it should be rubbed carefully, and not left to 
 an inexperienced hand. After it is rubbed it should stand 
 twenty-four hours to dry out, or over night will do if it is 
 drying weather or the room is warm. I mix lamp black 
 for ground work with raw oil one part, japan two parts, 
 run through the mill and thinned with turpentine, and try 
 it on the thumb nail to see that it dries with a gloss. 
 Paint has to be oily when put over rough-stuff to dry with 
 an eggshell gloss, as the rough-stuff soaks up the oil ; and 
 you might as well put more oil in this coat and give it 
 

 136 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 more time to dry as to give it a coat of oil lead before yon 
 put on the lamp black, I think. At least, I like to see it 
 dry with a little gloss, as it holds out the varnish coats 
 better. I let this dry two days, and apply a coat of drop 
 black mixed so as to dry with a subdued gloss. Give this 
 twelve or eighteen hours to dry, and put on a coat of color 
 varnish. (I prefer black varnish to color varnish.) Give 
 this two days, then rub lightly with pumice stone ; stripe 
 and ornament, and apply a coat of clear rubbing. Give 
 this three days to dry. 
 
 This varnish does not need so much rubbing as some sup- 
 pose. If it is put on level it will not need much rubbing 
 to make a nice finish. Unless this is a very nice job I only 
 put on two coats of rubbing, or three in all. After this is 
 rubbed I apply the finishing coat immediately, and the job 
 ifldouo. 
 
CHAPIER n. 
 
 DUSTINa AND CLEANINa WORK. 
 
 Before Applying Paint or FamisTi.— There is perhaps noth- 
 ing more annoying to the carriage painter than to turn out 
 a vehicle, having its beautiful surface covered with specks 
 or dirt. He takes great care with all his work up to the 
 varnish coats. Then comes the time when dust will show 
 itself. After the job is done, and set up, the painter will 
 see at a glance how much dirt or dust there is imbedded 
 in the varnish, and will say to himself (sometimes aloud to 
 others): 
 
 " I don't see where that dirt came from ? I had a clean 
 cup, and my brush was clean, and my clothes I dusted off 
 as well as the job. There must have been some one in the 
 room after I left, but I locked the door and had the key in 
 my pocket. Perhaps there was dirt in the varnish." And 
 he will fidget and wonder where the dirt came from, and 
 will perhaps think of all these things. But he doesn't think 
 enough ; he doesn't think deep enough. He lets it pass this 
 time as the mischief is done, and he has not time to let it 
 stand ten days to rub down and apply another coat. Prob- 
 ably next time it will come out better. 
 
 Now you painters who have trouble with dirt let us talk 
 this matter over, and see if we can't find out where the 
 trouble lays. QtO back to the first coat of black that is to 
 
■C'^^Hf^ 
 
 138 THE COMPLETE CIRRI AGE AND WAQON PAINTER. 
 
 go on a body. The job has stood twenty-foui hours aftei 
 being rubbed out of rough stuff. The surface is all grit, 
 you can tell that by rubbing yoar hand over it. You take 
 a common duster and go over it, and perhaps think it is 
 clean. Pass your hand over it again, and, if you watch 
 close, you will feel a fine grit. No w if you should put a 
 coat of paint over this as it is, while you were apply- 
 ing the paint you would see hundreds of little fine 
 specks. The more you brushed and worked the paint 
 on the panels, the more these specks would show. These 
 minute particles are rolled over and over in the paint, and 
 every time they are rolled over they grow larger, and what 
 could hardly be seen with the naked eye at first, will seem 
 quite large when your paint is appUed. Now, before ap- 
 plying your paint, you should take a very fine piece of 
 sand-paper and rub the surface slightly, and dust off with a 
 common duster. Then take a piece of curled hair (not moss), 
 and dampen it in varnish (oil will do); squeeze it out so 
 that no varnish will rub off, and rub this over your work 
 slightly. Next take a bristle duster, put a little varnish in 
 the palm of your hand, and rub the ends of the briistles in 
 the varnish, so it will adhere. Rub this duster ever the 
 work and the dirt or grit will adhere to it, and be a?l taken 
 up by it. Now your work is in a condition to apply the 
 paint. If the paint is the least bit specky, or has any pieces 
 of skin on top, it should be strained through a piece of 
 book-muslin into a clean cup and applied with a clean 
 brush. One more important thing is to get the job wh*»re 
 the dust will not be settling on it when it is drying. 
 The next coat should be gone through with almost" in 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 139 
 
 the same way. At least, be sure there is no dirt on the 
 job when you apply the paint. 
 
 "When the first coat of varnish is rubbed with pumice 
 stone it is very difficult to get it all out of corners of 
 moldings and such places. It should be washed out, and 
 water run into these places freely, and with a sash-tool 
 clean out all the stone you can, and wipe dry. When the 
 job has stood ten minutes, look around the comers and 
 you will discover enough stone to spoil four or five jobs. I 
 have seen painters take the " shammy" and run one comer 
 of it into these places, and of course it would dampen the 
 stone, and give the work the appearance of being clean, 
 when perhaps hardly a particle of stone had been removed. 
 They would then dust off with a common duster, without 
 seeming to think about or look after the places any more, 
 and immediately app?y the varnish. Of course, the first 
 time the brush went in one of these corners it would take 
 out some of the powdered stone, and in brushing the 
 varnish they would scatter these fine particles in all direc- 
 tions, and when rolled in varnish several times over, they 
 will look five times as large as they reaUy are. The job 
 would have very much the appearance of having been 
 sprinkled with fine pepper. 
 
 PUTTING UP JOINTS. 
 
 When you have a job that has open joints, such as where 
 the seat is screwed to the body, these joints should be 
 puttied up so they will be smooth. On iron seats, around 
 handles, there are many open places. If these are puttied 
 up they will clean very easy. When the job has stood a 
 
140 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 few moments after rubbing, take a common duster and 
 dust all over — ^not rubbing too hard ; now go over again in 
 the same way. If you have a magnifying glass, look over 
 the work and see if you discover any dirt. In nine cases 
 out of ten it will look as if it had not been dusted. Now, in 
 |most cases, right here is the dirt that makes your job look 
 bad when finished. Nearly always a job is as dirty when 
 you get done varnishing as it is when dry. 
 
 Of course, there are cases where a job is got out clean, 
 and dust gets on it while drying, from the wind shaking 
 the shop, or something of this kind. Most country shops 
 are affected by wind, and, unless the room is very tight, 
 dust will sift out. One thing is certain, if the job is not 
 clean, it is impossible to get a clean finish. After your job 
 has been dusted with a common duster, take another 
 duster, and put a little varnish in your hand, rub the 
 points of the duster with it, and go over the work with 
 this, being particular about the corners and moldings. 
 Then have a 2i-inch flat bristle brush, that has never been 
 in paint, and rub varnish on the points of this, and you 
 can clean your job perfectly. Keep this brush close by 
 you, and rub it over a panel just before the varnish. Of 
 course it requires three times as long to dust and get a job 
 clean as it does to lay on the varnish. 
 
 CLEANING GEARS, 
 
 In cleaning gears considerable pains should be taken, 
 although dust will not show as much as on bodies or large 
 surfaces. j\. flat bristle brush should be used after the 
 duster, the same as on bodies ; and be particular to go 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 141 
 
 around clips and ends of the springs. Run the bristles into 
 every little place. One important thing, in my estimation, 
 is to start from a certain place, and go from one clip to 
 another. Commence at one end of a spring and go to the 
 other, and so on around, and then you will know when 
 you get through, and that every spot has been touched. 
 System is as important in carriage paintine; as in any other 
 line of business. 
 
CHAPTER III. 
 
 PAINTING LUMBER WAGONS. 
 
 The woodwork should be primed before it is ironed. 
 When this has been done give the wagon a slight sanding 
 with No. 2 sand-paper. Clean the grease and coal cinders 
 off the iron parts. Mix lead and Indian red, employing 
 two parts of lead and one part of Indian red. Thin up 
 with turpentine and put in about two tablespoonfuls of 
 Japan and as much oil in a quantity sufficient for a 
 wagon. Apply this quite heavy, touching every part^ 
 using a good bristle brush. It is seldom that lumber 
 wagons receive two coats before the color is applied. It 
 makes more durable work, however, to put on two coats 
 of the paint just described. Next take American vermil- 
 ion, deep shade, and mix it with Japan and oil, using 
 equal parts, to a stiff mush. Thin this with turpentine. 
 Take one part whiting in bulk to two parts of vermilion. 
 Mix the whiting to a stiff mush with oil and run through 
 the mill. Thin up and mix with the vermilion. This is 
 an important matter and should not be left out, as the 
 whiting makes vermilion work like other paint. Ver- 
 milion being very heavy, it settles rapidly and settles after 
 being put on, as well as before, and thereby makes the 
 work look spotted. It will be a hard task for one not 
 used to putting on this paint to make one coat cover 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 143 
 
 satisfactorily. It requires to be worked very fast and 
 even. The paint piust be kept even in thickness. 
 
 STRIPINO. 
 
 The day succeeding the operations just described the 
 work will be ready to stripe. The colors for this should be 
 black and white, or instead of the latter, light yellow. 
 White makes the red show off to the best advantage. 
 Take lamp black and mix with japan and oil in equal 
 parts. Thin up with turpentine. Silver or flake white in 
 tubes is best for the white, using turpentine as a dipper. 
 This stripe will dry over night. 
 
 A GOOD COLOR. 
 
 straw or buff is a popular color for wagons. It is easily 
 worked and is a good paint to wear. It may be made 
 of lead and ochre and shaded to suit. Three coats make a 
 satisfactory job. Wagon boxes should be primed with 
 lead and a little lamp black before being ironed ; then 
 given a good sand-papering with No. 2 sand-paper. Then 
 apply another coat of lead color. The best color for boxes 
 is brown. Green has been used to a considerable extent, 
 but it does not make a wagon as attractive as a rich 
 brown. 
 
 Venetian red and lamp black make a good brown. In- 
 dian red and lamp black constitute a little richer shade. 
 If the very best shade is wanted use drop black and Indian 
 red. Yellow of different shades and Englisli vermilion 
 make the most showy stripes for such boxes. Blue and 
 green are also attractive. 
 
144 THE COMPLETE CABBUQE AND WAGON PAINTEB. 
 READY TO VARNISH. 
 
 At this stage the whole wagon is ready for the varnish 
 which should be a good article of coach varnish. Black, 
 sticky stuff should not be employed. As heavy a coat as 
 possible should be put on, care being taken to wipe out 
 thoroughly around the bolt heads and around the irons, 
 Lay the boards flat down and lay on the varnish heavy 
 and lay off cross-wise of boards, then set them off on horses 
 flat down. Left in this position the varnish will not 
 run. By so doing a heavier coat can be applied than oth- 
 erwise. The inside of the boxes should be painted with 
 Venetian red and oil, one or two coats. 
 
CHAPTER rV. 
 
 TOUCHING UP REPAIR WORK. \ 
 
 Blacksmiths and woodworkers have occasion quite often 
 to touch up their repair work with paint, when there is 
 not time for the job to be finished in the paint shop. Some 
 men have paint dishes in the shop to use themselves as 
 may be necessary, while in other shops the painters attend 
 to these things. Very often this takes a painter away 
 from something he can't leave very well, while some of 
 the other hands could have done it while he was coming 
 down stairs. But blacksmiths and woodworkers generally 
 daub up and do more damage than good in their attempts 
 at painting. "We have a spoke or two that must be used 
 immediately; if it is black we generally put on black var- 
 nish, but paint, dark lead or something heavy would be 
 much better. Black varnish will come off gradually and 
 won't keep the grain from raising; of course, it has a little 
 shine, but you can't get one coat on very well without 
 making it look streaked. So, take it on the whole, it doesn't 
 look very well and it is in no shape to paint up again. 
 
 But whatever is put on should be applied properly; if 
 you have a large brush and the paint or varnish is 
 old and sticky and you daub all over, it looks bad, 
 besides making lots of work for the painter when the 
 job comes to be painted. You can't get this stuff off, 
 even 9 spot of it when it gets dry without the use of a 
 
"^ 
 
 146 THE COMPLETE CARMAGE AND WAGON PAINTER. 
 
 sharp knife, and you can hardly ever succeed in pre^ 
 venting a spot that will show always. The paint should 
 be mixed with oil, japan and turpentine in equal parts, 
 or keg lead and lamp black mixed with japan and 
 turpentine. It should be mixed up once a week, so as to 
 be fresh, and dry quickly and well. Have an .inch and a 
 half bristle brush, not an old stick of a thing, but a good 
 brush, and keep it soft in the paint or water. A spoke is 
 about the worst thing to get around without touching the 
 hub or other spokes, but take a brush half full of paint and 
 put down as near the hub as possible, and then tip up the 
 brush a little and work crosswise of the spoke and you 
 will touch all bare wood without getting on the old paint. 
 If you should, why wipe it off with a rag or finger. Go 
 around the butt of the spoke in this way, then at the fel- 
 loe to the same, cutting close, and then fill in between hub 
 and felloe and smooth up nicely. This will, perhaps, take 
 a moment longer on a spoke, but it will be enough better 
 to pay. 
 
 "When a smith heats an iron that has been painted, and 
 doesn't heat the whole of it, the paint will fry up black a 
 little ways and cinders will stick. These should be filed 
 or sand-papered off and dusted or rubbed off with the hand 
 before the paint is applied. If you will only take a Httle 
 pains and work slow around these places at first you will 
 soon get so you can do it about as quick as if you were 
 merely daubing. One should take as much pains m 
 patching up a job as he would in making a new article, 
 but there are not many who do. "When taking off clips on 
 irons on a painted job the paint is liable to break up away 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 147 
 
 from the clip. Now if you will take a knife with a sharp 
 point and cut around the clip it will come and go right 
 back, and will not need to be touched up. When ham- 
 mering or pounding on a painted iron or surface, take a 
 piece of harness leather and hoJd it under the hammer; re- 
 member that an ounce of prevention is worth a pound of 
 cure. 
 
CHAPTER Y. 
 
 HOW TO PAINT A CHEAP JOB. 
 
 Sometimes we want to paint a job cheap, or not lay oat 
 much work on it. Sometimes blacksmiths or wagon- 
 makers want to do a job themselves, and are at a loss to 
 know just how to go to work at it. I will give my way 
 of doing such work. 
 
 PAINTING AN EXPRESS WAOON. 
 
 Let us suppose that we are going to paint an express 
 wagon or a spring wagon of any kind. All wood work 
 should be primed with keg lead or any pigment groimd in 
 oil. Venetian red, Indian red, umber, or any of these dry 
 paints, will do. After taking out a little in a cup (enough 
 to make a pint when mixed) put in about two tablespoon- 
 fuls of japan and stir with a stick rounded at the end or 
 made oval to fit the side of the cup. Stir this until all the 
 lumps disappear; then add about as much turpentine as 
 japan, thin with oil and try on wood. Raw oil will be 
 best, as it dries quickest, and holds better. It should be 
 thinned until it will streak on the wood with the brush. 
 It should not cover thoroughly. Above all, do not use old 
 paint that has stood around in dishes and become fatty. 
 Such paint should be used only on the inside of boxes ot 
 bottoms. After the wagon is ironed, sand-paper with No. 
 2 sand-paper. That which has been used by thewood^ 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. 149 
 
 worker is best. It need not be rubbed too much ; just 
 enough to smooth nicely. The body will need more 
 sand -papering if it is not rough stuffed. Sand-paper 
 down so the first coat will be nearly off, as this fills 
 the grain up. 
 
 THE GEAR COAT. 
 
 The next coat, for gear, I would mix in this wise: Take 
 out lead enough for a pint of paint, or the dish nearly a 
 third f uU. Put in two tablespoonf uls of best japan and stir 
 well. Then add the same quantity of raw oil and stir 
 again. Thin with turpentine. It should not have much, as 
 in sanding many places are left bare, and it should be elas- 
 tic so it will stick well. This should be applied with an 
 inch and a half camel's hair brush. It can be done with a 
 bristle brush, but a camel's hair costs no more, and the 
 paint can be spread more evenly, and it will go farther and 
 can be thinned more. It should be made as thin as possible 
 and cover good. 
 
 PAINT FOR BODY. 
 
 The paint for the body will need no oil, as there is enough 
 in keg lead to bind it. The body wiU not receive so many 
 jars as the gearing. About the same amount of japan 
 should be put in and thinned with turpentine. All screw 
 and nail holes should be puttied a day or two before you 
 are to paint, or it can be done the next day after the prim- 
 ing is put on. The putty make with dry lead, whiting and 
 Venetian red or mnber, equal parts, mixed with japan and 
 varnish and a little turpentine. A better finish can be ob- 
 tained by plastering the body all over with this putty, 
 made thin. It can be put on with an old plane iron if you 
 
150 THE COMPLETE CARRIAaE AND WAGON PAINTER. 
 
 have no plaster knife. This paint should be applied with a 
 camel's hair brush if possible. 
 
 It can be put on with the one you paint gears with, but 
 a two-inch brush would he much better and enable you to 
 work faster. If the body is plastered, this coat should be 
 put over the putty coat after being sand-papered. Now it 
 is all ready for the ground, when it is weU dried. If some 
 colors are used on the gear, like Indian red, or light brown 
 made with Indian red and lampblack, Portland umber 
 and the hke, there will be no particular necessity for hav- 
 ing a ground, as these are very strong and will cover solid 
 over almost any priming coats. But it is a good plan 
 to govern the priming according to the color the 
 gear is to be painted. Portland umber, or stone color, can 
 be made of ochre and umber, toned to suit the taste, or 
 ochre, Venetian red and black. These should be ground in 
 japan and oil, equal parts. They can be obtained already 
 ground in oil ; then japan should be added, thin with tur- 
 pentine, and apply with the brush used in first coats, pro- 
 vided you have but one camel's hair brush ; wash in tur- 
 pentine and rub well into the color. 
 
 PAINTING THE BODY. 
 
 The body will look best painted a dark brown, made of 
 Indian red and drop black. A man accustomed to laying 
 paint would make one coat over, but an inexperienced 
 hand would do best to put on two coats, one in the morn- 
 ing and one at night ; or, if there is plenty of time, give a 
 day to each coat. This will only need a little oil to bind 
 it. The body will need two coats of varnish, the first put 
 
THE COMPLETE CARRIAQE AND WAOON PAINTER. 151 
 
 «n after the color is dry. It can be striped and orna- 
 mented the next day. 
 
 The gear will do with one coat of varnish, so it should 
 be striped over the color, and will now be ready for the 
 finishing coat of varnish, which should be laid on quite 
 heavy. It should be varnished with a pretty good var- 
 nish. Coach varnish will hardly do, as it does not wear 
 long enough and cracks quickly. Good, reliable varnish 
 can be obtained at almost any hardware store. It will 
 cost a little more than common varnish, but is cheaper in 
 the end. 
 
CHAPTER VT. 
 
 HOW TO REVARNISH A CARRIAGE. 
 
 After the carriage has been well washed from dirt, 
 unhang the body and give it another thorough washing. 
 Let the body dry for twenty-four hours. Give the gear a 
 thorough washing, and rub it down with ground pumice 
 stone. By this means all grease and specks, which would 
 otherwise remain, will be removed. This treatment of the 
 gear is a very particular job. The rubbing should be care- 
 fully watched. After a wheel or part of the gear has been 
 rubbed, it should be washed, in order that the pumice 
 stone may not adhere to it. The pumice stone should 
 never be allowed to dry upon the work. Give all the parts 
 a good washing, and clean well in the comers with a sash 
 tool. Wipe dry with a chamois skin. After all the parts 
 have been thus gone over, set aside twenty-four hours to 
 dry. I think it a good plan at the outset, if there is no 
 mud on the carriage, to dust off and apply paint to the 
 bare places before washing. This will prevent the 
 moisture penetrating the wood to a great extent during the 
 washing. 
 
 All bare places should be painted with lead, or some 
 other heavy paint. They require two or three coats, in 
 order to bring them up to a good surface. At least one 
 coat wiUbe necessary on small bare places. Otherwise the 
 color will not stick. 
 
THE COMPLETE CARRIAGE AND WAOON PAINTER. 153 
 
 After the lead is dry the touching begins. This is no 
 easy job, and accordingly it should not be left to an inex- 
 perienced person. If the job is not black, the first thing 
 necessary to be done is to match the color. This is some- 
 times quite a trying task. In some instances it is foimd 
 impossible to match the color exactly. This is frequently 
 the case where such colors as lake, red, or blue have been 
 used, and have faded while in use. In such cases there is 
 no better way to do than to come as near as possible to the 
 color and let it go at that. A job originally painted black 
 will turn green after a year or more exposure, or at least 
 will manifest a greenish hue. In such cases the touches 
 should be as small as possible, so that they will not be too 
 prominent when the job is finished. 
 
 In touching up the body, if there are moldings or beads, 
 they should be gone around with a small brush of color to 
 set the dirt in places where it is hard to get out. A body 
 in most places requires two coats of varnish, for the reason 
 that it is almost impossible to vami»h a body over once 
 without the dirt coming out in the varnish. Whatever 
 care may be taken in the preliminary cleaning there will 
 always be this trouble to meet. In two-coat work the 
 first coat may be rubbed down with stone, and by this 
 means the dirt rubbed away. Upon this foundation there 
 will be no difficulty in finishing, if the final coat is put on 
 nicely. 
 
 There is something about touching up and re-varnishing 
 a carriage from which every painter shrinks. He dislikes 
 to engage in such work, for it is practically impossible to 
 make it look as good as new, Fre(juently the owner 13 
 
154 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 not satisfied, believing it might have been done better. 
 Unless a carriage is in very good condition and not 
 much faded it should be repainted, even if but one coat 
 of color varnish is applied, and one coat of varnish to 
 finish. 
 
CH^iPTER Vn. 
 [The matter forming this chapter was written by Mr. 
 Petersen, and originally appeared in the French journal 
 Le Peintre en Voiture.] 
 
 FORMS AND COLORS IN THE PAINTING OF VEHICLES. 
 
 A correct appreciation of the relations which exist be- 
 tween form and color is a qualification much needed by a 
 painter of vehicles. 
 
 He should clearly understand that color must invariably 
 be subordinate to form. There are some forms which will 
 fail to display all the beauty inherent in them unless they 
 have the accompaniment of brilliant coloring. The angular 
 or regular forms are examples of this law. 
 
 Then there are other forms which appear best in faint or 
 subdued colors. 
 
 The only regular form which is found in the human body 
 is the circle of the eye, and that is the only part to which 
 nature ever imparts a brilliant color. 
 
 The savage with his body painted red, yellow or blue is 
 hideous, but the wing of the butterfly, the plumage of the 
 humming bird are beautiful. 
 
 Even among the flowers, those possessing regular forms 
 are always the most brilliant colored, and as the forms 
 depart from regularity so the colors become deUcate or 
 subdued. 
 
156 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 BRiaHT COLORS FOR BUGGIES AND DOG-CARTS. 
 
 The buggy and dog-cart appear best when painted in 
 bright colors, but cabriolets and mail coaches require dark 
 or subdued colors. The two first named vehicles are com- 
 posed of straight lines and regular forms but the two last, 
 though differing from one another in many respects, are 
 alike in being made in semicircles and curves of various 
 forms. 
 
 We have often seen dog-carts and buggies which dis- 
 pleased the eye, simply because their bodies were painted in 
 colors too subdued, while others were agreeable to the 
 sight, because their bright coloring was in harmony with 
 their regular forms. 
 
 It would therefore be well for painters of vehicles to re- 
 member that straight lines demand brilliant coloring, while 
 curves, etc., are most effective in subdued or delicate colors 
 
 ONE COLOR FOR WOOD AND ANOTHER FOR IRON. • 
 
 When more colors than one are employed in painting a 
 vehicle, it is usual to make the body of one color and the 
 wheels of another, and this is not a bad method. The dis- 
 tinction made between the parts mentioned seems a natural 
 one, and the difference in their colors generally gives the 
 vehicle a light and handsome appearance. 
 
 But this is not the only way in which the painting of a 
 vehicle may be varied. At one time there could often be 
 seen carriages in which the wooden parts were all of the 
 same color, as for instance yellow, while the iron portions 
 were all of another color — perhaps black 
 
 Thus painted these carriages look well, for although the 
 
THE CX)MPLETE CARRIAGE AND WAGON PAINTER. 157 
 
 difference between the wood and the iron is not so appar- 
 ent as that between the body and wheels of a vehicle, still 
 it is a point which should be always remembered by the 
 painter. 
 
 Some American carriages are so painted as to make the 
 metallic axles of the same color as the wooden spokes of 
 the wheels. 
 
 It is to be presumed that in working in this fashion the 
 painter's object is to make two different materials appear 
 to be one and the same. But such dissimulation is in bad 
 taste. Good taste is always true and straightforward, 
 hiding nothing and counterfeiting nothing, making every 
 material appear at its best, but never attempting to bring 
 one substance into an apparent resemblance to something 
 very different. 
 
 It has been argued that painting the wooden and iron 
 parts of the same color gives a lighter appearance to the 
 vehicle. But unfortunately it does this and more ; it 
 makes the vehicle seem too Hght. Every one knows that 
 the strain on an axle is very much greater than that which 
 a spoke has to sustain, and yet the former is not much 
 larger than the latter. Consequently the spoke appears 
 too large or the axle too small. But when the axle is 
 painted of a different shade from the spoke, the fact that 
 the one is wood and the other iron, and therefore equal to 
 its task, is at once apparent. 
 
 Now it is a fact that when some of these American 
 carriages are seen in the streets they seem to an inexperi- 
 enced observer to be too weak for actual use. A carriage 
 
158 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 maker does not make this mistake, because he instinctively 
 recognizes the difference in the materials employed. 
 
 For these reasons, we think that under all circumstancea 
 the metallic parts of a vehicle should be painted of a 
 different color from that employed on the wood. 
 
 CRITICISM ON THE ABOVE BY A CORRESPONDENT OF *'LK 
 PEINTRE EN VOITURE"— ALL PARTS OP A CARRIAGE 
 SHOULD BE OF SAME COLOR. 
 
 In my opinion no painter should seek to indicate by 
 colors the difference in the materials of a vehicle. I be- 
 lieve that an appearance of strength and solidity can be 
 best attained by using the same color for all parts, and 
 thereby avoiding a too prominent exhibition of joints, bolts, 
 etc. 
 
 I think that another result of making the body one color 
 and the carriage part another is the loss of harmony, and 
 without harmony there can be but little beauty. I do not 
 assert that there are no such things as agreeable contrasts, 
 but there are ajso contrasts which do not please all eyes ; 
 and when the painter deviates from harmony, even in a 
 small degree, he is liable to produce effects more odd than 
 beautiful. 
 
 I contend that when the carriage part is painted of a 
 brighter color than the body the vehicle may appear gay, 
 but certainly not elegant. Take, for instance, a type of 
 carriage to be seen every day. Its proportions are good ; the 
 body is painted brown and the panels are encircled by a 
 fine line of gold. The carriage part is light brown, set off 
 by a large black band which has two white lines in its 
 
THE COMPLETE CARRIAGE AND WAGON PAlNTEE. 159 
 
 centre ; the naves, spokes and moldings of the wood are 
 decorated in gold. What ridiculous taste is here dis- 
 played I Now behold another vehicle ; the panels and 
 carriage part are of a rich shade of green, set off by large 
 black bands bordered by a narrow straw-colored line, thus 
 forming a partial contrast. The ensemble is green and 
 black, lightened by a line of yellow as a contrast. Thus 
 painted the general effect is decidedly pleasing, but if th« 
 yellow line is removed and one of bright green substituted, 
 the result is harmony, and consequently elegance. If, on 
 the contrary, a red line is employed instead of the green, 
 the effect is ridiculous. 
 
 Another happy contrast can be produced by using black 
 for the ground color, and setting it off with blue glace, or 
 the body might be in brown glace and the carriage part 
 in brilliant carmine set off by a black band. There is a 
 strong contrast between the brown and the carmine, and 
 yet the two colors harmonize, because they both approach 
 the red. 
 
 Let us now consider a combination which shall be 
 thoroughly harmonious, for instance a body in brown 
 glace, with the moldings set off by a narrow line of car- 
 mine, the carriage part to be painted like the body, and 
 with a black band, on each side of which (but not very 
 close) is a narrow line of carmine. 
 
 Yet to return to your remarks in the last number, in 
 spite of the incontestably elegant appearance of this car- 
 riage, the method of painting adopted would tend to make 
 it appear as if all the parts were composed of the same 
 material. 
 
l60 THE COMPLETE CARMAQE AND "WACJON PAIMTSK. 
 
 But it seems to me that to paint the wooden parts in 
 one color and the iron in another would be a very poor 
 method of obtaining an appearance of strength. A spec- 
 tator not acquainted with the construction of carriages, 
 so far from being impressed by the apparent solidity of 
 such a vehicle, would be more likely to conceive just the 
 opposite opinion. I should certainly consider my life 
 safer in a carriage that looked firm and compact than one 
 in which every joint was made prominent by its color, I 
 do not care to have my carriage appear as if it could 
 be taken apart off-hand and carried around like a fishing 
 rod. 
 
 In conclusion let me say that an observer so ignorant as 
 to suppose that a vehicle lacks strength, because it appears 
 light, should be advised to seek instruction on the subject, 
 and if he refuses to do so we can only say to him ^' Au 
 revoir,^^ for science should make no compromise with an 
 ignoramus. F. J. G. 
 
 REJOINDER BY MR. PETERSEN, 
 THE HARMONY OF ANALOGY. 
 
 My remarks on the subject of the painting of the 
 wooden and iron parts of vehicles have drawn from F. J. 
 G. a criticism which I will now proceed to answer. 
 
 The first comment I have to make is that his taste evi- 
 dently differs from mine. He prefers a combination of 
 colors which I would term the harmony of analogy, and 
 which consists in a decided color for the bottom, relieved 
 by slight but not marked variations from this tint and 
 sometimes by the occasional use of a neutral color, black 
 
THE COMPLETE CARRIAGE AND WAGON PAINTER. l6l 
 
 or white. This method of painting is now much in vogue 
 and produces an elegant effect when the painter who 
 adopts it possesses the necessary taste and skill, and it is 
 especially well suited for carriages in which curves and 
 irregular forms predominate, because the grace of such 
 hues and curves render a richer and more marked style of 
 painting useless if not superfluous. But if the painter 
 who follows this method lacks discrimination in the choice 
 of his colors or ability in applying them, the result is a dis- 
 agreeable faintness and indistinctness. Moreover, no 
 skill or taste in the application can make this style of 
 painting successful on carriages characterized by straight 
 or angular forms ; for in such cases bright, decided colorst 
 are indispensable. 
 
 THE HARMONY OF CONTRASTS. 
 
 F. J. G. appears to suppose that the harmony of anal- 
 ogy is the only one which exists in colors. He is mistaken. 
 It is the first, simplest and most natural manner of vary- 
 ing painting, but it is not the only one. The harmony of 
 contrasts is employed in accordance with the laws of col- 
 ors is a higher, richer and more artistic method of orna- 
 mentation. Of course the successful employment of the 
 harmony of contrasts demands a careful, skillful considera- 
 tion of tones and proportions, and when these points are 
 neglected the results are not satisfactory. Still we fail to 
 see why colors that are too brilliant or decided are worse 
 than a combination of faint, insignificant tints. 
 
CHAPTER Vin. 
 
 TRANSFER ORNAMENTS. 
 
 Transfers or *'Decalcomanie," as it is sometimes called, 
 are so well known that they require but a passing word. 
 Some beautiful designs have of late come to our notice, 
 and it is indeed surprising how the art has grown within 
 the past few years. We can now procure a beautiful scroll 
 and landscape for the sides of an omnibus or wagon, the 
 whole figure (consisting of an oval centre and six parts of 
 scroll, which can be put either in a straight line, or com- 
 bined to fit any curve, 14 inches wide and 98 inches in 
 length), costing only $7.50. Scrolls 18 or 20 inches, in gold 
 and colors, are now no rarity, and when well applied to a 
 job give elegance for a trifling expense. "We speak more 
 particularly of the large transfers, and advise their use 
 where such designs cannot be readily drawn, because they 
 are not so likely to be known as transfers, owing to their size 
 and beautiful workmanship. They are indeed very differ- 
 ent from the carriage ornaments such as every little 
 schoolboy had at one time stuck on everything, both in 
 school and at home. 
 
 A transfer ornament may be so changed in appearance 
 that it would never be known as such, by a few touches 
 of the pencil, the slight addition occupying but little time. 
 
 HOME-MADE TRANSFERS, 
 
 It frequently occurs that a carriage owner desires a very 
 
THE COMPLETE CARRIAQE AND WAGON PAINTER, 163 
 
 elaborate coat-of -arras on his cjirriage panel, and yet can- 
 not spare the carriage long enough for the artist to do the 
 work. Now to get over this trouble: 
 
 Procure a sheet of gummed paper (similar to a postage 
 stamp), and upon the gummed surface paint the design in 
 the same manner and with the same colors as would be 
 used on the carriage panel. Let it dry ; then slightly wet- 
 ting or dampening another piece of the gummed paper, 
 lay the painted design face down upon it and press it be- 
 tween the leaves of a book until dry. Next, dampen the 
 back of the paper on which the design was painted, and 
 when soft enough remove it, in the same manner as when 
 using an ordinary transfer. This leaves the painted design 
 face downward upon the gummed paper similar to any 
 other transfer. 
 
 When the home-made transfers are thus completed, send 
 for the carriage and transfer the design to the panels by 
 varnishing the back with transfer varnish, or a little rub- 
 bing varnish. Dampen and remove the paper as usual, 
 and you will find the design as nicely depicted on the 
 panel as if it were a purchased decalcomanie, and the time 
 taken to do such work would be nothing, compared to the 
 painting done on the carriage itself. 
 
 This plan of operations miglit be utilized by the painter 
 for other work. He might take home some little job of 
 this kind, and make money in spare moments. 
 

MONOORAMS, 
 
 We present in the following pages some specimens of 
 monograms of various styles and sizes. 
 
■\:^;^::; 
 
 
THE COMPLETE CAERIAQE AND WAGON PAINTER. 167 
 
 English. 
 
 Florentine. 
 
168 THE COMPLETE CARRIAGE AND WAGON PAINTER. 
 
 JW 
 
 KR 
 
 JT 
 
 J.N 
 
 KP 
 
THE C30MPLBTE CARRIAQE AND WAGON PAINTER. 169 
 
 K.ft. 
 
 EO 
 
I'iO THE COMPLETE CARRIAGE AND WAGON 
 
 Painter. 
 
 Modem, 
 
 Louis XF? 
 
INDEX. 
 
 Paob. 
 
 Benches and Boxes for Colors 17 
 
 Blacking off Ribs 63 
 
 Brushes, Badger Hair 15 
 
 Brushes, "Bridling".; 13, 14 
 
 Brushes, Cleaning up 16 
 
 Brushes, Flat Bristle 16 
 
 Brushes for Painting 13tol6 
 
 Brushes, Oval 15, 16 
 
 Brushes used in a Cheap Job 149, 150 
 
 Brushes used in Varnishing 43 
 
 Brush, Camel's Hair 14,15 
 
 Carmine, Cheap Substitutes for 49 
 
 Chipping 128 
 
 Chipping from Last Coat 132, 133 
 
 Color, Bismarck Brown 23 
 
 Color, Bottle Green 21 
 
 Color, Brick 23 
 
 Color, Bronze Green 23 
 
 Color, Brown . .• 22 
 
 Color, Canary 21 
 
 Color, Carnation Red 23 
 
 Color, Chamoline 23 
 
 Color, Chestnut 23 
 
 Color, Chocolate.... = 23 
 
 Color, Citron 22 
 
 Color, Claret 22 
 
 Color, Clay Drab 23 
 
 Color, Coffee 22 
 
 Color, Cream 23 
 
 Color, Dark Milori Green 23 
 
 Color, Dark Rich Brown 24 
 
 Color, Deep Buff 21 
 
 Color, Dove 23 
 
 Color.Drab » 22 
 
 Color,Fa%vn 22 
 
 Color,Flesh .... 22 
 
 Color, French Gray *, 21 
 
172 INDEX. 
 
 Paoe. 
 
 Color, FrenchRed 23 
 
 CJolor.Gold 21 
 
 Color, Grass Green 23 
 
 Colors, Grinding: 25, 26 
 
 Color, Japan Brown 24 
 
 Color, Jonquil Yellow 23 
 
 Color, Le Cuir or Leather 24 
 
 Color, Lemon 22 
 
 Color, Light Bufif 21 
 
 Color, Light Gray 22 
 
 Color, Lilac 32 
 
 Color, London Smoke .. 22 
 
 Color, Maroon 22 
 
 Color, Mediimi Gray 21 
 
 Colors, Mixing 19to26 
 
 Color, Oak 21 
 
 Color, Olive 21 
 
 Color, Olive Brown 23 
 
 Color, Peach Blossom 23 
 
 Color, Pea Green 22 
 
 Color, Pearl 8^ 
 
 Color, Plmn 23 
 
 Color, Portland Stone 23 
 
 Color, Primrose Yellow 24 
 
 Color, PmT)le 22 
 
 Color, Ready mixed 17, 18 
 
 Color, Rose 21 
 
 Color, Salmon 21 
 
 Color, Snufif 21 
 
 C'olor, Stone 22 
 
 Color, Straw 22 
 
 Color, Tan 22 
 
 Color, Tea Green 24 
 
 Color, Violet , 22 
 
 Color, Willow Green 22 
 
 Color, Willow Leaf Green 24 
 
 Color, Wine 22 
 
 Color, Yellow Lake 23 
 
 Ci»lor and Form in Vehicles 155 to 159 
 
 Colors (Bright) for Straight Line Vehicles 156 
 
 Colors Elegantly Combined in a Vehicle, An Illustration of 159 
 
 Colors Employed on Wagons 68, 69 
 
 Colors for Buggies and Dog Carts 156 
 
 Ciolors for Cabriolets and Mail Coaches 156 
 
INBEX. 173 
 
 Paok. 
 
 Colors for Lumber Wagon Boxes 143 
 
 Colors for Striping .' 55 
 
 Color for Wood Should Not be the Same as for Iron 156 
 
 Colors (Subdued) for Vehicles made in Cmrv^ed Lines 156 
 
 Color Subordinate to Form 155 
 
 Colors Suitable for First Coat, on a, Business Wagon Body. . .34, 35, 36 
 
 Colors, to Match, in Re-varnishing 153 
 
 Colors used for Business Wagon Gears 36 
 
 Colors used for the Second Coat on a Business Wagon Body 36 
 
 Colors used for Striping Lumber Wagons 143 
 
 Colors used in Wagon Painting 17, 18 
 
 Colors used on Delivery Wagons . , 68, 69 
 
 Colors used on Ribbed Body Business Wagons 68 
 
 Drying, Dead 132,133 
 
 Dusting and Cleaning Work 137, 138. 139, 140, 141 
 
 Dutch Metal '. 67 
 
 Edging Gold Letters 1 07 
 
 !Ellipse, How to Make 101 to 103 
 
 Ellipse, Use of, in Making Romid Letters 97 
 
 Figures, Balancing Properly 103 
 
 Finish for End of Panel Stripe 62, 63 
 
 Foundation in Carriage Painting 127, 128 
 
 Furniture of Paint Rooms 12, 13 
 
 Furniture of Varnish Rooms 12, 13 
 
 Gear Coat for a Cheap Job 149 
 
 Gears for Business Wagons, To Paint 35, 36, 37 
 
 Gears, To Clean 140, 141 
 
 Gilding Machine 66 
 
 Gilding Size 64 
 
 Glazing 24, 25 
 
 Glazing Name Panels 37 
 
 Glazing with Carmine 49 
 
 Gold Bronze, Applying, to Wagons 67 
 
 Gold Leaf , Applying 64,65, 66 
 
 Gold Paint 67 
 
 QoldSize » 64 
 
 Gold Striping 64 
 
 Good Taste in Painting a Vehicle, An instance of 159 
 
 Ground Coat for a Business Wagon 34, 35 
 
 Ground Color for a Carriage 132 
 
 Hand, Position of in Striping 53 
 
 Colors (Harrison's Combination) in a Vehicle, An Example of 159 
 
 Harmony in Painting Vehicles Lost by Making the Bodies one Color 
 and Carriage Part Another , 158 
 
■-^is 
 
 174 INDBX. 
 
 Paos. 
 
 Harmony of Analogy, The 161 
 
 Harmony of Contrasts in Painting 161 
 
 Harness Leather, Use of in Hammering on a Painted Surface — 147 
 Indicating by Colors the Difference in the Materials of Vehicles. . 168 
 
 Ivory Black, How to Thin 26 
 
 Last Coat on a Carriage 131,132 
 
 Laying out Letters 96 to 103 
 
 Lead Color, How to Make 21 
 
 Lead Color, Method of Priming 28 
 
 Lead in Revarnishing Carriages 152 
 
 Lettering, Colors used for 108 
 
 Lettering for Wagons 70 to 110 inclusive 
 
 Lettering, Pencils for 107,108 
 
 Lettering, Tools used in 107,108 
 
 Letters, Abbot, Downing Co . 's Styles of 79 
 
 Letters, Balancing Properly 103 
 
 Letters, Boston Roman 89 to 95 
 
 Letters, Full Block 71,72, 73 
 
 Letters, Full Block Octagon 72 
 
 Letters, Full Block Roxmd 73 
 
 Letters, Gothic Half Block 98,99,100 
 
 Letters, Half Block 71 to 76 
 
 Letters, Half Block, How to Design 96, 97 
 
 Letters, Half Block Octagon 73, 74 
 
 Letters, Half Block Round 73, 74 
 
 Letters, Italic 77 
 
 Letters, Modern Old Style 80 
 
 Letters, New York Roman 81 to 89 
 
 Letters, New York Roman Italic 86 to 89 
 
 Letters, New York Roman Italic, Lower Case 88, 89 
 
 Letters, Ornamental 78 
 
 Letters, Outline 76 
 
 Letters, Printers' Black or German Text . . 77 
 
 Letters, Roman 80 to 95 
 
 Letters (Shaded), Various Styles of 108,109,110 
 
 Letters, Solid Block 77 
 
 Letters, Square Block 77 
 
 Letters, Tuscan Full Block 78 
 
 Lightening up a Job 63 
 
 Xines in Striping for Carriages 56, 57, £8 
 
 Materials, Care of 45 
 
 Monograms, English Style 167 
 
 Monogram, Florentine Style 167 
 
 If onogram, Loui9 ZV. Style... 170 
 
nfDEX. 1'75 
 
 Paok. 
 
 MoHogram, Modern Sty» 170 
 
 Monograms .• 165 to 170 
 
 Nickel Leaf 67 
 
 Oil, the Use of 20 
 
 Old Paint, the Uses of 148 
 
 Paint Brushes, Rouwi 13 
 
 Paint, Crackingof 48 
 
 Paint, Crawling cf 46, 47 
 
 Paint, Drying Qualities of , How to Test 19, 20 
 
 Paint for New Wheels (Carriage) 127 
 
 Paint for Repair Work, How to Mix 146 
 
 Paint for Second Coat on New Carriage Wheels 128, 129 
 
 Paint, Peeling off, How to Prevent ; 133 
 
 Painting a Body for a Cheap Job 149,150, 151 
 
 Painting a Business Wagon Body 34, 35 
 
 Painting a Carriage Body 134, 135 
 
 Painting a Cheap Job 148 to 151 
 
 Painting a Spoke in Repair Work 146 
 
 Painting a White Job .... 69 
 
 Painting an Express Wagon 148 to 151 
 
 Painting Canvas Top SideB 48 
 
 Palettes, Zinc 53, 54 
 
 Panel Stripe for Spring Bars 58, 60 
 
 Painting Lumber Wagons 142, 143, 144 
 
 Painting Wooden Parts the Same as Iron, in American Carriages . . 157 
 
 Paints used for Lumber Wagons 142, 143 
 
 Pencils, Care of 54, 55 
 
 Pencils for Ornamental Striping 55 
 
 Pencils, Ox Hair 53 
 
 Pencils, Striping 52, 53 
 
 Pigments for Colors, Combination of... 21 1« 24 
 
 PoimceBag, A 62 
 
 Priming 28, 29 
 
 Priming for a Cheap Job 148,149 
 
 Priming Lumber- Wagon Boxes 143 
 
 Pumice-stone Dust, How to Remove from Work 139 
 
 Pumice-Stone in Rubbing out 33 
 
 Putty ^Q, 27 
 
 Putty.Block 27 
 
 Putty,Block Bedding 27 
 
 Putty (Black) for Irons 27 
 
 Putty for Carriage Gears and Wheels 130,131 
 
 Putty for Gears, How to Make 34 
 
 Putty Knife Method in Painting Business Wagons, The 38 
 
ltd WDBX. 
 
 Faob. 
 
 Putty, Quick 26 
 
 Putty, White 26 
 
 Puttying for a Clieap Job 149 
 
 Puttying Joints 139,140 
 
 Repair Work, Touching up 145 
 
 Revamishing a Carriage 152, 153, 154 
 
 Rough Stuff for Business Wagons 39, 40 
 
 Rough Stuff, Mixing ..30, 31 
 
 Rough Stuff, Rubbing Out 32, 33 
 
 Rough Stuff, White 69 
 
 Rough Stuffing Panels 30, 31 
 
 Rubbing a Carriage 135,136 
 
 Rubbing Down a Carriage for Revarnishing 152 
 
 Rubbing Out Rough Stuff 32, 33 
 
 Rubbing Process, The 37 
 
 Rubbing Stone, English 33 
 
 Rubbing Varnish 41,42, 43 
 
 Rubbing Varnish, How to Apply 41, 42 
 
 Sand Papering a Carriage 131 
 
 Sash Tool, The 14 
 
 Schumachersche Fabrik 33 
 
 Scrolls (Flat) Designs for. 118,119, 120 
 
 Scrolling, Free Hand Ill 
 
 Scrolling (Gold), Shading in 116 
 
 Scrolling, Harmony in , 116, IW 
 
 ScroUing in Gold 115,116 
 
 Scrolling, Leafing in 11 2 to 120 
 
 Scrolling, The First Lesson in Ill, 113 
 
 Scrolling, The Line of Beauty Ill, 112 
 
 Scrolling, Wagon Ill to 120 
 
 ScroUs.Flat 117 to 120 
 
 Shading 104 to 110 
 
 Shading Black Letters : 106 
 
 Shading Gold Letters 105, 106 
 
 Shading Octagon Half Block Letters with a Double Shade Blocked. 105 
 Shading Octagon Half Block Letters with a Single Shade Blocked . . 104 
 
 Shading, Position of Lines in 107 
 
 Shadmg Red Letters 106 
 
 Shop (The), And How it Should be Constructed 11, 12 
 
 SilverBroDze 67 
 
 SUverLeaf.... 67 
 
 Stencil, How to Make o 121,122 
 
 Stenciling 121,322,123 
 
 Stenciling, Brushes for 123 
 
INDEX Vtt 
 
 Page. 
 Stenciling, Mixing Colors for 123 
 
 Stencils, Designs for 121,122 
 
 Stripe for Back Ends of Shafts and Part of the Cross-Bar 61- 
 
 Stripe for Top of a Spring 58, 60 
 
 Stripes for Wagon Gears. , 58 to 63 
 
 Striping Pencils 51, 52, 53 
 
 Striping, Straightening out 66 
 
 StripingTools 51 to 55 
 
 Striping used on Business Wagon Gears 56 
 
 Striping Wagons 50 to 67 
 
 Touching up Repair Work 145, 146, 147 
 
 Transfer Omamenis '. • . i 162, 163 
 
 Varnish, Blistering of 47 
 
 Varnish Brushes, How to Clean 44 
 
 Varnish Brushes, How to Keep in Good Condition , . 44 
 
 Varnish, Cracking of 48 
 
 Varnish, Crawling of 46, 47 
 
 Varnish, How to Mix for Carriages 133 
 
 Varnish Room, to Warm 41 
 
 Varnish, Specky 46 
 
 Varnish, Sweating of 43, 44 
 
 Varnish, The Finishing Coat of, for Carriages 134, 135 
 
 Varnish, To Lay On 42, 43 
 
 Varnishing 40to 48 
 
 Varnishing a Carriage 133 to 136 
 
 Vamishinga Furniture Van 40, 41 
 
 Varnishing a Lumber Wagon 144 
 
 Varnishing a Sleigh 41,42, 43 
 
 Varnishing a Wagon ^,42, 43 
 
 Varnishing, Brushes for 133 
 
 Varnishing, Failures in 45, 46 
 
 Ventilator for Varnish Rooms 11, 12 
 
 Vermilion, Grinding 25 
 
 \rermilion. Light English 25 
 
 Vehicles, Angular Forms in 155, 156 
 
 Vehicles, Irregular Forms in 155, 156 
 
 Vehicles which Displease the Eye 156 
 
 Wagon, Business, To Paint 28 to 40 
 
 Wagons (Lumber), To Paint 142,143,144 
 
 Wagon Painting, Colors Required in 17, 18 
 
 Wagon Scrolling Ill to 180 
 
 Wood Filler for Priming, Wheeler'g 39 
 
 Wood Filling on Business Wagons 39, 40 
 
■■\-~.:m 
 
 Containing all the Definitions 
 of all Important Words 
 
 in the Art of 
 
 PI AIN 
 
 AND 
 
 En 
 
 CYCLOP/EDIA. 
 
 ARTISTIC 
 PAINTING 
 
 With Details of Practice in Coach, Carriage, Railway Car, 
 
 House, Sign and Ornamental Painting, 
 
 including Graining, Marbling. Staining, Varnishing, Polish- 
 ing. Lettering, Stenciling. Gilding, Bronzing, together with 
 Valuable Hints and Helps in Scene Painting, Porcelain Paint- 
 ing, Plain and Distemper Painting. 
 
 ELABORATELY ILLUSTRATED I 
 
 This work is the masterpiece of the author (F. P> Gardneb), 
 whose contributions to the literature of Paintiug have been 
 numerous during the pnst few years. It is confidently believed 
 that no word or subject connected with the art of Painting 
 has been omitted from this book. It will be found invaluable 
 to every painter, no matter with what branch of the art he 
 may be connected. 
 
 Cloth, 12mo. Price, $L50. 
 
 Sent, postage prepaid, to any address on receipt of price. 
 
 M. 
 
 T. RICHARDSON CO., Publishers, 
 
 27 PARK PLACE, NEW YORK. 
 
M?^Y B "1908 
 
 «06i 81 AVIA! 
 
 AMI' (6 ;9oe 
 
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